68<\/div><\/div><\/div><\/div><\/strong>Printemps \/\u00a0<\/strong>Primavera 2015<\/strong><\/h2>\nNouveaux regards sur Dominique Rolin<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nMaria Chiara Gnocchi<\/strong><\/h3>\n![\"\"](\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\")
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Maria Chiara Gnocchi<\/strong>, Sortir de la s\u00e9duction. Nouveaux regards sur Dominique Rolin<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel<\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien<\/p>\n
Katia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin<\/p>\n
Maria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel
\nDominque Rolin est la ni\u00e8ce de l\u2019\u00e9crivaine Judith Cladel, fille de l\u2019auteur naturaliste L\u00e9on Cladel. Cette tante a \u00e9t\u00e9 une source in\u00e9puisable tant par sa vie que par sa carri\u00e8re litt\u00e9raire. L\u00e9gatrice testamentaire de ses archives litt\u00e9raires, Dominique Rolin a puis\u00e9 dans la longue et romanesque correspondance de sa tante avec l\u2019\u00e9crivain Edmond Picard la mati\u00e8re de plusieurs de ses ouvrages (La Maison, la For\u00eat<\/i> et sourtout L\u2019Infini chez soi<\/i>). Sa vie de femme libre et ind\u00e9pendante a \u00e9galement \u00e9t\u00e9 un mod\u00e8le. Enfin, elle a jou\u00e9 un r\u00f4le de m\u00e9diatrice aupr\u00e8s du jury Femina, dans lequel la ni\u00e8ce succ\u00e9da \u00e0 la tante. Il y a dans l\u2019\u0153uvre litt\u00e9raire de Dominique Rolin tout un imaginaire, des citations, des th\u00e8mes qui sont directement issus d\u2019une m\u00e9moire familiale qu\u2019elle n\u2019a pas toujours explicitement signal\u00e9e.<\/span><\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin
\nCet article se propose d\u2019\u00e9tudier une \u0153uvre majeure de Dominique Rolin, Dulle Griet<\/em>, \u00e0 travers le prisme du travail du n\u00e9gatif. Cette notion appartenant initialement aux domaines de la philosophie, puis de la psychanalyse, est \u00e9galement pertinente en litt\u00e9rature, notamment pour \u00e9valuer le degr\u00e9 de litt\u00e9rarit\u00e9 d\u2019un texte. Dans cette \u0153uvre, la polys\u00e9mie prend tout son sens car d\u2019une part, le texte semble s\u2019approprier le refoul\u00e9 et jouer avec le processus de r\u00e9pression psychique. Le travail du n\u00e9gatif appara\u00eet alors comme un th\u00e8me. D\u2019autre part, l\u2019\u00e9criture a l\u2019air de mimer les m\u00e9caniques inconscientes. Cette mise en forme de l’auteure donne \u00e0 voir une imagerie empreinte de la d\u00e9mesure propre au travail du n\u00e9gatif, dans son acception litt\u00e9raire, o\u00f9 l\u2019interchangeabilit\u00e9 des p\u00f4les contribue \u00e0 la po\u00e9tisation du roman.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien
\nPar sa nature, la litt\u00e9rature \u00e9chappe \u00e0 la contingence. Syst\u00e8me de communication \u00e9crite, elle veut restituer le r\u00e9el mais ne peut que cr\u00e9er un ersatz discursif compos\u00e9 par et dans la n\u00e9cessit\u00e9. Dans sa Lettre au vieil homme<\/em>, Dominique Rolin cherche \u00e0 faire intervenir la part de contingence qui manque \u00e0 toute organisation \u00e9crite, mais qui donne \u00e0 la vie r\u00e9elle des moments inattendus, \u00e0 la d\u00e9couverte desquels le sujet se construit dans une dynamique de choix et d\u2019actions libres. L\u2019intervention des r\u00eaves et des r\u00eaveries, les jeux de miroir qui ponctuent par fragments la narration donnent en fait au r\u00e9cit l\u2019impression qu\u2019il vit en suivant une dynamique o\u00f9 la n\u00e9cessit\u00e9 s\u2019efface derri\u00e8re la contingence d\u2019un moi se posant comme une v\u00e9rit\u00e9 parce qu\u2019exprim\u00e9 hors d\u2019un cadre organisationnel dont les param\u00e8tres seraient dict\u00e9s par la n\u00e9cessit\u00e9 d\u2019une forme narrative.<\/p>\nKatia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin
\nDe son premier roman, Les Marais<\/em> (1942) au Souffle<\/em> (1952), dix ans plus tard, un changement de perspective traduit une \u00e9volution de la perception de la f\u00e9minit\u00e9 chez Dominique Rolin. Frans De Haes soulignait, en 2006, le lien qui existe entre les figures f\u00e9minines des deux romans o\u00f9 les femmes n\u2019ont le choix qu\u2019entre une maternit\u00e9 qui les d\u00e9termine comme \u00ab\u202ffemmes-formant-corps\u202f\u00bb ou une f\u00e9minit\u00e9 bancale qui les enferme dans \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. \u00c0 partir de cette observation, nous proposons une analyse de six personnages f\u00e9minins qui se font \u00e9cho d\u2019un roman \u00e0 l\u2019autre, \u00e0 travers les th\u00e8mes de la maternit\u00e9, de la sexualit\u00e9 et de la mort. Nous verrons ainsi comment l\u2019\u00e9volution de la figure f\u00e9minine passe de l\u2019impossibilit\u00e9 d\u2019\u00eatre femme \u00e0 une vision plus \u00e9labor\u00e9e qui ouvre des issues possibles \u00e0 la f\u00e9minit\u00e9.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner
