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Un chien (de) perdu, deux de retrouvés: Patrick Modiano's Chien de printemps and Joseph Losey's Mr. Klein

Morris, A.I. (2005) Un chien (de) perdu, deux de retrouvés: Patrick Modiano's Chien de printemps and Joseph Losey's Mr. Klein. French Studies Bulletin, 26 (97). pp. 4-7. ISSN 0262-2750

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Abstract

Patrick Modiano, Chien de printemps (Paris, E´ ditions du Seuil, 1993). Subsequent references to this edition will appear in parantheses after the relevant citation. Paul Gellings, 'Patrick Modiano: Juifs errants et chiens roˆ deurs', Rapports: Het Franse Boek, 64.2 (1994), 79-83 (p. 83). Marie Miguet-Ollagnier, Me´tamorphoses du mythe (Paris, Les Belles Lettres, Annales Litte´raires de l'Universite´ de Franche-Comte´ , 1997), p. 34; Kevin Telford, 'That still, silent I: Photographic Images as Text in the Novels of Patrick Modiano', Romance Languages Annual, 10 (1999), 168-71 (p. 171). Guy Neumann, 'Aux carrefours de la vie: le chien dans les romans de Patrick Modiano', Australian Journal of French Studies, 36.2 (May-August 1999), 246-64 (p. 264). See Alan Morris, 'A Photographic Memory: Ambiguity in Chien de printemps', in Paradigms of Memory: The Occupation and Other Hi/stories in the Novels of Patrick Modiano, ed. by Martine Guyot-Bender and William VanderWolk (New York, Peter Lang, 1998), pp. 73-87 (pp. 76-79). See also Georges Perec, Woule souvenir d'enfance (Paris, Denoel, 1975), where an increasingly explicit focus on the death camps is sparked by the arrival of a strange letter, faced with which the perplexed narrator wonders: 'Croyait-on e´crire a' un homme dont j'aurais porte´ le nom ou dont j'aurais e´te´ l'homonyme?' (p. 17). See e.g. Un cirque passe (Paris, Gallimard, 1992), in which the narrator is regularly shown to want to flee to Rome with Gise' le, but never gets there as his companion dies in a car crash - this plainly evokes Jean-Luc Godard's A Bout de souffle (1960), where Michel's intended escape to Italy with his girlfriend is thwarted by his betrayal and death. Similarly, in Fleurs de ruine (Paris, Gallimard, 1991), Modiano highlights the 'double issue' at 1, rue Lord-Byron (p. 104), just as Jean-Pierre Melville had done in Le Samouraı (1967). (One of the key leitmotival phrases of Modiano's entire oeuvre, 'aucune importance', is also prefiguratively uttered twice in this film.)

Item type: Article
ID code: 4898
Keywords: French literature, French literature - Italian literature - Spanish literature - Portuguese literature
Subjects: Language and Literature > French literature - Italian literature - Spanish literature - Portuguese literature
Department: Faculty of Humanities and Social Sciences (HaSS) > School of Humanities > French
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Depositing user: Strathprints Administrator
Date Deposited: 07 Dec 2007
Last modified: 12 Mar 2012 10:41
URI: http://strathprints.strath.ac.uk/id/eprint/4898

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