Academic literature on the topic 'Maurice Thomas l'obscur'

This essay examines Samuel Beckett's correspondence with Georges Duthuit between 1948 and 1950, the period when Duthuit edited Transition with Beckett's close involvement. By contrast to most discussions of Beckett's relationship with Duthuit, the essay focuses on Duthuit's perspective in these exchanges. It argues that Duthuit's assimilation of philosophical perspectives, especially those given in Maurice Merleau-Ponty's Phénomenologie de la perception and Maurice Blanchot's Thomas l'obscur, were influential for Beckett's own thinking about aesthetics. This thinking is present in Three Dialogues with Georges Duthuit (1949), which I argue draws on Duthuit's side of the exchanges more positively than is typically assumed, and I trace how Duthuit's letters to Beckett actively respond to a theory of ‘empêchement’ – a resistance to representation – expressed in Beckett's earlier art criticism. Moreover, the essay argues that Duthuit's monograph Les Fauves, and its translation as The Fauvist Painters supervised by Beckett, bear the traces of Duthuit's exchanges with Beckett, and foreshadow the particularity of Beckett's visual aesthetic in mature prose such as L'Innommable. In this essay, I therefore add to the material challenging the ’siege in the room’ narrative of Beckett as an isolated writer during the post-war period, and also suggest that translation, criticism and correspondence offered a way for both men to work through and engage with specific philosophical ideas subtly present in Beckett's post-war writing.

Le terme désœuvrement apparaît comme une des grandes notions qui peuplent la critique littéraire du 20ème siècle. Il marque la mise en mouvement de l'absence de l’œuvre dans laquelle l'écriture tend vers l'espace où rien ne peut être fait. La Trilogie romanesque de Beckett et les romans de Blanchot se croisent dans cet espace du désœuvrement. Les deux écrivains tentent de faire opérer la fin de la littérature en cherchant une nouvelle forme qui réalise le chaos. Dans leur œuvre, le temps, l'espace, la narration et le langage sont mis en redéfinition en abandonnant tous leurs caractères traditionnels. L’œuvre s'approche donc du fragmentaire
The term worklessness became one of the main concepts in the literary criticism of the 20th century. It marked the absence of the work on the way to a literary space where nothing can be done. Both Beckett and Blanchot tried to put an end to literature by creating a new form that could express the chaos. In theirs novels, time, space, narration and language no longer remain their traditional characteristics. The works of the two authors are close to what we call fragmented novel

Orientador: Marcos Antonio Siscar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente dissertação propõe-se a um estudo sobre a escrita do neutro em Maurice Blanchot. Começamos com a proposição do que seria uma possível poética do neutro, na introdução. No capítulo um, abordamos o neutro em sua relação com o dehors, a partir da História da loucura (1961) de Foucault e da leitura desta obra feita por Pélbart (1989). A preocupação é contextualizar o neutro para, no capítulo seguinte, trazê-lo em relação com as exigências da "cruel razão poética", abordada por Blanchot (1969) a partir da leitura de Artaud, aproximando as poéticas desses dois autores. Em seguida, no capítulo três, com o apoio de Dubreuil (2003), partiremos da análise de dois textos ¿ Thomas L'Obscur de Blanchot e "Carta à vidente" de Artaud ¿ a propósito da ideia de possessão, tal como esta encontra espaço em suas concepções sobre a criação poética. O objetivo é, depois de aproximar Artaud e Blanchot, situar onde a escrita deles é diferente, muito embora partam de questões semelhantes. Isto feito, tornamo-nos capazes de afirmar, com o auxílio do mito das sereias, a escrita do neutro como a articulação de uma "metalinguagem dramática" que permite a Blanchot, ao aproveitar-se das estruturas do pensamento mítico, realizar seu pensamento em um terreno provisório
Abstract: This dissertation proposes a study on the writing of the neutral in Maurice Blanchot. We start with the proposition of a possible poetic of the neutral. In chapter one, we approach the neutral by its relationship with the dehors from Madness and Civilization (Foucault, 1961) and the reading of this work done by Pelbart (1989). The concern is to contextualize the neutral and bring it in relation to the demands of the "cruel poetic reason", addressed by Blanchot (1969) from reading Artaud. Then, in chapter three, with the support of Dubreuil (2003), we will base the analysis of two texts - Thomas L'Obscur (Blanchot, 1950) and "Letter to the clairvoyant" (Artaud, 1929) - in connection with the idea of possession, as this finds room in their conceptions of poetic creation. The objective is, after approaching Artaud and Blanchot, place them where their writing is different, even though departing from similar issues. This done, we become able to claim, with the aid of the myth of mermaids, the writing of the neutral as the articulation of a "dramatic meta-language" that allows Blanchot to perform his own thinking on a temporary ground by availing the mythical thought structures
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária