In the wake of trauma: Visualising the unspeakable/unthinkable in Marie Darrieussecq and Hélène Lenoir

Word and Image

Volumn 27, Issue 4, 2011, Pages 416-428

  Duffy, Jean H ^a  

^a NONE

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[No Author keywords available]

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EID: 84857271172     PISSN: 02666286     EISSN: None     Source Type: Journal    
DOI: 10.1080/02666286.2011.627215     Document Type: Article

References (65)

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26. Laurie Vickroy, Trauma and Survival in Contemporary Fiction (Charlottesville and London: University of Virginia Press, 2002).
27. F. R. Ankersmit, Sublime Historical Experience (Stanford: Stanford University Press, 2005);
28. Ulrich Baer, Spectral Evidence: the Photography of Trauma (Cambridge, Mass: MIT Press, 2002);
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32. Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, trans. J. A. Underwood (London: Penguin, 2008) p. 14;
33. Roland Barthes, La Chambre claire: Note sur la photographie (Paris: Seuil, 1980);
34. Susan Sontag, On Photography (Harmondsworth: Penguin, 1979).
35. Sontag, On Photography, p. 70.
36. Barthes, La Chambre claire, p. 1.
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46. Glissons sur ce mot journée quand le soleil ne se couche pas', (Darrieussecq, White, p. 57).
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55. 'Address to Pratt Institute, 1958', 126.
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57. Compare Rothko's 1944 untitled watercolours. See Mark Rothko, 1903-1970 (London: Tate Gallery, 1996, first published for the exhibition at the Tate Gallery 17 June-1 Sept. 1987).
58. Jean H. Duffy, Thresholds of Meaning: Passage, Ritual and Liminality in Contemporary French Narrative (Liverpool: Liverpool University Press, 2011), pp. 235-53
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60. Lenoir, Elle va partir, pp. 49-50.
61. 'Bill Viola, June-September 1999', http://www.sfmoma.org/media/features/ viola/BV02.html, consulted December 10, 2010.
62. Reasons for Knocking at an Empty House: Writings 1973-1994 (London: Thames & Hudson, 1995), 213-14.
63. Viola, Reasons for Knocking at an Empty House, p. 215.
64. Holly Rogers, 'Acoustic Architecture: Music and Space in the Video Installations of Bill Viola', Twentieth-Century Music vol. 2, no. 2 (2005): pp. 197-220, 209.
65. Rogers, 'Acoustic Architecture: Music and Space in the Video Installations of Bill Viola' for a more detailed description of The Stopping Mind, to which my commentary is indebted.