Le Planetarium
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Rhetoric
Author: Michael Hawcroft
language: en
Publisher: Oxford University Press, USA
Release Date: 1999
Setting out the principles of rhetoric with a wide range of illustrative examples in the first chapter, the author then explores rhetoric at work in different genres, via a close reading of texts.
The Planetarium
"The many narratives of The Planetarium, told from various points of view, revolve around a seemingly simple conceit: a young man has his heart and ambition set on his aunt's large apartment. But, as in Sarraute's other books, this plot forms only the surface of what is really happening. Instead, Sarraute focuses on the emotional lives and internal thoughts of her characters in a way that goes beyond what Virginia Woolf did years before. The spite the young man feels toward his mother-in-law for offering him and his wife cheap chairs for their apartment; the terror inspired during a confrontation between the same young man and his aunt; and the need for approval he feels when he's around his Gertrude Stein-like literary icon are some of the many internal conflicts that move the narrative forward through the minds of the conflicted and clashing characters. Always deeply engaging, The Planetarium uses a simple plot to reveal the disparity between the way we see ourselves and the way others see us."--Publisher's website.
Nathalie Sarraute and the Feminist Reader
Situated at an intersection of feminist critical practice in the United States and feminist cultural theory in France, Nathalie Sarraute and the Feminist Reader is an investigation of the way in which this French New Novelist's first eight works, in their increasing dramatization of the issue of reading, problematize certain feminist literary analyses, especially in relation to "l'ecriture feminine." After an exploration of the difficulty Sarraute's writing poses for the critical enterprise through a lengthy reading of Sarrautien criticism in the U.S. and France, Sarah Barbour shows how Sarraute's works eventually prohibit any fixed reading and open up instead a space in which we as readers are moved toward a more personal understanding of our use of narrative and of socio-sexual constructs in the continual, day-to-day constitution and reconstitution of subjectivity. Nathalie Sarraute conceives of the evolution of the novel as a movement through history and thus situates her work within a tradition of psychological realism at the same time that she proposes radical innovations of the tradition. Her novels do not discard or revise past works but rather internalize them in an effort to expand the notion of what is possible for psychological realism. This study takes as its model Sarraute's example of simultaneity, which invites an understanding of time both as a diachronic movement through "phases, ": from the psychological realism of Dostoyevski to that of Kafka to her own, and as a synchronic encounter that elicits simultaneous relationships to different "phases." Within the movement of feminist literary criticism scholars have often discerned what are also referred to as "phases;" that is, criticism in the United States has moved from its initial concern with images of women in fiction by male writers to a desire to establish a feminine tradition of women's writing. Nathalie Sarraute and the Feminist Reader is not an attempt to claim that Sarraute's work represents "ecriture feminine." Reading Sarraute's novels in their "evolution," Sarah Barbour has found that they forced her own reading and understanding of this term to "evolve." She therefore proposes that the novels open up a space that is beyond the frozen shells of gender, which continue to bind women and men personally and critically. The power of Sarraute's work lies in the solitary experience of our encounter with her presentation and perception of reality. In this encounter we are forced to experience the fluid nature of subjectivity; that is, to internalize and explore differences within personal and sexual identity that, by extension, affect the identity of larger political movements.