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|Keywords||Marie Redonnet, Splenid Hôtel, corporeal monologue, diary, female writing|
|Abstract||The narrative structure in Marie Redonnet's novel Splendid Hôtel (Splendid Hotel) is ambiguous. It has the characteristic features of the literary genre, diary (journal intime). In the novel, the Narrator - a woman with indefinite name and age - reports all prominent measures she has undertaken while she was running a hotel, a property she had inherited from her grandmother. She tries to cope with different kinds of pests (flies, mosquitoes, rats, bedbugs, spiders, termites), workers (carpenters, cabinetmakers, thatchers, plumbers) and their bills, and guests (prospectors, geologists, team foremen, engineers). She also copes with two spoiled and irritating sisters: sickly Ada and a would-be actress - Adel. Redonnet makes a skillful use of metaphoric possibilities. Splendid Hôtel remains a female body, and the body seems to be the actual author of monologue. That is why the monologue can be called 'corporeal'.|
|Abstract||In his cubist poetry, Max Jacob follows the declaration of Mallarmé to create poems not with ideas but with words. He was advocating the siginifiant to the detriment of signifié. Thus, for Jacob, a word has become the same thing as the object for painters - an element of the construction. The ordinary and everyday objects enchanted cubist aesthetics. The same process can be observed in Jacob's poetry. The poet considers everyday spoken French as equivalent to the objects in cubist pictures. The discrepancy between spoken and written French has also been shown to be able to bring closer cubist poetry to painting. Among others things, he uses multiple-word games which have the purpose of highlighting the essence of words, just like in cubist pictures where an object suffers all kind of decompositions, syntheses and analyses.|