Timothy Mathews proposes new translations of a selection of ‘figures’ of the discourse of love as originally proposed by Roland Barthes in the work Fragments d’un discours amoureux (1977).
蒂莫西·马修斯对罗兰·巴特在1977年的作品《爱的话语片段》(Fragments d’un diss amoureux)中最初提出的爱的话语中的“人物”进行了新的翻译。
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As a response to Roland Barthes's Fragments d’un discours amoureux, Agnès Thurnauer offers the story of an encounter mediated through a painting. It's a story about a shared love of people in paint, shared but refracted, common gender differentiated in the love of different styles, and in different experiences of the words and commodities that go with them. It's a story of gender, of body-object turned body-subject in a history lifted from the public, and re-mobilised in the turns of conversation. It's the story of a friendship that ignites re-modelled ways of relating and living.
作为对罗兰·巴特(Roland Barthes)的《爱情的碎片》(Fragments d’un diss amoureux)的回应，《agn Thurnauer》提供了一个通过绘画调解的相遇故事。这是一个关于绘画中的人们共同的爱的故事，共同但又折射，共同的性别在对不同风格的爱中分化，在对与之相关的文字和商品的不同体验中分化。这是一个关于性别的故事，在一段脱离公众的历史中，身体客体变成了身体主体，并在谈话的回合中重新调动起来。这是一个友谊的故事，它点燃了重新塑造的人际关系和生活方式。
{"title":"Sylvia's Story","authors":"Agnès Thurnauer","doi":"10.3366/count.2023.0293","DOIUrl":"https://doi.org/10.3366/count.2023.0293","url":null,"abstract":"As a response to Roland Barthes's Fragments d’un discours amoureux, Agnès Thurnauer offers the story of an encounter mediated through a painting. It's a story about a shared love of people in paint, shared but refracted, common gender differentiated in the love of different styles, and in different experiences of the words and commodities that go with them. It's a story of gender, of body-object turned body-subject in a history lifted from the public, and re-mobilised in the turns of conversation. It's the story of a friendship that ignites re-modelled ways of relating and living.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48905995","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}
In one of the fragments of the lover’s discourse translated by Timothy Matthews in this volume Barthes considers the figure of Gradiva, from Jensen’s tale, engaging thereby with Freud’s essay on ‘Delusions and Dreams in Jensen’s Gradiva’. Gradiva is a figure of a happy outcome, whereby Zoe Bertgang ‘gently’ eases Norbert Hanold out of the psychotic delusion of his amorous fascination. But these dynamics are not as straightforward as they seem; if, as Barthes suggests, the madness of love is all-encompassing, total, what are we to make of Zoe’s devotion, since she splits herself, between Gradiva and Zoe. This paradoxical tension, between loving and being in love, generates further aporia and tension in the translations enacted across the texts of Barthes, Jensen and Freud. These ‘research notes’ on Gradiva enumerate multiple indices of the ‘Gradiva dossier’, opened by Barthes.
{"title":"Translating Gradiva: Research Notes","authors":"P. ffrench","doi":"10.3366/count.2023.0296","DOIUrl":"https://doi.org/10.3366/count.2023.0296","url":null,"abstract":"In one of the fragments of the lover’s discourse translated by Timothy Matthews in this volume Barthes considers the figure of Gradiva, from Jensen’s tale, engaging thereby with Freud’s essay on ‘Delusions and Dreams in Jensen’s Gradiva’. Gradiva is a figure of a happy outcome, whereby Zoe Bertgang ‘gently’ eases Norbert Hanold out of the psychotic delusion of his amorous fascination. But these dynamics are not as straightforward as they seem; if, as Barthes suggests, the madness of love is all-encompassing, total, what are we to make of Zoe’s devotion, since she splits herself, between Gradiva and Zoe. This paradoxical tension, between loving and being in love, generates further aporia and tension in the translations enacted across the texts of Barthes, Jensen and Freud. These ‘research notes’ on Gradiva enumerate multiple indices of the ‘Gradiva dossier’, opened by Barthes.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45512837","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}
The guest editors of this issue of CounterText, Patrick ffrench and Timothy Mathews, introduce the volume Roland Barthes, Fragments of a Lover's Discourse: Translating Again, Writing Again, offering context and rationale for the project, situating the individual contributions, and anticipating their tonalities.
