Cover -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter One: Writing against Theodicy: Secularization in Baudelaire's Poetry and Critical Essays -- Chapter Two: The Mourning of God and the Ironies of Secularization in Baudelaire's Le Spleen de Paris -- Chapter Three: Sublimation and Conversion in Zola and Huysmans -- Chapter Four: The Staging of Doubt: Zola and Huysmans on Lourdes -- Chapter Five: Religious and Secular Conversions: Transformations in Céline's Medical Perspective on Evil -- Conclusion -- (...) Notes -- Bibliography -- Index -- About the Book. (shrink)

Recasting French literary history in terms of the cultures and peoples that interacted within and outside of France's national boundaries, this volume offers a new way of looking at the history of a national literature, along with a truly global and contemporary understanding of language, literature, and culture. The relationship between France's national territory and other regions of the world where French is spoken and written (most of them former colonies) has long been central (...) to discussions of "Francophonie." Boldly expanding such discussions to the whole range of French literature, the essays in this volume explore spaces, mobilities, and multiplicities from the Middle Ages to today. They rethink literary history not in terms of national boundaries, as traditional literary histories have done, but in terms of a global paradigm that emphasizes border crossings and encounters with "others." Contributors offer new ways of reading canonical texts and considering other texts that are not part of the traditional canon. By emphasizing diverse conceptions of language, text, space, and nation, these essays establish a model approach that remains sensitive to the specificities of time and place and to the theoretical concerns informing the study of national literatures in the twenty-first century. (shrink)

How does modern writing in French grapple with the present absence and absent presence of lost loved ones? How might it challenge and critique the relegation of certain deaths to the realm of the unmournable? What might this reveal about the role of the literary in the French and francophone world and shifting conceptions of the nation state? Essays from the Revolution to the present day explore these questions from a variety of perspectives, bringing out the ways in (...) which mourning blurs the boundaries between the personal and the historical, the aesthetic and the ethical, the self and the other, and ultimately reasserting its truly critical resonance as a concept. (shrink)

Furthermore, it is not easy for most of us to accept a philosophy however well reasoned which refuses exterior reality to all we see, hear and touch about us. It is such philosophy that gives point to Valery's boutade: 'Philosophy pretends not to ...

This paper makes a comparison between Milan Kundera and Annie Saumont. I assume there is a message being sent by Saumont in her highly recommended short story “You Should Have Changed at Dol,” regarding history in Kundera, but what is the message? I offer two interpretations.

Non pas Pourquoi la fiction?, ni A quoi pense la fiction?, ni même Que fait la fiction?, mais : Comment fait la fiction? Comment la fiction fait-elle pour défendre ou illustrer une morale, alors qu'elle se définit par son indépendance à l'égard du monde dit réel? Peut-être, d'ailleurs, n'est-ce qu'en tant qu'elle est défictionnalisée que la fiction peut promouvoir ou publier une morale. Mais il est, pourtant, des morales qui contiennent une part constitutive de fiction, et qui, en quelque sorte, (...) appellent la fiction : ainsi de la morale intuitive de Victor Hugo, ou de la morale de la liberté de Sartre. La Fontaine, La Rochefoucauld, Vauvenargues, Hugo, Tolstoï, Sartre : à première vue, les auteurs convoqués ne sont pas tous faits pour s'entendre. C'est bien pour cela qu'ils sont ici réunis. Car la fiction et la morale ne sont pas plus immuables l'une que l'autre, et c'est dans leurs intermittences, dans leurs fluctuations, dans leurs variations qu'il convient d'étudier leurs noces improbables. (shrink)

Why have poets played such an important role for contemporary philosophers? How can poetry link philosophy and political theory? How do formal considerations intersect with philosophical approaches? These essays seek to establish a dialogue between poetry and philosophy. Each essay contributes to our understanding of the relationships between theory and lived experience while providing new insight into important poets such as Charles Baudelaire, Stéphane Mallarmé, Victor Hugo, and others. The broad range of metaphysical, phenomenological, aesthetic, and ethical approaches announce important (...) new paths for a reinvigorated study of lyric poetry in the decades to come. (shrink)

