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268.More information
Le mémoire qui suit se présente comme un essai sur l'esthétique du roman l'Immortalité de Milan Kundera. Sans prétention, sans modèle théorique précis, il ne poursuit d'autre but que celui de comprendre comment le texte signifie par son articulation autour d'une double quête : l'une, esthétique, textuelle et langagière, appartient au narrateur et concerne la définition de la beauté ; l'autre, existentielle, appartient au personnage d'Agnès, en recherche de son être. Ces deux quêtes toutefois se lient au plan de la narration puisque toutes deux participent à l'immortalité, thématique première du roman. Engendrées par l'observation d'un geste d'adieu d'une sexagénaire à son jeune maître nageur, ces problématiques, dites de départ, sémiotisent les possibles de ce geste dans la suite du roman. La structure propose en …
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269.More information
If the character in the novel can be described as the one who, departing from the mythical world of the epic, has broken with the idea of destiny, this idea has not, however, erased itself from his memory. It continues to guide him along his adventures like landmark which both upholds his illusions and determines, by contrast or foil, the territory of infinite possibilities which is his. But as the idea of destiny diminishes and becomes blurred, belonging to a past world, the fictional character is confronted with another boundary by which he must contain the domain of his action. The appearance of an undifferentiated world, where all enterprise and existence would cease to be singular, is the horizon against which the character must defend himself if he wants to pursue his adventures. It is through his capacity to maintain himself between these two shores—that of destiny and that of an undifferentiated world—, which are also his two obstacles, that the fictional character may be defined.
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