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 (do͞o-räs′, dü-), Marguerite Originally Marguerite Donnadieu. 1914-1996.
French writer and director known for her emotionally revealing novels such as The Lover (1984) as well as for her experimental dramas and films.


(French dyra)
(Biography) Marguerite, real name Marguerite Donnadieu. 1914–96, French novelist born in Giadinh, Indochina (now in Vietnam). Her works include The Sea Wall (1950), Practicalities (1990), Écrire (1993), and the script for the film Hiroshima mon amour (1960)


(dʊˈrɑ, dyʊ-)
Marguerite (Marguerite Donnadieu), 1914–96, French writer, born in Vietnam.
References in periodicals archive ?
Marguerite Duras was born in 1914 in French Indochina, now Vietnam.
Hiroshima mon amour, compleja y valiente realizacion que un poco contradice los procedimientos formales de Truffaut, constituyo ademas la presentacion cinematografica de Marguerite Duras (Saigon, 1914-Paris, 1996), quien en este argumento condensa algunas de sus mayores obsesiones.
According to French novelist/screenwriter Marguerite Duras, 'Ecrire, c'est hurler sans bruit,' which means 'Writing is screaming in silence.
She discusses Sigmund Freud's theory of trauma in Beyond the Pleasure Principle and Moses and Monotheism; the concept of reference and the figure of the falling body in Paul de Man, Heinrich von Kleist, and Immanuel Kant; the narratives of personal catastrophe in Marguerite Duras and Alain Resnais' Hiroshima mon amour; and Jacques Lacan's rethinking of trauma in his interpretation of Freud's texts.
Ya famoso por sus multiples interpretaciones de protagonistas de la historia francesa, la encarnacion de personajes creados para el cine por escritoras como Marguerite Duras y por haber sido dirigido por el cineasta Bernardo Bertolucci, el comediante derivo recientemente hacia la television en series.
The plot of "Everything" is loosely based on "The Epic of Gilgamesh" -- particularly the eponymous demigod's quest for the eternal life -- but it also takes inspiration from the works of Antonin Artaud, Mahmoud Darwish, and Marguerite Duras, among others.
While Zizek himself, to my knowledge, has never commented on this novel, Lacan devotes a full article to it, titled "Homage to Marguerite Duras, on Le ravissement de Lol V.
Ten-Thirty on a Summer Night (1960) by Marguerite Duras
Individual topics include bodies in the (female and male) dance, Gisele Vienne's corps troublants, the materiality of rape in modern France, the work of Marguerite Duras, Le feminine pluriel by Benoite and Flora Groule, maintaining the material space of the home, gender identification in France, women and money in recent televised political debates, mourning and loss in consumer spaces, women's travel writing, fashion as protest in occupied Paris, objects of the body, Breillat's bodily cinema, and looking at the "unlookable" in Breillat.
Depardieu, who was described by director Marguerite Duras as "a big, beautiful runaway truck of a man," is much larger than life - about the size of a baby whale, in fact.
6) In those few words of Ernesto, Marguerite Duras points us toward a method of interpretation that will enrich our reading not only of La Pluie d'ete but of all her works.