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Les silences dans la dramaturgie giralducienne

100%
Bombard F.
Quêtes littéraires
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2017
|
issue 7
123-131
EN
Technical and rhetorical devices used by Giraudoux to indicate silence varyduring its dramatic production. Silences have to do with relationships of the characters, both emotionally and dialogal, and are sometimes loaded the unspoken or unspeakable. By their relationship to the word and to the game, they are at the heart of a dramaturgy that oscillates between mimesis and rupture. And certain silences are like the limit assigned to the power of words in a theater yet claimed as literary.
2
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Le silence comme signe (in)visible du mal dans l’œuvre romanesque de Georges Bernanos

100%
Roux-Troyes A.
Quêtes littéraires
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2017
|
issue 7
132-141
EN
From Sous le Soleil de Satan to Monsieur Ouine, Bernanos’ novels are characterized by the emergence of ‘supernatural silence(s)’ (Bernanos, 2015 : 679), which can prove to be disturbing. The brutal sign of evil’s appeance in the narrative limits in most cases the character to silence, to verbal incapacity. Indeed, evil has the strength to hold thought and speech in check. That is the reason why the characters that are racked by evil make good use of language so that they don’t say anything genuine nor honest. Bernanos’ writing succeds in defining these silences thanks to numerous ellipsis as well as things that remain unmentioned, embarrased silences, thus emphasizing the presence of the supernatural. Punctuation in particular takes an important part in creating breaks, switchovers within sentences as well as in the narrative. These silences show off an experience that cannot be told. As a consequence, a true rhetoric of what is unspeakable is at stake in Bernanos’ novels. The use of adjectives made up with privative prefixes, indefinite pronouns, rough phrases and other figures of what is unspoken, contribute to explaining evil’s unbelievable experience.
3
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Niewypowiadalne bólu i paliatywny aspekt literatury (o Piotrusiu Leo Lipskiego)

75%
Porzuczek S.
Przestrzenie Teorii
|
2020
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issue 33
303-320
EN
This article deals with the issue of the articulation of pain in Leo Lipski’s Piotruś [Little Peter]. In Lipski’s novel suffering is rarely direct, but is rather a sensation evoked by another’s perception (the oppressive gaze), cultural exclusion of disabled bodies and the dramatic experience of the disintegration of reality and language itself (as the medium of interpersonal communication and understanding). On this background the author presents the palliative conceptualization of literature (revealing itself in Lipski’s micro-novel), in which the emphasis is not exactly on the possibility of essential (re)presentation of pain, but on the relieving potential of the textual transposition (translation) of sensations and feelings.
4
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Crise du dicible. Euphémismes et détournements du visage dans "Une saison de machettes" de Jean Hatzfeld

58%
Chevrette E.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 1
91-103
EN
After listening empathically to testimonies from surviving Tutsis (Into the Quick of Life, 2000), the French author and journalist Jean Hatzfeld reversed the perspective by gathering recollections of the events from Hutu murderers, in Machete Season (2003). This paper shows how the executioner stories are immersed in the unutterable, a posture marked by a calculating and reifying discourse that aims to remain silent about the event rather than to relate them, which divert and appropriate speech. The experience of the event is therefore reduced to its factual aspects, which evacuate any form of subjectivization. Such rhetorical posture, very direct and very crude at times, but more importantly forged with euphemisms and diversions, contribute to the depersonalization of the murderers, therefore normalizing extreme violence and concealing the face of the Tutsi.
FR
Après avoir écouté les témoignages de survivants tutsis (Dans le nu de la vie, 2000), l’écrivain et journaliste français Jean Hatzfeld a renversé la perspective en recueillant les récits de génocidaires hutus, avec la publication d’Une saison de machettes (2003). Cet article montre comment les récits des bourreaux sont empreints d’indicible, étant marqués par une démarche discursive calculée et réifiante, qui vise plus à taire qu’à dire en détournant et en orientant l’acte narratif. L’expérience de l’événement y est réduite à sa dimension factuelle, évacuant par l’occasion toute subjectivation. Une telle posture rhétorique, parfois très directe et très crue, mais surtout empreinte d’euphémismes et de détournements, contribue à dépersonnaliser les bourreaux, donc à normaliser l’extrême violence et à occulter le visage tutsi.
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