Death:Death, Cause unspecified 18 February 2008 (Age 85 in Caen, France) chart Placidus Equal_H.
French novelist, screenwriter and director. First trained as an agricultural engineer, he turned to writing and became a leading figure in the new school of French letters. He presents the concept that the physical world is the only true reality and that perception must come through the physical experience and not through consciousness. He is considered the originator of the French "new novel" in which the story is subordinated to structure and the significance of external reality is stressed over psychological motivation or plot development. Alain Robbe-Grillet was born of immigrant parents from the Jura. His father, Gaston Robbe-Grillet, was an engineer. His mother was Yvonne (Canu) Robbe-Grillet. He attended Lycées de Brest, Lycées Buffon and St. Louis. During World War II he was deported to work in a German tank factory. In 1944 he received a diploma from the National Institute of Agronomy. From 1945 to 1951 he studied at the National Statistical Institute in Paris and the Institute of Colonial Fruits and Crops. He has worked as an agronomist, and since 1955 as a literary consultant at a publishing house, Les Editions de Minuit, which publishes his own books as well as those of other several others associated with the "nouveau roman." "The Erasers," 1953, was his first novel, featuring an ingenious transposition of the Oedipus myth into the framework of a modern detective story. Critical attention has focused particularly on Grillet’s obsessively detailed and mathematically precise description of things. "The Voyeur," 1955, illustrates his preoccupation with psychosadism. "Jealousy," 1957, is the most famous of this genre from the 1950s. "La Maison de Rendez-vous," 1965, used several contradictory points of view. Robbe-Grillet’s emphasis on visuals led him to writing and directing films in the 1960s. The most famous dramatization of his literary theories is his screenplay for "Last Year at Mariebad," 1962. In 1984 he published "Ghosts in the Mirror," the first of an autobiographical trilogy, "Romanesques." His later works reflect the belief of Claude Simon that "everything is autobiographical, even the imaginary." The writer/film maker died on February 18, 2008 at age 85 in a Caen, France hospital. He had been hospitalized a few days earlier for a cardiac problem. Link to Wikipedia biography Read less
Alain Robbe-Grillet, born on August 18, 1922, in Brest, France, was a prominent novelist, screenwriter, filmmaker, and member of the French literary group known as the nouveau roman (new novel). He passed away on February 18, 2008.
Robbe-Grillet challenged traditional narrative conventions, emphasizing precise descriptions of objects and environments over character psychology and plot. His works often create a sense of unease and ambiguity, leaving the reader to interpret the fragmented narratives. Some of his best-known novels include Les Gommes (The Erasers, 1953), Le Voyeur (The Voyeur, 1955), La Jalousie (Jealousy, 1957), and Dans le labyrinthe (In the Labyrinth, 1959). These novels established him as a key figure in the nouveau roman movement.
Robbe-Grillet also had a significant career in filmmaking, often adapting his own literary works to the screen. He wrote and directed films like L'Immortelle (The Immortal One, 1963), Trans-Europ-Express (1966), and L'Homme qui ment (The Man Who Lies, 1968). His films, like his novels, are characterized by their experimental nature, focusing on visual imagery and fragmented narratives, often exploring themes of desire, obsession, and perception.
Robbe-Grillet continued to write and publish throughout his life. Later works include Topologie d'une cité fantôme (Topology of a Phantom City, 1976), Souvenirs du triangle d'or (Recollections of the Golden Triangle, 1978), and Djinn (1981). His influence on literature and film is undeniable, with his experimental techniques and focus on objectivity impacting generations of artists. Unfortunately, information regarding his social media presence and specific projects in his later years is limited in readily available sources. Academic research and specialized archives might provide further insights.
Although social media was not prevalent during much of his career, it's possible there are online communities or academic discussions dedicated to his work where more information can be found.
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