阿兰·罗伯-格里耶

阿兰·罗伯-格里耶（法语：Alain Robbe-Grillet，1922年8月18日—2008年2月18日），又译阿兰·霍格里耶。法国作家和电影制片人，新小说代表人物之一。

生平

阿兰·罗伯-格里耶出生于法国西部城市布勒斯特，1944年毕业于法国国立农艺学院，专业研究方向是香蕉病虫害。其后，他长期工作于马提尼克。1953年，他在午夜出版社出版了首部小说《橡皮》（Les Gommes），此后成为全职作家。1961年，他编写的电影剧本《去年在马里昂巴》由法国新浪潮导演阿伦·雷乃的摄制成电影，并获得该年威尼斯电影节金狮奖。

从1960年代起，格里耶本人也曾创作并导演过数部电影，有《欧洲快车》、《撒谎的人》、《欲念浮动》、《使人疯狂的噪音》等，他于1963年单独摄制的影片《不朽的女人》荣获路易·德吕克电影奖。2006年的《格拉迪瓦找您》（Gradiva）是他生前拍摄的最后一部电影。

Alain Robbe-Grillet (French: [alɛ̃ ʁɔb ɡʁijɛ]; 18 August 1922 – 18 February 2008) was a French writer and filmmaker. He was one of the figures most associated with the Nouveau Roman (lit. 'new novel') trend of the 1960s, along with Nathalie Sarraute, Michel Butor and Claude Simon. Robbe-Grillet was elected a member of the Académie française on 25 March 2004, succeeding Maurice Rheims at seat No. 32. He married Catherine Robbe-Grillet (née Rstakian).

Biography

Alain Robbe-Grillet was born in Brest (Finistère, France) to a family of engineers and scientists. He was trained as an agricultural engineer. During the years 1943 and 1944, he participated in compulsory labor in Nuremberg, where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday. In between the very rudimentary training he was given to operate the machinery, he had free time to go to the theatre and the opera.

In 1945, he completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guiana, Guadeloupe, and Morocco. In 1960, he was a signatory to the Manifesto of the 121 in support of the Algerian struggle for independence. He died in 2008 in Caen after succumbing to heart problems.

Work

Robbe-Grillet's first published novel was The Erasers (Les Gommes), which was issued by Les Éditions de Minuit in 1953. After that, he dedicated himself full-time to his new occupation. His early work was praised by eminent critics, such as Roland Barthes and Maurice Blanchot. Around the time of his second novel, he became a literary advisor for Les Éditions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961, he worked with Alain Resnais, writing the script for Last Year at Marienbad (L'Année dernière à Marienbad), and he subsequently wrote and directed his own films.

In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previously published theoretical writings concerning the novel. From 1966 to 1968, he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l'expansion de la langue française). In addition, Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the Université Libre de Bruxelles from 1980 to 1988. From 1971 to 1995, Robbe-Grillet was a professor at New York University, lecturing on his own novels.

Although Robbe-Grillet was elected to the Académie française in 2004, in his eighties, he was never formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered outdated.

Style

His writing style has been described as "realist" or "phenomenological" (in the Husserlian sense) or "a theory of pure surface". Methodical, geometric, and often repetitive descriptions of objects replace (though often reveal) the psychology and interiority of the character. The reader must slowly piece together the story and the emotional experience of jealousy, for example, in the repetition of descriptions, the attention to odd details, and the breaks in repetitions, a method that resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured, and the resulting novel resembles the literary equivalent of a cubist painting. Yet his work is ultimately characterized by its ability to mean many things to many different people.