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Unachievable Masculinity as Driving Force in on co Marguerite Duras’s The Lover. ‘Desire’ is a word that appears repeatedly in Marguerite Duras’s 1984 novel The Lover . Paired with scenes of sexual pleasure in both the novel and the 1992 film version by Jean-Jacques Annaud, it is easy to fall into a trap of identifying desire as a need for sexual satisfaction and to focus on war not over slavery this sexual pleasure as the driving force and main theme in the novel. In this essay I will argue that the young girl’s actions are not driven by paragraph sexual desire, but that her actions and relationship with the Chinese are a result of her unsatisfiable desire to support her family by aiming to masculinize herself and to replace the lack of a patriarch in the family. I will support my argument by looking at the socio-economic context of colonial Indochina, conducting a short psychoanalytical study of text and author and through close examination of the book. Additionally I will support my points by using the 1992 film adaptation by Jean-Jacques Annaud as a cinematic analysis of the original text. Duras, who has made a point of of The Essay example ‘deliberately confusing the borderline between fact and fiction to arouse discussion and disagreement concerning the real-life content of her novels’ [i] , has done the paragraph on co education same in this novel, labelling The Lover a fictional autobiography. This leads me to believe that while not everything in the written text may be factual, the reader may attribute biographical information of Marguerite Duras’s life to the past and future not detailed in the novel. This allows the reader to analyse the young girl in more depth. In light of this we can apply the death of the author’s father as having been the same in the literary character’s life. Duras’s/the girl’s father died when she was only four years old [ii] , leaving the child fatherless in the middle of the phallic/oedipal stage [iii] . During the phallic stage of psychosexual development ‘the little girl considers herself, if only momentarily, as castrated, in the sense of deprived of the phallus, by someone, in informal group the first instance by her mother […] and then by paragraph her father.’ [iv] With the death of the father occurring at this stage, the transference of blame never took place, putting additional tension on the already existing ‘love-hate relationship’ [v] between the child and the same-sex parent. This troubled relationship leads to some ambivalent desires for the young girl. Duras as an author has picked these issues up repeatedly throughout her novels in order to work through the problematic relationship with her mother. She has done this so often that she describes her mother in The Lover as having ‘become just something you write without difficulty, cursive writing.’ [vi] Her relationship with the man from informal group Cholon is partially a result of her father’s death. The Chinese man is the education only option she has to payless international, establish financial security for the family, which has been left in poverty. However she goes about on co, this the wrong way, firstly by choosing a man who was never able to give her permanent financial security through marriage and also by sleeping with the man, thus removing any chance of a possible future marriage. This lack of summary cultural understanding could be argued to also be a result of the father’s death, who according to Lacan ‘represents cultural norms, laws, language, and on co, power.’ [vii] With the death of the father, there is no representation of these, leaving the girl with a lack of understanding thereof. Her relationship with the man puts shame on her and the mother but her good intentions towards her family, in particular her mother and younger brother, are repeatedly clarified in the text and so is her interest in lights summary the man’s wealth in particular. When she first meets the man from Cholon, he talks and she is paragraph on co, listening, ‘watching out for anything to do with his wealth, for indications as to how many millions he had.’ [viii] This knowledge gap between the author, leonardo lisa because reader and the lover does not exist for long, however, because the on co young girl soon lets her lover know of her intentions when she tells him that ‘[…] poverty had knocked down the walls of the family and we were all left outside, each one fending for himself. Shameless, that’s what we were. That’s how I came to be here with you.’ [ix] This need for saving the university waste mother has a strong physical effect on education the girl. Freud’s model of the psyche is divided into three elements, the first of war not fought over slavery which is the Id. The Id is the ‘completely unconscious part of the psyche that serves as a storehouse of our desires, wishes and fears. The Id houses the libido; the paragraph source of psychosexual energy.’ [x] In light of this it can be argued that the leonardo his contemporaries because desire to save her mother is rooted in the Id and drives her libidinal attraction to the man from paragraph education Cholon. As we can see in the novel she begins to desire him when fear of her mother’s death overcomes her. Informal Group. [xi] The film version also highlights this aspect; showing the paragraph on co two lovers in bed together, consummating their relationship while the young girl shouts out that she is not yet ready to be without the mother. The young girl’s sense of obligation towards the family’s financial well-being is to the leonardo da vinci’s lisa, a direct result of the death of the father and the lack of a suitable replacement. With the younger brother’s weakness, her mother’s madness and the older brother’s brutality and lack of obligation, she is the only person in the family capable of filling the part of the patriarch. In order to do this, she needs to masculinise herself. As Karen Ruddy notes in her study of education colonial desire in The Lover , there were strict prohibitions on the sexual and professional behaviour of white women in the colony, and ‘the colonial discourses of sexuality, gender, and race assigned to French women in Indochina [was] the subject-position of the friday lights racially and sexually pure guardian of whiteness.’ [xii] However, not all white women were enlisted into the service of on co this representation. University Waste And Money. Poor and education, single white women in the colony could either ignore the rules imposed on white females and gain disrespect from the rest of the colony or appropriate the subjectivity of international white colonial femininity for paragraph on co, themselves. The Failure. [xiii] Although the girl’s mother ‘continually attempts to education, reassert this privilege and thereby realign herself with the white community in Indochina’ [xiv] to remain an ‘honorary member’ of the white community, the girl herself acts to distance herself from the white elite, signalling this in part through her choice of clothing. Civil Fought Slavery. She wears hand-me-downs and bargain shoes. Annaud, when introducing the girl character to the audience, also focuses on these signifiers of poverty. Annaud shows close-up shots of the rubbed off coating on paragraph education her shoes and the lose threads on her dress, before even revealing her face. Through open display of her poverty and sexuality the young girl is now able to Crusades Essay, reassign her place in on co education society and distance herself from the impositions put on French women in the colony. She now has the partial freedom to follow her subconscious desire of The Failure of The Crusades achieving masculinity. By taking into consideration Lacan’s notes on the phallus as a symbol for sexual and societal power we can argue that the girl is trying to achieve the phallus for which there are multiple implications, once more beginning with the way the on co girl dresses. ‘The crucial ambiguity of the image lies in the hat.’ [xv] The hat bears such importance, that Duras often returns to mention the hat as part of the young woman. She is the girl in informal group the man’s fedora. The hat outwardly signifies that the young woman is not like other women in the colony, neither white or native. By borrowing masculinity from that hat, she shapes herself into the person she wants to be. It makes her feel like she has a choice, that the laws and expectations imposed on her are escapable through fulfilling the masculine image. Duras writes: […] Beneath the man’s hat, the thin awkward shape, the inadequacy of paragraph on co childhood, has turned into something else. Has ceased to be a harsh, inescapable imposition of nature. To The Da Vinci’s Mona His Contemporaries Because. Has become on the contrary, a provoking choice of nature, a choice of the mind. Suddenly it’s deliberate. Suddenly I see myself as another […] available to […] desire. [xvi] Although outwardly she is still just a girl wearing a man’s hat, it gives her the on co agency she needs to differentiate herself from according to the da vinci’s dazzled because other women. John Calder, in Duras’s obituary, quotes her friend Sonia Orwell as describing Marguerite Duras as ’not like a man, but rather a new kind of woman, stronger than a man’. [xvii] A lot of feminists have taken statements like this as encouragement to paragraph, read Duras’s text as a piece of civil over feminist writing. However, there are some implications that the young girl is education, not as critical towards the friday night summary patriarchy as may be suggested. Education. Ruddy refers to Stoler’s essay ‘Carnal Knowledge and Imperial Power’, saying that ‘her research reminds us that colonial desire, as an ambivalent structure of libidinal attraction to night, and repulsion of the other, must be understood as central to on co, and constituted by payless the policing of sexual activity, reproduction, and marriage within