In a writing system with constraints, the constraint, far from being pure author divertissement, often becomes “productive” at a higher level, by influencing not only the diegesis, but also the semantic plane of the text and, therefore, its deepest meaning. This article aims to study this property of the constraint in Georges Perec’s La Disparition (1969) and in Anne F. Garréta’s Sphynx (1986). We will demonstrate that the two constraints used in these works, the lipogram in Perec and the “lipogender” in Garréta, contribute to the construction of a writing of lack, of absence, which, by playing on the occultation/disappearance of the gender, exploits the potential of the “unspoken” and unexpectedly interprets the “unspeakable”.

Cacher le genre par la contrainte pour dire l’indicible : du lipogramme de Perec au « lipogenre » de Garréta

COSTAGLIOLA D'ABELE M.
2020

Abstract

In a writing system with constraints, the constraint, far from being pure author divertissement, often becomes “productive” at a higher level, by influencing not only the diegesis, but also the semantic plane of the text and, therefore, its deepest meaning. This article aims to study this property of the constraint in Georges Perec’s La Disparition (1969) and in Anne F. Garréta’s Sphynx (1986). We will demonstrate that the two constraints used in these works, the lipogram in Perec and the “lipogender” in Garréta, contribute to the construction of a writing of lack, of absence, which, by playing on the occultation/disappearance of the gender, exploits the potential of the “unspoken” and unexpectedly interprets the “unspeakable”.
Dans un système d’écriture à contraintes, la contrainte, loin d’être un pur divertissement d’auteur, devient souvent « productive » à un niveau plus haut, en influençant non seulement la diégèse, mais aussi le plan sémantique du texte et, par conséquent, sa signification la plus profonde. Dans cet article nous étudierons cette propriété de la contrainte à partir de La Disparition de Georges Perec (1969) et de Sphynx d’Anne F. Garréta (1986). Nous démontrerons que les deux contraintes utilisées dans ces œuvres, le lipogramme chez Perec et le « lipogenre » chez Garréta, contribuent à la construction d’une écriture du manque, de l’absence, qui, en jouant sur l’occultation/disparition du genre, exploite les potentialités du « non-dit » et se fait, de façon fort inattendue, interprète de l’« indicible ».
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11574/195302
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