Le roman à images : description et fragmentation dans Le Jardin des Plantes de Claude Simon, L’Inauguration de la salle des Vents de Renaud Camus et Terrasse à Rome de Pascal Quignard
department or school: Arts, Faculty of
department or school: French, Hispanic, and Italian Studies, Department of
data provider: DSpace
alternative: The image novel : description and fragmentation in Claude Simon, Renaud Camus and Pascal Quignard
degree campus: UBCV
creator: Falangola, Chiara
issued: 2013-06-29T09:15:30Z
issued: 2013
related degree: Doctor of Philosophy - PhD
degree grantor: University of British Columbia
description: The framework used to study the three novels arises from the need to define a particular type of descriptive and fragmented scripta, which textualize an historical or existential disaster. Approaching our texts as ‘romans à images’, we endeavour to create a definition that problematizes the techniques of the ‘conventional’ novel and engenders a new conception of narrative and of its formal dominant, in relation to art and to the notion of incommensurability. The three novels textualize an existential or historical disaster: Simon’s Jardin thematizes World War II through the author’s own experience, as well as the inscription in the text of the painter Gastone Novelli’s post-Holocaust art. Camus’ Inauguration is a three hundred pages long elegy to those friends lost because of AIDS, whose memory the novel tries to preserve. The circular, mirrored structure of L’Inauguration is inspired by the artist Jean-Paul Marcheschi’s work. Quignard’s Terrasse is a series of literary tableaux writing the quest for the origins of and the quest for the self. The poetics of the latter draws heavily from the fictitious 16th century engraver Meaume. The three novels explicitly refer to art and are structured on internal laws, which more closely resemble those of poetry and the visual arts than conventional narratives. They take the form of fragmented and syncopated narratives, constructed by and laid out in a visual mode. The latter is constituted by the juxtaposition of typographically and thematically independent paragraphs – blocs or fragments –, whose unity resides in the harmony or counterpoint of their juxtaposition. The chronological and syntagmatic construction of the ‘conventional’ novel is replaced by a paradigmatic dynamic that assembles and juxtaposes the image-blocs according to the laws created, governed by the signifier's materiality or by the principle of variation. Central to the mimetic and aesthetic work of the three novels is restoration of a pictorial or mental im…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/44617
note: LE ROMAN À IMAGES Description et fragmentation dans Le Jardin des Plantes de Claude Simon, L’Inauguration de la salle des Vents de Renaud Camus et Terrasse à Rome de Pascal Quignard by Chiara Falangola A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (French Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June, 2013 © Chiara Falangola, 2013 ii ABSTRACT The framework used to study the three novels arises from the need to define a particular type of descriptive and fragmented scripta, which textualize an historical or existential disaster. Approaching our texts as ‘romans à images’, we endeavour to create a definition that problematizes the techniques of the ‘conventional’ novel and engenders a new conception of narrative and of its formal dominant, in relation to art and to the notion of incommensurability. The three novels textualize an existential or historical disaster: Simon’s Jardin thematizes World War II through the author’s own experience, as well as the inscription in the text of the painter Gastone Novelli’s post-Holocaust art. Camus’ Inauguration is a three hundred pages long elegy to those friends lost because of AIDS, whose memory the novel tries to preserve. The circular, mirrored structure of L’Inauguration is inspired by the artist Jean-Paul Marcheschi’s work. Quignard’s Terrasse is a series of literary tableaux writing the quest for the origins of and the quest for the self. The poetics of the latter draws heavily from the fictitious 16th century engraver Meaume. The three novels explicitly refer to art and are structured on internal laws, which more closely resemble those of poetry and the visual arts than conventional narratives. They take the form of fragmented and syncopated narratives, constructed by and laid out in a visual mode. The latter is constituted by the juxtaposition of typographically and thematically independent paragraphs – blocs or fragme…
has type: Thesis/Dissertation
date issued: 2013-11
is shown at: 10.14288/1.0073927
language: fre
degree discipline: French
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/44617