Drogue et délinquance chez les jeunes de Navarre : contribution sociologique a la perception.

Realidad del consumo de drogas y la delincuencia en los jóvenes. Relación entre uno y otro hecho. Funcionamiento hacia los mismos de las instancias de control. Imágenes que sobre los hechos tienen los adultos. Jóvenes: 2.246 jóvenes de 15-21 años de Navarra. Adultos: 300 educadores, policías municipales, padres de familia. Muestra de jóvenes: estratificación de sexo y edad, y azar. Adultos: no representativa. Elaboración de cuestionario para jóvenes, con preguntas sobre contacto y frecuencia de consumo de diferentes drogas, frecuencia en la comisión de diferentes tipos de delitos, veces en que ha sido objeto de las actuaciones de las diferentes instancias de control y variables sobre la familia, la educación, el trabajo, la religión, la sexualidad, la política y el ocio y tiempo libre. Cuestionario dirigido a los adultos en el cual debían de estimar en porcentajes las respuestas dadas por los jóvenes a su cuestionario. Informatización de los cuestionarios. Análisis de bivariables con test de x2 en la encuesta de jóvenes. Obtención de medias, desviaciones típicas y comparación con los resultados de la encuesta de jóvenes, en la encuesta realizada entre los adultos. Descripción de los datos obtenidos, creación de variables síntesis, cruce entre variables y medida de la asociación mediante test de x2 para encontrar la extensión de la droga y la delincuencia en los jóvenes, la relación y asociación entre uno y otro hecho, y la orientación de las instancias de control. Comparación de resultados de la encuesta de jóvenes con las imagenes de los adultos. El consumo de drogas es generalizado entre los jóvenes, siendo menos general el de drogas ilegales. El consumo de una droga ilegal no conduce inevitablemente al consumo habitual de dichas drogas ilegales. La comisión de delitos por parte de los jóvenes es un hecho prácticamente normal. Sin embargo, la delincuencia de los jóvenes es cuantitativamente diferente de la reflejada por las instancias de control y cualitativamente diferente de la gran delincuencia. Droga y delincuencia están asociadas significativamente, pero no se identifican en los jóvenes. El control se centra sobre los jóvenes y la droga. La realidad descubierta sitúa en un punto más preciso los problemas de la droga y la delincuencia en los jóvenes y evidencia las falsas representaciones existentes sobre su asociación. Detecta la focalización de las instancias de control sobre los jóvenes y la droga y desvela la empresa ideológica que ello comporta. Precisa la deformación por exageración o defecto de las representaciones de los adultos sobre los jóvenes.

Le silence des limites dans la littérature: Deux exemples :Michel de Montaigne et Marguerite Duras

The paper studies the concept of limit in literary discourse. Two aspects are discussed: 1) the limit as a necessary structuring element in the process of verbal nomination; 2) the limit as a verbal constraint which appeals to be defeated in case of extreme experience, as death, love, desire, Shoah. We analyse two examples dealing with the language restriction in the literary practice: Montaignes’ essays and Duras’ novels. Montaigne adopts a specific style of unlimited judgements and topics accumulation in a spontaneous order and logic with the purpose of revealing the deepest profile of human nature. Duras practices a minimalist writing that ruins the linear syntactic structure and the narrative model, achieving an effect of silence thus providing the possibility of unlimited meaning.

Uma escrita do desejo: Clarice Lispector, Elsa Morante, Marguerite Duras

O trabalho versa sobre os pontos de confluência da escrita de três autoras do século vinte: Marguerite Duras (francesa), Clarice Lispector (brasileira) e Elsa Morante (italiana). Vistos através da psicanálise e da literatura comparada podem eles ser apontados, resumidamente, como o estranho, o desamparo, as epifanias. Representar o mundo impossível do desejo é o que pretendem as autoras, através da metáfora literária.

