All the Worlds Mornings

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All the Worlds Mornings
All the Mornings of the World The Novel vs. the
Film
All the Mornings of the World

• Novel vs. Film

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All the Worlds Mornings
All the Mornings of the World

• Novel vs. Film

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What Quignard actually knew

• Sainte-Colombe taught Jean Rousseau, who reports
  he added the seventh string to the viol.
• was a compatriot of Michel Colichon, a famous
  instrument maker.
• gave concerts with his two daughters.
• wrote beautiful haunting compositions 67 suites
  for two viols and 180 solos.
• practiced in a garden cabin

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• would play unknowingly for Marais, who listened
  under the cabin after his lessons with S-C were
  discontinued.
• had a son Francois, who composed Tombeau pour
  Mr. De Sainte-Colombe le pere
• was most likely a protestant, which would have
  prevented his working in the kings court and
  forced him out of the country after 1685
• died in unknown circumstances on an unknown date

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Historical Elements
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Jansenism

• Associated with Port Royal Cistercian Convent and
  the Arnaud family
• Port Royal pupils included Racine, Arnuad family
  and Pascal
• Emphasized original sin, human depravity, the
  necessity of divine grace and predestination
• High level of moral rectitude and religious piety
• Influenced by Augustines philosophy

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Society of Port Royal

• These were men whom the love of retirement had
  united to cultivate literature, in the midst of
  solitude, of peace, and of piety. They formed a
  society of learned men, of fine taste and sound
  philosophy. Alike occupied on sacred, as well as
  on profane writers, they edified, while they
  enlightened the world. Their writings fixed the
  French language. The example of these solitaries
  show how retirement is favourable to penetrate
  into the sanctuary of the Muses and that by
  meditating in silence on the oracles of taste, in
  imitating we may equal them.

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Blaise Pascal

• We arrive at truth, not by reason only, but also
  by the heart.
• I feel engulfed in the infinite immensity of
  spaces whereof I know nothing, and which know
  nothing of me, I am terrified The eternal silence
  of these infinite spaces alarms me.
• However vast a man's spiritual resources, he is
  capable of but one great passion.
• All man's troubles come from not knowing how to
  sit still in one room.

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Lubin Baugin 1610-1663

• Master of the still-life
• Two distinct periods of workearlier, still life
  (France) later, religious portraits (Italy)
• Lived outside of Paris
• He was openly involved in republishing the books
  of the empirical doctor, David Laigneau, against
  bloodletting. A Protestant, Laigneau had also
  written a treatise on alchemy. Could an interest
  in empiricism and alchemy exist in harmony with
  orthodox piety in 1660? In any case, it was the
  sign of a free spirit.

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St. Jerome--Bible Translator
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Seymour Chatman

• What Novels can do that Films cant (and vice
  versa)

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Narratives vs. Images

• Narratives take time to read, while images are
  taken in in a glance
• Narrative, more than an image, invokes a virtual,
  as well as actual, time story time (the
  imagined movement in time) vs. discourse time
  (the actual movement of words across the page)
• The time of a narrative can be ordered internally
  in a manner an image cannot.
• But, keep in mind the film combines images with
  narrative structure. Film images move. Storied
  time (movement through time) pulses in
  counterpoint to the synchronic presentation of
  scenes, of an image.

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Complications in All the Mornings

• Because music is involved, the temporal structure
  becomes more complicated especially in the film
• Two virtual timesthe time of the story and the
  time of the musical pieces are fit into the time
  of the film discourse.

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Description in Narrative

• Interrupts and freezes the time structure of the
  narrative and invokes a tableau vivant (a living
  picture).
• Only a limited amount of details can be invoked
  in the tableau
• The details are invoked in a particular order.
• An implied narrator easily asserts details as
  existing e.g. the tiny cart, a mulberry
  tree.

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Setting a Scene in Cinema

• Occurs simultaneously as the action unfolds
• Numerous details must be added
• The details can be structured visually but are
  more synchronic than diachronic
• Assertions of an implied narrator cannot be
  easily included in the setting up of a scene.
• Action still occurs even when the director has a
  scene stand still.

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• Then he shoved the door of his hut full open,
  and stood up trembling. He bowed ceremoniously
  as Monsieur Marais entered. At first they could
  not say anything. Monsieur de Sainte Colombe sat
  on his stool and said to Monsieur Marais
• Sit down!
• Monsieur Marais, still shrouded in his
  sheepskin, sat down. The two of them just sat
  there, awkward, embarrassed.

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The two of them just sat there, awkward,
embarrassed.
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• They leftthe snow had stopped falling but Now
  reached to the tops of their boots. Night had
  fallen with no moon and no stars. A man passed
  by with a torch he was protecting with his hand,
  and they followed him. A few flakes were still
  drifting down.
• Monsieur de Sainte Colombe took his pupils arm
  and stopped him in front of them a little boy
  was pissing, making a hole in the snow. The
  sound of the hot urine mingled with the noise of
  snow crystals slowly melting. (p. 48).