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{"title":"Notes on Contributors","authors":"","doi":"10.3366/count.2023.0301","DOIUrl":"https://doi.org/10.3366/count.2023.0301","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135722789","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}
Timothy Mathews reflects upon the practice of translation and translating again, and on the specific qualities of a consistent and renewed encounter with the text of Barthes Fragments of a Lover's Discourse. The affective dimensions and the critical implications of this encounter are foregrounded. Following the Note, he proposes new translations of a selection of ‘figures’ of the discourse of love as originally proposed by Roland Barthes in the work Fragments d’un discours amoureux (1977).
蒂莫西·马修斯反思了翻译和再翻译的实践，以及与巴特的《情人话语片段》文本一致和重新相遇的具体品质。这一遭遇的情感维度和关键含义是前景。在注释之后，他提出了对罗兰·巴特(Roland Barthes)在1977年的作品《爱的话语片段》(Fragments d’un diss amoureux)中最初提出的爱的话语的“人物”选择的新翻译。
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A reader's personal essay on and critical contribution to the retroactive understanding of A Lover's Discourse as a close formal and methodological predecessor to Roland Barthes's final three Collège de France lectures, especially the first of them, How to Live Together (1977). The essay tracks the ways that the “figures” of amorous discourse, Barthes's term for the stances and formulations that belong to and constitute the impassioned lover's subject position, anticipate the “traits” suggestive of the problem of living-together, as an individualist in a collective. It also marks the distinctions between the two projects, primarily in the latter the manifested objective of “désapprentisage,” or an unlearning, a “jamming” of the mission of the intellectual, which motivated his refusal thenceforth to repurpose any lecture as a book. Even as Barthes insisted on further differences between his two late subjects, a close “semioclasmic” analysis is brought to bear on a single “scene of language” that produced much that would be coded as figures and traits in the two studies, namely Barthes's letters written from the sanitoriums in which he spent his youth, letters issued at once lover to beloved and convalescent to outpatient in which he formulates both his estrangement in love and his flooded idiorrhythmy in communal living.
{"title":"The Postcure and the Lecture Well: A Lover's Discourse in Light of Barthes' Late Pedagogy","authors":"B. Blanchfield","doi":"10.3366/count.2023.0298","DOIUrl":"https://doi.org/10.3366/count.2023.0298","url":null,"abstract":"A reader's personal essay on and critical contribution to the retroactive understanding of A Lover's Discourse as a close formal and methodological predecessor to Roland Barthes's final three Collège de France lectures, especially the first of them, How to Live Together (1977). The essay tracks the ways that the “figures” of amorous discourse, Barthes's term for the stances and formulations that belong to and constitute the impassioned lover's subject position, anticipate the “traits” suggestive of the problem of living-together, as an individualist in a collective. It also marks the distinctions between the two projects, primarily in the latter the manifested objective of “désapprentisage,” or an unlearning, a “jamming” of the mission of the intellectual, which motivated his refusal thenceforth to repurpose any lecture as a book. Even as Barthes insisted on further differences between his two late subjects, a close “semioclasmic” analysis is brought to bear on a single “scene of language” that produced much that would be coded as figures and traits in the two studies, namely Barthes's letters written from the sanitoriums in which he spent his youth, letters issued at once lover to beloved and convalescent to outpatient in which he formulates both his estrangement in love and his flooded idiorrhythmy in communal living.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44085552","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}
When her father dies, his daughter turns to his books for comfort. She finds 13 volumes, favourite books, each one with a bookmark inserted. A friend tells her of Barthes’ Mourning Diary. The entries are short, phrases and fragments, often disconnected. The first entry was made on 26 October 1977, the day after his mother died, and the last on 15 September 1979. This two-year period saw Barthes writing and speaking in fragments and developing practices for their arrangement in books and albums. In A Lover’s Discourse: Fragments Barthes describes ‘these fragments of discourse’ as ‘figures,’ ( Barthes 1978 : 3), while in How to Live Together he talks of ‘presenting findings as we go along’ (2013: 133). Here, a daughter presents her own findings – fragments from Barthes and the books her father left behind – arranged as diary entries (from the day after Barthes’ mother’s death to the day after her own father’s death) according to the order of the 13 books she found after her father had gone.
