ABSTRACT
This chapter aims to demonstrate how Duras's works abandon the belief that constructing other minds is always an authentic and decent form of human interaction at least in narrative fiction. TyttiRantanen also discuss briefly how Duras elaborated this rejection of coherent communication in her India Cycle films by separating sound from image. Jose Garcia Angel Landa argues that narrative may provoke even claustrophobic feelings in a mind longing for the openness of unplotted reality, free from any 'manipulative and vicious' narrative pattern. Thus, the resistance to narration is a battle for space and certain limits for privacy. As Sirkka Knuuttila points out, Duras's work can be positioned in the continuum of the antipsychiatry movement of the 1960s and the 1970s, as the author revises the age-old imagery of madwomen, letting them 'flee from all control of reason' in a way that appears to be a 'strong emancipatory vehicle'.