Dans la seconde moitié du XXe siècle, la France a connu une époque de créativité philosophique inédite, connue outre-Atlantique sous le nom de French theory. Certains penseurs parmi les plus importants (Sartre, Deleuze, Derrida) ont fait de la question littéraire un objet central de la philosophie. L'Exception littéraire est le premier ouvrage de synthèse consacré à ce rapprochement. Le titre souligne le nouveau statut conféré à la littérature par ces philosophes : la littérature apparaît comme un discours d'exception, exprimant (...) des vérités inaccessibles à la pratique philosophique, et plus largement, aux autres discours humains. Par une lecture croisée de textes philosophiques et littéraires, l'ouvrage montre l'interaction des deux disciplines : d'un côté, la philosophie devient une philosophie " littéraire ", attentive à sa propre écriture (à son style) et à de nouveaux thèmes de réflexion (l'animalité, la violence, la folie). De l'autre, par le débat qui s'instaure entre la critique littéraire et la philosophie, la littérature voit ses modalités d'interprétation et de transmission profondément renouvelées. (shrink)

All disciplines have their histories in addition to their theories. In general, the history of a set of problems is treated separately from the nature of the problems themselves. The axioms of a given discipline may be the object of external inquiry but are not usually subject to historical examination. In this way, psychoanalysis has been investigated, even challenged, by a variety of other disciplines: biology, linguistics, history, philosophy, literature, and so forth. One may ask whether psychoanalysis (...) can also become its own object, effectively distancing itself from itself. Will historical scrutiny provide criticism from within and thereby alter the nature of psychoanalysis?It has been our observation that the history of the creation of psychoanalysis and of the psychoanalytic movement suggests deficiencies and omissions within psychoanalytic theory. This implies something far beyond the simple idea that no serious examination of theoretical problems can occur without an understanding of their history. Not only the past but the future of psychoanalysis, both as a theory and as a clinical practice, may well depend on the conscious assessment and assimilation of its own history. “The Secret of Psychoanalysis: History Reads Theory” is intended in part as an introduction to Nicolas Abraham’s “Notes on the Phantom” which will, in turn, illuminate the theoretical and practical scope of this essay.A history of Freudian psychoanalysis could be written based on the voices of dissenting insiders, without including schismatics such as Carl Jung, Alfred Adler, Wilhelm Stekel, and others who eventually developed independent systems of thought. The detailed interpretation of such firsts is already a consecrated approach to psychoanalytic history. But much remains to be learned from the internal criticism of those who have participated in Freud’s movement or have sought sympathetically to understand the birth and progress of Freudian psychoanalysis. Most of the disagreements concern theoretical and clinical issues or the clocked access to documents that are essential to the history assessment of psychoanalysis. This is Ludwig Marcuse’s case as he writes to Ernest Jones on 10 October 1957.1 1. Ludwig Marcuse is the author of Freud und sein Bild vom Menschen [Freud and his image of man] . Nicholas Rand, assistant professor of French at the University of Wisconsin—Madison, is completing a book on the notion of hiding in literature, philosophy, and psychoanalysis. Maria Torok is the author of The Wolf Man’s Magic Word , recently published in translation. “The Secret of Psychoanalysis” is part of a book-length study Rand and Torok are writing on Freud and psychoanalytic theory. (shrink)

