Le Roman inachevé by Louis Aragon

By Louis Aragon

Ce poème s'appelle «Roman» : c'est qu'il est un roman, au sens ancien du mot, au sens des romans médiévaux ; et surtout parce que, malgré le caractère autobiographique, ce poème est plus que le récit - magazine ou mémoires - de l. a. vie de l'auteur, un roman qui en est tiré.Il faut le lire dans le contexte de l'œuvre d'Aragon. Il s'agissait ici d'éviter les redites : on n'y trouvera pas le côté politique des Yeux et l. a. Mémoire ou les heures de los angeles Résistance de l. a. Diane française ou du Musée Grévin. Le domaine privé, cette fois, l'emporte sur le domaine public. Même si nous traversons deux guerres, et le surréalisme, et bien des can pay étrangers.Poème au sens des Yeux et los angeles Mémoire, ce Roman inachevé ne pouvait être achevé justement en raison de ces redites que cela eût comporté pour l'auteur. Peut-être l. a. nouveauté de ce livre tient-elle d'abord à los angeles diversité des formes poétiques employées. Diversité des mètres employés qui viendra contredire une idée courante qu'on se fait de los angeles poésie d'Aragon.Il semble que, plus que le pas donné à telle ou telle méthode d'écriture, Aragon ait voulu marquer que los angeles poésie est d'abord langage, et que le langage, sous toutes ses formes, a droit de cité dans ce royaume sans frontières qu'on appelle los angeles poésie.Plus que jamais, ici, l'amour tient l. a. première position.

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Perhaps most obviously, it can act as a reflexive device, foregrounding the act of looking and male voyeurism, making clear links between Harry’s gaze at the mirror surface and the spectator watching the film. But there are also intriguing similarities between this short sequence and other moments in the film. For instance, this is the same mirror that Monika looks in near the beginning of the film to tidy her hair before work, with the same non-diegetic music playing. In addition, the background fades to black, framing the mask-like face, refers back to the café sequence shortly before this where the same device is 32 The Films of Ingmar Bergman used when Monika stares straight at the camera.

Monika’s motivations for escape are crucial. The film significantly highlights Monika’s working-class roots, suggesting that her escape is more vital than Harry’s is, but less goal orientated. Her defiance is more active – she actively leaves her job, she actively leaves home – and more desperate, since the alternative seems to be either financial dependence on a man (with a suggestion of prostitution) or poverty and a repetition of her mother’s role. A closer look at the narrative devices that form the foundation for Bergman’s 1940s and early 1950s films will help to highlight striking similarities and differences in Summer with Monika.

Summer Interlude can be seen as a model film, working with certain formulations that are extended, challenged or disputed in later Bergman films. The relationship between the theatrical and psychological mask ‘works’ in Summer Interlude via an intricately structured system of motifs that continues into later Bergman films, such as The Seventh Seal (1956), The Face (1958) and The Rite (1967). However, Summer Interlude’s binary The Mask and Identity: Summer Interlude’s Legacy 29 oppositions, of false mask against true identity, contrast with the very different mind-set seeping into other Bergman films, where notions of ‘truth’ (and ‘reality’) are less fixed, for example, in Fanny and Alexander (1981/2) which can be analysed in light of postmodernist concepts of multiplicity and masquerade.

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