Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0006
M. Hanrahan
This reading of Jacques Roubaud’s Quelque chose noir explores how poetry helps the poet to grieve for his young wife and enables him to go on. The issue for him is how to begin living again, how to put an end to the deathly paralysis that immobilised him following her death. Analysis of the relationship to time in the poems shows that Roubaud is concerned not just to render the passing of time but to make time pass. Particular attention is paid to the structural anomaly of the four poems in the collection that do not have nine verses and the use of hyperbaton in order to argue that Roubaud’s concern is to interrupt the stillness, so that the ending of his wife’s life will not be the final ending.
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0015
MichaelR. Lucey
This chapter makes the case that Proust's Recherche offers a way of perceiving how our pleasure in aesthetic objects (novels, septets) can, when viewed from the appropriate angle, reveal the topography of the social world through which we must all necessarily find our way. How might the experience of a particularly social level of reality be communicated in a novel? The social world can be understood in Bourdieusian terms as a space of immanent tendencies, one in which some people are more likely to follow one kind of social trajectory than another. Proust’s novel shares with Bourdieu’s sociology an interest in how a work of art, being the product of a social world, can on occasion serve as an instrument that reveals something of the immanent structures that contribute to the shape of the social topography around it. It does so by producing differential effects on its public. The Vinteuil Septet is presented in the Recherche as a work that has this kind of differential social effect: by producing different effects on different listeners it becomes a diagnostic instrument revealing the social topography around it.
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0014
A. Finch
The frequency with which Proust uses the word ‘goût’ (taste) in À la recherche du temps perdu contributes to the patterning or ‘form’ of the novel, while raising questions about social ‘form’. Proust plays with the concept of ‘taste’ or ‘tastes’ in such a way as to interweave the bodily, the historical and the imaginary, constructing scenarios that depend on ‘taste’, variously interpreted, and that are – alternately or simultaneously – comic, quasi-anthropological or poignant (for example, those staging gay eroticism); he also creates puns that draw on both oral and aesthetic meanings of taste/s. Throughout the novel, he depicts the relativism of tastes, the battlegrounds on which these are fought out, and the complex relationship between taste and disgust. (Arguably, in some cases the battlegrounds are peculiarly French, given the political importance of ‘taste’ in the national culture.) Characters such as Albertine, Brichot and the ‘low-life’ Jupien all have their – sometimes unexpected – roles in these taste-wars.
普鲁斯特在À la recherche du temps perdu中频繁使用“go t”(品味)这个词有助于小说的模式或“形式”，同时提出了关于社会“形式”的问题。普鲁斯特以这样一种方式玩弄“品味”或“品味”的概念，将身体，历史和想象交织在一起，构建依赖于“品味”的场景，各种解释，并且交替或同时-喜剧，准人类学或辛酸(例如，那些上演同性恋情色);他还创造了双关语，利用口头和美学意义的味道/s。在整部小说中，他描绘了品味的相对主义，这些品味的战场，以及品味与厌恶之间的复杂关系。(可以说，在某些情况下，战场是法国特有的，因为“品味”在国家文化中的政治重要性。)像Albertine、Brichot和“下层”的Jupien都在这些品味战争中扮演着他们有时意想不到的角色。
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0013
C. Britton
Folie, the final part of Marie Chauvet’s trilogy Amour, Colère et Folie (1969), depicts Duvalierist political terror in a small town in Haiti and the futile attempts to resist it by René, the narrator, and his three friends. They are all poets, and René appears to be mad. Ronnie Scharfmann suggests that in this situation of extreme violence the boundaries between madness and sanity become impossible to demarcate, and that René and his friends, in their desperate stance against the Duvalier regime, are heroes. (‘Theorizing Terror: the Discourse of Violence in Marie Chauvet’s Amour Colère Folie’, 1996). Michael Dash, however, sees the text very differently, as parodying the figure of the poet as national hero and portraying René satirically as pathetic and delusional (in The Other America, 1998). But the issue of whether René is mad or not can only be fully explored by examining the language of his narrative in more detail than either Scharfmann or Dash provide. Is his florid, extravagant style meant to be a parody? Is his prolific use of metaphor really in fact metaphorical, or a literal account of his hallucinations? e.g., when he claims to be ‘riding the sun’, is this a self-consciously poetic metaphor or a hallucination? And if the latter, is it parodic? In this chapter I argue that Folie suggests that parody and metaphor are both in some sense incompatible with ‘mad’ discourse, and that therefore the gradual disappearance of these formal features from the text as it progresses provides a way – the only way, in fact – for the reader to chart René’s descent into madness.
