Marguerite Duras

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Duras, Marguerite

(märgərēt` düräs`), 1914–96, French author, b. Gia Dinh, Indochina (now Vietnam). Usually grouped with the exponents of the nouveau roman [new novel] (see French literatureFrench literature,
writings in medieval French dialects and standard modern French. Writings in Provençal and Breton are considered separately, as are works in French produced abroad (as at Canadian literature, French).
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), Duras abandoned many of the conventions of the novel form. Her novels usually mix themes of eroticism and death, often treating existential moments in people's lives. Avoiding the use of descriptive passages, she had her characters reveal themselves through what they say—and do not say. Duras's experience as a film writer—she wrote the screenplay for Alain Resnais's Hiroshima Mon Amour (1959), among many others—and as a director significantly influenced her tersely simple narrative technique. She also wrote a number of plays.

Duras wrote more than 70 novels, many of which have been made into films and most of which deal unsentimentally with love, despair, and sexual passion. They include Un Barrage contre le Pacifique (1950; tr. The Sea Wall, 1952), Le Marin de Gibraltar (1952; tr. The Sailor from Gibraltar, 1966), Moderato cantabile (1958; tr. 1960), 10:30 du soir en été (1960; tr. 10:30 on a Summer Night, 1965), Détruire, dit-elle (1969; tr. Destroy, She Said, 1970), and Emily L. (1987; tr. 1989). Her mysterious and sensual semiautobiographical novel L'Amant (1984; tr. The Lover, 1985), an international best seller, was her first work of fiction to reach a large popular audience. It was followed by another partial roman à clef that retells the same story, L'Amant de la Chine du Nord (1991; tr. The North Chinese Lover, 1992).


See biography by L. Adler (2000).

References in periodicals archive ?
Marguerite Duras, entre litterature et cinema: trajectoires d'une ecriture.
La rhetorique du desir dans L'Amant de Marguerite Duras.
Marguerite Duras, The War (1985) Excess (lyricism and restriction), stay close to the "real" (especially latent, even harmless condensation), which no language spares.
Similarly, she looks at the roles of the maternal and the semiotic in writing by Colette and Marguerite Duras.
Her gala, C'est amour-la, a biography of the late writer Marguerite Duras and her love affair with a much younger man, was cancelled at Roy Thomson Hall but shown at the Uptown Theatre the next day.
Canadian customs seized Califia's books--along with S/M magazines, issues of The Advocate and Deneuve, the writings of Dorothy Allison, bell hooks, David Leavitt, and Marguerite Duras, a chilipepper cookbook with the title Hot, Hotter, Hottest, and the anti-pornography writings of Andrea Dworking herself, who had quoted long passages from the books she advocates censoring.
These come from the Marguerite Duras novel L'Apres-midi de Monsieur Andesmas (1962; The Afternoon of Monsieur Andesmas, 1964).
Utilizing a postmodern "bricolage" technique reminiscent of a French New Novel a la Marguerite Duras, Collins examines the life of a black female philosophy professor who simultaneously doubles as both a wife and an actress.
Bianco also serves as chairman and co-owner of Fox Rock Books, publisher of certain works by Samuel Beckett, Marguerite Duras, Kenzaburo Oe and others.
After a painter friend visited the institution, Khoury was inspired to create an audiovisual performance exploring the role art played in the lives of such women as Dalida, Marguerite Duras, Billie Holiday, Frida Kahlo, Oum Kalthoum, Sylvia Plath and Virginia Woolf, many of whom viewed their creative pursuits as an escape from harsh realities.
The final chapter considers Marguerite Duras book La douleur and the way it prompts us to reassess women's roles in the memory of pain and violence.
of the voices", as Marguerite Duras once described of her own film,