Dalza Guimarães Cavalcanti

O mar, o feminino e a mulher na obra de Marguerite Duras

Introduction

O mar, o feminino e a mulher na obra de marguerite duras. Explore a obra de Marguerite Duras, o mar e o feminino na mulher. Uma análise profunda de sua escrita, revelando o estranho e o irrepresentável que nos habitam. Desvende o mistério.

Abstract

Fomos, como Jacques Lacan, arrebatados pela beleza da escrita de Marguerite Duras. Nela, há o encontro com aquela região ainda não explorada, aquele branco da sequência do feminino, conforme apontou a autora Xavière Gauthier, em livro intitulado Boas Falas, Conversas sem Compromisso. A escrita de Marguerite Duras se nos atravessa e nos indaga sobre o estranho que habita em cada um. Quem somos nós, como nos reconhecer, por quem nos tomamos até o momento em que nos encontramos com o grito? O que dizer acerca do mar, da memória e do mistério, do desconhecido que carregamos dentro de nós? Percorrer suas inquietantes linhas é o desafio que exploramos em sua aproximação entre o feminino e o irrepresentável, mas que insiste em se colocar. Palavras-chave: Arrebatamento. Irrepresentável. Feminino. Dor. Marguerite Duras. AbstractWe were, like Jacques Lacan, captivated by the beauty of Marguerite Duras' writing. In it, there is an encounter with that region that has not been explored yet, that white part of the feminine sequence, as pointed out by author Xavière Gauthier, in a book entitled Boas Falas: Conversas sem Compromisso. Marguerite Duras' writing touches us and asks us about the strange that lives in each one of us. Who are we, how do we recognize ourselves, who do we take ourselves for until the moment we encounter the scream? What can we say about the sea, memory and mystery, the unknown that we carry within us? Going through its disturbing lines is the challenge that we explore in its approach between the feminine and the unrepresentable, but which it insists on posing. Keywords: Captivation. Unrepresentable. Feminine. Pain. Marguerite Duras.

Review

This paper proposes an intriguing exploration into the multifaceted themes of the sea, the feminine, and womanhood within the evocative œuvre of Marguerite Duras. The abstract immediately sets a tone of profound engagement and admiration for Duras’s writing, aligning the authors' "captivation" with that of Jacques Lacan. By framing Duras's work as an encounter with an "unexplored region" and the "white part of the feminine sequence," referencing Xavière Gauthier, the study clearly positions itself within a psychoanalytic and feminist critical framework. The central inquiry into fundamental questions of identity, memory, and the "strange that lives in each one of us" promises a deeply philosophical and introspective analysis of Duras's literary contributions. The chosen theoretical lens, drawing from Lacanian concepts of the "unrepresentable" and Gauthier’s insights into the feminine, offers a strong foundation for a nuanced reading of Duras. The abstract highlights a commitment to grappling with complex, abstract ideas, particularly concerning the elusive nature of the feminine and its insistence on manifestation despite its unrepresentability. While the abstract beautifully articulates the paper's conceptual ambition and emotional resonance, it leaves the reader eager for more specific details regarding the methodology. A full paper should clearly delineate which particular works of Duras will be analyzed and *how* the theoretical frameworks of Lacan and Gauthier will be applied to yield concrete textual interpretations, rather than simply stating thematic connections. Overall, this paper holds significant promise for contributing to Durasian scholarship and the broader fields of feminist and psychoanalytic literary criticism. Its strength lies in its profound appreciation for Duras's work and its ambition to tackle challenging theoretical concepts. To maximize its impact, the full manuscript should move beyond the evocative language of the abstract to present a rigorous, evidence-based argument. It will be crucial to clearly distinguish between "o feminino" (the theoretical construct) and "a mulher" (the female subject or character) as presented in the title, and to illustrate how the sea acts as a conduit or metaphor for these intertwined explorations. The paper has the potential to offer fresh insights into the enduring power of Duras's writing to question the limits of representation and self-understanding.

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