\nEn 2004, \u00e2g\u00e9e de 91 ans, Dominique Rolin indique comme incontournable la lecture de As I Lay Dying<\/em> de William Faulkner (1930). Le rapprochement entre Rolin et Faulkner est plut\u00f4t in\u00e9dit. Cet article pr\u00e9sente le rapport qu\u2019entretient Dominique Rolin avec la litt\u00e9rature anglophone et avec l\u2019\u00e9cole moderniste en particulier et questionne l\u2019influence que Faulkner peut avoir eue sur l\u2019\u00e9crivaine belgo-fran\u00e7aise. Un parall\u00e8le est ensuite \u00e9tabli entre As I Lay Dying<\/em> et La Maison, la For\u00eat<\/em> (1965), le roman qui marque la conversion d\u00e9finitive de Rolin \u00e0 un nouveau mod\u00e8le d\u2019\u00e9criture, largement redevable de l\u2019esth\u00e9tique de Faulkner.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>, \u201cOur eldest daughter\u201d: Dominique Rolin and Judith Cladel
\nDominque Rolin is the niece of the writer Judith Cladel, daughter of naturalist author Leon Cladel. This aunt was an inexhaustible source both by his life than by his literary career. Executor of his literary archives, Dominique Rolin has tapped into the long and romantic correspondence between her aunt and the writer Edmond Picard the matter of several works (La Maison, la For\u00eat<\/em> and mostly L\u2019Infini chez soi<\/em>). His life like an independent woman was also a model. Finally, she played a mediating role with the Femina jury, in which the niece succeeded her aunt. There is in the literary work of Dominique Rolin whole imaginary, quotes, themes directly from a family memory that she did not always explicitly reported.<\/p>\nJuline Hombourger<\/strong>, The work of the negative in Dulle Griet <\/em>by Dominique Rolin
\nThis article is a study of a major work by Dominique Rolin, Dulle Griet<\/em>, through the prism of the work of the negative. This concept has philosophical and psychoanalytic origins, though it is also relevant in literature, when it comes to evaluate the degree of literarity in a text. In this text, the polysemy really makes sense. Indeed, on the one hand, the text seems to annihilate the repressed and play with the process of psychological repression. Then the work of the negative appears like a theme. On the other hand, the writing seems to imitate unconscious mechanics. This shaping shows an imagery marked with the excessiveness that is specific to the work of the negative, in its literary sense, where poles interchangeability contribute to poetize the novel.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, The nullified necessity as possible truth of the Rolinian\u2019 self
\nAccording to its nature, literature slips out of contingency. As a written communication system, it wants to restore reality but is only able to create an ersatz speech composed by and in the necessity. In\u202fLa Lettre au vieil homme<\/em>, Dominique Rolin tries to give to the narrative discourse the gratuitous of the contingent reality usually missing in a written organisation but present in the real life. By letting dreams interfere in the narrative process, by opening the door to the daydreaming, by giving free access to the shimmering fragments in the construction of the narrative, Rolin is able to give the impression that the narrative is a living organism evolving in the contingency world, and that the I constructed in that scheme is an I emerging from a reality that has not been touched by the necessity peculiar to a narrative construction.<\/p>\nKatia Michel<\/b>, Femininity: emergency exits. Evolution of the feminine question in two novels by Dominique Rolin
\nDominique Rolin changes the perspective from his first novel, Les Marais<\/em> (1942) to Souffle<\/em> (1952), published ten years later, and that reflects a change in the perception of femininity. In 2006, Frans De Haes emphasized the connection between the female figures of these two novels where women have to choose between either the motherhood that determines them as \u00ab\u202ffemmes-formant-corps\u202f\u00bb or a wobbly womanhood that locks in \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. With this observation in mind, we propose to analyse six female characters who echo from a novel to another, through the themes of motherhood, sexuality and death. We will see how the evolution of the female figure goes from the impossibility of being a woman into a more elaborate vision that opens up possible outcomes towards femininity.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin and the \u201cnecessity\u201d of William Faulkner
\nIn 2004, when she is 91 years old, Dominique Rolin indicates William Faulkner\u2019s As I Lay Dying <\/em>(1930) as an essential reading. The link between Rolin and Faulkner is rather new. This essay tackles the relationship that Dominique Rolin had with anglophone literature and specifically with the modernist school. It questions the influence that Faulkner may have had on the Belgian-French writer. A parallel is drawn, in particular, between As I Lay Dying<\/em> and La Maison, la For\u00eat <\/em>(1965), the novel that marks the Rolin\u2019s final conversion to a new writing style which owes extensively to Faulkner\u2019s aesthetics.<\/p>\n<\/div>
