The autobiographical referent, it is believed, is essentially different from the so-called fictional referent because autobiography relies on the verifiable identity of a unified writing subject "guaranteed" by the proper name.
Victor Hugo's The Rhine (1842) is submitted to what Barthes calls a "lecture plurielle": analyzed under a poetical aspect, this travel account turns out to be the discovery of the magic power of places.
As Rodolphe sorts out the pretexts that lead to his split with Emma, our reading accounts for the economic strata hidden beneath the mechanisms described – for instance the decreasing sentimental value accompanies the sentimenta
In her collection of fantastic "contes" Le Demon de l'absurde (1894), Rachilde explores a means of female self-redefinition whereby the body's fragmentation and the loss of psychic wholeness suggest the painful process the chara
In "Le Message," a single name is suggested, on the one hand for the scandalous vulnerability of discourse to accident, deviation and triangulation, and on the other for the strange power of resonance, the inexhaustible profundi