L’envers du décor durrellien : l’hypotexte sadien du Quintette d’Avignon
Bruce Drexel’s narrative, which opens the first volume of The Avignon Quintet, Monsieur, paves the way for a trip down the lanes and memories of the past, preparing the reader to a textual backward journey. As he comes back to Avignon to attend the funeral of his friend, the travelling narrator is a...
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| Veröffentlicht in: | URI:https://journals.openedition.org/ebc, |
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| 1. Verfasser: | |
| Format: | Article ou chapitre numérique |
| Sprache: | Français |
| Veröffentlicht: |
Études britanniques contemporaines
2019
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| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Zusammenfassung: | Bruce Drexel’s narrative, which opens the first volume of The Avignon Quintet, Monsieur, paves the way for a trip down the lanes and memories of the past, preparing the reader to a textual backward journey. As he comes back to Avignon to attend the funeral of his friend, the travelling narrator is also setting out on a hidden quest which will enable him to measure the distance between reality and fiction, i.e., between his own memories of the past and their rewriting by the fictitious author Rob Sutcliffe. Exploring Sade’s hypotext therefore leads the reader into a spatial and temporal journey throughout which he discovers how Durrell resorts to Sade’s spatio-temporal architecture in order to suggest a spiritual vision of the self. The dismembered bodies of his characters do not serve to illustrate the fulfilment of jouissance but the dispersion of the ego and the birth of a new self. |
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