{"title":"Metaphor, Parody and Madness","authors":"C. Britton","doi":"10.3828/liverpool/9781789620658.003.0013","DOIUrl":"https://doi.org/10.3828/liverpool/9781789620658.003.0013","url":null,"abstract":"\u0000 Folie, the final part of Marie Chauvet’s trilogy Amour, Colère et Folie (1969), depicts Duvalierist political terror in a small town in Haiti and the futile attempts to resist it by René, the narrator, and his three friends. They are all poets, and René appears to be mad. Ronnie Scharfmann suggests that in this situation of extreme violence the boundaries between madness and sanity become impossible to demarcate, and that René and his friends, in their desperate stance against the Duvalier regime, are heroes. (‘Theorizing Terror: the Discourse of Violence in Marie Chauvet’s Amour Colère Folie’, 1996). Michael Dash, however, sees the text very differently, as parodying the figure of the poet as national hero and portraying René satirically as pathetic and delusional (in The Other America, 1998). But the issue of whether René is mad or not can only be fully explored by examining the language of his narrative in more detail than either Scharfmann or Dash provide. Is his florid, extravagant style meant to be a parody? Is his prolific use of metaphor really in fact metaphorical, or a literal account of his hallucinations? e.g., when he claims to be ‘riding the sun’, is this a self-consciously poetic metaphor or a hallucination? And if the latter, is it parodic? In this chapter I argue that Folie suggests that parody and metaphor are both in some sense incompatible with ‘mad’ discourse, and that therefore the gradual disappearance of these formal features from the text as it progresses provides a way – the only way, in fact – for the reader to chart René’s descent into madness.","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124496744","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 : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0003
A. Jefferson
This chapter explores the role that consideration of form played in debates about the novel when a new generation of novelists came to the fore after the defeat of France in 1940. Reinforced by a widespread sense that the French novel lagged behind its European and American counterparts, the decade of the 1940s saw the emergence of a new ‘pensée romanesque’ triggered by the work of these novelists (Sartre, Duras, Beauvoir, Camus, Blanchot, Queneau, Triolet, Des Forêts, et al) and commented on explicitly by several of them (Blanchot, Queneau, Sartre) as well as by authors of critical essays, such as Claude-Edmonde Magny and Jean Pouillon. In their various ways, these writings testify to a perception that the nature of human experience had changed and that this change requires a transformation of the forms and techniques of fiction. This search for forms adequate to their object is accompanied — well before the emergence of the nouveau roman in the 1950s — by an equally strong sense that the novel needs to develop clearer generic definition and that this will necessarily entail a greater engagement with questions of its form, technique and language.
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0004
D. Knight
This essay traces the interconnections between the rhetoric and actuality of Barthes’s proclaimed inability to choose between the polarised forms of the Album and the Livre, the fragmentary ‘note’ of the Diary and the all-embracing Novel. Barthes’s public rehearsal of this indecision, which takes place in the pedagogical context of his lecture course La Préparation du roman, is structured as the theatrical ‘deliberation’ of the writer faced with the obligation to choose. Yet Barthes underlines the appeal of thinking in terms of simplified alternatives, and leaves the formal decision hanging in the balance. I read this artificially constructed deliberation in conjunction with his analysis of Saint Ignatius’s Exercices spirituels, where a new language through which to solicit God’s will is elaborated through the theatrical preparation of an ‘election’. The symbiotic relation that Barthes identifies between Ignatius’s pedagogical Exercices and the personal Journal spirituel – in which Ignatius charts the progress of a practical election – takes me to the relation between Barthes’s Préparation du roman and his own private diaries. His 1979 essay ‘Délibération’ combines a general question (can a Diary be Literature?) with a practical issue to be resolved: should Barthes keep a diary with a view to publication?
本文追溯了巴特宣称无法在《画册》和《Livre》的两极分化形式、《日记》的零碎“笔记”和包罗万象的《小说》之间做出选择的修辞与现实之间的相互联系。巴特对这种优柔优断的公开排练，发生在他的讲座课程La pr paration du roman的教学背景中，被构建为作家面对选择义务的戏剧“深思熟虑”。然而，巴特强调了从简化替代方案的角度思考的吸引力，并让正式的决定悬而未决。我将这种人为构建的思考与他对圣依纳爵的《灵操》的分析结合在一起，在《灵操》中，一种新的语言通过戏剧准备来征求上帝的意志。巴特认为伊格那修的教学实践和个人日记精神之间的共生关系——伊格那修在日记中描绘了实际选举的进程——把我带到了巴特的《pr paration du roman》和他自己的私人日记之间的关系。他1979年的一篇文章《d)》将一个普遍的问题(日记可以成为文学吗?)和一个需要解决的实际问题结合在一起:巴特应该为了出版而写日记吗?