Le silence de la phrase chez Marguerite Duras

Falar do silêncio na literatura parece paradoxal, o próprio da literatura sendo a representação através do verbal. No entanto, o silêncio e a palavra são indissociáveis. Filósofos e críticos pós-modernos parecem cada vez mais interessados no silêncio eloquente que se manifesta pelos textos de um grande número de escritores contemporâneos. Marguerite Duras faz parte destes últimos. O objectivo do nosso artigo é analisar algumas das formas sintácticas do silêncio nos seus textos narrativos.

Marguerite Duras and colonialist discourse: an intertextual reading of 'L'Empire français' and 'Un barrage contre le Pacifique'

This article examines the intertextual relationship between Marguerite Duras' pro-colonialist, propagandist text, L'Empire français (1943), and her seemingly anti-colonialist novel, Un barrage contre le Pacifique (1950). It explores both the transformative and the emulative uses to which descriptive elements, borrowed from the precursor text, are put in the novel's depictions of colonial Indochina. Going against prevalent critical readings of Barrage, the article highlights the ambivalent and ultimately only partial nature of Duras' apparent ideological volte-face

'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

La formation d’une identité à l’intersection du genre, de l’ethnie et de la classe : Une analyse intersectionnelle de L’Amant de Marguerite Duras

Dans ce mémoire, nous nous sommes servies d’une méthode thématique pour faire une analyseintersectionnelle de L’Amant de Marguerite Duras. Le but était d’étudier la manière complexedont les différentes structures de domination interagissent l’une avec l’autre dans une sociétécoloniale. L’étude a été concentrée sur la recherche d’une identité personnelle effectuée par leprotagoniste féminin et nous avons voulu savoir comment cette recherche est influencée par lesstructures de genre, d’ethnie et de classe.Notre conclusion est que l’appartenance à la catégorie « blanche et pauvre » donne auprotagoniste un sentiment d’aliénation vis-à-vis de la communauté colonisatrice blanche. Cettealiénation l’aide à s’opposer à certaines normes, par exemple le manque de liberté sociale etsexuelle de la femme, en même temps que son comportement peut parfois être interprété commeune confirmation des rôles racistes existant dans la colonie. Néanmoins, nous voulons soulignerque c’est la façon dont l’amant chinois a été décrit qui est troublante, plutôt que lecomportement du protagoniste féminin.

La thématique de l’eau dans l’œuvre de Marguerite Duras

The aim of this thematic study is to examine how the water motif is used in Marguerite Duras’s literary work. The study shows that water has multiple functions in these texts: it is linked to major themes and creates an enigmatic atmosphere by its association with the unknown, the inexplicable and the unconscious. The strong presence of water in Duras’s texts is striking. References to the water element can be found in several titles throughout her career, from early works such as Un barrage contre le Pacifique (1950) to La mer écrite (1996), published just after her death. Almost all of her fiction take place near water – and the rain or the sound of waves serve as leitmotifs in specific novels. The water motif can play a metonymic as well as a metaphoric role in the texts and it sometimes takes on human or animalistic characteristics (Chapter 4). Several emblematic Durassian characters (e.g. the beggar-woman, Anne-Marie Stretter and Lol V. Stein) have a close relationship to water (Chapter 5). The water motif is linked to many major Durassian themes, and illustrates themes with positive connotations, for example, creation, fecundity, maternity, liberty and desire, as well as themes with negative connotations such as destruction and death (Chapter 6). A close reading of three novels, La vie tranquille (1944), L’après-midi de Monsieur Andesmas (1962) and La maladie de la mort (1982), shows that the realism of the first novel is replaced by intriguing evocations of the sea and the pond in the second text, motifs which resist straightforward interpretation. The enigmatic feeling persists in the last novel, in which the sea illustrates the overall sombre mood of the story (Chapter 7). Finally, the role of the water element in psychoanalytic theory is discussed (Chapter 8), and a parallel is drawn between the Jungian concept of the mother archetype and the water motif in Duras’s texts. The suggestion is made in this last chapter that water is used to illustrate an oriental influence (Taoist or Buddhist) of some of the female characters in Duras’s work.