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The Point of View (in Four Ways)

100%
Mitosek Z.
Prace Filologiczne. Literaturoznawstwo
|
2018
|
issue 8(11) cz.1
129-140
EN
The article aims to analyse four important point of view novels, namely Henry James’ The Ambassadors, Zasypie wszystko, zawieje [Everything Will Be Covered by the Snow] by Włodzimierz Odojewski, The Flanders Road by Claude Simon, and Morfina [Morphine] by Szczepan Twardoch. The notion of point of view serves as a starting point for considering the epistemological aspects of the novel and for tracing its evolution. James, both in his theory and novelistic practice, uses the point of view to make the character’s consciousness the main theme of his novels. Odojewski employs internal monologue to render the characters’ perspective, while Simon combines internal monologue with other voices. Finally, Twardoch’s novel can be interpreted as a parody of the point of view technique.
2

Simonian Writing According to Mireille Calle-Gruber

99%
Yilancioglu S. S.
Human and Social Studies
|
2014
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vol. 3
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issue 3
59-66
EN
Mireille Calle-Gruber is not only a university professor and a writer, but also a leading scholar and critic of French literature and contemporary Francophone literature. Her works on Michel Butor, Claude Simon, Assia Djebar, Derrida and other contemporary writers (as well as those dealing with the history of the twentieth century literature) fill gaps in the contemporary literary history of the twentieth century. Her books not only scrutinize and analyze the writing of Claude Simon; they also shed new light on the analysis of the novel and autobiography in contemporary literature, through the memory of experience and perception
3
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Ni signifiant ni absurde : à la recherche du sens du monde dans La Route des Flandres de Claude Simon

85%
Kotowska-Miziniak J.
Academic Journal of Modern Philology
|
2020
|
vol. 9
303-310
EN
At the crossroads of philosophy, religion and literature arises the question of meaning. The feeling of absurdity of the world and the loss of the meaning of life, accompanied by a desperate attempt to (re)create it, are typical for people stigmatized by borderline experiences of collective traumas, such as war. As a combatant of the Second World War and a great admirer of Marcel Proust, Claude Simon undertakes a tireless search for lost meaning, which emerges discreetly behind the pessimism with which he describes the absurdity of the world. A close reading of his most famous novel, La Route des Flandres (1960), reveals to us some subtle indications about this quest for meaning, which becomes also a quest for identity.
4

L’appel du néant substantiel : Claude Simon et la mort tellurique

85%
Kotowska J.
Romanica Wratislaviensia
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2017
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vol. 64
133-143
EN
The article proposes the analysis of different types of agony suffered by living beings as a re­sult of contact with the element of Earth. The study is based on a corpus composed of seven novels by Claude Simon written after 1957, in a period of his fascination with formal experiments, and pu­blished by the Éditions de Minuit. The paper focuses on the representation of human body exposed to an evil influence of the Earth as element. Earth is considered as an anti-maternal force and a major destructive agent in Simon’s universe. The reflections on the telluric character of death are inspired, among others, by Gaston Bachelard’s thematic criticism and his conception of the four elements.
5
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Mémoire et autobiographie dans l’œuvre de Claude Simon

80%
Belarbi M.
Quêtes littéraires
|
2022
|
issue 12
125-138
EN
Memory occupies a privileged place in works of Claude Simon. Through an analysis of Les Georgiques, L ’Acacia and Le Jardin des Plantes, our goal in this article is to show that Claude Simon did not seek to write an “autofiction” or a “historical novel”, but to write a literary autobiography. His ultimate goal was not to “recover lost time”, but to inscribe “lost time” in literature. This study demonstrates that the new form of autobiography initiated by Claude Simon is entirely distinct from a traditional autobiography. It is written by means of the writer’s tireless recourse to stimuli, that is to say by questioning texts written by people who have found themselves in similar situations. It is an auto-sensorio-graphy: the writing is essentially based on a description of sensations, not facts. It is also an auto-thanato-graphy since death is the central character.
FR
La mémoire occupe une place privilégiée dans l’œuvre de Claude Simon. À travers Les Géorgiques, L ’Acacia et Le Jardin des plantes, notre but, dans le présent article, est de montrer qu’il n’a pas cherché à rédiger une « autofiction » ou un « roman historique », mais à écrire une autobiographie littéraire. Son objectif ultime n’était pas de « retrouver le temps perdu », mais d’inscrire « le temps perdu » dans la littérature. Il résulte de cette étude que la nouvelle forme de l’autobiographie initiée par Claude Simon se démarque entièrement de l’autobiographie classique. Elle est écrite par le recours inlassable de l’écrivain à des stimuli, c’est-à-dire par le questionnement de textes écrits par des personnes, qui se sont trouvées dans des situations similaires. Elle est une auto-sensorio-graphie : l’écriture s’appuie essentiellement sur la description de la sensation et non des faits rapportés. Elle est par ailleurs une auto-thanato-graphie, puisque la mort y est le personnage central.
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