Kirjahaku

Alain Robbe-Grillet had traditionally been seen as an austere experimentalist in fiction, addicted to arid and interminable descriptions of objects like coffee pots, erasers and pieces of string. His own rather bellicose theoretical pronouncements were partly to blame for this unattractive picture, belied by the immense popular success of the film Last Year at Marienbad (1961) (made by Alain Resnais from Robbe-Grillet’s script) and the high critical esteem in which novels like Jealousy and The Voyeur are held. In his original study, first published in 1983, John Fletcher attempts to resolve this paradox by offering a new interpretation of Robbe-Grillet’s work which stresses the subversive qualities of his imagination and the disturbing power of his vision of a world of labyrinths and bizarre sexual stereotypes, haunted by images of love and loss.

Alain Robbe-Grillet had traditionally been seen as an austere experimentalist in fiction, addicted to arid and interminable descriptions of objects like coffee pots, erasers and pieces of string. His own rather bellicose theoretical pronouncements were partly to blame for this unattractive picture, belied by the immense popular success of the film Last Year at Marienbad (1961) (made by Alain Resnais from Robbe-Grillet’s script) and the high critical esteem in which novels like Jealousy and The Voyeur are held. In his original study, first published in 1983, John Fletcher attempts to resolve this paradox by offering a new interpretation of Robbe-Grillet’s work which stresses the subversive qualities of his imagination and the disturbing power of his vision of a world of labyrinths and bizarre sexual stereotypes, haunted by images of love and loss.

Placing Robbe-Grillet’s filmic oeuvre in the related contexts of both his novelistic work and the different historical and cultural periods in which his films were made, from the early 1960s to the present, the book traces lines of influence and continuity throughout his work, which is shown to exhibit a consistent preoccupation with an identifiable body of themes, motifs and structures. Close readings of all the films are skilfully combined with a thematic approach, ranging across the entire filmic corpus. The book also contains chapters on cinematography and technique. Now available in paperback, this lucid, comprehensive and fascinating study shows Robbe-Grillet’s contribution to the evolution of the cinematic art both in France and internationally to have been considerably more important than previously acknowledged.

Emerging early in the 1950s as an articulate and provocative spokesman for the ""new novel"", Alain Robbe-Grillet has remained one of the world's leading practitioners of experimental narrative. He continues to reinvent the genre in ways that challenge the conventions of traditional realism, much of the time bewildering readers and critics with his subversion of narrative structure and of such staples of traditional fiction as character, plot, and chronology. In this introduction to the French writer, Roch C. Smith suggests that despite the initial shock often felt on a first encounter with Robbe-Grillet, reading his work can be great fun for someone willing to tolerate defamiliarization and ambiguity and to become an interactive traveller through his narrative mazes. With this exploration of Robbe-Grillet's novels, short stories and autobiographies, Smith offers a guide for the adventuresome reader to the writer's labyrinthine and playful world.

Wenn man ber die Wiederholung im Romanprojekt des Nouveau Roman spricht, muss man zwangsl ufig innehalten, um ihre Mechanismen und ihre verschiedenen Verwendungsweisen zu entschl sseln. Die Schrift dieser neuen Romanautoren zeichnet sich durch einen Verlust an Klarheit und Transparenz aus und fordert den Leser st ndig auf, sich um die Entschl sselung ihres Inhalts zu bem hen. Der Leser muss sich in dieses Chaos st rzen, um die R tsel dieser Schrift zu l sen, die die Konzentration des Lesers st rt. Wenn der Nouveau Roman im Gegensatz zu anderen vergangenen Str mungen steht und sich selbst als Dekonstruktion versteht, so ist dies sogar f r seine eigenen Pioniere der Fall. Unterschiede zwischen ihnen finden sich im Umfang der Bedeutung, die sie den von ihnen gew hlten Themen widmen. Nathalie Sarraute beispielsweise widmet der Untersuchung der Tiefenausdr cke ihrer Figuren viel Aufmerksamkeit, w hrend Alain Robbe-Grillet das Objekt in seinen verschiedenen Formen in den Mittelpunkt seines Interesses r ckt.

Talking about repetition in the novelistic project of the New Novel requires an obligatory stop in order to decipher its mechanisms and its various uses. the writing of these new novelists is characterised by a loss of clarity and transparency, it constantly invites the reader to make an effort to decipher its content. the reader must invest himself in this chaot in order to solve the enigmas of this writing that disturbs the reader's concentration. If the New Novel goes against other past currents, and recognises itself as a deconstruction in itself, even for its own pioneers, there are differences between them in terms of the volume of importance devoted to their chosen subjects of study. Nathalie Sarraute, for example, devotes a great deal of attention to the study of the expressions of the depths of her characters, while Alain Robbe-Grillet leaves the object, in its various forms, as a centre of interest for him.