The French philosopher Jacques Rancière has influenced disciplines from history and philosophy to political theory, literature, art history, and film studies. His research into nineteenth-century workers’ archives, reflections on political equality, critique of the traditional division between intellectual and manual labor, and analysis of the place of literature, film, and art in modern society have all constituted major contributions to contemporary thought. In this collection, leading scholars in the fields of philosophy, literary theory, and cultural (...) criticism engage Rancière’s work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Rancière and the various authors and artists he has analyzed, ranging from Plato and Aristotle to Flaubert, Rossellini, Auerbach, Bourdieu, and Deleuze. The contributors to this collection do not simply elucidate Rancière’s project; they also critically respond to it from their own perspectives. They consider the theorist’s engagement with the writing of history, with institutional and narrative constructions of time, and with the ways that individuals and communities can disturb or reconfigure what he has called the “distribution of the sensible.” They examine his unique conception of politics as the disruption of the established distribution of bodies and roles in the social order, and they elucidate his novel account of the relationship between aesthetics and politics by exploring his astute analyses of literature and the visual arts. In the collection’s final essay, Rancière addresses some of the questions raised by the other contributors and returns to his early work to provide a retrospective account of the fundamental stakes of his project. _Contributors_. Alain Badiou, Étienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guénoun, Peter Hallward, Todd May, Eric Méchoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Rancière, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts. (shrink)

Mise en rapport de trois écrivains français qu'apparemment tout sépare mais dont les questions récurrentes - Dieu, le néant, le livre, l'histoire- se retrouvent en chacun d'eux.

La littérature du XXe siècle est trop souvent réduite à quelques mouvements littéraires, généralement contestataires. Nous avons voulu rendre hommage à ces chercheurs de l'absolu qui ont profondément marqué leur époque et dont nous voulons montrer l'actualité. Ce recueil d'articles a pour ambition de sonder les nouvelles modalités d'expression d'une parole enthousiaste au moment où l'immanence semble s'imposer. Il s'agit de rendre compte des stratégies employées par les écrivains pour effectuer la transcription langagière d'une forme de transcendance. Au-delà de la (...) thématique générale, nous avons voulu également mettre en lumière des écrivains méconnus qui permettent de porter un regard nouveau sur l'écriture poétique du XXe siècle. (shrink)

Tout : vague et imposant petit mot. Présent à tout bout de champ, dans tant d'expressions, de toute éternité et en toute modestie. Ce mot-là, ce n'est pas rien. Les articles qui suivent explorent les rapports de tout et de rien, et les valeurs que prend le tout à différentes époques : comment il est représenté – personnifié? – et comment il est présupposé dans la démarche même d'écriture. Car l'ambition de la littérature est peut-être bien de dire tout : (...) dire la totalité du monde, d'une société, d'une époque, dire le rapport – forcément spirituel? – au tout qui ne se laisse saisir, tout dire de soi, ou encore utiliser tous les mots du dictionnaire. Quelle que soit la forme ou le genre emprunté, de façon totalisante ou fragmentaire, l'œuvre littéraire se donne comme un tout en relation avec le tout. [Source : 4e de couv.]. (shrink)

Introduction.--Montaigne.--Le songe de Descartes.--Pascal.--Molière.--Corneille.--Notes sur le temps racinien.--Madame de La Fayette.--Fontenelle.--L'abbé Prévost.--Rousseau.--Diderot.--Benjamin Constant.--Vigny.--Théophile Gautier.--Flaubert.--Baudelaire.--Valéry.--Proust.

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to the (...) terrorist attacks of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

La grande littérature française, de Marcel Proust à Michel Houellebecq, avec les chefs d'oeuvre d'André Gide, Samuel Beckett, Nathalie Sarraute, Albert Camus, Jean-Paul Sartre, Jean Giraudoux, Eugène Ionesco, Marguerite Yourcenar, Bernard-Marie Koltès, ou Enzo Cormann, reflète la condition humaine dans le monde des valeurs stables et celui de la modernité liquide décrite par Bauman. Ses interrogations concernent l'homme, confronté à l'Histoire, en proie au doute sur le Moi aussi bien que sur les religions.

