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La Modernité de la Construction du Personnage de Cripure dans Le Sang Noir de Louis Guilloux

100%
Bizek-Tatara R.
Lublin Studies in Modern Languages and Literature
|
2008
|
issue 32
20-30
EN
After André Gide and Marcel Proust, Louis Guilloux is one of the first writers of the 20th century who rejects the 19th-century literary tradition, creating in 1935 an exceptional and innovative novel – Le Sang Noir. Its innovation resides in the similarity to the New Novel from the 50s on the level of composition, narration, organization of spatio-temporal setting, role of the reader and character construction. The article discusses the innovative character construction employed by Guilloux in the creation of Cripure, the protagonist. By means of the techniques of internal monologue and various points of view, the author created a protagonist with highly complex personality, impossible to be unambiguously characterized. An anonymous narrator, showing dualistic approach towards the protagonist, constantly shifts the points of view, rendering any description of the protagonist’s identity unfeasible as the information provided about him by the narrator and other characters is contrary. Guilloux uses elliptic constructions, enabling the reader to interpret characters’ conduct. However, the constructions do not reveal the motivation of their actions, but are limited to presenting events, citing characters’ statements and, above all, demonstrating their behavior. The reader has to fill the gaps and interpret characters’ conduct themselves. Two decades later, this “adventure of writing” rather than “writing of adventure” will become one of the fundamental principles of the New Novel.
2

L’« infidélité onirique » dans L’Emploi du temps ou comment Michel Butor polémique avec les idées de Gaston Bachelard

61%
Kotowska J.
Romanica Wratislaviensia
|
2019
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vol. 66
179-191
EN
20th century philosopher Gaston Bachelard considers the combination of two elements of nature as a metaphorical “marriage,” with all its symbolic and religious meaning, including fidelity and prohibition of adultery. Water and fire, united in a moment of alchemical inspiration, form an archetypal couple of great creators, which participate in cosmogonic myths. Bachelard imagines any elemental union in the aquatic categories, which results from his theory where water is the main component of each association due to its properties of universal solvent, and the other three elements — fire, air and earth — represent only secondary components. However, some contemporary writers like Michel Butor offer a completely opposite conception, according to which the elements of nature do not respect the binary rule of the “marriage” and form triple or even quadruple unions. These monstrous mixtures described in his novel L’Emploi du temps give, indeed, a destructive effect and tend to doom the world. What would become of the notion of “oneiric fidelity,” postulated by Bachelard, in the sacrilegious universe of Butor’s novel, filled with accursed amalgamates of multiple elements?
3
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La vision dysphorique de Michel Butor: la ville-personnage de L’Emploi du temps en tant que locus terribilis

36%
Kotowska J.
Orbis Linguarum
|
2018
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issue 52
339-351
EN
The Dysphoric Vision of Michel Butor: the City of L’Emploi du temps as Locus Terribilis From biblical sinful cities of Sodom and Gomorrah to modern ones like the nightmarish Prague of Kafka, the melancholic Bruges of Rodenbach or the cursed Bleston of Butor, the evil urban areas have fascinated novelists of all ages. In L’Emploi du temps, Michel Butor presents a haunting and disturbing vision of an imaginary English town, personified and considered the second main character in Butor’s novel. In order to torture its inhabitants, Bleston controls the four elements of nature and reduces them to their negative aspect of dreadful, devastating forces, which challenges the positive imagery of the air, water, earth and fire created by 20th-century philosopher Gaston Bachelard. A hostile and malicious city inspired by Manchester, Bleston seems to sum up all the fears and misfortunes of the real world metropolises in their hostile and unlivable aspect.
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