Parlare di ripetizione nel progetto romanzesco del Nuovo Romanzo richiede una sosta obbligata per decifrarne i meccanismi e i vari usi. la scrittura di questi nuovi romanzieri caratterizzata da una perdita di chiarezza e trasparenza, invita costantemente il lettore a fare uno sforzo per decifrarne il contenuto. il lettore deve investire in questo chaot per risolvere gli enigmi di questa scrittura che disturba la concentrazione del lettore. Se il Nuovo Romanzo si contrappone ad altre correnti del passato e si riconosce come una decostruzione in s , anche per i suoi stessi pionieri esistono differenze in termini di volume di importanza dedicato ai temi di studio scelti. Nathalie Sarraute, ad esempio, dedica molta attenzione allo studio delle espressioni del profondo dei suoi personaggi, mentre Alain Robbe-Grillet lascia l'oggetto, nelle sue varie forme, come centro di interesse per lui.

Falar de repeti o no projeto novel stico do Novo Romance exige uma paragem obrigat ria para decifrar os seus mecanismos e os seus diversos usos. a escrita destes novos romancistas caracteriza-se por uma perda de clareza e transpar ncia, convida constantemente o leitor a fazer um esfor o para decifrar o seu conte do. o leitor deve investir-se neste caos para resolver os enigmas desta escrita que perturba a concentra o do leitor. Se o Novo Romance vai ao encontro de outras correntes do passado, e se reconhece como uma desconstru o em si mesmo, mesmo para os seus pioneiros, h diferen as entre eles quanto ao volume de import ncia dedicado aos seus objectos de estudo escolhidos. Nathalie Sarraute, por exemplo, dedica muita aten o ao estudo das express es do ntimo das suas personagens, enquanto Alain Robbe-Grillet deixa o objeto, nas suas diversas formas, como centro de interesse para si.

...] Es ist interessant festzustellen, dass der Titel im Deutschen La Jalousie oder die Eifersucht" lautet. Hier wurde die Antwort, ob es sich im Buch um das Gef hl oder die Markise handelt zwar nicht vorweggenommen, er weckt aber das Bewusstsein f r das Vorhandensein der begrifflichen Mehrdeutigkeit deutlicher als im Franz sischen. Benennt der Titel ein Gef hl, dann w re ein Buch zu erwarten, das sich mit dem seelischen Zustand der Eifersucht auseinandersetzt. Wom glich w rde es Schilderungen menschlicher Beziehungen und ihr Schicksal in Hinsicht auf Leid wegen der Starrheit und Fixiertheit des Bewusstseins, aufgrund von emotionaler Abh ngigkeit vom geliebten Menschen enthalten.Benennt der Titel aber den Gegenstand der Jalousie als Sichtschutz, dann d rfte ein eher sachliches Buch, getragen von objektiven Beschreibungen zu erwarten sein. Welche Jalousie" nun gemeint ist, ist die grundlegende berlegung, die der Leser anstellt, bevor er auch nur die erste Seite zu lesen anf ngt. Hierbei wird nach dem Ausschlussprinzip verfahren. Entweder ist es das Gef hl, oder der Gegenstand. Von der ersten bis zur letzten Seite behandelt der Roman das Thema der Eifersucht. Es gibt keine Szene, die nicht mit ihr in Verbindung gebracht werden k nnte. Auf der anderen Seite verliert er aber kein Wort ber den seelischen Eifersuchtszustand, sondern liest sich, die Beschreibungen der darin vorkommenden Menschen in ihrer u eren Erscheinung, ihrem Habitus und Verhalten ausgenommen, wie eine reine Baubeschreibung, mit der vom Autor scheinbar selbst verordneten Pr misse n chterner Objektivit t. Es gibt keinen roten Faden der Handlung, der den Leser durch den Roman hindurchf hrt. Es handelt sich um reine Objektzustandsbeschreibungen. Einer Fotografie gleichsam sind die einzelnen Szenen penibel dargestellt und exakt gefasst, dass bei ihrer Aneinanderreihung das Gef hl evoziert wird, als ob man einen Film betrachten w rde. Durch die exakte Beschreibung der Szenerie und der Umgebung,