Robbe-Grillet's View of Women's Sexuality

ABSTRACT.The mainstay of the paper is formed by an analysis of the multi-tiered structuring ambiguity of Robbe-Grillet's novels, the nature of Robbe-Grillet's filmic works, the role of the symbol in Robbe-Grillet, and the norms of naturalistic modes of narration. The results of the current study converge with prior research on the blatant victimization and suffering of women in Robbe-Grillet's work, the viewer's capacity to perceive different realities and other truths, the limitations and confusions of our human sensory perceptions, and phenomenological explanations of sexuality in Robbe-Grillet's work.Keywords: Robbe-Grillet, female sexuality, language, film, novel1. IntroductionScholarly research reveals strong correlations between the nature and function of the mythological elements in Robbe-Grillet's work, discussions of sexuality in Robbe-Grillet's films or novel, the economy of Robbe-Grillet's prose, and the metaphorical processes of Robbe-Grillet's language. This paper aims to analyze and discuss the notion of blood and female sexuality in Robbe-Grillet's work, the singularity of Robbe-Grillet's novels, character and reader consciousness in Robbe-Grillet, and male-female relationships in Robbe-Grillet's art. The theory that I shall seek to elaborate here puts considerable emphasis on Robbe-Grillet's phantasy of the repression of the female body of the text, his depiction of sexuality, his use of cultural stereotyping to subvert western culture, and his inclusion of scenes of sexual violence in his films and novels.2. The Metaphorical Processes of Robbe-Grillet's LanguageAccording to Fragola and Smith, Robbe-Grillet's films are intimately related to their cultural milieu (traditional filmic realism and narrative are challenged). Conventional realism has never served as a test of worth for RobbeGrillet. Robbe-Grillet's fiction is a mirror reflecting back upon the narrative itself, exposing and dissolving the arbitrary conventions of narration. RobbeGrillet requires that his reader share in creating the work, and is a visionary who seeks to discover unfamiliar ways of seeing.It is worth noting that Robbe-Grillet's novels and films reject the use of the narrative conventions1 that the public is accustomed to the conventional insistence on immediate reality that controls and thwarts creative energy must be exposed and subverted). Fragola and Smith argue that the material Robbe-Grillet uses to organize the narratives of films is essentially ideological, incorporating fragments of discourse that contemporary society attempts to impose. The nineteenth-century realistic fiction's language and structure reflect an arbitrary view of the world. Nothing exists outside the world of images nothing happens prior to the first images on the screen). The actors should recite the text exactly as it is written, and the viewer must be an active participant in the work. Film technique is like a musical score containing frequent reprises with variations (film belongs to plastic art).Fragola and Smith hold that critics interpreted Trans-EuropExpress as an example of the difficulties of the creative process (anyway, at a certain point the character in the story acts independently of the prescribed actions). This film within a film is rich in ambiguities, innuendo, and contradictions. The increased depiction of sexual violence towards women engenders negative reaction. The scenes of rape and bondage are so highly stylized as to render them unreal. The depictions are to be thought of as a means of undermining male-dominated narratives that depict violence against them. In The Man Who Lies, Robbe-Grillet manipulates our perceptions of reality through montage (the putative narrator is an actor who seeks meaning for his life). An actor portrays fictional characters, and he lies, whereas the essence of good acting is to make these lies convincing (the actor tells many stories with numerous variants). …