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Lectures du désir: une approche des textes qui part du désir qu'ils font naître.
Dans l'oscillation entre ces deux pôles veut se profiler une voie de lecture qui explique et qui enthousiasme, qui guide et qui fait errer.
Lectures du désir: un chiminement critique où la philosophie et la psychanalyse accompagnent l'exégèse littéraire.
Lectures du désir: Madame de Lafayette, Jean de La Fontaine, Vivant Denon, Jacques Cazotte, Isabelle de Charrière, Eugène Fromentin, Robert-Louis Stevenson, Raymond Roussel, Marcel Proust, René Char, Marguerite Yourcenar, Samuel Beckett, Claude Simon, Alain Robbe-Grillet, Renaud Camus, Jean Echenoz, Régine Detambel.
Lectures du désir: une approche des textes qui part du désir qu'ils font naître.
Dans l'oscillation entre ces deux pôles veut se profiler une voie de lecture qui explique et qui enthousiasme, qui guide et qui fait errer.
Lectures du désir: un chiminement critique où la philosophie et la psychanalyse accompagnent l'exégèse littéraire.
Lectures du désir: Madame de Lafayette, Jean de La Fontaine, Vivant Denon, Jacques Cazotte, Isabelle de Charrière, Eugène Fromentin, Robert-Louis Stevenson, Raymond Roussel, Marcel Proust, René Char, Marguerite Yourcenar, Samuel Beckett, Claude Simon, Alain Robbe-Grillet, Renaud Camus, Jean Echenoz, Régine Detambel.
The presence of stones in Beckett's work is linked to the essential ambivalence concerning the hard fruits of Mother Earth. Stones throw a bridge between the parental instances under the sign of the Freudian notion of 'fort-da,' seen as the most elementary psychic movement. We propose to visit the tombstones in the text and to join the old woman wandering between the stones of her garden in . The uncanny characterizes the ambivalent impressions created by these concretions, stemming from within the body of the earth, signs of death, but also incessantly pursuing the phantasmal intimacy of the mother. Strange familiarity of these tombstones, where the body of the father has been buried.
The fall is omnipresent in Beckett's work: most directly and materially in the characters' repeated tumbles and decline, but also as a reiterated motif with philosophical and metaphysical implications, besides manifesting itself throughout in textual breaches and the rhythmic cadences of Beckett's language. In this article I explore Beckett's challenge to verticality in a number of his prose, poetry, and theatre pieces, with particular emphasis on
Starting from a view on the Freudian term of the 'Unheimlich' [the uncanny], we examine how this notion haunts the texts of Beckett focussing more in particular on "l'Expulse" and