Les discours de la morale à l’époque moderne exigent d’être pensés aux confins d’une anthropologie des moeurs, de l’histoire et de la philosophie, de l’épistémologie et de la littérature. C’est ce qu’ont mis en lumière les recherches contemporaines portant aussi bien sur l’histoire des mentalités et sur les rapports entre anthropologie et littérature que sur la dimension éthique des pratiques artistiques et la pensée morale. Dans ce contexte, comment aborder la réflexion morale sous l’Ancien Régime sans s’intéresser à ses fondements (...) philosophiques, aux différentes définitions dont elle fait l’objet ou à ses prolongements artistiques et littéraires? Théologiens, philosophes, moralistes, artistes, hommes et femmes de lettres sont autant de figures de la République des Lettres qui prennent la plume pour interroger la topique des vices et des vertus, qui échappent progressivement au domaine religieux pour investir celui de la philosophie et devenir ainsi l’objet d’un questionnement général sur l’homme et sur l’idée d’humanité. Ces actes du onzième colloque « Jeunes chercheurs du CIERL « proposent un regard critique sur la frontière entre vice et vertu : d’une laïcisation à une relativisation de la morale, elle semble se faire de plus en plus ténue et poreuse, donnant ainsi à voir les effets de tension qui parcourent la réflexion morale, et ce, dès la Renaissance. (shrink)

Que reste-t-il du "sujet", en littérature, après le retrait du structuralisme? C'est la question que pose ce livre, qui, dans le compte tenu de l'héritage théorique des années 1960-1970, cherche à préciser le statut d'un sujet qui insiste dans les discours critiques contemporains (Compagnon, Clément, Macé) aussi bien que dans les tentatives littéraires récentes (Beck, Deguy, Michon). Trois études articulées, qui sont autant d'expériences de lecture, tentent ici de répondre à cette interrogation : la première, "L'exception du sujet", se propose (...) de relire les psychanalyses existentielles de Sartre ; la seconde, "Poétique et vérité", entre en dialogue avec la lecture d'A la recherche du temps perdu par Gérard Genette ; la troisième, "Prose de soi", s'essaie à décrire la singularité de l'autofiction rimbaldienne, telle qu'elle s'avive dans Une Saison en enfer, et notamment dans sa section prosimétrique, "Alchimie du verbe". Au terme du parcours, une hypothèse : c'est dans l'articulation critique entre la littérature et son commentaire que la forme restante du sujet trouve son lieu paradoxal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Did Literature Stop Being Cultural?Sandy Petrey (bio)Debate over the future of French Studies in the United States has sometimes neglected a vital fact: even though the field of French Studies incorporates everything relevant to the francophone world, no single department of French Studies can be that comprehensive. If we want to teach anything serious, we must focus our collective energy and intellect on some (...) manageable component of the many topics French Studies can legitimately address. To try to cover everything is to condemn ourselves to watered-down, dumbed-down versions of history, political science, art, economics, sociology, and the many other areas pertinent to things French.I believe the makeup of French departments in the United States means that our dominant focus should remain literary. Since we aren’t going to retool ourselves so spectacularly as to master all the disciplinary perspectives relevant to the francophone world, we have to make choices. As far as I can see, the best choice is an orientation toward literary criticism, the area in which most productive scholars in French departments in the United States were trained. We’ve learned how to deal with words, and chances are very good that we will do more things that deserve doing if we address words than if we address immigration statistics, changing styles on Maghreb dance floors, or the status attached to owning a pit bull in French housing projects.This doesn’t mean that immigration statistics, dance styles, and pit bulls are forbidden topics, just that we can best approach them if our primary focus remains literary while we open secondary focuses onto other areas. Those openings can renew our field without compromising our identity, allow us to adopt the interdisciplinary concerns animating cultural studies without repudiating literature’s traditional place in foreign language programs. I categorically reject the idea that the literary studies/cultural studies opposition is absolute, that concentrating on literature imposes the necessity of ignoring dance floors and pit bulls. My answer to the question in my title, “When did literature stop being cultural?,” is that it didn’t, whether we take “cultural” in the dirty-word sense of “high culture” or the buzzword sense of “cultural studies.” Literature’s credentials among the accomplishments of high culture matter to language departments in a great many ways, but more relevant to current professional concerns is that cultural studies can address the monuments of the French literary tradition as well as the monuments of French reaction to the Spice Girls. To impose a choice between literary studies and cultural studies strikes me as horribly misguided, something like imposing a choice between breathing and eating.Yet that choice is being imposed with more and more insistence, its suicidal consequences accepted with less and less concern. At times, those preaching an either/or approach have done so in defense of literature, and I refuse the idea that literature is Emerson’s “jealous mistress” who tolerates nothing else in her domain. To study either high culture or popular culture as if the other were unworthy of concern impoverishes both, which means the literary studies/cultural studies binary is pernicious no matter which side defends it. Although the either/or model has sometimes been asserted in the [End Page 12] name of literature’s integrity, however, its most influential recent articulations have come from partisans of cultural studies. The sides have changed. Instead of the argument that the nature of cultural studies means it must be excluded from literary analysis, we now hear that the nature of literary analysis means that it must be excluded from cultural studies.Let me take as evidence the MLA’s most recent publication on trends in language and literature departments, Profession 1997, and the Russell Berman article it contains, a brief for a new form of “Graduate Education toward a Foreign Cultural Literacy.” Berman’s essay makes a strong and informed argument for interdisciplinarity, the best features of which have in Berman’s representation come together to create cultural studies. Throughout this argument, I find the scary logical and political missteps endemic to recent contentions that cultural studies and literary studies are mutually exclusive. Berman’s essay is doubly... (shrink)

