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LES RAISONS DE L'ECRITURE : ANALYSE DE L'OEUVRE ROMANESQUE DE LUIGI PIRANDELLO

Author: Dominique Budor; Claude Perrus; Université de la Sorbonne Nouvelle (Paris).
Publisher: [S.l.] : [s.n.], 1987.
Dissertation: Thèse de doctorat : Études italiennes : Paris 3 : 1987.
Edition/Format:   Thesis/dissertation : Thesis/dissertation : FrenchView all editions and formats
Summary:
FORTEMENT SIGNIFIANTE QUANT A L'HISTOIRE DU SUJET-SCRIPTEUR ET LOURDE DES EFFETS IDEOLOGIQUES DE L'APPARITION DE CHAQUE TEXTE AU SEIN DU TEXTE GENERAL, L'OEUVRE ROMANESQUE DE LUIGI PIRANDELLO SE CARACTERISE PAR LE JEU EN ELLE D'UNE COMBINATOIRE QUI SITUE LA FORCE PRODUCTRICE DU SENS - AU-DELA DES CONFIGURATIONS DES ENONCES - DANS L'ENONCIATION MEME. LA TENSION PHATIQUE S'ACCENTUE AU FIL DES ROMANS : L'ECRITURE
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Details

Genre/Form: Thèses et écrits académiques
Named Person: Luigi Pirandello; Luigi Pirandello
Material Type: Thesis/dissertation
Document Type: Book
All Authors / Contributors: Dominique Budor; Claude Perrus; Université de la Sorbonne Nouvelle (Paris).
OCLC Number: 489721821
Notes: 1987PA030144.
Description: 2 vol. (693 f.) ; 29 cm.
Responsibility: DOMINIQUE BUDOR ; SOUS LA DIRECTION DE CLAUDE PERRUS.

Abstract:

FORTEMENT SIGNIFIANTE QUANT A L'HISTOIRE DU SUJET-SCRIPTEUR ET LOURDE DES EFFETS IDEOLOGIQUES DE L'APPARITION DE CHAQUE TEXTE AU SEIN DU TEXTE GENERAL, L'OEUVRE ROMANESQUE DE LUIGI PIRANDELLO SE CARACTERISE PAR LE JEU EN ELLE D'UNE COMBINATOIRE QUI SITUE LA FORCE PRODUCTRICE DU SENS - AU-DELA DES CONFIGURATIONS DES ENONCES - DANS L'ENONCIATION MEME. LA TENSION PHATIQUE S'ACCENTUE AU FIL DES ROMANS : L'ECRITURE DEVOILE SA FONCTION PRIMORDIALE DE MISE EN SCENE DU PROBLEME D'IDEN- TITE TANDIS QUE LE LECTEUR, ENFERME DANS LE TEXTE, DEVIENT LE PARTE- NAIRE NECESSAIRE ET SOUMIS DU DIALOGUE AVEC LUI-MEME PAR LEQUEL L'AUTEUR SE TEND VERS L'ESPOIR D'UNE SEMIOSE ILLIMITEE. L'ECRITURE SE HEURTE NEANMOINS AUX FORMES DE SPECTACLE (LE THEATRE ET LE CINEMA) QUI, AU DETOUR DU SIECLE, INSCRIVENT L'OEUVRE D'ART DANS LE MARCHE SOUS LE SIGNE DU TRAVAIL ET DE L'ARGENT, ET REVELENT LES INSUFFISANCES DE L'ECRIT DANS CES CONDITIONS MODIFIEES D'EMISSION ET SURTOUT DE RECEP- TION. LA LITTERATURE NE PEUT RESTAURER SON POUVOIR QU'EN FAISANT DU VERBE UN INSTRUMENT VENGEUR ET DE L'ACCES AU THEATRE L'OCCASION D'OFFRIR A L'IMAGINAIRE L'ESPACE DE SA MISE EN SCENE. ENFIN, DANS UNE ECRITURE MUE PAR LES URGENCES DE LA COMPENSATION ET DU DEFOULEMENT, S'INSCRIVENT LES DECHIREMENTS DU VECU. DES PROCEDURES DE DETOURNEMENT EXHIBENT PLUS QU'ELLES NE CACHENT L'IMPOSSIBLE ACCORD ENTRE LA TEN- SION EROTIQUE QUI POUSSE VERS L'AUTRE ET LA FERVEUR D'ECRITURE QUI FAIT DU MOI SON PROPRE OBJET DE DESIR : SEULE L'ACTRICE, EN TANT QU'ELLE SE CONSTITUE EN "CORPS" DE L'ECRITURE, REMEDIE A CETTE DIVI- SION DU MOI ET FONDE LE POUVOIR DU POETE, REFUSANT LA TRAUMATISANTE NAISSANCE ET LA DOULEUR D'ETRE HOMME, PIRANDELLO SE CONSTRUIT ECRIVAIN.

RICH IN SIGNIFICANCE AS FAR AS THE STORY OF THE SUBJECT OF WRITING IS CONCERNED AND REPLETE WITH THE IDEOLOGICAL EFFECTS ENTAILED BY THE EMERGENCE OF EACH TEXT WITHIN THE GENERAL TEXT, THE PROSE WORK OF LUIGI PIRANDELLO IS CHARACTERIZED BY A COMBINATORY SYSTEM WHICH PLACES THE PROCESS OF SIGNIFICATION BEYOND THE CONFIGURATIONS OF THE UTTERANCES AND WITHIN ENUNCIATION ITSELF. NOVEL AFTER NOVEL, THE PHATIC TENSION BECOMES MORE STRONGLY MARKED : THE WRITING UNVEILS ITS MAIN FUNCTION WHICH IS THAT OF STAGING THE IDENTITY PROBLEM, WHILE THE READER, PRISONER OF THE TEXT, BECOMES THE INDISPENSABLE AND SUBMISSIVE PARTNER OF THE WRITER WHO TRIES TO REACH AN UNLIMITED SEMIOSIS THROUGH A DIALOGUE WITH HIMSELF. THE WRITING, THOUGH, COMES UP AGAINST THE VARIOUS FORMS OF SPECTACLE (THEATRE AND CINEMA) WHICH, AT THE TURN OF THE CENTURY, MAKE OF THE WORK OF ART A MARKETABLE PRODUCT AND REVEAL THE INADEQUACIES OF THE WRITTEN WORK IN THOSE MODIFIED CONDITIONS OF EMISSION AND ESPECIALLY RECEPTION. LITERATURE CAN ONLY RECOVER ITS POWER THROUGH MAKING OF THE WORD A TOOL OF REVENGE AND OF THE THEATRE AN OPPORTUNITY FOR THE IMAGINARY TO STAGE ITSELF. LASTLY, PIRANDELLO'S WRITING, ACTUATED BY THE URGES OF COMPENSATION AND RELEASE, ALSO REFLECTS THE WRENCHING CONFLICTS OF EXPERIENCE. PROCEDURES OF INDIRECTION REVEAL MORE THAN THEY HIDE THE IMPOSSIBLE HARMONY BETWEEN THE EROTIC TENSION WHICH DRIVES TOWARDS THE OTHER AND THE FERVOUR OF WRITING WHICH MAKES OF THE EGO ITS OWN OBJECT OF DESIRE : THE ACTRESS ALONE, IN SO FAR AS SHE BECOMES THE "BODY" OF THE WRITING, REMEDIES THIS SPLITTING OF THE EGO AND FOUNDS THE POWER OF THE POET. REFUSING BOTH THE TRAUMA OF BIRTH AND THE PAIN OF BEING A MAN, PIRANDELLO THUS COMES INTO BEING AS A WRITER.

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