Abstract:

The XX. From the second half of the century, the canonical structure of Western literature, especially the classical Western novel, is broken, and subtypes appear that highlight the transition between the species, and sometimes the romantic codes go into the interior and are destroyed. Jean Echenoz, who brings a different perspective to the modern French novel by giving examples of these newly formed melez species, gives a dynamicity to the story by changing the novel contracts. It creates a more cinematographic narrative structure by reinterpreting the basic concepts of the observed writer's narrative, which has remained substantially faithful to the characteristics of the traditional novel. In a year (Un an) and I go (Je m'en vais) novels, the classic French novel's stagnant, localized and detailed spatial descriptions place a narrative where the spatial is devingen, constantly changing and calling for irradiation. The fact that the novel characters are constantly traveling, on the one hand, creates a mobility in the spatial sense, while on the other hand, weakens the hero's sense of belonging. In this study, the devingen space and devingen character relationships, the emptiness, uncertainty, the impossibility of rootsing and the impacificity subjects that do not allow any connection to be recognized will be studied in the light of the theory of the creation and the theory of the impacificity (non-lieu).

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