La Grande Beune. Calligraphe et callipyge : écrire le trou de l’origine du monde
In this fictional account set in the Dordogne, a region with an abundance of prehistoric caves, the narrator, a schoolteacher from the village of Castelnau, makes repeated references to the various manifestations of the “hole”: the caves, the Grande Beune flowing at the bottom of a gorge, the sex of...
محفوظ في:
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| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
| منشور في: |
2024
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| الموضوعات: | |
| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | In this fictional account set in the Dordogne, a region with an abundance of prehistoric caves, the narrator, a schoolteacher from the village of Castelnau, makes repeated references to the various manifestations of the “hole”: the caves, the Grande Beune flowing at the bottom of a gorge, the sex of the Woman – the Origin of the World painted by Courbet –, a Woman embodied by Yvonne, the tobacconist, the image of Mother Earth, with whom the narrator is violently enamoured. The text is thus immersed in the archaic time of a metaphorical “Wallachia” where Oedipus and his complex are all wrapped up, and where Woman is both a superlative “beast” and “the queen”; but also in a kind of primordial night where desire is exacerbated, a desire that touches on the sacred insofar as it pushes the individual to return to the primordial continuum, thereby running the risk of losing himself. But the male desire to return to Mother Earth comes up against the oedipal prohibition and the castration that weighs on anyone who transgresses it; for the man, the “hole” is transformed into a vagina dentata. To escape castration, man displaces the object of his desire in the counter-world created by language, which mediates the relationship to reality – to the Mother World, to Woman – by substituting words for things. This is what the writer does when he writes La Grande Beune – and what prehistoric man did when he drew figures on the walls of caves. But he also invents the character of Jeanjean, Yvonne’s lover, who, by imprinting the marks of his lashes on her skin, is supposed to write in the very flesh of the Woman and the World, thus freeing himself, mythically, from the mediation of the symbolic. This is why the cave that he owns and shows visitors is, unlike all the others, devoid of the slightest hint of painting. In this way, through this character, the author takes revenge for his tragic condition as a speaker. |
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