Nouveaux regards sur Dominique Rolin<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nMaria Chiara Gnocchi<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Maria Chiara Gnocchi<\/strong>, Sortir de la s\u00e9duction. Nouveaux regards sur Dominique Rolin<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel<\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien<\/p>\n
Katia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin<\/p>\n
Maria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel
\nDominque Rolin est la ni\u00e8ce de l\u2019\u00e9crivaine Judith Cladel, fille de l\u2019auteur naturaliste L\u00e9on Cladel. Cette tante a \u00e9t\u00e9 une source in\u00e9puisable tant par sa vie que par sa carri\u00e8re litt\u00e9raire. L\u00e9gatrice testamentaire de ses archives litt\u00e9raires, Dominique Rolin a puis\u00e9 dans la longue et romanesque correspondance de sa tante avec l\u2019\u00e9crivain Edmond Picard la mati\u00e8re de plusieurs de ses ouvrages (La Maison, la For\u00eat<\/i> et sourtout L\u2019Infini chez soi<\/i>). Sa vie de femme libre et ind\u00e9pendante a \u00e9galement \u00e9t\u00e9 un mod\u00e8le. Enfin, elle a jou\u00e9 un r\u00f4le de m\u00e9diatrice aupr\u00e8s du jury Femina, dans lequel la ni\u00e8ce succ\u00e9da \u00e0 la tante. Il y a dans l\u2019\u0153uvre litt\u00e9raire de Dominique Rolin tout un imaginaire, des citations, des th\u00e8mes qui sont directement issus d\u2019une m\u00e9moire familiale qu\u2019elle n\u2019a pas toujours explicitement signal\u00e9e.<\/span><\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin
\nCet article se propose d\u2019\u00e9tudier une \u0153uvre majeure de Dominique Rolin, Dulle Griet<\/em>, \u00e0 travers le prisme du travail du n\u00e9gatif. Cette notion appartenant initialement aux domaines de la philosophie, puis de la psychanalyse, est \u00e9galement pertinente en litt\u00e9rature, notamment pour \u00e9valuer le degr\u00e9 de litt\u00e9rarit\u00e9 d\u2019un texte. Dans cette \u0153uvre, la polys\u00e9mie prend tout son sens car d\u2019une part, le texte semble s\u2019approprier le refoul\u00e9 et jouer avec le processus de r\u00e9pression psychique. Le travail du n\u00e9gatif appara\u00eet alors comme un th\u00e8me. D\u2019autre part, l\u2019\u00e9criture a l\u2019air de mimer les m\u00e9caniques inconscientes. Cette mise en forme de l’auteure donne \u00e0 voir une imagerie empreinte de la d\u00e9mesure propre au travail du n\u00e9gatif, dans son acception litt\u00e9raire, o\u00f9 l\u2019interchangeabilit\u00e9 des p\u00f4les contribue \u00e0 la po\u00e9tisation du roman.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien
\nPar sa nature, la litt\u00e9rature \u00e9chappe \u00e0 la contingence. Syst\u00e8me de communication \u00e9crite, elle veut restituer le r\u00e9el mais ne peut que cr\u00e9er un ersatz discursif compos\u00e9 par et dans la n\u00e9cessit\u00e9. Dans sa Lettre au vieil homme<\/em>, Dominique Rolin cherche \u00e0 faire intervenir la part de contingence qui manque \u00e0 toute organisation \u00e9crite, mais qui donne \u00e0 la vie r\u00e9elle des moments inattendus, \u00e0 la d\u00e9couverte desquels le sujet se construit dans une dynamique de choix et d\u2019actions libres. L\u2019intervention des r\u00eaves et des r\u00eaveries, les jeux de miroir qui ponctuent par fragments la narration donnent en fait au r\u00e9cit l\u2019impression qu\u2019il vit en suivant une dynamique o\u00f9 la n\u00e9cessit\u00e9 s\u2019efface derri\u00e8re la contingence d\u2019un moi se posant comme une v\u00e9rit\u00e9 parce qu\u2019exprim\u00e9 hors d\u2019un cadre organisationnel dont les param\u00e8tres seraient dict\u00e9s par la n\u00e9cessit\u00e9 d\u2019une forme narrative.<\/p>\nKatia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin
\nDe son premier roman, Les Marais<\/em> (1942) au Souffle<\/em> (1952), dix ans plus tard, un changement de perspective traduit une \u00e9volution de la perception de la f\u00e9minit\u00e9 chez Dominique Rolin. Frans De Haes soulignait, en 2006, le lien qui existe entre les figures f\u00e9minines des deux romans o\u00f9 les femmes n\u2019ont le choix qu\u2019entre une maternit\u00e9 qui les d\u00e9termine comme \u00ab\u202ffemmes-formant-corps\u202f\u00bb ou une f\u00e9minit\u00e9 bancale qui les enferme dans \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. \u00c0 partir de cette observation, nous proposons une analyse de six personnages f\u00e9minins qui se font \u00e9cho d\u2019un roman \u00e0 l\u2019autre, \u00e0 travers les th\u00e8mes de la maternit\u00e9, de la sexualit\u00e9 et de la mort. Nous verrons ainsi comment l\u2019\u00e9volution de la figure f\u00e9minine passe de l\u2019impossibilit\u00e9 d\u2019\u00eatre femme \u00e0 une vision plus \u00e9labor\u00e9e qui ouvre des issues possibles \u00e0 la f\u00e9minit\u00e9.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner
