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Angélique oder Die Verzauberung
Angélica o el encantamiento conforma junto con El espejo que vuelve y Los últimos días de Corinthe el célebre y peculiar tríptico autobiográfico de Alain Robbe-Grillet. Iconoclasta e irreverente, Angélica o el encantamiento gira en torno a una fijación primordial enraizada en la infancia del el recuerdo obsesivo de una bella amiga suicida. Bruja adolescente, perversa y cándida, Angélica reaparece bajo mutaciones de largo cabello, de miembros exquisitos, de piel nacarada, Angélica es Juno bajo la cruel mirada de Nerón; o Santa Blandina, sometida a todos los suplicios; o la joven sacrificada de los viejos mitos analizados por Mircea Eliade. A partir de un doble juego fascinante entre la autobiografía y la ficción, Robbe-Grillet se narra y se inventa, ya sea como un niño fascinado por los suplicios turcos y los grabados obscenos de la Ilustración que devora relatos de guerra y leyendas familiares; o como un conferenciante en Nueva York que reflexiona sobre el rol desempeñado por el sadismo y el crimen sexual en la fantasmática masculina; o como Henri de soldado y profeta, caballero negro, torturador sádico, superhombre nietzscheano fascinado por la negación, amigo, doble y salvador del padre del narrador Robbe-Grillet.
- GenresFiction
Hardcover
First published January 1, 1987
About the author
Alain Robbe-Grillet
106 books441 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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