Risultati di "Annie Ernaux" in Tutte le categorie

Come accade che il tempo che abbiamo vissuto diviene la nostra vita? È questo il nodo affrontato da "Gli anni", affresco autobiografico e al contempo cronaca collettiva del nostro mondo dal dopoguerra a oggi, nodo sciolto in un canto indissolubile attraverso la magistrale fusione della voce individuale con il coro della Storia. Annie Ernaux convoca la Liberazione, l’Algeria, la maternità, de Gaulle, il ’68, l’emancipazione femminile, Mitterrand; e ancora l’avanzata della merce, le tentazioni del conformismo, l’avvento di internet, l’undici settembre, la riscoperta del desiderio.

La storia di un uomo, di un padre, raccontata con precisione chirurgica, senza compatimenti, dalla figlia scrittrice. Perché quando si tradisce, "scrivere è l'ultima risorsa". La storia di una donna che si affranca con dolorosa tenerezza dalle proprie origini rurali e scrive dei suoi genitori alla ricerca di un ormai impossibile linguaggio comune.

Ottobre 1963: una studentessa ventitreenne è costretta a ricorrere alle vie clandestine per poter interrompere una gravidanza. L'evento restituisce i giorni e le tappe di questa ricerca disperata: l'apatia, le ambiguità dei medici, la vicinanza di qualche compagna di corso e l'incontro con la mammana, sino al senso di fierezza per aver, in un modo o nell'atro, resistito.

De 1985 à 1992, j'ai transcrit des scènes, des paroles, saisies dans le R.E.R., les hypermarchés, le centre commercial de la Ville Nouvelle, où je vis. Il me semble que je voulais ainsi retenir quelque chose de l'époque et des gens qu'on croise juste une fois, dont l'existence nous traverse en déclenchant du trouble, de la colère ou de la douleur. Annie Ernaux. Marianne Denicourt s'empare avec grâce de cette série d'instantanés urbains habilement saisis par Annie Ernaux.

This narrative charts Annie Ernaux's teenage awakening and then the parallel progression of her desire to be desirable and her ambition to fulfill herself in her chosen profession - with the inevitable conflict between the two. And then she is 30 years old, a teacher married to an executive, a mother of two infant sons.

In her spare, stark style, Annie Ernaux documents the desires and indignities of a human heart ensnared in an all-consuming passion. Blurring the line between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

Upon her mother’s death from Alzheimer’s, Annie Ernaux embarks on a daunting journey back through time, as she seeks to “capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris.” She explores the bond between mother and daughter, tenuous and unshakable at once, the alienating worlds that separate them, and the inescapable truth that we must lose the ones we love.

The Years is a personal narrative of the period of 1941 to 2006 told through the lens of memory, impressions past and present - even projections into the future - photos, books, songs, radio, television, and decades of advertising and headlines, contrasted with intimate conflicts and written notes from six decades of diaries. Local dialect, words of the time, slogans, brands, and names for ever-proliferating objects are given a voice here. The voice we recognize as the author's continually dissolves and re-emerges.

This is Annie Ernaux’s account of her passionate love affair with A., a man some thirty years younger, when she was in her fifties. The relationship pulls her back to memories of her own youth and, at the same time, leaves her feeling ageless, outside of time—together with a sense that she is living her life backwards. Amidst talk of having a child together, she feels time running its course and menopause approaching. The Young Man recalls Ernaux as the “scandalous girl” she once was but is composed with the mastery and the self-assurance she has achieved across decades of writing.

Elle a trente ans, elle est professeur, mariée à un "cadre", mère de deux enfants. Elle habite un appartement agréable. Pourtant, c'est une femme gelée. C'est-à-dire que, comme des milliers d'autres femmes, elle a senti l'élan, la curiosité, toute une force heureuse présente en elle se figer au fil des jours entre les courses, le dîner à préparer, le bain des enfants, son travail d'enseignante. Tout ce que l'on dit être la condition "normale" d'une femme.

La publicarea din Franța, în 2008, Anii a fost primită cu surprindere. Deși Annie Ernaux era deja de decenii o scriitoare iubită și premiată, Anii a reprezentat, în mult feluri, un nou început: atât un volum de memorii al unei întregi generații, dar și povestea unor oameni ce-și relatează istoria unică. Poate de aceea naratoarea cărții evită pronumele „eu", alegând să folosească „noi".