\nEn 2004, \u00e2g\u00e9e de 91 ans, Dominique Rolin indique comme incontournable la lecture de As I Lay Dying<\/em> de William Faulkner (1930). Le rapprochement entre Rolin et Faulkner est plut\u00f4t in\u00e9dit. Cet article pr\u00e9sente le rapport qu\u2019entretient Dominique Rolin avec la litt\u00e9rature anglophone et avec l\u2019\u00e9cole moderniste en particulier et questionne l\u2019influence que Faulkner peut avoir eue sur l\u2019\u00e9crivaine belgo-fran\u00e7aise. Un parall\u00e8le est ensuite \u00e9tabli entre As I Lay Dying<\/em> et La Maison, la For\u00eat<\/em> (1965), le roman qui marque la conversion d\u00e9finitive de Rolin \u00e0 un nouveau mod\u00e8le d\u2019\u00e9criture, largement redevable de l\u2019esth\u00e9tique de Faulkner.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>, \u201cOur eldest daughter\u201d: Dominique Rolin and Judith Cladel
\nDominque Rolin is the niece of the writer Judith Cladel, daughter of naturalist author Leon Cladel. This aunt was an inexhaustible source both by his life than by his literary career. Executor of his literary archives, Dominique Rolin has tapped into the long and romantic correspondence between her aunt and the writer Edmond Picard the matter of several works (La Maison, la For\u00eat<\/em> and mostly L\u2019Infini chez soi<\/em>). His life like an independent woman was also a model. Finally, she played a mediating role with the Femina jury, in which the niece succeeded her aunt. There is in the literary work of Dominique Rolin whole imaginary, quotes, themes directly from a family memory that she did not always explicitly reported.<\/p>\nJuline Hombourger<\/strong>, The work of the negative in Dulle Griet <\/em>by Dominique Rolin
\nThis article is a study of a major work by Dominique Rolin, Dulle Griet<\/em>, through the prism of the work of the negative. This concept has philosophical and psychoanalytic origins, though it is also relevant in literature, when it comes to evaluate the degree of literarity in a text. In this text, the polysemy really makes sense. Indeed, on the one hand, the text seems to annihilate the repressed and play with the process of psychological repression. Then the work of the negative appears like a theme. On the other hand, the writing seems to imitate unconscious mechanics. This shaping shows an imagery marked with the excessiveness that is specific to the work of the negative, in its literary sense, where poles interchangeability contribute to poetize the novel.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, The nullified necessity as possible truth of the Rolinian\u2019 self
\nAccording to its nature, literature slips out of contingency. As a written communication system, it wants to restore reality but is only able to create an ersatz speech composed by and in the necessity. In\u202fLa Lettre au vieil homme<\/em>, Dominique Rolin tries to give to the narrative discourse the gratuitous of the contingent reality usually missing in a written organisation but present in the real life. By letting dreams interfere in the narrative process, by opening the door to the daydreaming, by giving free access to the shimmering fragments in the construction of the narrative, Rolin is able to give the impression that the narrative is a living organism evolving in the contingency world, and that the I constructed in that scheme is an I emerging from a reality that has not been touched by the necessity peculiar to a narrative construction.<\/p>\nKatia Michel<\/b>, Femininity: emergency exits. Evolution of the feminine question in two novels by Dominique Rolin
\nDominique Rolin changes the perspective from his first novel, Les Marais<\/em> (1942) to Souffle<\/em> (1952), published ten years later, and that reflects a change in the perception of femininity. In 2006, Frans De Haes emphasized the connection between the female figures of these two novels where women have to choose between either the motherhood that determines them as \u00ab\u202ffemmes-formant-corps\u202f\u00bb or a wobbly womanhood that locks in \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. With this observation in mind, we propose to analyse six female characters who echo from a novel to another, through the themes of motherhood, sexuality and death. We will see how the evolution of the female figure goes from the impossibility of being a woman into a more elaborate vision that opens up possible outcomes towards femininity.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin and the \u201cnecessity\u201d of William Faulkner
\nIn 2004, when she is 91 years old, Dominique Rolin indicates William Faulkner\u2019s As I Lay Dying <\/em>(1930) as an essential reading. The link between Rolin and Faulkner is rather new. This essay tackles the relationship that Dominique Rolin had with anglophone literature and specifically with the modernist school. It questions the influence that Faulkner may have had on the Belgian-French writer. A parallel is drawn, in particular, between As I Lay Dying<\/em> and La Maison, la For\u00eat <\/em>(1965), the novel that marks the Rolin\u2019s final conversion to a new writing style which owes extensively to Faulkner\u2019s aesthetics.<\/p>\n<\/div>
Maria Chiara Gnocchi<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Maria Chiara Gnocchi<\/strong>, Sortir de la s\u00e9duction. Nouveaux regards sur Dominique Rolin<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel<\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien<\/p>\n
