Marcela Azevedo

Escrever o mar; reencontrar a si: reflexões sobre imagem e memória em Marguerite Duras

Introduction

Escrever o mar; reencontrar a si: reflexões sobre imagem e memória em marguerite duras . Explore a complexa relação entre mar, imagem e memória na obra de Marguerite Duras. Analisa "La mer écrite" e a busca da autora por reencontrar a identidade perdida e dar provas de vida.

Abstract

Numa série de entrevistas concedidas a Leopoldina Pollota della Torre e reunidas sob título La passion suspendue (2013[1989]), Marguerite Duras (1914-1996), ao confessar seu temor e fascínio pela imagem do mar, diz: “O mar é uma força ilimitada onde o ‘eu’, o olhar se afoga, perdendo-se para encontrar sua própria identidade” (p. 130 – tradução minha). Essa afirmação permite propor aideia de que a recuperação de uma identidade original não se daria sem a experiência de perda de alguma parcela do “eu” – logo, seria preciso perder algo de si para reencontrar algo de si. De uma interrogação sobre o que seria isso que se perde e o que é isso que a autora insiste em reencontrar, passamos a uma outra, central nesta proposta: por que o mar vem sintetizar esse instante de perda ereencontro? É na tentativa de contorná-la que sugerimos uma apreciação acerca do enigmático La mer écrite (1996). Nossa hipótese é a de que este livro tenta reconstruir uma imagem jamais registrada da autora durante a travessia de barco quando tinha 15 anos. Argumentamos que o esforço de reconstrução desta imagem se relaciona com o aspecto impossível que ela abriga – na intimidadecom o real e o pulsional – e que o insistente movimento de recriação da mesma teria função de dar provas de vida à autora. Palavras-chave: Marguerite Duras. Mar. Imagem. Construção. Memória. AbstractIn a series of interviews with Leopoldina Pollota della Torre, gathered under the title La passion suspendue (2013[1989]), Marguerite Duras (1914-1996) confesses her fear and fascination with the image of the sea, saying: "The sea is an unlimited force where the 'self', the gaze, drowns, losing itself to find its own identity" (p. 130 – my translation). This statement suggests that recovering an original identity would not happen without experiencing the loss of a part of the "self" – hence, it would be necessary to lose something of oneself to rediscover something of oneself. Moving from questioning what exactly is lost and what the author insists on rediscovering, we transition to another central question in this proposal: why does the sea come to symbolize this moment of loss and rediscovery? It is in attempting to address this that we suggest an examination of the enigmatic “La mer écrite” (1996). Our hypothesis is that this book attempts to reconstruct an image never recorded of the author during a boat crossing when she was 15 years old. We argue thatthe effort to reconstruct this image relates to its impossible aspect – in intimacy with the real and the instinctual – and that the persistent movement of recreating it would serve to provide proof of life for the author. Keywords: Marguerite Duras. Sea. Image. Construction. Memory.

Review

The proposed paper "Escrever o mar; reencontrar a si: reflexões sobre imagem e memória em Marguerite Duras" offers a compelling exploration into the intricate relationship between selfhood, memory, and the evocative power of the sea in the work of Marguerite Duras. Drawing inspiration from Duras's own reflections on the sea as a force where the self is lost to be found, the study posits that the recovery of an original identity necessitates a prior experience of loss. This central premise guides an investigation into Duras's enigmatic work, *La mer écrite* (1996), with the core hypothesis that this text attempts to reconstruct a formative, yet unrecorded, image of the author during a boat crossing at the age of 15. The strength of this proposal lies in its focused and theoretically rich approach to Duras's oeuvre. By linking Duras's personal confession with a deep analysis of *La mer écrite*, the paper promises to unravel the symbolic significance of the sea within her literary universe. The argument that the reconstruction of this "impossible" image is intimately connected to the "real and the instinctual" and serves as a "proof of life" for the author introduces a fascinating psychoanalytic dimension. This approach offers a nuanced understanding of Duras's creative impulses and her engagement with autobiographical fragments, moving beyond a superficial reading to delve into the existential motivations behind her writing. The central question of *why* the sea embodies this loss and rediscovery is particularly intriguing and provides a solid framework for the analysis. This research stands to make a significant contribution to Durasian scholarship and broader discussions on memory, identity, and the literary imagination. By illuminating the function of an "unrecorded image" and its persistent recreation in Duras's work, the paper offers fresh perspectives on her writing process, her relationship with the past, and the very act of artistic creation as a means of affirming existence. The exploration of how Duras grapples with the 'impossible' aspect of memory through her writing provides valuable insights into the complex interplay between lived experience and its artistic representation. Ultimately, this study promises to deepen our appreciation for the profound depth and enduring relevance of Marguerite Duras's literary legacy.

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