Titlebook: Women and Discourse in the Fiction of Marguerite Duras; Love, Legends, Langu Susan D. Cohen Book 1993 Susan D. Cohen 1993 critique.fiction.

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Delectable

micronized

“Ignorance” and Textualityin my work, it is there. For example,” continues Duras concerning ., “for the beggar, it took me months to know who was speaking, to tell the story of the beggar, and how someone knew.”. The “secret,” so to speak, of Duras’ narrative structuring consists precisely in this: the “someone” in question,

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有毛就脱毛

Sleeping Beauties: Discourse, Gender, Genre in the “Erotic” Texts and offer in distilled form images of erotico-pornographic relations as defined and experienced in patriarchal society. I conflate the terms or use them interchangeably because, conceptualized in the dominant symbolic order, the erotic and the pornographic are on a continuum in which the line betwe

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Elements of a Styleinized is the “how” of her achievement. I caution that the following presentation of some of Duras’ discursive strategies does not constitute an exhaustive inventory. Rather, it offers examples of recurrent structures, techniques, and metalinguistic themes characteristic of her work. I do not conduc

要素

炼油厂

Conclusion reflects the absence of an original, interdicting subject — not a loss, but a potential for liberation from discursive domination and repression. Duras’ textual strategies (re)articulate a language “indicative” in several ways. It exposes the unitary language it deconstructs, with its symbolic orde

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争吵加

Sleeping Beauties: Discourse, Gender, Genre in the “Erotic” Textsrrative modalities that inscribe discursive and implicit narrative plurality, though less through referential absence than through a certain overabundance of presence in conjunction with a displaced, yet essential matrix of narrative “ignorance.”