Katia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin<\/p>\n
Maria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel
\nDominque Rolin est la ni\u00e8ce de l\u2019\u00e9crivaine Judith Cladel, fille de l\u2019auteur naturaliste L\u00e9on Cladel. Cette tante a \u00e9t\u00e9 une source in\u00e9puisable tant par sa vie que par sa carri\u00e8re litt\u00e9raire. L\u00e9gatrice testamentaire de ses archives litt\u00e9raires, Dominique Rolin a puis\u00e9 dans la longue et romanesque correspondance de sa tante avec l\u2019\u00e9crivain Edmond Picard la mati\u00e8re de plusieurs de ses ouvrages (La Maison, la For\u00eat<\/i> et sourtout L\u2019Infini chez soi<\/i>). Sa vie de femme libre et ind\u00e9pendante a \u00e9galement \u00e9t\u00e9 un mod\u00e8le. Enfin, elle a jou\u00e9 un r\u00f4le de m\u00e9diatrice aupr\u00e8s du jury Femina, dans lequel la ni\u00e8ce succ\u00e9da \u00e0 la tante. Il y a dans l\u2019\u0153uvre litt\u00e9raire de Dominique Rolin tout un imaginaire, des citations, des th\u00e8mes qui sont directement issus d\u2019une m\u00e9moire familiale qu\u2019elle n\u2019a pas toujours explicitement signal\u00e9e.<\/span><\/p>\nJuline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin
\nCet article se propose d\u2019\u00e9tudier une \u0153uvre majeure de Dominique Rolin, Dulle Griet<\/em>, \u00e0 travers le prisme du travail du n\u00e9gatif. Cette notion appartenant initialement aux domaines de la philosophie, puis de la psychanalyse, est \u00e9galement pertinente en litt\u00e9rature, notamment pour \u00e9valuer le degr\u00e9 de litt\u00e9rarit\u00e9 d\u2019un texte. Dans cette \u0153uvre, la polys\u00e9mie prend tout son sens car d\u2019une part, le texte semble s\u2019approprier le refoul\u00e9 et jouer avec le processus de r\u00e9pression psychique. Le travail du n\u00e9gatif appara\u00eet alors comme un th\u00e8me. D\u2019autre part, l\u2019\u00e9criture a l\u2019air de mimer les m\u00e9caniques inconscientes. Cette mise en forme de l’auteure donne \u00e0 voir une imagerie empreinte de la d\u00e9mesure propre au travail du n\u00e9gatif, dans son acception litt\u00e9raire, o\u00f9 l\u2019interchangeabilit\u00e9 des p\u00f4les contribue \u00e0 la po\u00e9tisation du roman.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien
\nPar sa nature, la litt\u00e9rature \u00e9chappe \u00e0 la contingence. Syst\u00e8me de communication \u00e9crite, elle veut restituer le r\u00e9el mais ne peut que cr\u00e9er un ersatz discursif compos\u00e9 par et dans la n\u00e9cessit\u00e9. Dans sa Lettre au vieil homme<\/em>, Dominique Rolin cherche \u00e0 faire intervenir la part de contingence qui manque \u00e0 toute organisation \u00e9crite, mais qui donne \u00e0 la vie r\u00e9elle des moments inattendus, \u00e0 la d\u00e9couverte desquels le sujet se construit dans une dynamique de choix et d\u2019actions libres. L\u2019intervention des r\u00eaves et des r\u00eaveries, les jeux de miroir qui ponctuent par fragments la narration donnent en fait au r\u00e9cit l\u2019impression qu\u2019il vit en suivant une dynamique o\u00f9 la n\u00e9cessit\u00e9 s\u2019efface derri\u00e8re la contingence d\u2019un moi se posant comme une v\u00e9rit\u00e9 parce qu\u2019exprim\u00e9 hors d\u2019un cadre organisationnel dont les param\u00e8tres seraient dict\u00e9s par la n\u00e9cessit\u00e9 d\u2019une forme narrative.<\/p>\nKatia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin
\nDe son premier roman, Les Marais<\/em> (1942) au Souffle<\/em> (1952), dix ans plus tard, un changement de perspective traduit une \u00e9volution de la perception de la f\u00e9minit\u00e9 chez Dominique Rolin. Frans De Haes soulignait, en 2006, le lien qui existe entre les figures f\u00e9minines des deux romans o\u00f9 les femmes n\u2019ont le choix qu\u2019entre une maternit\u00e9 qui les d\u00e9termine comme \u00ab\u202ffemmes-formant-corps\u202f\u00bb ou une f\u00e9minit\u00e9 bancale qui les enferme dans \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. \u00c0 partir de cette observation, nous proposons une analyse de six personnages f\u00e9minins qui se font \u00e9cho d\u2019un roman \u00e0 l\u2019autre, \u00e0 travers les th\u00e8mes de la maternit\u00e9, de la sexualit\u00e9 et de la mort. Nous verrons ainsi comment l\u2019\u00e9volution de la figure f\u00e9minine passe de l\u2019impossibilit\u00e9 d\u2019\u00eatre femme \u00e0 une vision plus \u00e9labor\u00e9e qui ouvre des issues possibles \u00e0 la f\u00e9minit\u00e9.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner
\nEn 2004, \u00e2g\u00e9e de 91 ans, Dominique Rolin indique comme incontournable la lecture de As I Lay Dying<\/em> de William Faulkner (1930). Le rapprochement entre Rolin et Faulkner est plut\u00f4t in\u00e9dit. Cet article pr\u00e9sente le rapport qu\u2019entretient Dominique Rolin avec la litt\u00e9rature anglophone et avec l\u2019\u00e9cole moderniste en particulier et questionne l\u2019influence que Faulkner peut avoir eue sur l\u2019\u00e9crivaine belgo-fran\u00e7aise. Un parall\u00e8le est ensuite \u00e9tabli entre As I Lay Dying<\/em> et La Maison, la For\u00eat<\/em> (1965), le roman qui marque la conversion d\u00e9finitive de Rolin \u00e0 un nouveau mod\u00e8le d\u2019\u00e9criture, largement redevable de l\u2019esth\u00e9tique de Faulkner.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nPaul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>, \u201cOur eldest daughter\u201d: Dominique Rolin and Judith Cladel
