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 wide audience. Her wartime notebooks (tr. 2008) shed light on the autobiographical nature of The Lover. L'Amant de la Chine du Nord (1991; tr. The North Chinese Lover, 1992), another partial roman à clef, retells the same story.

Bibliography

See biography by L. Adler (2000).

References in periodicals archive ?
A pesar de Hiroshima mon amour, aportacion invaluable al mundo cinematografico, Marguerite Duras no se inscribe en la Nouveau Roman, equivalente literario a la nueva ola francesa en el cine.
Nothing highlights the identification of Duras's ostensibly feminist novel and Lacans psychoanalysis more forcefully than Lacan's own words from his homage: "Marguerite Duras knows, without me, what I teach" ("Homage to Marguerite Duras, on Le ravissement de Lol V.
Marguerite Duras, entre litterature et cinema: trajectoires d'une ecriture.
Wie sie in Auseinandersetzung mit Lacan zugleich zu erreichen und zu verfehlen ist, wie sehr ein Ich auszubilden zugleich bedeutet, einer Verheissung zu folgen und sie zu verfehlen, das demonstriert nicht nur die geheime Heldin dieser Gattungstheorie, Marguerite Duras, sondern auch zum Beispiel Julia Kristeva (in Possessions, 1996) oder Camille Laurens (in: Dansces bras-la, 2000).
Directed by Jean-Jacques Annaud and adapted from a semi-autobiographical novel by Marguerite Duras, the movie tells--with lots of nudity and dramatic violin solos--the story of a Lolita-esque affair between an underage French boarding student called "The Young Girl" and a nameless wealthy Chinese man in 1920s Vietnam called "The Chinaman" A racy, borderline inappropriate film.
His landlady, Marguerite Duras, kindly took him under her broad wing, encouraging him in his first, fumbling efforts as a writer and offering him advice that would have been excellent, had he only been able to follow it.
Ellos son Sandor Marai (1900-1989) y Marguerite Duras (1914-1996), quienes se han declarado consumidores de diferentes bebidas alcoholicas, adiccion con la que, al parecer, buscaban pacificar sus estados de angustia.
In an interview with Jacques Rivette and Jean Narboni from November 1969, Marguerite Duras attributed the peculiar style of her new book Detruire, dit-elle to her distaste for novels.
THE SEA WALL (Certificate TBC, 115 mins) Adapted from the semiautobiographical novel Un Barrage Contre Le Pacifique by French writer and director Marguerite Duras, The Sea Wall is a moving period piece about one woman's fight for survival set against the backdrop of French colonial Indochina.
An article on Marguerite Duras, who was openly homophobic in her lifetime, argues that her homophobia "was poetic and contained, and thus embraced by many fans, including homosexuals" (p.