![]() ![]() Hence, the narrator is able to assess the choices of her life “by contemplating the echoes it has evoked in others.” (Hellerstein, 1991, p. This phenomenon establishes the framework of the novel: there is an outward point of view that leads the protagonist to a self-discovery journey. The image is the key to the beginning of the novel: the story starts with the evocation of the protagonist’s lover which makes the narrator contrast her past appearance to her mature looks (Sankey, 2014). An international best-seller with more than one million copies in print and a winner of Frances Prix Goncourt, The Lover has been acclaimed by critics all over the world since its first publication in 1984. Thus, L’Amant is the positive result of the primordial existential choice. The creative use of the image is associated with the role of describing oneself in the novel therefore, a long time ago, the young teenage protagonist had already appreciated writing “as a means of liberation and of self-creation”. ![]() Published in France in 1984 and in its first English translation in 1985, The Lover has since been. In this way, a book is constituted by a series of images that the narrator summarizes to study their evolution or their present self (Mema, 2019). Here she set much of her autobiographical novel, The Lover. For Duras, the “image” is the notion that represents the positive and creative side of the dialectic since it is a term often repeated in the book. ![]()
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