This analysis of Contre-jour, which contains second-person narrative but is not an exclusive example of it, was meant to outline some general issues in narrative theory, issues that affect the theoretical placing of second-person fiction within current typologies and which not only touch on, but are indeed raised by, experimental writing of the kind to which Contre-jour belongs.
In texts like Contre-jour the very existence (on a fictional level) of the characters of the "story" and the very existence of a narrating or enunciatory discourse can be at issue.
In the case of Contre-jour the issue is much complicated by the fact that a realistic situation of enunciation or narration cannot be elicited easily from the text.
The two parts are symmetrical and self-reflexive, which is suggested already in the book's title Contre-jour.
Such a reading therefore violates the very spirit of Contre-jour, which lies in the presentation of irresolvable contradiction between perspectives.
What does the photographic technique known as contre-jour
It may be that when Dolce chose to describe the essential element of colouring as a contendimento between light and dark, he was intuitively picking up on the dynamic of Venetian contre-jour
by choosing a word that implies contest more than contrast" (210).
C'est-a-dire: toujours la lumiere de dessin, celle d'ambiance, celle de remplissage, celle d'appoint, le contre-jour
, enfin le Key-light (la lumiere cle) tel que pratique par les grands maitres de l'image, du temps de Welles, Eisenstein, Murnau, Mizoguchi, Renoir, Bergman, Fellini et tous ceux que tu connais mieux que moi-
Which playwright wrote She Stoops To Michael Crawford - see Question 7 as contre-jour
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Laurie Is Hyperactive, 2000, uses a contre-jour
effect as another metaphor for exclusion and lack of knowledge: A family sits around a table, silhouetted against a window; the child's toys, arranged on the sill, are the only compositional elements allowed access to the daylight.