\nDominque Rolin is the niece of the writer Judith Cladel, daughter of naturalist author Leon Cladel. This aunt was an inexhaustible source both by his life than by his literary career. Executor of his literary archives, Dominique Rolin has tapped into the long and romantic correspondence between her aunt and the writer Edmond Picard the matter of several works (La Maison, la For\u00eat<\/em> and mostly L\u2019Infini chez soi<\/em>). His life like an independent woman was also a model. Finally, she played a mediating role with the Femina jury, in which the niece succeeded her aunt. There is in the literary work of Dominique Rolin whole imaginary, quotes, themes directly from a family memory that she did not always explicitly reported.<\/p>\nJuline Hombourger<\/strong>, The work of the negative in Dulle Griet <\/em>by Dominique Rolin
\nThis article is a study of a major work by Dominique Rolin, Dulle Griet<\/em>, through the prism of the work of the negative. This concept has philosophical and psychoanalytic origins, though it is also relevant in literature, when it comes to evaluate the degree of literarity in a text. In this text, the polysemy really makes sense. Indeed, on the one hand, the text seems to annihilate the repressed and play with the process of psychological repression. Then the work of the negative appears like a theme. On the other hand, the writing seems to imitate unconscious mechanics. This shaping shows an imagery marked with the excessiveness that is specific to the work of the negative, in its literary sense, where poles interchangeability contribute to poetize the novel.<\/p>\nJean-Fran\u00e7ois Plamondon<\/b>, The nullified necessity as possible truth of the Rolinian\u2019 self
\nAccording to its nature, literature slips out of contingency. As a written communication system, it wants to restore reality but is only able to create an ersatz speech composed by and in the necessity. In\u202fLa Lettre au vieil homme<\/em>, Dominique Rolin tries to give to the narrative discourse the gratuitous of the contingent reality usually missing in a written organisation but present in the real life. By letting dreams interfere in the narrative process, by opening the door to the daydreaming, by giving free access to the shimmering fragments in the construction of the narrative, Rolin is able to give the impression that the narrative is a living organism evolving in the contingency world, and that the I constructed in that scheme is an I emerging from a reality that has not been touched by the necessity peculiar to a narrative construction.<\/p>\nKatia Michel<\/b>, Femininity: emergency exits. Evolution of the feminine question in two novels by Dominique Rolin
\nDominique Rolin changes the perspective from his first novel, Les Marais<\/em> (1942) to Souffle<\/em> (1952), published ten years later, and that reflects a change in the perception of femininity. In 2006, Frans De Haes emphasized the connection between the female figures of these two novels where women have to choose between either the motherhood that determines them as \u00ab\u202ffemmes-formant-corps\u202f\u00bb or a wobbly womanhood that locks in \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. With this observation in mind, we propose to analyse six female characters who echo from a novel to another, through the themes of motherhood, sexuality and death. We will see how the evolution of the female figure goes from the impossibility of being a woman into a more elaborate vision that opens up possible outcomes towards femininity.<\/p>\nMaria Chiara Gnocchi<\/b>, Dominique Rolin and the \u201cnecessity\u201d of William Faulkner
\nIn 2004, when she is 91 years old, Dominique Rolin indicates William Faulkner\u2019s As I Lay Dying <\/em>(1930) as an essential reading. The link between Rolin and Faulkner is rather new. This essay tackles the relationship that Dominique Rolin had with anglophone literature and specifically with the modernist school. It questions the influence that Faulkner may have had on the Belgian-French writer. A parallel is drawn, in particular, between As I Lay Dying<\/em> and La Maison, la For\u00eat <\/em>(1965), the novel that marks the Rolin\u2019s final conversion to a new writing style which owes extensively to Faulkner\u2019s aesthetics.<\/p>\n<\/div>