Livro que lançou a autora à fama, O lugar, inédito no Brasil, estabelece as bases para o projeto literário que Ernaux levaria adiante por três décadas de consagração crítica e sucesso de público. Nesta autosociobiografia, uma das mais importantes escritoras vivas da França se debruça sobre a vida do próprio pai para esmiuçar relações familiares e de classe, numa mistura entre história pessoal e sociologia que décadas mais tarde serviria de inspiração declarada a expoentes da autoficção mundial e grandes nomes da literatura francesa como Édouard Louis e Didier Eribon.

Self-regard, in the works of Annie Ernaux, is always an excruciatingly painful and exact process. Here, she revisits the peculiar kind of self-fulfillment possible when we examine ourselves in the aftermath of a love affair, and sometimes, even, through the eyes of the lost beloved.

Barely educated and valued since childhood strictly for his labor, Ernaux's father had grown into a hard, practical man who showed his family little affection. Narrating his slow ascent towards material comfort, Ernaux's cold observation reveals the shame that haunted her father throughout his life. She scrutinizes the importance he attributed to manners and language that came so unnaturally to him as he struggled to provide for his family with a grocery store and cafe in rural France.

This extraordinary evocation of a grown daughter’s attachment to her mother - and of both women’s strength and resiliency - recounts Annie’s attempt to first help her mother recover from Alzheimer’s disease and, then, when that proves futile, bear witness to the older woman’s gradual decline and her own experience as a daughter losing a beloved parent. I Remain in Darkness is a new high-water mark for Ernaux, surging with raw emotional power and her sublime ability to use language to apprehend her own life’s particular music.

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep the child. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist and ended up in a hospital emergency ward where she nearly died. In Happening, Ernaux sifts through her memories and her journal entries dating from those days.

A través de recuerdos dejados por los acontecimientos, las palabras y las cosas, Annie Ernaux nos hace sentir el paso de los años, desde la posguerra hasta hoy. Al mismo tiempo, inscribe la existencia en una nueva forma de autobiografía, impersonal y colectiva.

"Ça suffit d'être une vicieuse, une cachottière, une fille poisseuse et lourde vis-à-vis des copines de classe, légères, libres, pures de leur existence... Fallait encore que je me mette à mépriser mes parents. Tous les péchés, tous les vices. Personne ne pense mal de son père ou de sa mère. Il n'y a que moi." Annie Ernaux. Un roman âpre, pulpeux, celui d'une déchirure sociale, par l'autrice de La place. Rebecca Marder interprète avec sensibilité ce premier roman d'Annie Ernaux où sont déjà présents tous les thèmes qu'elle développera par la suite.

Annie Ernaux se esfuerza aquí por reencontrar los diferentes rostros y la vida de su madre, muerta el 7 de abril de 1986, al término de una enfermedad que había destruido su memoria y su integridad intelectual y física. Ella, tan activa, tan abierta al mundo. Búsqueda de la existencia de una mujer, obrera, luego comerciante ansiosa por mantener su nuevo estatus y por aprender. Puesta al día, también, de la evolución y la ambivalencia de los sentimientos de una hija por su madre: amor, odio, ternura, culpabilidad, y, por último, apego visceral a la anciana disminuida.

Ein Sonntag, 1961: Die zwanzigjährige Literaturstudentin Denise wartet – dass ihr Körper die Abtreibung vollzieht, die eine Engelmacherin eingeleitet hat. Nach ihrem Bekenntnis hat der bourgeoise Marc Denise direkt verlassen. Nun denkt sie über ihr bisheriges Leben nach: Zerrissen zwischen dem bescheidenen Elternhaus und den Mitschülerinnen jener besseren Schulen, auf die ihre guten Leistungen sie befördert hatten, fühlt sich Denise von beiden Seiten stets abgestoßen. Vulgär, wütend, voller Ablehnung gegen die bürgerlichen Angepasstheiten, erfindet Annie Ernaux in ihrem Debüt eine völlig neuartige, aufwühlende literarische Form.