Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.002.17564
In-Tae Hong
Negative Path, Negative View: Valère Novarina's Theatre of Appeal In Novarina’s work, the word establishes a “lyrical gesture” : it calls. Since the appearance of what is called constitutes the drama itself, we can consider the lyricism as communication between the subject and the object as the process of creation. This creative gesture is doubly negative. First of all, the writer does not exist anymore in the creation process accomplished with the spectators. Secondly, Novarinian fiction is defined by its negative qualities : informal and timeless, it develops a negative view that opens behind the language.
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.001.17563
Lydie Parisse
Samuel Beckett’s negative paths The author evokes some hypotheses on the question of the negative way as a structural data in relation to the process of Beckettian writing (the critical position with respect to language; the practice of dispossession; disfigurement) by taking up elements of his books published by Classiques Garnier in 2019: La parole trouée. Beckett, Tardieu, Novarina, and Les Voies négatives de l’écriture dans le théâtre moderne et contemporain.
贝克特的消极路径作为一种结构数据与贝克特写作过程的关系，作者提出了一些假设(相对于语言的批判地位;剥夺:剥夺的行为;他采用了他在2019年出版的《La parole trou》一书中的元素。贝克特，塔迪厄，诺瓦里娜，和Les Voies的《通讯通讯与通讯通讯》。
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.005.17567
Sébastien Galland
Kim Tschang-Yeul: The Way of Water From the series Event of the Night in 1972 to Neige in 2003, via Gouttes d'eau (1979-2013), the painter Kim Tschang Yeul has developed a poetics of formlessness in which negation, emptiness and absence direct the creative process. The Korean plastic artist offers through the materiality of the work a meditation on the fluence of worlds and forms. The drop of water expresses the precariousness of things, but also evokes a beyond of representation whose richness is as great as its restraint. Water is the metaphor of the void without which the full cannot unfold; it introduces the practice of non-action, which does not consist in doing nothing but in letting the supporting factors at work in the form happen. The creative process abstains from any intentional action, to let the invisible power of the tao act.
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.003.17565
Sergi Castella-Martinez
Fiery Purification and Failure: Antonin Artaud read by Josep Palau i Fabre Antonin Artaud’s « Théâtre de la cruauté » consists in the extreme display of the conflictive nature of the world. The Catalan poet Josep Palau i Fabre highlighted the poetic and negative dimensions of Artaud’s project and insisted on its failure, addressing its impossible objectivation and its similarity with alchemy. The article aims to identify the central elements of Palau’s interpretation, annihilation and debirth, and to assess their inscription in an experimental poetics proposal inspired by alchemy.
安东宁·亚陶的《th tre de la cruau》是对世界冲突本质的极端展示。加泰罗尼亚诗人约瑟夫·帕劳·法布尔(Josep Palau i Fabre)强调了亚陶项目的诗意和消极方面，并坚持认为它是失败的，指出它不可能客观化，与炼金术相似。本文旨在确定帕劳解释的核心要素，湮灭和生育，并评估它们在炼金术启发下的实验性诗学建议中的铭文。
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.006.17568
C. Klettke
The Creative Act of the Writer-Painter Klossowski, who had originally started as a religious seeker of truth in his younger years, will – after his « reversal » – feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicité d'une force "démonique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (Wahnbild).
作家-画家的创作行为克罗索夫斯基在他年轻的时候最初是作为一个宗教真理的寻求者，在他的“逆转”之后，他将感到自己被投入了一个“异教徒”的角色，在对真理的性欲探索中挣扎。即使作为一个变态形而上学的创造者，他仍然是一个存在启示的寻求者，现在在神圣的“对手”的角色中，他被抛回自己身上，倾向于模仿一个宗教神秘主义者。神性被恶魔的低语所取代，Klossowski在他的艺术创作中将其体验为“la complicit d’une force“dassamonique”。戴安娜神话成为艺术创作行为的寓言。性，被理解为创造力量的原始基础，它塑造了独特的符号，幻像，将形而上学转变为“幻像学”(福柯)，其中神性的神秘被暴露为一种错觉(Wahnbild)。
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.008.17570
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Pub Date : 2023-03-31DOI: 10.4467/23538953ce.23.007.17569
Tomasz Swoboda
A will in the drawers. On the sidelines of a new translation of Sodom and Gomorrah Written on the sidelines of a new translation of Sodom and Gomorrah into Polish, the article evokes the problem that the translator had in finding the equivalent of the term inverti. This problem serves as a pretext to speak, on the one hand, of homosexuality in Proust, on the other, of language as the subject of the novel. In this context, the role of Albertine and the etymological tirades of professor Brichot are studied in particular. The author also highlights the testamentary character of this part of the Proustian cycle.