"Élève-toi, mon éloquence, j'aperçois Platon qui s'élève au-dessus de l'homme! C'est sur sa bouche que les abeilles ont fait leur miel, que les rossignols ont chanté, que la déesse de la persuasion a élu son siège..." Le jésuite Nicolas Caussin témoigne ici pour nous de la mémoire du platonisme qui est celle du XVIIe siècle: un portrait de Platon en philosophe orateur s'y affirme, où la figure du Sage s'allie au prestige de l'écrivain pour consacrer comme modèle rhétorique celui que (...) Longin nomme l'Homère des philosophes. Après avoir chassé les poètes et fustigé les orateurs, le Platon des classiques redevient le théoricien du Phèdre, de l'Ion et des Lois, l'instigateur d'une philosophie éloquente et d'un lyrisme vertueux. Modèle de pensée et d'écriture pour une rhétorique du philosophique d'abord socratique, puis avec les intuitions d'un Claude Fleury, bientôt poétique, le divin philosophe nous invite alors à réfléchir sur le difficile croisement que l'humanisme classique tente d'opérer entre morale et éloquence relevée. Car ce retour d'un platonisme dans la philosophie de la rhétorique s'est effectué au sein de milieux humanistes mondains puis dévots, et a donné lieu à l'élaboration de formes extrêmement raffinées dans l'écriture de la morale. À travers la leçon de Platon, l'éloquence du Sage s'avère désormais séminale pour intégrer dans les belles-lettres une exigence de spirituel et leur accorder ainsi un nouveau prestige. C'est donc un tableau de la littérature morale à la manière de Platon qui, de La Fontaine à La Bruyère et au Fénelon du Télémaque, se trouve ici esquissé. (shrink)

Une théorie de la politique n'existe pas dans la pensée libertine intéressée à l'élaboration d'un modèle moral concentré sur la dimension de la vie privée. Pourtant à l'intérieur de cette tradition dans la deuxième moitié du VIIe siècle en France, s'amorce un filon à cheval entre utopie et roman d'aventure dans lequel apparaissent des formes d'organisation sociétales modelées selon les principes de la liberté, égalité, tolérance qui constitueront les mots d'ordres des philosophes des lumières.

