L’envers du spectacle: quatre énigmes picturales de Marguerite Duras
Marguerite Duras’s work has been widely studied for the ambiguous nature of the images she uses in her narratives and films. However, little research has been devoted to another type of iconic medium present in her texts: paintings. This article explores four pictorial works exploited in her fiction: the Etruscan motives of The Little Horses of Tarquinia, the paintings of Francisco Goya in Ten-thirty ona Summer Night, the “Annunciation” by Fra Angelico in the Sailor from Gibraltar and the prehistoric drawings in Les Mains negatives (Negative Hands). Starting from a thorough analysis of the nature and role of these artistic components, the study explores how Duras reflects through them her rejection of representation and her conception of writing.