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آری و نه به رمان نو
در سال ۱۳۳۷ که آندره مالرو به تهران آمده بود در گفت و گوئی با پرویز ناتل خانلری گفت: «زمان ما دیگر دورۀ رمان نویسی نیست.» مالرو واژۀ «رمان» را به معنای رمان واقع گرای قرن نوزدهم از نوع رمان های بالزاک به کار می برد.
سال ها پیش از آن با انتشار آثار جویس و کافکا و فاکنر دوره ای آغاز شده بود که اندک اندک آن را «دوران ضد رمان» نامیدند. «رمان نو» جنبشی بود برای پیراستن رمان از عیب های رمان های سنتی قرن نوزدهم و بیستم و نجات نوع ادبی رمان از نابودی.
«آری و نه به رمان نو» مجموعۀ مقاله هائی از هواداران و مخالفان «رمان نو» است که با بررسی گذشتۀ رمان و پیش بینی آیندۀ آن پایه ای برای داوری دربارۀ نظر مالرو و آیندۀ رمان و ضدّ رمان فراهم می آورد.
سال ها پیش از آن با انتشار آثار جویس و کافکا و فاکنر دوره ای آغاز شده بود که اندک اندک آن را «دوران ضد رمان» نامیدند. «رمان نو» جنبشی بود برای پیراستن رمان از عیب های رمان های سنتی قرن نوزدهم و بیستم و نجات نوع ادبی رمان از نابودی.
«آری و نه به رمان نو» مجموعۀ مقاله هائی از هواداران و مخالفان «رمان نو» است که با بررسی گذشتۀ رمان و پیش بینی آیندۀ آن پایه ای برای داوری دربارۀ نظر مالرو و آیندۀ رمان و ضدّ رمان فراهم می آورد.
519 pages, Paperback
First published January 1, 2014
3 people are currently reading
50 people want to read
About the author
Alain Robbe-Grillet
102 books431 followersScreenplays and novels, such as
The Erasers
(1953), of French writer Alain Robbe-Grillet, affiliated with the New Wave movement in cinema, subordinate plot to the treatment of space and time; directors, such as Jean Luc Godard and François Truffaut, led this movement, which in the 1960s abandoned traditional narrative techniques in favor of greater use of symbolism and abstraction and dealt with themes of social alienation, psychopathology, and sexual love.
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
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February 28, 2015
عنوان کتاب جالب است. آری «و» نه به رمان نو، در حالیکه من انتظار داشتم که آری «یا» نه به رمان نو باشد، چون می دانیم که منوچهر بدیعی یکی از مترجمین مهم در زمینه رمان نو فرانسه به شمار می رود.
همان طور که مشخص است، کتاب در مورد رمان نو است. اصطلاحی که در دهه پنجاه و شصت میلادی در فرانسه، موجب برانگیخته شدن جنجال ها و گفتگوهای پرسر و صدایی در جامعه ادبی فرانسه شده بود. در آن سال ها، عده ای نویسنده، هر کدام البته به سبک خود، سعی در آفرینش چیزی را داشتند که به نظرشان ادامه ای بر ژانر رمان (اگر بتوان رمان را نوعی «ژانر» دانست) و در واقع زنده کننده آن بود. اینکه آیا این نویسنده ها توانستند به هدفشان دست پیدا کنند یا نه، چیزی است که باید با خواندن رمان های نو و تاثیرشان در رمان نویسان بعدی، به آن رسید، اما قدر مسلم این است که رمان نو، به دلیل عدم هماهنگی نویسنده هایش با یکدیگر (که البته از نظر آنان این قضیه نه تنها بد نبود، که خوب هم بود) نتوانست همانند سایر مکتب های بزرگ ادبی قد علم کند، و بدین ترتیب نتوانست برای نسل بعدی خود، نویسنده ای تربیت کند، هرچند که به نظر من توانسته اثری در تغییر دیدگاه های نویسندگان نسل بعد از خود داشته باشد.
این کتاب، گوشه ای از دفاعیات و ردیاتی است که در آن سال ها در خصوص رمان نو وجود داشته و شخصیت کلیدی آن، آلن رب گریه است. بهترین مقاله های این کتاب از نظر من، مقاله ژرار ژنت در دفاع، و مقاله بوادفر در رد رمان نو است.
همان طور که مشخص است، کتاب در مورد رمان نو است. اصطلاحی که در دهه پنجاه و شصت میلادی در فرانسه، موجب برانگیخته شدن جنجال ها و گفتگوهای پرسر و صدایی در جامعه ادبی فرانسه شده بود. در آن سال ها، عده ای نویسنده، هر کدام البته به سبک خود، سعی در آفرینش چیزی را داشتند که به نظرشان ادامه ای بر ژانر رمان (اگر بتوان رمان را نوعی «ژانر» دانست) و در واقع زنده کننده آن بود. اینکه آیا این نویسنده ها توانستند به هدفشان دست پیدا کنند یا نه، چیزی است که باید با خواندن رمان های نو و تاثیرشان در رمان نویسان بعدی، به آن رسید، اما قدر مسلم این است که رمان نو، به دلیل عدم هماهنگی نویسنده هایش با یکدیگر (که البته از نظر آنان این قضیه نه تنها بد نبود، که خوب هم بود) نتوانست همانند سایر مکتب های بزرگ ادبی قد علم کند، و بدین ترتیب نتوانست برای نسل بعدی خود، نویسنده ای تربیت کند، هرچند که به نظر من توانسته اثری در تغییر دیدگاه های نویسندگان نسل بعد از خود داشته باشد.
این کتاب، گوشه ای از دفاعیات و ردیاتی است که در آن سال ها در خصوص رمان نو وجود داشته و شخصیت کلیدی آن، آلن رب گریه است. بهترین مقاله های این کتاب از نظر من، مقاله ژرار ژنت در دفاع، و مقاله بوادفر در رد رمان نو است.
Displaying 1 of 1 review