In lieu of an abstract, here is a brief excerpt of the content:86. THE HUME LITERATURE FOR 1977 In my recently-published book, Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; ^ 5.50), the reader will find a thorough coverage of the Hume literature from 1925 to 1976, with lists of the main earlier writings on Hume, all indexed by author, language, and subject. What follows here will bring the record up to the end of (...) 1977.· Readers are invited to inform me of any omissions. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year, with addenda consisting of items omitted through ignorance in previous years. The following abbreviations of journal titles are used here: APQ American Philosophical Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PBA Proceedings of the British Academy PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard. ÄRDAL, P. S. 'Convention and Value',in G. P. Morice, David Hume, Bicentenary Papers,51-68. Edinburgh. ÁRDAL, P. S. 'Another Look at Hume'sAccount of Moral Evaluation', JHP 15, 405-21. 87. BERK, E.? Note on Hume's Treatise I. iv. 1', Mind 86, 118-19. BERLIN, I. 'Hume and the Sources of German Anti-Rationalism', in Morice, op. cit., 95-116. BERRY, C. J. 'From Hume to Hegel: The Case of the Social Contract', JHI 38, 691-703. BOTWINICK, A.? Case for Hume's Nonutilitarianism', JHP 15, 423-35. BRADLEY, M. C. 'Stove on Hume', Australas. J. Phil. 55, 69-73. BRANDT, R. 'The Beginnings of Hume's Philosophy', in Morice, op. cit., 117-27. BRICKE, J. 'Hume on Self-Identity, Memory and Causality', in Morice, op. cit., 167-74. BRITTON, K. 'Hume on some Non-Natural Distinctions', in Morice, op. cit., 205-9. BURKS, A. W. Chance, Cause, Reason, esp. 128-42 ('Hume's thesis on the justification of induction'). Chicago. CASSIDY, J. 'The Nature of Hume's Inductive Scepticism: A Critical Notice', Ratio 19, 47-54. (on Stove 1973) COHEN, E. D. 'Hume's Fork', Sth. J. Phil. 15, 443-55. CONNON, R. W. 'The Textual and Philosophical Significance of Hume's MS Alterations to Treatise III ', in Morice, op. cit., 186-204. [PQ 28 (1978), 265-8] CONNON, R. W. & POLLARD, M. On the Authorship of "Hume's" Abstract', PQ 27, 60-6. CORSANO, A. 'Vico et Hume face au problème religieux', Archives de Phil. 40, 241-50. DAVIE, G. E. 'Edmund Husserl and "the as yet, in its most important respect, unrecognised greatness of Hume",' in Morice, op. cit., 69-76. DAVIS, J. W. 'Hume on Qualitative Content', in Morice, op. cit., 175-80. DELEULE, D. Hume, Lettre d'un Gentilhomme à son ami d'Edimbourg, présentation, traduction et notes. Paris. (French translation, with facing original, of A Letter from a Gentleman, Edinburgh, 1745) 88. DÉME", N. 'La Méthode Newtonienne et les Lois Empiriques de l'Anthropologie dans Traité II', in Morice, op. cit., 139-45. FORBES, D. 'Hume's Science of Polities', in Morice, op. cit., 39-50. FORCE, J. E. 'Hume in the Dialogues, the Dictates of Convention, and the Millennial Future State of Biblical Prophecy', S. -west. J. Phil. 8, 131-41. GAWLICK, G. 'Hume and the Deists: a Reconsideration', in Morice, op. cit., 128-38. GLOSSOP, R. J. 'In defence of David Hume', Australas. J. Phil. 55, 59-63. GLOUEERMAN, M. 'Hume on Modes', Hume Studies 3, 32-50. GUPTA, B. 'Buddha and Hume: A Popular Comparison Revisited ', Int. Phil. Q. 17 (1977), 135-46. HALL, R. 'The Hume Literature for 1976', Hume Studies 3, 94-102. HEALY,. M. 'Substance and Spiritual Substance - A criticism of David Hume', Alethe ia (Irving, Texas) 1 (1977), 159-83. HEDENIUS, I. Filosofien i ett föränderligt samhälle, 37-59 ( ' Värdeteorierna hos Hume': the value-theories in Hume). Stockholm. HINCKFUSS, I. 'Stove, Induction and the Irish', Australas. J. Phil. 55, 64-8. HISKES... (shrink)

Bernard Pingaud confronte ici son expérience de l'écriture avec les théories des spécialistes sur le «texte». Il évoque aussi les effets de la publication, le statut d'auteur, l'avenir du livre à l'âge du numérique et présente un choix d'articles publiés entre 1950 et 2000.

