Thomas Hardy’s Silences
The article aims at analysing the various forms of silence. It offers a classification of the different forms silence can take: the linguistic silence (ranging from the silence of infantia to the silence of communion, also including silence as a sign), the aesthetic silence (from the silence of the...
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| 發表在: | URI:https://journals.openedition.org/fathom, |
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| 格式: | Article ou chapitre numérique |
| 語言: | Anglais |
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FATHOM
2013
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| 在線閱讀: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:fathom_328 https://doi.org/10.4000/fathom.328 urn:doi:10.4000/fathom.328 en https://journals.openedition.org/fathom/328 2013-07-21T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/gahj All rights reserved Thomas Hardy’s Silences FATHOM Association française sur les études sur Thomas Hardy info:eu-repo/semantics/reference/issn/2270-6798 URI:https://journals.openedition.org/fathom Lecercle, Jean-Jacques roman langage poétique silence poésie linguistique ineffable parole style signe métaphysique philosophie esthétique Benjamin (Walter) novel language poetics silence poetry linguistics ineffable speech style sign metaphysics philosophy aesthetics Benjamin (Walter) The article aims at analysing the various forms of silence. It offers a classification of the different forms silence can take: the linguistic silence (ranging from the silence of infantia to the silence of communion, also including silence as a sign), the aesthetic silence (from the silence of the ineffable to the silence of vision or intuition), the metaphysical silence (from the silence of things to the silence of God), the narrative silence (a narrative calls a world into being by wresting it out of silence, only to throw it back there once the reading is done), and the temporal silence (what is written is caught between the silence of what is no more and the silence of what will be, between nostalgia and expectation). Hardy’s poetry essentially resorts to three forms of silence: aesthetic, temporal and metaphysical. In Far from the Madding Crowd, Hardy uses almost all forms of silence as language, yet very rarely the silence of things, unlike what he does in The Return of the Native where the silence of Nature (in the description of Egdon Heath at the onset of the novel) serves as metaphor for the silence of inexistence that precedes the narrative. Framed between the silence of narrative inexistence and the silence of things, or of God, Hardy’s language is the privileged vector of the creation of a world out of silence. Concerning Hardy’s style, the article uses again an opposition between suture and polyphony, and concludes that Hardy’s style, rather than polyphonic, may be defined as the linguistic transmutation of a multiplicity of silences. L’article s’emploie à analyser les diverses formes du silence. Il propose un classement des différentes formes de silence : le silence linguistique (qui va du silence de l’infans au silence de la communion en passant par le silence comme signe), le silence esthétique (qui va du silence de l’ineffable au silence de la vision ou de l’intuition), le silence métaphysique (du silence des choses au silence de Dieu), le silence narratif (le récit fait naître un monde en l’arrachant au silence, pour l’y replonger sitôt la lecture terminée), et le silence temporel (ce qui est écrit est pris entre le silence de ce qui n’est plus et le silence de ce qui sera, entre la nostalgie et l’attente). La poésie de Hardy utilise essentiellement trois formes de silence : esthétique, temporelle et métaphysique. Dans Far from the Madding Crowd, Hardy utilise presque toutes les formes du silence comme langage, mais très rarement le silence des choses, à l’inverse de The Return of the Native, où le silence de la Nature (dans la description de Egdon Heath au début du roman) sert de métaphore au silence de l’inexistence qui précède le récit. Encadré par le silence de l’inexistence narrative et le silence des choses, ou de Dieu, le langage de Hardy est le vecteur privilégié de la création d’un monde à partir du silence. S’agissant du style de Hardy, l’article reprend une distinction faite jadis entre suture et polyphonie, et conclut que le style de Hardy, plutôt que polyphonique, peut se définir comme la transmutation linguistique d’une multiplicité de silences. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
roman langage poétique silence poésie linguistique ineffable parole style signe métaphysique philosophie esthétique Benjamin (Walter) novel language poetics silence poetry linguistics ineffable speech style sign metaphysics philosophy aesthetics Benjamin (Walter) |
| spellingShingle |
roman langage poétique silence poésie linguistique ineffable parole style signe métaphysique philosophie esthétique Benjamin (Walter) novel language poetics silence poetry linguistics ineffable speech style sign metaphysics philosophy aesthetics Benjamin (Walter) Lecercle, Jean-Jacques Thomas Hardy’s Silences |
| description |
The article aims at analysing the various forms of silence. It offers a classification of the different forms silence can take: the linguistic silence (ranging from the silence of infantia to the silence of communion, also including silence as a sign), the aesthetic silence (from the silence of the ineffable to the silence of vision or intuition), the metaphysical silence (from the silence of things to the silence of God), the narrative silence (a narrative calls a world into being by wresting it out of silence, only to throw it back there once the reading is done), and the temporal silence (what is written is caught between the silence of what is no more and the silence of what will be, between nostalgia and expectation). Hardy’s poetry essentially resorts to three forms of silence: aesthetic, temporal and metaphysical. In Far from the Madding Crowd, Hardy uses almost all forms of silence as language, yet very rarely the silence of things, unlike what he does in The Return of the Native where the silence of Nature (in the description of Egdon Heath at the onset of the novel) serves as metaphor for the silence of inexistence that precedes the narrative. Framed between the silence of narrative inexistence and the silence of things, or of God, Hardy’s language is the privileged vector of the creation of a world out of silence. Concerning Hardy’s style, the article uses again an opposition between suture and polyphony, and concludes that Hardy’s style, rather than polyphonic, may be defined as the linguistic transmutation of a multiplicity of silences. |
| author |
Lecercle, Jean-Jacques |
| author_facet |
Lecercle, Jean-Jacques |
| author_sort |
Lecercle, Jean-Jacques |
| title |
Thomas Hardy’s Silences |
| title_short |
Thomas Hardy’s Silences |
| title_full |
Thomas Hardy’s Silences |
| title_fullStr |
Thomas Hardy’s Silences |
| title_full_unstemmed |
Thomas Hardy’s Silences |
| title_sort |
thomas hardy’s silences |
| publisher |
FATHOM |
| publishDate |
2013 |
| container_title |
URI:https://journals.openedition.org/fathom |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/fathom.328 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/fathom/328 |
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