Pub Date : 2020-05-07DOI: 10.3828/liverpool/9781789620658.003.0002
P. Read
Between 1935 and 1939, Picasso wrote nearly 350 prose poems, mainly in French, revealing, according to André Breton, his ‘besoin d’expression totale’, driven, according to Tristan Tzara, by his “‘imagination torrentielle’. This chapter seeks to explore and appreciate the creative tension in Picasso’s prose poems between irrepressibly inventive improvisation and a complementary tendency to connect and orchestrate, through the use of multifarious patterns and serial permutations. These formal qualities reveal and emphasise the writer’s personal and political desires and preoccupations. Threads of symmetry and anaphora in Picasso’s literary manuscripts, sometimes extending from one text into others over long periods of time, invite comparison with similarly continuous lines of graphic experimentation in his sketchbooks, confirming the intergeneric persistence and consistency of his creative impulses and strategies.
{"title":"‘Fixé par les cris des hirondelles au vol géométrique du désir’ (Picasso, 7 June 1936)","authors":"P. Read","doi":"10.3828/liverpool/9781789620658.003.0002","DOIUrl":"https://doi.org/10.3828/liverpool/9781789620658.003.0002","url":null,"abstract":" Between 1935 and 1939, Picasso wrote nearly 350 prose poems, mainly in French, revealing, according to André Breton, his ‘besoin d’expression totale’, driven, according to Tristan Tzara, by his “‘imagination torrentielle’. This chapter seeks to explore and appreciate the creative tension in Picasso’s prose poems between irrepressibly inventive improvisation and a complementary tendency to connect and orchestrate, through the use of multifarious patterns and serial permutations. These formal qualities reveal and emphasise the writer’s personal and political desires and preoccupations. Threads of symmetry and anaphora in Picasso’s literary manuscripts, sometimes extending from one text into others over long periods of time, invite comparison with similarly continuous lines of graphic experimentation in his sketchbooks, confirming the intergeneric persistence and consistency of his creative impulses and strategies. ","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"108 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":"132886730","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/9781789620658.003.0005
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.
{"title":"The Eclipse of Form in Roland Barthes’s","authors":"J. Gratton","doi":"10.3828/liverpool/9781789620658.003.0005","DOIUrl":"https://doi.org/10.3828/liverpool/9781789620658.003.0005","url":null,"abstract":"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.","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"abs/2202.09262 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":"132710931","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/9781789620658.003.0007
Gunnthórunn Gudmundsdóttir
Drawing from two disciplines, memory studies and theories on life writing, this chapter aims to interrogate different reworkings, negotiations, and representations of memory and forgetting in memory texts in order to investigate how writing on remembrance/forgetting influences literary form. The chapter will provide an analysis of texts which use paratextual devices such as extensive footnotes, corrections, or multiple narratives, in order to accentuate the complications of writing memory. The focus is on particular representations and rewritings of the past, which for one reason or another, cast doubt on their own veracity and referentiality, and therefore align themselves more with the forgotten rather than remembrance. In these cases forgetting can be seen to take on form in narrative; as scenes of forgetting are apparent for instance where the gaps, the forgotten, the mis-remembered, is constantly drawn attention to. By analysing texts that bring to the foreground the memory processes at work in autobiographical writing, we can gain insight, not only into the nature of experimental texts of this type, but into autobiographical writing in general.
