Éclats de Médée

In Bordeaux in November of 2010, Pascal Quignard and Carlotta Ikeda created the play Medea, on the stage of the Théâtre Molière. There the writer found, once again, the haunting figure of the infuriated mother. For years, throughout texts, the ancient Medea and the reading memories associated with her have never ceased to return, for the murderous mother, prey to the furor of vengeance, anger or hatred, never ceases to haunt Pascal Quignard's work in ways that are to varying degrees apparent—for the frenzied lover at times comes forward masked, which is an encouragement to reread the ancient myth otherwise. How can the practice of the fragment, which we will here redefine as a shard, lead us to read this enigma? Is there not a profound solidarity between this pattern and the fragmentary imperative? Is Medea not, also and most importantly, the privileged conduit of filial speech? Additionally, if Medea never ceases returning in fragmentary form, a dissolving force, a terror of disconnection, the shard here becomes a principle of creation and suture. The work of Pascal Quignard, more generally, doubtless functions in the same way, inasmuch as it must continuously be thought in its solidarity with totality

Art · Art history · Hatred · Literature · Mythology · Pascal (unit · Solidarity · Computer Science · French Literature and Critical Theory · French Literature and Criticism · History · Philosophy · Psychoanalysis and Psychopathology Research

• Qu’est-ce qu’un dispositif?

  Sverre Raffnsøe, Canadian Society For Continental Philosophy•Symposium•2008

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• Mythes de l'Éros baroque

  Gisele Mathieu-Castellani•Mythes de l'Eros baroque•1981

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