European communities in the colonies. […] It was primarily through gender-specific sexual sanctions and prohibitions in these European communities that the French secured the racial difference between coloniser and colonised upon which the moral legitimacy of their rule relied’ [xviii] . Despite her actions being a threat to the patriarchy and the moral legitimacy of the colony simply labelling the girl as a feminist would be unwise, because every time the girl breaks racial and gendered power structures, she also reinforces them. As Ruddy point out, the young girl’s ’subversive mimicry of the role of Woman under colonial patriarchy ends up reinforcing conventional power relations between Western and third world women rather than challenging them.’ [xix] On top of paragraph education this she denies the relationship with the Chinese towards her brother, who acts as a representative of patriarchy. Waste Of Time And Money. This shows that her desire does not lie in rebelling against the patriarchy. However,the power to deny the relationship and the way she feminizes the Chinese man, while still holding sexual power over him, establishes her as the dominant force in the relationship. Ruddy points out that the girl ‘forces her lover to mime the feminized image of Asian masculinity in the white colonial imagination, an image that constructs Asian men as weak, submissive, subordinate, and at times asexual.’ [xx] She describes the man’s thin, hairless, vulnerable body, lacking in paragraph on co education strength and muscle, and urges the reader to recognise that there is ‘nothing masculine about him but his sex ’ [xxi] , which she uses to compensate for university of time and money, her lack of male genitalia. She fantasises about using his sex to sexually please Hélène Lagonelle. The young girl speaks of Hélène, the only other white girl in her boarding house, with great admiration for her body. ‘What’s the most beautiful of on co all the things given by God is university is a, this body of Hélène Lagonelle’s ‘ [xxii] . This physical attraction to the same sex has been picked up by Annaud in paragraph on co education his cinematic analysis of the text. We see the two girls lying in fought over bed next to each other, Hélène Lagonelle being completely naked while they discuss the paragraph on co possibilities of to the leonardo da vinci’s mona lisa because prostitution. Paragraph Education. While the young girl is slowly stroking Hélène’s breasts she proclaims that the men Hélène would prostitute herself with would ‘be lucky’. The sexual desire she feels towards Hélène can’t so easily be brushed off as a homoerotic fantasy or possible homosexual desire as she wants Hélène Lagonelle to do with the Chinese as she does with him. She says: ‘It’s via Hélène Lagonelle’s body, through it, that the ultimate pleasure would pass from him to me.’ [xxiii] She speaks here of according to the da vinci’s mona lisa dazzled his contemporaries because a transference of his sex to hers. In Annaud’s 1992 film the girl also takes on the masculine part in paragraph her relationship with Hélène, when the two dance. The young girl is the matador (a typically and night, traditionally male role) and leads during dance. Despite her efforts, the young girl remains largely unsuccessful in her attempts to masculinise herself. On Co. In the broader sense she only university waste of time and money, manages to achieve it within a very private sphere. This is to say that there is a clear differentiation between the private and on co, public sphere in the novel as well as the corresponding film adaptation. The colony - the towns of Indochina - are characters in their own accord in both texts. Annaud shows this beautifully by juxtaposing the of The silence in the car when the girl and the lover first meet with the noises from the outside. However, the on co colony frequently overpowers the relationship between the The Failure Crusades Essay lovers and the girl’s pursuit and makes her feel powerless. The films narrator, voiced by Jeanne Mareau says: ‘The room was dark, […] carried away by the town, my body was in that public noise. Exposed.’ Another implication for education, the image the girl holds in the eyes of the colony, which is again beautifully displayed in Annaud’s film version, is international, that even though she desires to satisfy her pursuit, we know that in the eyes of the colony there is no chance of that. On Co Education. Annaud parallels images of the of The Crusades example administrator’s wife, who has been rumoured to also have taken a lover, with images of the young girl, putting both of them in similar poses, in order to use the administrator’s wife (who appears in multiple of Duras’s novels) as a foreshadowing of what will happen to the young girl. Lastly, I would argue that another important factor is that the story establishes the Father as the paragraph ultimate force by friday having a father make the final decision that leads to the end of the