L'entrecriture dans l'oeuvre de Marguerite Duras: Texte, theâtre, film

This dissertation has as its goal a thorough analysis of the Marguerite's Duras's oeuvre (text, theatre, and film) in an interdisciplinary and intermedial approach. The combined analyses of key films and texts (among them Un Barrage contre le Pacifique, L'Eden Cinema, India Song, Le Camion, L'Amant de la Chine du Nord, Les Yeux bleus cheveux noirs, La Vie Materielle, Ecrire, Le Navire Night, Cesaree, Les Yeux verts and Aurelia Steiner) form the basis of entrecriture. Entrecriture is a concept that serves to define the continuous exchange existing between different writing and authorial practices. It allows for a better understanding of the heterogeneity of Durassian writing and the evolution of its forms as well as of the effect of the socio-political and historical context in which her practice is inscribed (among them World War Two and May 1968).;The first part of this study invites the reader to (re)read the novelistic and theatrical genres in order to define Durassian aesthetics. The second is devoted to the in-between, the basis of the theoretical model of entrecriture, which is both Duras's technique and style of writing. The third part discusses the interrelation between poetics and politics in their relation to history, as well as the subversive aspects of Duras's entrecriture.;Keywords. Intermediality, poetics, aesthetics, politics, history, poetry, cinema, in-between, rewriting, avant-garde.;This study proposes a vast survey of Duras's oeuvre along a non-linear trajectory in order to follow the movement of writing that moves forward by re-mediations. Such re-mediations (or re-modulations) of a microbial plot, of a plot or the story of a young girl and her lover, form the basis a practice as a style of writing, rewriting, which inscribes itself in the in-between; it is located both between two works and between two aesthetics. Indecision, most perceptible in the oscillation between genres and media, is the key to Durassian writing.