By Claude Simon
Le Vent se déroule tout entier dans une ville du Midi de los angeles France (Perpignan ?). Antoine Montès, 35 ans, vient d’y arriver pour entrer en ownership de l’héritage de son père. Il n’a d’ailleurs jamais connu celui-ci, sa mère, morte aussi, ayant quitté l. a. ville dès avant l. a. naissance de l’enfant. L’héritage se compose principalement de vignes laissées à l’abandon. Le notaire conseille à Montès de vendre ces terres, et lui suggest même des acheteurs. Mais, inexplicablement, Montès refuse. À partir de là, toute son perspective apparaît étrange et même scandaleuse à toute los angeles « bonne société » du cru. Refusant les beaux partis qui s’offrent, il se compromet avec l. a. bonne de l’hôtel minable où il est descendu, et se trouve finalement mêlé à une sombre histoire de vol et de recel, dont il se tirera d’ailleurs sans dommage, mais sans avoir rien fait pour cela, restant d’un bout à l’autre aussi doucement étranger et pur vis-à-vis de ce monde qu’il apparaîtra scandaleux aux yeux des autres.
Le Vent a été publié en 1957.
Read or Download Le Vent: Tentative de restitution d'un retable baroque PDF
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Extra resources for Le Vent: Tentative de restitution d'un retable baroque
A character's word about himself and his world is just as fully weighted as the author's word usually is; it is not subordinated to the character's objectified image as merely one of his characteristics, nor does it serve as a mouthpiece for the author's voice. html6/20/2010 2:57:03 PM page_33 < previous page page_33 next page > Page 33 style and variform in speech and voice" (DI 261). Though he approaches the text with a very different set of preconceptions, Bakhtin would be in full agreement with T.
This is especially surprising since Joyce was known to several of Bakhtin's associates. Pumpiansky was at work on a book on Joyce in 1932, and V. O. Stenich, who was close to members of the Bakhtin circle in Leningrad . . translated Joyce. html6/20/2010 2:57:02 PM page_28 < previous page page_28 next page > Page 28 have been motivated politically. As of at least the First Writers' Congress in 1934, Ulysses could no longer be praised in print, and this was still true in 1965 when the dissertation was published as a book [Rabelais and His World].
Dostoyevsky gives his characters their own voices: Dostoyevsky's major heroes are, by the very nature of his creative design, not only objects of authorial discourse but also subjects of their own directly signifying discourse. In no way, then, can a character's discourse be exhausted by the usual functions of characterization and plot development, nor does it serve as a vehicle for the author's own ideological position (as with Byron, for instance). 33 The consciousness of a character is given as someone else's consciousness, another consciousness, yet at the same time it is not turned into an object, is not closed, does not become a simple object of the author's consciousness.