La jalousie (French Edition) [Alain Robbe-Grillet] on *FREE* shipping on qualifying offers. Le narrateur de ce récit un mari qui surveille sa femme. Tools, File , 5,3 MB, PDF · File , ,7. Published in , as the nouveau roman was rising on the Parisian literary scene, Alain Robbe-Grillet’s novel La Jalousie [Jealousy] produced in many of its .

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The answer, it can pretty easily be inferred from the novel’s context, is that it is the master of the house’s glance and memory, his movements robbbe-grillet reflections that we are experiencing as he watches his wife, identified only as “A As Jealousy nears its end, A It does not explode, this language, or explore, nor it is obliged to charge upon the object jalouske pluck from the very heart of its substance the one ambiguous name that will sum it up forever.

FF:FJIA French Literature IV

In his attempt to jaalousie everything as objectively as possible he imbues every scene with a purely subjective, symbolic meaning. In taking this line, the obituarists displayed an intellectual shortcoming typical of Anglo-American empiricism, and displayed it on two fronts: A clever, multi-faceted, understated, ambitious and amazing rendition of perspective.

But I never got that impression while reading it.

It is doubtless the same poem continuing. Is he the reader or is the narrator or is he just a man fascinated by the undulating eddies of a shallow pool?

Journal of Narrative Theory. He never refers to himself or use the word I. On the far side of the valley, toward Franck’s house, is a patch in which the narrator tells us, using language reminiscent of Othello’s, that “confusion has gained the ascendancy.

Each work is like an Airfix kit–or, more precisely, an IKEA one, since there is always one vital piece missing. Yet these repetitions, these tiny variations, halts, regressions, can give rise to modifications–though barely perceptible–eventually moving quite far from the point of departure.


You are commenting using your WordPress. However, if we remain open-minded, tolerant and patient, we too rpbbe-grillet be intoxicated. Repeat ad nauseam in fragmentary, temporally disjointed ways, then mix in some nonsense about geometric arrangements of banana trees and the quotidian movement of a column’s shadow and that’s pretty much this novel in a nutshell.

Apr 12, Travelling Sunny rated it it was amazing Shelves: Readers have to tease out the meaning, and even then we don’t know whether we’re right. He can hear some of their conversations but not all including whispers. Franck, describes the husband in the novel in a sentence that we don’t hear in its entirety, that “ends in ‘take apart’ or ‘take a part’ or ‘break apart’, ‘break robbe-rillet heart’, ‘heart of darkness’, or something of the kind.

La Jalousie – Wikipedia

The whole book describes some creepo who’s looking into the window of a woman who turns out to be his ex-wife. Faint humor interwoven with a quotidian despair it seems this obsession has no exit or releasewith perhaps a barely-suggested danger in fact the possible exit, I suppose, robbs-grillet existing only off the page or between lines.

Thanks for telling us about the problem. The lacquered table suddenly turns deep blue, like her dress, white floor and the sides of the bathtub. It certainly seems his most serious, removed from pulp-ization of earlier noir gestures and later eroticism. As Rpbbe-grillet read further and further, I became increasingly anxious, but cannot come anywhere close to explaining how Robbe-Grill Amazingly written.

Is he jealous of his married neighbour Franck whose wife never appears, because their young child is at home ill? By continuing to use this website, you agree to their use. What is absent and not described is just as important as what is present and described. Why would a husband pay attention to the number of banana trees, or a crushed centipede and the number of its legs?

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His objectivity is depriving him from even seeing her as a sexually desirable creature. His first novel The Erasers Les Gommes was published inafter which he dedicated himself full-time to his new occupation.


Any sort of fascination I might have developed toward its circular rhythms, its enigmatic understatements, its sinister atmospheres, was quickly stifled by Robbe-Grillet’s mundane repetitiveness and Robbe-frillet prose — which was probably his intention.

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The narrator, like a spy camera, cannot go into an omniscient mode like in many novels and say what the characters are thinking or feeling. Even the “tangled skein” of insects buzzing around the lamp reveals itself, when observed at length by the husband, to be “describing more or less flattened ellipses in horizontal planes or at slight angles. I have no qualms about reading the second novella In The Labyrinth. Timelines and plots are fractured and the resulting novel resembles the literary equivalent of a cubist painting.

I had hoped that your promiscuity would end when we left Paris and assumed the burden of managing the family’s banana interests. They selectively submit and admit the objects of the outside world to our scrutiny.

Has the narrator caught her in an act of onanism? But each iteration preserves the old perspective and adds a new one. Inevitably, for a piece of metafiction, there is also a story within the story, or a novel within the novel, an African novel or at least a novel set in colonial Africa.

LA Jalousie

The four hands are lying in a row, motionless. There are jaloysie books on Earth than I could ever hope to read in my lifetime.

Could you please fix the page number? And of course, are we looking at repeated similar events or repeated narratives of the same event? Within the self-reflexive geometries of Robbe-Griller’s hall of mirrors, the ultimate blind spot just might be the reader.