{"title":"Narratives of Forgetting","authors":"Gunnthórunn Gudmundsdóttir","doi":"10.3828/liverpool/9781789620658.003.0007","DOIUrl":"https://doi.org/10.3828/liverpool/9781789620658.003.0007","url":null,"abstract":"Drawing from two disciplines, memory studies and theories on life writing, this chapter aims to interrogate different reworkings, negotiations, and representations of memory and forgetting in memory texts in order to investigate how writing on remembrance/forgetting influences literary form. The chapter will provide an analysis of texts which use paratextual devices such as extensive footnotes, corrections, or multiple narratives, in order to accentuate the complications of writing memory. The focus is on particular representations and rewritings of the past, which for one reason or another, cast doubt on their own veracity and referentiality, and therefore align themselves more with the forgotten rather than remembrance. In these cases forgetting can be seen to take on form in narrative; as scenes of forgetting are apparent for instance where the gaps, the forgotten, the mis-remembered, is constantly drawn attention to. By analysing texts that bring to the foreground the memory processes at work in autobiographical writing, we can gain insight, not only into the nature of experimental texts of this type, but into autobiographical writing in general.","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"206 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":"125336562","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}
Drawing on the work of Georges Perec, and focusing on other authors such as Julio Cortazar and François Maspero, the chapter begins with an analysis of the phenomenon of vertical travel. It explores the ways in which the disruption of the traditional (horizontal) axis of the journey provides access to often unseen aspects of the everyday. In discerning a poetics of such a practice, the chapter privileges processes of listing and enumeration. Perec's use of observational catalogues is seen in particular as a challenge to any understanding of the list as a ‘subsumptive’ form that identifies a thing by subordinating it under a particular category. Instead, he demonstrates how lists may articulate what is observed in very different ways: arranging, combining, and ordering words, observations and things sequentially not only subverts categorical hierarchies, but also has positively generative qualities in creating new epistemological orderings. The chapter concludes with a discussion of the power of the list to subvert established orders of knowledge and to suggest alternative means of making sense of the everyday.
{"title":"Vertical Travel, Listing and the Enumeration of the Everyday","authors":"Charles Forsdick","doi":"10.2307/j.ctvxbpgtg.12","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.12","url":null,"abstract":" Drawing on the work of Georges Perec, and focusing on other authors such as Julio Cortazar and François Maspero, the chapter begins with an analysis of the phenomenon of vertical travel. It explores the ways in which the disruption of the traditional (horizontal) axis of the journey provides access to often unseen aspects of the everyday. In discerning a poetics of such a practice, the chapter privileges processes of listing and enumeration. Perec's use of observational catalogues is seen in particular as a challenge to any understanding of the list as a ‘subsumptive’ form that identifies a thing by subordinating it under a particular category. Instead, he demonstrates how lists may articulate what is observed in very different ways: arranging, combining, and ordering words, observations and things sequentially not only subverts categorical hierarchies, but also has positively generative qualities in creating new epistemological orderings. The chapter concludes with a discussion of the power of the list to subvert established orders of knowledge and to suggest alternative means of making sense of the everyday. ","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115812500","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}
For Barbara Cassin, the distinguished French philosopher and Greek philologist, and editor of the acclaimed Vocabulaire européen des philosophies: Dictionnaire des intraduisibles, the question of form coalesces at the juncture of several intertwined disciplinary interests, and theoretical enterprises: the ever-expanding ‘Untranslatables’ project, in which literary and aesthetic form are at the heart of a very different way of 'doing philosophy' multilingually; the reading of Lacanian psychoanalysis as a form of modern-day sophistry; and the critique of Google’s domination of the information age. This chapter reads 'form' in her work through a consideration of how it functions in each of a series of interrelated operations — the sophistic challenge to Platonic or Aristotelian form; the status of transformation in Lacanian psychoanalysis; an Austinian performative reading of political discourse; and how the so-called information age is redefining the very form itself of knowledge — all of which, I will argue, are tied in different ways to the core notion of the untranslatable.
