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51.More information
AbstractAlthough the motif of the echo is not present literally in Thomas Bernhard's work, it is there subliminally. The protagonist of La Plâtrière, a misanthropist who for decades has been writing a treatise on hearing, is sensitive to the slightest reverberations of the human voice. Every sound Konrad hears has its accompanying resonance, which creates a feeling of despair, since silence is so difficult to obtain. This article examines the dysphoric forms of the echo: it can represent a world in which the violent reverberation of what is heard causes irritation. Faced with this sensorial outpouring, of which the echo is one manifestation, the subject has no choice other than to immure himself in a house which he hopes will finally insulate him from the world of the living. Moreover, the presence of any subject that can be addressed (in this case, Konrad's wife) is a source of acoustic distraction. In every voice, the protagonist hears a throbbing echo which slows down his thought processes. Konrad kills his wife, a criminal act in which “semanticide” once again appears as a way to dispose of the presence of voice in language.
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52.More information
Since the 1990s, Joël Pommerat's works have explored the sensitive dimension of the contemporary world. Children crystallize love, hatred, and projection on the part of families. Les marchands (2006), Au monde (2004), La réunification des deux Corées (2013) and Des suées (1993) reveal the mysteries of conception. Cet enfant (2006) shows how gestation shapes the parent-to-be. Finally, two birth scenes from Cet enfant and Pinocchio (2008) shed light on the expectations and anxieties surrounding the discovery of a being both similar to and foreign to its progenitor, mirroring the process of artistic creation.
Keywords: conception, accouchement, parentalité, incestuel, infanticide, Joël Pommerat
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