Alain Robbe-Grillet

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Robbe-Grillet, Alain

(älăN` rôb-grēyā`), 1922–2008, French novelist and filmmaker, b. Brest. Robbe-Grillet is considered the originator of the French nouveau roman [new novel], in which conventional story is subordinated to structure and the significance of objects is stressed above that of human motivation or action. His influential essay Pour un nouveau roman (1963; tr. Toward a New Novel, 1966) provided the theoretical groundwork for the genre. Robbe-Grillet's first novel, Les Gommes (tr. The Erasers, 1964), was published in 1953. Among his other novels, many of them marked by violence, are Le Voyeur (1955; tr. The Voyeur, 1958), La jalousie (1957; tr. Jealousy, 1960), Dans le labyrinthe (1959; tr. In the Labyrinth, 1960), Instantanés (1962; tr. Snapshots, 1968), La Maison de Rendez-vous (1965; tr. 1966, The House of Assignation, 1970), Topologie d'une cité fantôme (1976; tr. Topology of a Phantom City, 1977), Djinn (1981, tr. 1982), Les dernier jours de Corinthe [the last days of Corinth] (1994), La reprise (2001; tr. Repetition, 2003), and Un roman sentimental (2007; tr. A Sentimental Novel, 2014), his last book. Robbe-Grillet's film works include the screenplay for Alain ResnaisResnais, Alain
, 1922–2014, French filmmaker. Although not an official member of the French cinema's New Wave movement, he shared its innovative and personal approach to style, content, and narrative.
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's enigmatic classic L'annèe dernière à Marienbad (Last Year at Marienbad, 1961) as well as those for L'immortelle [the immortal one] (1962), Trans-Europ-Express (1966), L'Eden and l'après (Eden and After, 1970), La belle captive (The Beautiful Prisoner, 1983), and Un bruit qui rend fou (The Blue Villa, 1996), which he also directed. In 2004 he became a member of the Académie Française.


See his memoir Ghosts in the Mirror (1984, tr. 1991); studies by B. Morrissette (1965), R. Armes (1981), J. Fletcher (1983), B. F. Stoltzfus (1985), R. L. Ramsay (1992), L. D. Roland (1994), M. H. Hellerstein (1998), and R. C. Smith (2000).

Robbe-Grillet, Alain


Born Aug. 18, 1922, in Brest, department of Finistere. French writer and film director; one of the founders of the “new novel.”

Educated as an agricultural engineer, Robbe-Grillet was first published in 1953. In his depersonalized, flat narratives, Robbe-Grillet’s obsessive description of objects pushes aside both the narrative and the characters (for example, the novels The Voyeur, 1955, and Jealousy, 1957). Gradually these verbal still lifes grow into hallucinations of a chaotic, capricious, and defective world (the novel In the Labyrinth, 1959, and the film screenplay Last Year at Marienbad, 1961). This world cannot be animated by criminal events (the novel La Maison de rendez-vous, 1965), by a speculative response to political issues of the day (the novel Project for a Revolution in New York, 1970), or by morbid eroticism (the novel and film Glissements progressifs du plaisir, 1973).


Pour un Nouveau Roman. Paris, 1963.
In Russian translation:
“V labirinte.” lnostrannaia literatura, 1961, no. 1. (Excerpt.)


Velikovskii, S. “V laboratorii raschelovechivaniia iskusstva.” In the collection O sovremennoi burzhuaznoi estetike, vol. 1. Moscow, 1963.
Zonina, L. “‘Novyi roman’: vchera, segodnia.” Voprosy literatury, 1974, NO. 11.
Eremeev, L. A. Frantsuzskii “novyi roman.” Kiev, 1974.
Morrissette, B. Le Roman de Robbe-Grillet. [Paris, 1963.]
Ricardou, J. Pour une Théorie du nouveau roman. Paris [1971].
Gardies, A. A Robbe-Grillet. [Paris, 1972.]


References in periodicals archive ?
This section also traces Grove's interactions with Alain Robbe-Grillet and Jean Genet, the latter of whom "more than any other single Grove author .
Jealousy by Alain Robbe-Grillet, translated by Richard Howard
Every bit as much as Julia Child, Rosset broadened and cultivated American palates, helping to create or enlarge the audiences of writers such as Beckett, Alain Robbe-Grillet, "Pauline Reage," and all the Beats.
Constructing Meaning in the Spanish and French New Novel: Juan Benet and Alain Robbe-Grillet.
El desenlace --hay que acabar de una vez con la sinopsis-- tiene lugar en Marsella, durante un festival de cine atestado de mexicanos, y, aunque todo es esperpentico y hay escandalos y golpizas, la verdad es que uno termina por darle la razon a Alain Robbe-Grillet cuando decia que, detras de la pantalla, el cine es puro tedio y que "el hecho mas importante a la hora de hacer una pelicula es encontrar donde sentarse".
O conjunto formado pelas colaboracoes enviadas a Combat esta dividido em duas partes, uma primeira sobre a revirada da literatura em "escritura" e uma segunda sobre a revirada da escritura em "grau zero", sob o influxo das narrativas impassiveis do nouveau roman e do apaixonamento inicial de Barthes por Alain Robbe-Grillet.
Even though by 1965 the nouveau-roman's influence was on the wane, the genre represented the kind of narrative Gombrowicz wrote against, while certainly recognizing the technical innovations of its practitioners, Alain Robbe-Grillet in particular.
Alain Robbe-Grillet, Michel Butor, Georges Perec, and Jean Echenoz neither use crime fiction in every novel nor often focus on crime itself, he says, but they draw on the genre both in its very popular French expression and in the wider Western culture.
Whereas most earlier studies of this sort tended to confine themselves to brief, simple tales, Kafalenos has elaborated a model that she is able to apply to Hamlet and Phedre, the work of Henry James and Franz Kafka, and experimental texts by Vargas Llosa and Alain Robbe-Grillet.
Bell argues convincingly that novelists such as Toni Morrison, Charles Johnson, Alice Walker, and Ishmael Reed are able to transcend the despair that enervates the work of writers such as Alain Robbe-Grillet, John Barth, and Ronald Sukenick because they can still tap into a vital tradition supplying potent spiritual and moral values as well as political energy.
Incluso de novelas mas recientes, como Le voyeur (1955) de Alain Robbe-Grillet, Patricia Martinez afirma que "el movimiento de los ojos del narrador es similar al de una camara que nos devuelve fria y objetivamente la realidad circundante" (en Robbe Grillet 1987: 42) --mas o menos por la misma epoca en que Alexander Astruc hablaba del nuevo cine frances como portador de una camara stylo (estilografica)--.