{"title":"Form and Energeia in the Work of Barbara Cassin (For M)","authors":"M. Syrotinski","doi":"10.2307/j.ctvxbpgtg.23","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.23","url":null,"abstract":"For Barbara Cassin, the distinguished French philosopher and Greek philologist, and editor of the acclaimed Vocabulaire européen des philosophies: Dictionnaire des intraduisibles, the question of form coalesces at the juncture of several intertwined disciplinary interests, and theoretical enterprises: the ever-expanding ‘Untranslatables’ project, in which literary and aesthetic form are at the heart of a very different way of 'doing philosophy' multilingually; the reading of Lacanian psychoanalysis as a form of modern-day sophistry; and the critique of Google’s domination of the information age. This chapter reads 'form' in her work through a consideration of how it functions in each of a series of interrelated operations — the sophistic challenge to Platonic or Aristotelian form; the status of transformation in Lacanian psychoanalysis; an Austinian performative reading of political discourse; and how the so-called information age is redefining the very form itself of knowledge — all of which, I will argue, are tied in different ways to the core notion of the untranslatable. ","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115035092","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}
{"title":"Introduction:","authors":"","doi":"10.2307/j.ctvxbpgtg.4","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.4","url":null,"abstract":"","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124323788","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}
{"title":"Certeau’s Landscapes:","authors":"Patrick O’Donovan","doi":"10.2307/j.ctvxbpgtg.20","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.20","url":null,"abstract":"","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116387740","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}
{"title":"Index","authors":"","doi":"10.2307/j.ctvxbpgtg.24","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.24","url":null,"abstract":"","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"2008 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131112332","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}
This chapter explores some of the formal devices elaborated in recent contemporary women’s life writing to convey a sense of time and of being in the world. It focuses on the intimate and the everyday and on the units, flows, categories and organization of time in recent experimental works by Annie Ernaux, Camille Laurens and Chantal Akerman. The chapter is grounded in theory about female-authored self-narrative, returns to gendered ideas of a hierarchy of time and builds upon the problematizing of linear time in what Julia Kristeva famously referred to as ‘women’s time’ (1979). It analyses in particular the functions of repetition, variation and fragmentation as forces that drive and shape the works in question, asking how such repetition might be read as specifically gendered, and examining the impact this might have on the experience of reading. The chapter explores the temporal architecture of three selected works which, I argue, are ‘time rich’ and ‘time sensitive’ and which loop back into each author’s previous life writing experimentation. These are Ernaux’s total life-narrative Les Années (2008), Laurens’s autofictional essay Encore et jamais: variations (2013) and Akerman’s final experiment in life writing, Ma mère rit (2013).
本章探讨了当代女性生活写作中运用的一些形式手段，以传达时间感和存在感。它关注的是亲密和日常生活，以及安妮·埃诺、卡米尔·劳伦斯和尚塔尔·阿克曼最近的实验作品中时间的单位、流动、分类和组织。这一章以女性自我叙述的理论为基础，回归到时间等级的性别观念，并建立在对线性时间的问题化上，这是朱莉娅·克里斯蒂娃(Julia Kristeva)著名的“女性时间”(1979)。它特别分析了重复、变化和碎片作为驱动和塑造作品的力量的功能，询问如何将这种重复作为特定的性别来阅读，并检查这可能对阅读体验产生的影响。本章探讨了三个选定作品的时间架构，我认为，它们是“时间丰富”和“时间敏感”的，并循环回到每个作者以前的生活写作实验。这三部作品分别是埃诺的生活叙事作品《Les annacimes》(2008)、劳伦斯的自传体小说《Encore et jamais: variations》(2013)和阿克曼的最后一次生活写作实验作品《Ma m re rit》(2013)。
{"title":"The Time of Our Lives","authors":"S. Jordan","doi":"10.2307/j.ctvxbpgtg.11","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.11","url":null,"abstract":"This chapter explores some of the formal devices elaborated in recent contemporary women’s life writing to convey a sense of time and of being in the world. It focuses on the intimate and the everyday and on the units, flows, categories and organization of time in recent experimental works by Annie Ernaux, Camille Laurens and Chantal Akerman. The chapter is grounded in theory about female-authored self-narrative, returns to gendered ideas of a hierarchy of time and builds upon the problematizing of linear time in what Julia Kristeva famously referred to as ‘women’s time’ (1979). It analyses in particular the functions of repetition, variation and fragmentation as forces that drive and shape the works in question, asking how such repetition might be read as specifically gendered, and examining the impact this might have on the experience of reading. The chapter explores the temporal architecture of three selected works which, I argue, are ‘time rich’ and ‘time sensitive’ and which loop back into each author’s previous life writing experimentation. These are Ernaux’s total life-narrative Les Années (2008), Laurens’s autofictional essay Encore et jamais: variations (2013) and Akerman’s final experiment in life writing, Ma mère rit (2013).","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"252 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116477720","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}
{"title":"Convulsive Form:","authors":"P. ffrench","doi":"10.2307/j.ctvxbpgtg.22","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.22","url":null,"abstract":"","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126922742","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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