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a> Maria Chiara Gnocchi<\/strong>, Sortir de la s\u00e9duction. Nouveaux regards sur Dominique Rolin<\/p>\n<\/div> Paul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel<\/p>\n Juline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin<\/p>\n Jean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien<\/p>\n Katia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin<\/p>\n Maria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner<\/p>\n<\/div> Paul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>,\u00a0\u00abNotre grande a\u00een\u00e9e\u00bb: Dominique Rolin et Judith Cladel Juline Hombourger<\/strong>, Le travail du n\u00e9gatif dans Dulle Griet<\/em> de Dominique Rolin Jean-Fran\u00e7ois Plamondon<\/b>, La n\u00e9cessit\u00e9 d\u00e9jou\u00e9e comme possible v\u00e9rit\u00e9 du moi rolinien Katia Michel<\/b>, La f\u00e9minit\u00e9: issues de secours.\u00a0\u00c9volution de la question f\u00e9minine dans deux romans de Dominique Rolin Maria Chiara Gnocchi<\/b>, Dominique Rolin et la \u00abn\u00e9cessit\u00e9\u00bb de William Faulkner Paul Aron, C\u00e9cile Vanderpelen-Diagre<\/strong>, \u201cOur eldest daughter\u201d: Dominique Rolin and Judith Cladel Juline Hombourger<\/strong>, The work of the negative in Dulle Griet <\/em>by Dominique Rolin Jean-Fran\u00e7ois Plamondon<\/b>, The nullified necessity as possible truth of the Rolinian\u2019 self Katia Michel<\/b>, Femininity: emergency exits. Evolution of the feminine question in two novels by Dominique Rolin Maria Chiara Gnocchi<\/b>, Dominique Rolin and the \u201cnecessity\u201d of William Faulkner
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div>
Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>
Articles<\/h4><\/a><\/li><\/ul><\/div>
R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>
\nDominque Rolin est la ni\u00e8ce de l\u2019\u00e9crivaine Judith Cladel, fille de l\u2019auteur naturaliste L\u00e9on Cladel. Cette tante a \u00e9t\u00e9 une source in\u00e9puisable tant par sa vie que par sa carri\u00e8re litt\u00e9raire. L\u00e9gatrice testamentaire de ses archives litt\u00e9raires, Dominique Rolin a puis\u00e9 dans la longue et romanesque correspondance de sa tante avec l\u2019\u00e9crivain Edmond Picard la mati\u00e8re de plusieurs de ses ouvrages (La Maison, la For\u00eat<\/i> et sourtout L\u2019Infini chez soi<\/i>). Sa vie de femme libre et ind\u00e9pendante a \u00e9galement \u00e9t\u00e9 un mod\u00e8le. Enfin, elle a jou\u00e9 un r\u00f4le de m\u00e9diatrice aupr\u00e8s du jury Femina, dans lequel la ni\u00e8ce succ\u00e9da \u00e0 la tante. Il y a dans l\u2019\u0153uvre litt\u00e9raire de Dominique Rolin tout un imaginaire, des citations, des th\u00e8mes qui sont directement issus d\u2019une m\u00e9moire familiale qu\u2019elle n\u2019a pas toujours explicitement signal\u00e9e.<\/span><\/p>\n
\nCet article se propose d\u2019\u00e9tudier une \u0153uvre majeure de Dominique Rolin, Dulle Griet<\/em>, \u00e0 travers le prisme du travail du n\u00e9gatif. Cette notion appartenant initialement aux domaines de la philosophie, puis de la psychanalyse, est \u00e9galement pertinente en litt\u00e9rature, notamment pour \u00e9valuer le degr\u00e9 de litt\u00e9rarit\u00e9 d\u2019un texte. Dans cette \u0153uvre, la polys\u00e9mie prend tout son sens car d\u2019une part, le texte semble s\u2019approprier le refoul\u00e9 et jouer avec le processus de r\u00e9pression psychique. Le travail du n\u00e9gatif appara\u00eet alors comme un th\u00e8me. D\u2019autre part, l\u2019\u00e9criture a l\u2019air de mimer les m\u00e9caniques inconscientes. Cette mise en forme de l’auteure donne \u00e0 voir une imagerie empreinte de la d\u00e9mesure propre au travail du n\u00e9gatif, dans son acception litt\u00e9raire, o\u00f9 l\u2019interchangeabilit\u00e9 des p\u00f4les contribue \u00e0 la po\u00e9tisation du roman.<\/p>\n
\nPar sa nature, la litt\u00e9rature \u00e9chappe \u00e0 la contingence. Syst\u00e8me de communication \u00e9crite, elle veut restituer le r\u00e9el mais ne peut que cr\u00e9er un ersatz discursif compos\u00e9 par et dans la n\u00e9cessit\u00e9. Dans sa Lettre au vieil homme<\/em>, Dominique Rolin cherche \u00e0 faire intervenir la part de contingence qui manque \u00e0 toute organisation \u00e9crite, mais qui donne \u00e0 la vie r\u00e9elle des moments inattendus, \u00e0 la d\u00e9couverte desquels le sujet se construit dans une dynamique de choix et d\u2019actions libres. L\u2019intervention des r\u00eaves et des r\u00eaveries, les jeux de miroir qui ponctuent par fragments la narration donnent en fait au r\u00e9cit l\u2019impression qu\u2019il vit en suivant une dynamique o\u00f9 la n\u00e9cessit\u00e9 s\u2019efface derri\u00e8re la contingence d\u2019un moi se posant comme une v\u00e9rit\u00e9 parce qu\u2019exprim\u00e9 hors d\u2019un cadre organisationnel dont les param\u00e8tres seraient dict\u00e9s par la n\u00e9cessit\u00e9 d\u2019une forme narrative.<\/p>\n
\nDe son premier roman, Les Marais<\/em> (1942) au Souffle<\/em> (1952), dix ans plus tard, un changement de perspective traduit une \u00e9volution de la perception de la f\u00e9minit\u00e9 chez Dominique Rolin. Frans De Haes soulignait, en 2006, le lien qui existe entre les figures f\u00e9minines des deux romans o\u00f9 les femmes n\u2019ont le choix qu\u2019entre une maternit\u00e9 qui les d\u00e9termine comme \u00ab\u202ffemmes-formant-corps\u202f\u00bb ou une f\u00e9minit\u00e9 bancale qui les enferme dans \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. \u00c0 partir de cette observation, nous proposons une analyse de six personnages f\u00e9minins qui se font \u00e9cho d\u2019un roman \u00e0 l\u2019autre, \u00e0 travers les th\u00e8mes de la maternit\u00e9, de la sexualit\u00e9 et de la mort. Nous verrons ainsi comment l\u2019\u00e9volution de la figure f\u00e9minine passe de l\u2019impossibilit\u00e9 d\u2019\u00eatre femme \u00e0 une vision plus \u00e9labor\u00e9e qui ouvre des issues possibles \u00e0 la f\u00e9minit\u00e9.<\/p>\n
