12.07.2015 Views

Examen corrigé Université de Montréal Thèse numérique Papyrus ...

Examen corrigé Université de Montréal Thèse numérique Papyrus ...

Examen corrigé Université de Montréal Thèse numérique Papyrus ...

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

122“with his own ghostly hand, the obscurely seen, but majestic, figure had imparted to me thescarlet symbol and the little roll of explanatory manuscript. With his own ghostly voice he ha<strong>de</strong>xhorted me on the sacred consi<strong>de</strong>ration of my filial duty and reverence toward him (31).Performative as it is, the voice of the father is necessary to build and authorize the historical andauthorial bridge between the letters of the past and the interpretive text of the presentwhich isto say, the validating voice of the ghost is required to document or write down the reading of the<strong>de</strong>bris of the letters. What is lost is the originan origin the ghostly voice tries to restore. Barthespoints out that:It is impossible to attribute an origin, a point of view to the statement. Now, thisimpossibility is one of the ways in which the plural nature of a text can be appreciated.The more in<strong>de</strong>terminate the origin of the statement, the more plural the text … it mayhappen that in the classic text, haunted by the appropriation of speech, the voice gets lost,as though it had leaked out through a hole in the discourse. The best way to conceive theclassical plural is to listen to the text as an iri<strong>de</strong>scent exchange carried on by multiplevoices, on different wavelengths and subject from time to time to a sud<strong>de</strong>n “fading,”leaving a gap which enables the utterance to shift from one point to another, withoutwarning. (S/Z 41-42; original italics)Barthes’ un<strong>de</strong>rstanding of the primal scene is ma<strong>de</strong> clear through his claim that the primal sceneis initiated by the “fading” of the voicesa “fading” that refers to an unrepresentable past ororigin. Applying Barthes’ mo<strong>de</strong>l to Hawthorne’s narrative, I contend that “The Custom-House”places the rea<strong>de</strong>r in an ambivalent position in his connection with the voice of the <strong>de</strong>ada voicethat becomes, much like “The Minister’s Black Veil”, an obstacle that hi<strong>de</strong>s <strong>de</strong>ficiency or lack.The voice is no longer a presence; it drifts into the realm of the <strong>de</strong>ad. Since the voice is only the

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!