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0010
P. Crowley
With the publication of his novel Fraudeur in 2015, Eugène Savitzkaya appears to return us to his first novel Mentir published in 1977. In the intervening years Minuit has published nine novels by Savitzkaya and each of them has put the form of the novel in play through a variety of devices ranging from paratextual commentary on the generic status of the novel to the integration of autobiographical materials. The focus of this chapter will be on the figure of the mother as inscribed within Mentir and Fraudeur and how she is at once both a biographème that signals the author’s past and referential horizon yet also a source of fiction that exceeds the autobiographical even as it draws upon it. In reading both these novels I want to explore the formal relationship between the novel and auto/biography in terms of fiction.
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0016
Emily McLaughlin
This chapter uses Ponge’s ‘Le Cycle des saisons’ and Jaccottet’s ‘Les Pivoines’ as two useful models for understanding how late-twentieth-century French poets give voice to plant-life. It explores how Ponge’s delight in the dynamics of language and Jaccottet’s wariness of its distractions have come to define two different approaches to the organic world and, more generally, two different strands of the French poetic tradition: Ponge’s linguistically experimental texts approach plants by cultivating the ‘efflorescence’ of language; Jaccottet’s texts use a rhetoric of hesitation to gesture towards plants’ inherent excess or mystery. Whilst these two approaches to the natural world are now familiar models in late-twentieth-century French poetics, this paper examines how the poems of Eugène Guillevic adopt an altogether more radical, weird, and even productive approach to plant-life. Investigating the speculative nature of Guillevic’s poetics, this chapter explores how he is not content simply to question the subject’s perceptions of and access to physical existence, as Ponge and Jaccottet do, but continually speculates about what life might be like for other forms of existence, in particular, plants. This chapter explores how Guillevic’s poetry makes the presences of the physical world seem more alive to us, more worthy of respect and attention, but also makes us more curious and more daring in how we think about our own sentient and cognitive faculties.
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0017
Patrick O’Donovan
The chapter alternates between a reading of Certeau’s L’Invention du quotidien centred on the practice and the issue of the image, and a wider theoretical reflection on the image’s agency vis-à-vis analytical categories through which we engage with the real of modernity. The image possesses agency in that it brings about a ‘rectification’ of prevailing representations of the everyday, by means of a holistic and therapeutic rationale that is distinctive. The mobility of forms that is the basis of Certeau’s vindication of the image is compared with the work of several more recent anthropologists, namely Tim Ingold, Philippe Descola and Eduardo Kohn, in whose writings comparable figures are subsumed into what can be termed an anthropology of sustainability.
这一章在阅读塞托的《每日发明》(L’invention du quotidien)之间交替进行，以实践和图像问题为中心，以及对图像代理的更广泛的理论反思，通过-à-vis分析类别，我们与现代性的现实接触。图像具有代理作用，因为它通过独特的整体和治疗原理，对日常生活的普遍表现进行了“纠正”。形式的流动性是Certeau为形象辩护的基础，与最近几位人类学家的工作进行了比较，即Tim Ingold, Philippe Descola和Eduardo Kohn，在他们的著作中，可比较的数字被归入可被称为可持续性人类学的内容。
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Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0005
J. Gratton
This chapter charts the process whereby the text of Barthes’s La Chambre claire sidelines form as a critical concern applicable to photography. An overview of the value system he brings to photography (quite unlike the one he applies to the Novel in the lectures he was delivering contemporaneously) shows that the priority accorded to the referent over the photo as such, to authentication (“ça-a-été”) over representation, and to the disturbing punctum over the disturbed studium, necessarily entails the priority of force over form, not least because each dominant term in these pairs undermines the value of the photograph as something outwardly visual and concretely visible. Force, or intensity, can be tracked not just in the photograph, but also in Barthes’s emotions, whether as beholder of the photo, son in mourning, or essayist repudiating critical sterility, proposing instead to construct a personal phenomenology incorporating the force of affect. A short conclusion via the ideas of René Thom on salient and pregnant forms will suggest a way of bridging the gap between form and force.
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