%0 Journal Article
%T Le joueur en crise(s) : instant et r¨¦p¨¦tition, n¨¦ant et ¨¦ternit¨¦ The Gambler in Crisis: Instant and Repetition, Nothingness and Eternity. Dostoyevsky and Zweig
%A Natalia Leclerc
%J Temporalit¨¦s
%D 2011
%I Laboratoire Printemps
%X Face ¨¤ la roulette, le joueur vit une crise, ou plut t, deux types de crise diff¨¦rents : celle qui le fait basculer dans le jeu pathologique, crise unique et fondamentale de son existence, et celle, r¨¦p¨¦titive, qu¡¯il subit ¨¤ chaque tour de roulette. Dans les deux cas, la crise, de nature dialectique, est caract¨¦ris¨¦e par son r¨¦gime temporel, celui de l¡¯instantan¨¦it¨¦. Dosto evski, dans Le Joueur, et Zweig, dans Vingt-quatre heures de la vie d¡¯une femme, mettent en sc¨¨ne ces crises, par le biais d¡¯un ensemble de personnages qui en repr¨¦sentent les diff¨¦rents aspects. Le roman de Zweig pr¨¦sente de nombreux ¨¦chos avec celui de Dosto evski, qu¡¯il lit et commente.Le jeu n¡¯est jamais pr¨¦sent¨¦ comme un simple divertissement, mais appara t comme une pratique ordalique : toute l¡¯existence du sujet est investie dans l¡¯instant critique. Pourtant, ce n¡¯est pas n¨¦cessairement la mort qui guette le joueur. Le risque le plus important se situe dans un n¨¦ant fait de l¡¯¨¦ternit¨¦ de la r¨¦p¨¦tition. Pour le joueur pathologique, la crise, tragique, ne conna t pas d¡¯issue positive : elle est associ¨¦e ¨¤ la privation de libert¨¦ et ¨¤ une temporalit¨¦ m¨¦canique et/ou animale. When confronted with the roulette, the gambler goes through a moment of crisis. Actually, he goes through two different types of crises: the one that leads him to compulsive gambling and represents the unique and founding crisis of his existence; the other, of a repetitive nature, is the one he goes through every time the roulette turns. In both cases, the crisis, which is dialectical in nature, is characterised by its temporal nature ¨C instantaneity. Dostoyevsky, in The Gambler, and Zweig, in Twenty-Four Hours in the Life of a Woman, stage these crises through a set of characters who represent their different aspects. Furthermore, we can find parallels between both novels, as Zweig¡¯s novel echoes Dostoyevsky¡¯s work, whom he reads and comments upon.Gambling is never simply a form of entertainment. It is always presented as a form of ordeal: the subject¡¯s entire existence is invested in the decisive moment. Nonetheless, the gamble does not necessarily end with death. The greatest risk that the gambler runs is that of coming upon the void that results from an eternity of repetition. For the compulsive gambler, the crisis, of a tragic nature, cannot lead to a positive outcome and is linked to the absence of freedom and to a mechanical and/or animal form of temporality.
%K crisis
%K gambling
%K ordeal
%K critical instant
%K repetition
%K eternity
%K tragic
%K crise
%K jeu de hasard
%K ordalie
%K instant critique
%K r¨¦p¨¦tition
%K ¨¦ternit¨¦
%K tragique
%U http://temporalites.revues.org/1572