{"title":"After He Had Gone","authors":"J. Rendell","doi":"10.3366/count.2023.0297","DOIUrl":"https://doi.org/10.3366/count.2023.0297","url":null,"abstract":"When her father dies, his daughter turns to his books for comfort. She finds 13 volumes, favourite books, each one with a bookmark inserted. A friend tells her of Barthes’ Mourning Diary. The entries are short, phrases and fragments, often disconnected. The first entry was made on 26 October 1977, the day after his mother died, and the last on 15 September 1979. This two-year period saw Barthes writing and speaking in fragments and developing practices for their arrangement in books and albums. In A Lover’s Discourse: Fragments Barthes describes ‘these fragments of discourse’ as ‘figures,’ ( Barthes 1978 : 3), while in How to Live Together he talks of ‘presenting findings as we go along’ (2013: 133). Here, a daughter presents her own findings – fragments from Barthes and the books her father left behind – arranged as diary entries (from the day after Barthes’ mother’s death to the day after her own father’s death) according to the order of the 13 books she found after her father had gone.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42654667","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}
In the third person, the narrative follows ‘her’ inner speech through the affective events and accidents of a love story, a story that would without her knowing be made into a text, this one, perhaps, or another. Her passionate life is enumerated, catalogued as so many discursive events, some real, concrete, others abstract. A litany of amorous tropes, written down for the record. We have the impression of a text mimicking another, a shadowy sense of the déjà-lu, as if it were translated from a work in a distant language, now lost. Or that lost work translated this one.
{"title":"Her Discourse","authors":"S. Kivland","doi":"10.3366/count.2023.0295","DOIUrl":"https://doi.org/10.3366/count.2023.0295","url":null,"abstract":"In the third person, the narrative follows ‘her’ inner speech through the affective events and accidents of a love story, a story that would without her knowing be made into a text, this one, perhaps, or another. Her passionate life is enumerated, catalogued as so many discursive events, some real, concrete, others abstract. A litany of amorous tropes, written down for the record. We have the impression of a text mimicking another, a shadowy sense of the déjà-lu, as if it were translated from a work in a distant language, now lost. Or that lost work translated this one.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49093455","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}
Interweaving personal experience, discussion of contemporary sexual ethics, and a meditation on Barthes’ Fragments, Sophie Eager considers the potential and limits of a touch which is indirect, mediated via an object, as a species of what Barthes calls le non-vouloir-saisir (not-wanting-to-seize). Addressing many of the motifs of these modes of contact in the Fragments, Eager extends this to discussion of the dynamics of interpretative violence, and resistance to such violence, in the intertextual networks that surround the Fragments, ultimately considering the Barthesian practice of reading as a practice of not-wanting-to-seize, preserving the freedom of the other.
Sophie Eagle将个人经历、对当代性伦理的讨论和对Barthes碎片的思考交织在一起，认为通过物体介导的间接触摸的潜力和局限性是Barthes所说的“不想抓住”的一种。针对《碎片》中这些接触模式的许多主题，伊格尔将其扩展到讨论解释性暴力的动态，以及在围绕《碎片》的互文网络中对这种暴力的抵制，最终将巴特的阅读实践视为一种不想抓住、保护他人自由的实践。
{"title":"The Crush: A Practice of Not-Wanting-to-Seize","authors":"S. Eager","doi":"10.3366/count.2023.0294","DOIUrl":"https://doi.org/10.3366/count.2023.0294","url":null,"abstract":"Interweaving personal experience, discussion of contemporary sexual ethics, and a meditation on Barthes’ Fragments, Sophie Eager considers the potential and limits of a touch which is indirect, mediated via an object, as a species of what Barthes calls le non-vouloir-saisir (not-wanting-to-seize). Addressing many of the motifs of these modes of contact in the Fragments, Eager extends this to discussion of the dynamics of interpretative violence, and resistance to such violence, in the intertextual networks that surround the Fragments, ultimately considering the Barthesian practice of reading as a practice of not-wanting-to-seize, preserving the freedom of the other.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44571607","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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