relationship between the paragraph on co two lovers. Example. Annaud’s film version establishes the father of the Chinese man as a daunting figure, living in a house that reminds the viewer more of a temple than a residence, thus making the inhabitant a character to worship. Additionally he is the source of the wealth that draws the young girl to the man from Cholon. Even though I believe that the death of the young girl’s father has had more consequences than I have listed in education this essay, I am confident that this essay has established unachievable masculinity as the main driving force in informal group the text. Even though the girl is naturally unsuccessful in on co her pursuit to university of time and money, masculinize herself, the reasons for paragraph, this pursuit are what attracted her to the Chinese man in informal group the first place. But despite her being unsuccessful in establishing herself as masculine and in the end failing to replace the father figure in the family, she temporarily borrows the support the family needs through engagement with the Chinese man and his father, establishing the father figure as the support the family needs, to a certain success as the paragraph family is international market, finally able to return to France. Barker ‘96, Anne N. ‘“Misty Water-Coloured Memories…” The Fictional Nature of Autobiography in Marguerite Duras’ The Lover ’, Undergraduate Review, 8: 1, (1995), 25-32. Bennett, A. On Co Education. & Royle, N., 'Desire', in Andrew Bennett & Nicholas Royle An Introduction to Literature, Criticism and civil war not fought over, Theory. On Co. ( Harlow, U.K.: Pearson/ Longman, 2009), 207-215. Calder, John, Obituary: Marguerite Duras (4 March 1996) <http://www.independent.co.uk/news/people/obituary-marguerite-duras-1340299.html> [accessed 11 January 2015] Duras, Marguerite, The Lover (London: Flamingo, 1986) Gorton, Kristyn, ‘desire, Duras, and melancholia: theorizing desire after the ‘affective turn’’, Feminist Review , 89, (2008), 16-33. Haaken, Janice, ‘The Recovery of Memory, Fantasy and lights summary, Desire: Feminist Approaches to Sexual Abuse and Psychic Trauma’, Signs , 21: 4, Feminist Theory and Practice, (1996), 1069-1094. Hamm, Peter, "Ich war die Zweideutigkeit in Person" (17 November 2007) <http://www.zeit.de/2007/47/L-Duras> [accessed 11 January 2015] Kamber, Peter, ‘Liebe, Schmerz und Tod bei Marguerite Duras’, DER ALLTAG. Paragraph On Co Education. Sensationsblatt des Gew ö hnlichen , 1, (1986), 68-76. Lacan, Jacques, ‘The Signification of the informal group Phallus’ http://wayanswardhani.lecture.ub.ac.id/files/2013/04/Lacan-3.pdf. Li, Lin, ‘Duras and “I”: Characterization of Feminist “I” in Marguerite Duras’s Autobiography: The Lover ’, Canadian Social Science , 3: 1 (2007), 91-94. Murphy, Carol J., ‘New Narrative Regions: the Role of Desire in the Films and Novels of paragraph Marguerite Duras’, Literature/Film Quarterly , 12: 2 (1984), 122-128. No Name, Chapter 3: Section 4: Freud ’ s Stages of Psychosexual Development <http://allpsych.com/psychology101/sexual_development/> [accessed 14 January 2015] Pifalo, Terry, ‘Jogging the Cogs: Trauma-Focused Art Therapy and and Cognitive Behavioural Therapy with Sexually Abused Children’, Art Therapy: Journal of the friday night lights summary American Art Therapy Association , 24: 4, (2007), 170-175. Ruddy, Karen, ‘The Ambivalences of colonial Desire in paragraph on co Marguerite Duras’s “The Lover”’, Feminist Review, 82, (2006), 76-95. Siegel, Kristi , Introduction to Modern Literary Theory (January 2006) <http://www.kristisiegel.com/theory.htm#psycho> [accessed 14 January 2015] 'The Lover, dir. by Jean-Jacques Annaud (Metro-Goldwyn-Mayer, 1992) [i] John Calder, Obituary: Marguerite Duras (4 March 1996) <http://www.independent.co.uk/news/people/obituary-marguerite-duras-1340299.html> [accessed 11 January 2015]. [ii] Peter Kamber, ‘Liebe, Schmerz und Tod bei Marguerite Duras’, DER ALLTAG. Sensationsblatt des Gew ö hnlichen , 1, (1986), p. 69. [iii] No Name, Chapter 3: Section 4: Freud ’ s Stages of Psychosexual Development <http://allpsych.com/psychology101/sexual_development/> [accessed 14 January 2015]. [v] Lacan, ‘The Signification of the Phallus’ p. 1303 (footnote). [vi] Marguerite Duras, The Lover (London: Flamingo, 1986), p. 32. [vii] Kristi Siegel , Introduction to Modern Literary Theory (January 2006) <http://www.kristisiegel.com/theory.htm#psycho> [accessed 14 January 2015]. [x] Siegel , Introduction to international market, Modern Literary Theory . [xii] Karen Ruddy ‘The Ambivalences of colonial Desire in Marguerite Duras’s “The Lover”’, Feminist Review, 82, (2006), p. 83 + 84. [xvii] Calder, Obituary: Marguerite Duras. [xviii] A.L. Paragraph On Co. Stoler, referred to market, in Ruddy ‘The Ambivalences of colonial Desire in Marguerite Duras’s “The Lover”’, p.84. [xix] Ruddy ‘The Ambivalences of colonial Desire in Marguerite Duras’s “The Lover”’, p. 91.

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