« Without form, how can there be beauty ? » Dernières inversions de l’écriture devant la forme impossible du décor chez E.M. Forster
In A Passage to India Forster’s writing changes track so as to let space and settings materialize for readers who used to read the invisible and guess what the text kept silent. Yet description, which is somewhat new and unexpected, displays an inadequate and artificial literary space. The setting w...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/ebc, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Français |
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Études britanniques contemporaines
2019
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | In A Passage to India Forster’s writing changes track so as to let space and settings materialize for readers who used to read the invisible and guess what the text kept silent. Yet description, which is somewhat new and unexpected, displays an inadequate and artificial literary space. The setting will have to be erased from the text to make sense and let it write the story in both space and time. With Forster the notion of « behind the scenes » is at once ambiguous and reversed, since writing the visual scene is itself a first inversion and subversion of Forster’s aesthetics. By implying that form is the only way to let beauty emerge in text, and then casting aside form and setting from his writing, Forster renounces literary representation and makes up a clear discrepancy between emotion and intellect. Behind the scenes now lies only the immediate beauty of the physical world that no literary form may give shape to. |
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