\nEn 2004, \u00e2g\u00e9e de 91 ans, Dominique Rolin indique comme incontournable la lecture de As I Lay Dying<\/em> de William Faulkner (1930). Le rapprochement entre Rolin et Faulkner est plut\u00f4t in\u00e9dit. Cet article pr\u00e9sente le rapport qu\u2019entretient Dominique Rolin avec la litt\u00e9rature anglophone et avec l\u2019\u00e9cole moderniste en particulier et questionne l\u2019influence que Faulkner peut avoir eue sur l\u2019\u00e9crivaine belgo-fran\u00e7aise. Un parall\u00e8le est ensuite \u00e9tabli entre As I Lay Dying<\/em> et La Maison, la For\u00eat<\/em> (1965), le roman qui marque la conversion d\u00e9finitive de Rolin \u00e0 un nouveau mod\u00e8le d\u2019\u00e9criture, largement redevable de l\u2019esth\u00e9tique de Faulkner.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>
\nDominque Rolin is the niece of the writer Judith Cladel, daughter of naturalist author Leon Cladel. This aunt was an inexhaustible source both by his life than by his literary career. Executor of his literary archives, Dominique Rolin has tapped into the long and romantic correspondence between her aunt and the writer Edmond Picard the matter of several works (La Maison, la For\u00eat<\/em> and mostly L\u2019Infini chez soi<\/em>). His life like an independent woman was also a model. Finally, she played a mediating role with the Femina jury, in which the niece succeeded her aunt. There is in the literary work of Dominique Rolin whole imaginary, quotes, themes directly from a family memory that she did not always explicitly reported.<\/p>\n
\nThis article is a study of a major work by Dominique Rolin, Dulle Griet<\/em>, through the prism of the work of the negative. This concept has philosophical and psychoanalytic origins, though it is also relevant in literature, when it comes to evaluate the degree of literarity in a text. In this text, the polysemy really makes sense. Indeed, on the one hand, the text seems to annihilate the repressed and play with the process of psychological repression. Then the work of the negative appears like a theme. On the other hand, the writing seems to imitate unconscious mechanics. This shaping shows an imagery marked with the excessiveness that is specific to the work of the negative, in its literary sense, where poles interchangeability contribute to poetize the novel.<\/p>\n
\nAccording to its nature, literature slips out of contingency. As a written communication system, it wants to restore reality but is only able to create an ersatz speech composed by and in the necessity. In\u202fLa Lettre au vieil homme<\/em>, Dominique Rolin tries to give to the narrative discourse the gratuitous of the contingent reality usually missing in a written organisation but present in the real life. By letting dreams interfere in the narrative process, by opening the door to the daydreaming, by giving free access to the shimmering fragments in the construction of the narrative, Rolin is able to give the impression that the narrative is a living organism evolving in the contingency world, and that the I constructed in that scheme is an I emerging from a reality that has not been touched by the necessity peculiar to a narrative construction.<\/p>\n
\nDominique Rolin changes the perspective from his first novel, Les Marais<\/em> (1942) to Souffle<\/em> (1952), published ten years later, and that reflects a change in the perception of femininity. In 2006, Frans De Haes emphasized the connection between the female figures of these two novels where women have to choose between either the motherhood that determines them as \u00ab\u202ffemmes-formant-corps\u202f\u00bb or a wobbly womanhood that locks in \u00ab\u202fune relation hainamoureuse<\/em> au p\u00e8re ou au fr\u00e8re qui aboutit au drame\u202f\u00bb. With this observation in mind, we propose to analyse six female characters who echo from a novel to another, through the themes of motherhood, sexuality and death. We will see how the evolution of the female figure goes from the impossibility of being a woman into a more elaborate vision that opens up possible outcomes towards femininity.<\/p>\n
\nIn 2004, when she is 91 years old, Dominique Rolin indicates William Faulkner\u2019s As I Lay Dying <\/em>(1930) as an essential reading. The link between Rolin and Faulkner is rather new. This essay tackles the relationship that Dominique Rolin had with anglophone literature and specifically with the modernist school. It questions the influence that Faulkner may have had on the Belgian-French writer. A parallel is drawn, in particular, between As I Lay Dying<\/em> and La Maison, la For\u00eat <\/em>(1965), the novel that marks the Rolin\u2019s final conversion to a new writing style which owes extensively to Faulkner\u2019s aesthetics.<\/p>\n<\/div>