dc.description.abstract | In 2014, the Nobel prize in literature was awarded to the French writer Patrick Modiano who is regarded as the one of french important contemporary writer. Instead of following the traditionnel novel narrative pattern, his work has his own individual characteristic. That is to say, it′s difficult to give a explicit definition and the classification to his novel. Because of such literature atmosphere, the author can create his individual writing style. Since his creation is unable to classify explicitly, such uncertainty also fitting the subject of this paper research - “float written esthetics”. This research is for the purpose of discussing the float through the different perspectives.
In the first chapter, we attempt to show the concept of “float” by classifying the text. Although the article class has unfolded its uncertainty, we try to discover the possible category, divides into it the autobiography novel, the detective story and love novel. In respective literary style, novel itself also displays its similar different facing. During the work of the classification, we note that there are some similar relations between the novel and the literary style classification, but at the same time, the text demonstrates its different side unceasingly. Such phenomenon displays the indefinite character of the novel.
In the second chapter, we concentrate on the narrative art of the author, in particular in this book based on the movement of the reminiscence. Through to and from of the present and past, a movement of zigzag, perpetual displacement on the level of time takes shape. Modiano has fun to launch out to a voyage from time, with the means of which the human being gets rid of the anchoring of the present and of ici-maintenant. Thanks to this disengagement of time, the memory can circulate freely. Moreover, through certain narrative processes, the undulation manages to deal with the shaping of the image of the characters, the permanent problem in their conversations and the intervention of the fictitious effect. Moreover, it seems to us that the role of the narrator is registered with the phenomenon of the unfolding where the narrator floats between the past and the present, and even in its own speeches.
In the third chapter, our research relates to Paris, decoration of the account which makes it possible to the protagonists to be not only found, but also to lose itself. The author apprehends this city as a palimpsest where are combined the center and the periphery, the present and the past and reality and imagination. Thus, the idea of topography becomes fuzzy and dubious so that one cannot examine it under the rational glance. The undulation, which is the opposite of the rooting, is with the image of this “grass of the nights” which has existence only in the undulation. | en_US |