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• Then they were standing beside the stove in
  Monsieur Bagins studio. The painter was busy
  painting a still-life on a table a half-filled
  glass of red wine, a lute on its side, an open
  music score, a black velvet purse, some playing
  cards with the knave of clubs uppermost, a
  chessboard on which were arranged a vase holding
  three carnations and an octagonal mirror learning
  against the wall.
• (pp. 44-45)

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Then they were standing beside the stove in
Monsieur Bagins studio.
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• They were in the garden she urged him to creep
  under the wooden hut built in the low branches of
  the ancient mulberry treeOne day it so happened
  that a thunderstorm brokehe sneezed violently
  several times. Monsieur de Sainte Colombe rushed
  out into the rain, caught him with his chin on
  his knees crouching on the wet earth, and started
  to kick him and call for his menservants. He
  managed to reach his feet and legs with his kicks
  and to make him get out, seized him by the collar
  and asked the first manservant to arrive to bring
  him the whip. (p. 56)

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• Whereas in novels, movements and hence events
  are at best constructions imaged by the reader
  out of words, that is, abstract symbols which are
  different from them in kind, the movements on the
  screen are so iconic, so like the real life
  movements they imitate, that the illusion of time
  passage simply cannot be divorced from them.

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• Once they got a real fright. They were in the
  house because Monsieur Marais was hoping to
  overhear the airs Madeleine had told him about by
  creeping under the branches of the mulberry tree.
  She was standing in front of him in the living
  room. Marin was in a chair. She had drawn near.
  She thrust her breasts forward, close to his
  face. She undid the top of her dress, drew aside
  her undergarment. Her breasts leaped out, Marin
  Marais could only bury his face in them. (p. 65).

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Mikhail Mikhailovich Bahktin

• Discourse in the Novel

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Dialogical Discourse

• A living utterance
• A particular historical moment
• A socially specific environment
• Dialogical threads woven about a social object
• The utterance stems from the dialogue and enters
  back into itparticipatory rather than theoretical

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Heteroglossia

• To use language at all is to speak in many
  languages
• A social stratification of language(s)literary
  genres, professional usages, religious
  discourses, regional idioms etc.
• Every speaker of language is inhabited by these
  multiple forms of language in juxtaposition to
  one another.

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Internal Dialogization

• Rather than looking for a pure and coherent
  image, form or metaphor, the novelist/poet
  registers in his or her discourse the
  heteroglossia of language
• To understand any utterance, one must hear it
  against the background of language and the
  multiplicity of concrete utterances language
  allows

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From All the Mornings of the World
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• MonsieurI have received the command to invite
  you to play at court. His Majesty has expressed a
  desire to hear you play, and, should your playing
  meet with his approval, he would welcome you
  among the musicians of his Privy Chamber.
• MonsieurI have bounded my life by these planks
  of grey wood set in a mulberry tree by the
  sounds of a viols seven strings by my two
  daughters needs. My friends are my memories. My
  court are those willows there, the running water,
  the chub, the gudgeon and the elder blossoms.
  You may inform his Majesty that his palace is no
  place for a wild man of the woods who was
  presented to the late king his father these
  thirty-five years ago.

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From The Unbearable Lightness of Being

• By Milan Kundera

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• Cemetery
• Cemeteries in Bohemia are like gardens. The
  graves are covered with grass and colorful
  flowers. Modest tombstones are lost in the
  greenery. When the sun goes down, the cemetery
  sparkles with tiny candles. It looks as though
  the dead are dancing at a childrens ball. Yes,
  a childrens ball, because the dead are as
  innocent as children. No matter how brutal life
  becomes, peace always reigns in the cemetery.
  Even in wartime, in Hitlers time, in Stalins
  time, through all occupations. When she felt
  low, she would get into the car, leave Prague far
  behind, and walk through one or another of the
  country cemeteries she loved so well.
• For Franz a cemetery was an ugly dump of stones
  and bones.

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From Ceremony

• By Leslie Marmon Silko

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• Do something for me, the way you did for others
  who came back. Because what if I didnt know I
  killed one?
• But the old man shook his head slowly and made a
  low humming sound in his throat. In the old way
  of warfare, you couldnt kill another human being
  in battle without knowing it, without seeing the
  result, because even a wounded deer that got up
  and ran again left great clots of lung blood or
  spilled guts on the ground. That way the hunter
  knew it would die. Human beings were no
  different. But the old man would not have
  believed white warfarekilling across great
  distances without knowing who or how many had
  died. It was all too alien to comprehend, the
  mortars and the big guns and even if he could
  have taken the old man to see the target areas,
  even if he could have led him through the fallen
  jungle trees and muddy craters of torn earth to
  show him the dead, the old man would not have
  believed anything so monstrous. Kuoosh would
  have looked at the dismembered corpses and the
  atamic heat-flash outlines, where human bodies
  had evaporated and the old man would have said
  something close and terrible had killed these
  people. Not even oldtime witches killed like
  that.

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• The way
• I hear iit
• Was
• In the old days
• Long time ago
• They had this
• Scalp Society
• For warriors
• Who killed
• Or touched
• Dead enemies.
• They had things
• They must do
• Otherwise
• Kooko would haunt their dreams
• With her great fangs and
• Everything would be endangered.
• Maybe the rain wouldnt come