The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd
The article aims at showing how, in Hardy’s fiction, all sound aspires to the condition of silence. For example in Tess of the d’Urbervilles, sounds are very often conveyed as visual impressions, and Tess’s voice is hardly every heard – her voice seems choked, throttled, “stuck in her throat”. The a...
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| Publicado en: | URI:https://journals.openedition.org/fathom, |
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| Autor Principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
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FATHOM
2013
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:fathom_385 |
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openedition |
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openedition-oai:revues.org:fathom_385 https://doi.org/10.4000/fathom.385 urn:doi:10.4000/fathom.385 en https://journals.openedition.org/fathom/385 2013-07-26T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/gahm All rights reserved The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd FATHOM Association française sur les études sur Thomas Hardy info:eu-repo/semantics/reference/issn/2270-6798 URI:https://journals.openedition.org/fathom Ramel, Annie roman langage silence psychanalyse Lacan (Jacques) son voix violence prononciation novel language silence psychoanalysis Lacan (Jacques) sound voice violence pronunciation The article aims at showing how, in Hardy’s fiction, all sound aspires to the condition of silence. For example in Tess of the d’Urbervilles, sounds are very often conveyed as visual impressions, and Tess’s voice is hardly every heard – her voice seems choked, throttled, “stuck in her throat”. The article also examines Far from the Madding Crowd and the import of the voice, of silence, of the scream, and of the heroine’s temporary aphonia. Starting from J. J. Lecercle’s work on “the violence of language”, the author argues that the female voice in Hardy’s fiction is repressed because it conveys an uncontrollable, potentially dangerous form of jouissance. The Hardyan text makes us hear fractions of that jouissance by letting us perceive the echo of lalangue, that language which is filled with the lost substance of enjoyment. Cet article montre comment le son chez Hardy aspire à n’être que silence, par exemple dans Tess of the d’Urbervilles, où les impressions sonores sont souvent déplacées vers le registre visuel, et où Tess ne parvient pas à faire entendre sa voix – une voix qui semble étranglée, rentrée, coincée dans la gorge. Cet article s’interroge sur la voix dans Far from the Madding Crowd, sur le silence, sur le cri, sur l’aphonie passagère de l’héroïne. Prenant comme point de départ un travail de J.-J. Lecercle sur la « violence du langage », il développe l’idée que la voix féminine chez Hardy est réprimée en tant qu’elle véhicule une jouissance incontrôlable, potentiellement dangereuse. Ce sont des bribes de cette jouissance que le texte hardyen nous donne à entendre, en faisant résonner lalangue, cette langue chargée de matière jubilatoire et sonore. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
roman langage silence psychanalyse Lacan (Jacques) son voix violence prononciation novel language silence psychoanalysis Lacan (Jacques) sound voice violence pronunciation |
| spellingShingle |
roman langage silence psychanalyse Lacan (Jacques) son voix violence prononciation novel language silence psychoanalysis Lacan (Jacques) sound voice violence pronunciation Ramel, Annie The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| description |
The article aims at showing how, in Hardy’s fiction, all sound aspires to the condition of silence. For example in Tess of the d’Urbervilles, sounds are very often conveyed as visual impressions, and Tess’s voice is hardly every heard – her voice seems choked, throttled, “stuck in her throat”. The article also examines Far from the Madding Crowd and the import of the voice, of silence, of the scream, and of the heroine’s temporary aphonia. Starting from J. J. Lecercle’s work on “the violence of language”, the author argues that the female voice in Hardy’s fiction is repressed because it conveys an uncontrollable, potentially dangerous form of jouissance. The Hardyan text makes us hear fractions of that jouissance by letting us perceive the echo of lalangue, that language which is filled with the lost substance of enjoyment. |
| author |
Ramel, Annie |
| author_facet |
Ramel, Annie |
| author_sort |
Ramel, Annie |
| title |
The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| title_short |
The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| title_full |
The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| title_fullStr |
The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| title_full_unstemmed |
The Sound of Silence in Tess of the d’Urbervilles and Far from the Madding Crowd |
| title_sort |
sound of silence in tess of the d’urbervilles and far from the madding crowd |
| 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.385 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/fathom/385 |
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