Psychoanalytic literary criticism has always been something of an embarrassment. One resists labeling as a “psychoanalytic critic” because the kind of criticism evoked by the term mostly deserves the bad name it largely has made for itself. Thus I have been worrying about the status of some of my own uses of psychoanalysis in the study of narrative, in my attempt to find dynamic models that might move us beyond the static formalism of structuralist and semiotic narratology. And in general, (...) I think we need to worry about the legitimacy and force that psychoanalysis may claim when imported into the study of literary texts. If versions of psychoanalytic criticism have been with us at least since 1908, when Freud published his essay on “Creative Writers and Day-dreaming,” and if the enterprise has recently been renewed in subtle ways by post-structuralist versions of reading, a malaise persists, a sense that whatever the promises of their union, literature and psychoanalysis remain mismatched bedfellows—or perhaps I should say playmates.The first problem, and the most basic, may be that psychoanalysis in literary study has over and over again mistaken the object of analysis, with the result that whatever insights it has produced tell us precious little about the structure and rhetoric of literary texts. Traditional psychoanalytic criticism tends to fall into three general categories, depending on the object of analysis: the author, the reader, or the fictive persons of the text. The first of these constituted the classical locus of psychoanalytic interest. It is now apparently the most discredited, though also perhaps the most difficult to extirpate, since if the disappearance of the author has been repeatedly announced, authorial mutants ceaselessly reappear, as, for instance, in Harold Bloom’s psychomachia of literary history. Like the author, the fictive character has been deconstructed into an effect of textual codes, a kind of thematic mirage, and the psychoanalytic study of the putative unconscious of characters in fiction has also fallen into disrepute. Here again, however, the impulse resurfaces, for instance in some of the moves of a feminist criticism that needs to show how the represented female psyche refuses and problematizes the dominant concepts of male psychological doctrine. Feminist criticism has in fact largely contributed to a new variant of the psychoanalytic study of fictive characters, a variant one might label the “situational-thematic”: studies of Oedipal triangles in fiction, their permutations and evolution, of the roles of mothers and daughters, of situations of nurture and bonding, and so forth. It is work often full of interest, but nonetheless methodologically disquieting in its use of Freudian analytic tools in a wholly thematic way, as if the identification and labeling of human relations in a psychoanalytic vocabulary were the task of criticism. The third traditional field of psychoanalytic literary study, the reader, continues to flourish in ever-renewed versions, since the role of the reader in the creation of textual meaning is very much on our minds at present, and since the psychoanalytic study of readers’ responses willingly brackets the impossible notion of author in favor of the acceptable and also verifiable notion of reader. The psychoanalytic study of the reader may concern real readers or the reader as psychological everyman . But like the other traditional psychoanalytic approaches, it displaces the object of analysis from the text to some person, some other psychodynamic structure—a displacement I wish to avoid since, as I hope to make clear as I go along, I think psychoanalytic criticism can and should be textual and rhetorical. Peter Brooks is the Tripp Professor of the Humanities at Yale University, where he is also director of the Whitney Humanities Center and chairman of the French department. His most recent book is Reading for the Plot: Design and Intention in Narrative, which has recently been reissued in paperback. His work in progress concerns psychoanalysis and story-telling. (shrink)

Etudes sur la philosophie, la théorie politique et la littérature des Lumières en Europe, sur le thème de la reconnaissance dans le roman et le théâtre français du XVIIIe siècle, etc.