{"title":"Un testament dans les tiroirs. En marge d’une nouvelle traduction de Sodome et Gomorrhe","authors":"Tomasz Swoboda","doi":"10.4467/23538953ce.23.007.17569","DOIUrl":"https://doi.org/10.4467/23538953ce.23.007.17569","url":null,"abstract":"A will in the drawers. On the sidelines of a new translation of Sodom and Gomorrah\u0000\u0000Written on the sidelines of a new translation of Sodom and Gomorrah into Polish, the article evokes the problem that the translator had in finding the equivalent of the term inverti. This problem serves as a pretext to speak, on the one hand, of homosexuality in Proust, on the other, of language as the subject of the novel. In this context, the role of Albertine and the etymological tirades of professor Brichot are studied in particular. The author also highlights the testamentary character of this part of the Proustian cycle.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131727295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/23538953ce.22.020.17159
Tomasz Swoboda
Sodom and Gomorrah: the social end cruelty. A short recap Taking up Antoine Compagnon’s thesis, according to which Sodom and Gomorrah constitutes a privileged place to look at the whole Proustian cycle, the article focuses on the social dimension of the novel, as well as on cruelty. In this context, the image of Jews and servants, and the role of the baron de Charlus are studied in particular. For the author also discusses the vision of love, especially homosexual, to show how Proust’s approach stems from sadism and masochism.
{"title":"Sodome et Gomorrhe: le social et la cruauté. Une petite récapitulation","authors":"Tomasz Swoboda","doi":"10.4467/23538953ce.22.020.17159","DOIUrl":"https://doi.org/10.4467/23538953ce.22.020.17159","url":null,"abstract":"Sodom and Gomorrah: the social end cruelty. A short recap \u0000\u0000Taking up Antoine Compagnon’s thesis, according to which Sodom and Gomorrah constitutes a privileged place to look at the whole Proustian cycle, the article focuses on the social dimension of the novel, as well as on cruelty. In this context, the image of Jews and servants, and the role of the baron de Charlus are studied in particular. For the author also discusses the vision of love, especially homosexual, to show how Proust’s approach stems from sadism and masochism.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134575256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/23538953ce.22.018.17157
Małgorzata Sokołowicz
“I am sadly and bitterly attached to the places I am about to leave”. Autobiogeographical Writings in Carnets du voyage en Égypte by Eugène Fromentin The present paper analyses Carnets du voyage en Égypte by a French painter and writer, Eugène Fromentin (1820-1876), using the concept of autobiogeography. The concept allows to examine how the author of a geographical description may be seen throughout this description and how s/he is influenced by the space. The paper argues that the personality of Fromentin emerges from his travel notes even though they are focused mainly on the description of the Egyptian space and the forms “I” or “we” appear there rarely. Three aspects of Fromentin’s personality may be seen through the analyses of his geographical descriptions of Egypt: the Orientalist painter enthusiastic towards the space; the traveler marked by his previous travels to Algeria who in Egyptian spaces sees Algerian ones; and the man who feels old and tired, refuses to discover the Egyptian space and who just wants to come back home.
“我对即将离开的地方怀着悲伤和痛苦的感情。”本文运用自生地理学的概念，对法国画家兼作家弗朗门坦(1820-1876)的《航行Carnets du voyage en Égypte》进行分析。这一概念允许研究如何在整个描述中看到地理描述的作者，以及他/她如何受到空间的影响。本文认为Fromentin的个性从他的游记中浮现出来，尽管这些游记主要集中在对埃及空间的描述上，“我”或“我们”的形式很少出现。通过分析弗罗门汀对埃及的地理描写，可以看出他的三个性格特征:东方主义画家对空间的热情;以前去过阿尔及利亚的旅行者在埃及的空间里看到了阿尔及利亚的空间;还有那个觉得自己又老又累，拒绝探索埃及空间，只想回家的男人。
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Pub Date : 2022-12-30DOI: 10.4467/23538953ce.22.022.17161
Tomasz Swoboda
{"title":"Jean-Marc Quaranta, Un amour de Proust. Alfred Agostinelli (1888-1914), Paris, Bouquins, 2021, 446 p. Marcel Proust, Le temps perdu, édition établie, présentée et annotée par Jean-Marc Quaranta, Paris, Bouquins, 2021, XLIV + 1040 p.","authors":"Tomasz Swoboda","doi":"10.4467/23538953ce.22.022.17161","DOIUrl":"https://doi.org/10.4467/23538953ce.22.022.17161","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116398624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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