| Popis: |
The narrow critical and personal approaches to Raymond Queneau's Les Fleurs bleues reflect the metaphorical image that this French author chose to represent his works: the onion. The highly discrete critical studies of this novel typify the "peeling of the layers" that are characteristic of Queneau's literary composition. So multi-faceted is Les Fleurs bleues that it remains on many levels a highly inaccessible, hermetic novel. This study proposes the usage of a holographic analogy from which the seemingly chaotic nature of Les Fleurs bleues can be appreciated as a whole, rather than for the relative quality of its parts. Capital in the usage of a holographic analogy is the return to the source-image of the text. This leads to the discovery of the absent, yet present, dreamer whose cognitive watermark frames and illuminates the text of the novel. This study begins with an overview of the major critical approaches to Les Fleurs bleues. Next, an overview is presented of the literary and mathematical experimentations of the Oulipo group which ultimately lead to the open theorization of the composition of "holopoems." In the novel, the problematic nature of compositional structure, number of main characters, vocabulary, cultural references, language registers, etc., are then isolated and analyzed. Finally, a holographic analogy is applied which synthesizes these elements, concluding that Les Fleurs bleues is an Oulipian prototype of a "holonovel." |
