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It is a literary and philosophical research that hyperlinks the belief of secularism to the shape of the radical. It bargains a groundbreaking serious starting place either for knowing the circulate towards a mundane tradition and for analyzing the position of the person in smooth moral, political, and non secular contexts.
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Additional resources for A World Abandoned by God: Narrative and Secularism
It doesn’t harmonize with any of the other instruments’’ [304; 376]). To continue this musical comparison, the world of Le rouge can be read as a discordant orchestra; without what Brombert called explicatory transitions, the novel resonates not so much as a symphonic whole as a compendium of various melodies, one on top of the other. The cacophonous composition of scenes, for instance, the introduction of Falcoz and Giraud, the episode of the secret note and Castane`de’s inexplicable opposition to the note’s delivery, the adjudication scene and the visit of Geronimo, the encounter with Don Diego Bustos, introduced and then abandoned, the continuous alterations in sentiment, Julien’s love for Ma- 34 A WORLD ABANDONED BY GOD dame de Reˆnal, then for Mathilde, then, suddenly, once more for Madame de Reˆnal, produce this discordance.
38 In their readings of Le rouge, Shoshana Felman and Michel Crouzet cite the unconscious, much as Bell cites chance, as an obstacle rather than a key to planned understanding. ’’40 Crouzet writes, ‘‘This [the sublime] is the dimension from which I want to study Julien Sorel: this character [personnage], but is he in fact a character, he whom one cannot grasp without interpreting, without mutilating, this non-character [non-caracte`re] endlessly covered and described in contradictions. His only coherence comes perhaps not from a psychological but from a poetic reading, where he could be understood for his effects.
Let us consider the disclosure of Julien’s character that operates in the course of the novel. From the start, the narrator predicates a distinction between the character Julien discloses to the outside world and the character that he in fact is (the distinction described in Bourgeois’ romantic irony). This distinction, underscored in the numerous references to hypocrisy, to role-playing, to the desire to ‘‘rely only on those parts of my character that I’ve thoroughly tested’’ (37; 59), to ‘‘never to say anything except what seemed false to him,’’ suppose a ‘‘him’’ obscured under the charade—a character conscious of a core concealed within.