Cinara Arruda , Paulo Andrade

Uma sombra sobre a doçura do mar: A jovem e o menino, de Marguerite Duras e Yann Andréa

Introduction

Uma sombra sobre a doçura do mar: a jovem e o menino, de marguerite duras e yann andréa. Explore a análise da obra de Marguerite Duras e Yann Andréa, "La jeune fille et l’enfant". Descubra como a história de amor, o mar, a voz e o silêncio se entrelaçam na escrita.

Abstract

Marguerite Duras se utilizou de diferentes formas para inscrever em sua obra a história de amor com Yann Andréa, sempre  acompanhada pelas imagens do mar. Sabemos que se trata de uma vasta rede de textos e filmes, desenhando diferentes trajetos possíveis, desde uma primeira referência ainda anônima em Os olhos verdes, na primeira publicação na Cahiers du Cinéma, (em junho de 1980), até o filme-texto O homem atlântico, além de outros. Sem perder de vista esse rizoma, tomaremos aqui La jeune fille et l’enfant, versão de O verão de 80 realizada por Yann Andréa e lida por Marguerite Duras, lançada pelas Éditions des Femmes, em 1982, em fita cassete, a fim de pensarmos como aí a vida se faz matéria de escrita e as relações entre a voz, o silêncio e o amor. Palavras-chave: Marguerite Duras. Yann Andréa. La jeune fille et l’enfant. AbstractMarguerite Duras used different ways to inscribe her love story with Yann Andréa in her work, always accompanied by images of the sea. We know that this is a vast network of texts and films, tracing different possible paths, from the first anonymous reference in Les yeux verts (first published in Cahiers du Cinéma in June 1980), to the text-film L’homme atlantique, among others. Withoutlosing sight of this rhizome, we will here focus La jeune fille et l’enfant, a version of L’été 80 made by Yann Andréa and read by Marguerite Duras, released by Éditions des Femmes in 1982 on cassette tape, in order to think about how life becomes writing material and the relationships between voice, silence and love. Keywords: Marguerite Duras. Yann Andréa. La jeune fille et l’enfant.

Review

The article, "Uma sombra sobre a doçura do mar: A jovem e o menino, de Marguerite Duras e Yann Andréa," proposes a compelling examination of Marguerite Duras’s profound engagement with her love story with Yann Andréa, consistently mediated through the motif of the sea. The abstract effectively situates this specific inquiry within the broader, "rhizomatic" network of Duras’s output, acknowledging the extensive interconnections between her diverse texts and films that explore this relationship. By acknowledging this wider context – from *Les yeux verts* to *L’homme atlantique* – the study establishes a solid foundation for its focused analysis, clearly outlining the scope of Duras's recurring inscription of her personal life into her art. The particular strength of this research lies in its decision to home in on *La jeune fille et l’enfant*, a unique and often overlooked artifact: Yann Andréa's version of *L’été 80*, narrated by Duras herself and released on cassette. This choice promises to shed new light on the interplay between authorship, performance, and material medium in Duras's later work, moving beyond purely textual analyses. The central research questions – how life transforms into writing material and the intricate relationships between voice, silence, and love – are particularly pertinent to Durasian scholarship and suggest a nuanced exploration of auto-fiction, collaboration, and the sonic dimensions of memory and desire within this specific, collaborative creation. This focused approach, while promising, could be further strengthened by a more explicit indication of the theoretical lens or methodological framework that will guide the analysis of voice, silence, and love within the multimodal context of *La jeune fille et l’enfant*. Given the unique format of a cassette recording and the interplay of different artistic voices, exploring critical sound studies, performance theory, or specific Durasian critical methodologies would likely enrich the depth of the argument. Nevertheless, the article’s premise is strong and its specific focus offers a valuable contribution to the understanding of Duras's innovative self-representation and her complex engagement with her personal life through her art, promising to illuminate the "shadow" and "sweetness" inherent in her unique creative process.

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