Linterminable écriture de lExtermination (Essais - Documents) (French Edition)


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We have seen above how this complexity is articulated and how any vocation for revolutionary action is combined, as Martin Crowley explains, with the necessity to avoid any affirmation of fraternal or fusional. It is worthwhile noting, in passing, that Jena is also the place where something Hegel perhaps approved of more took place.

At the battle of Jena-Auerstedt in , as Blanchot recalls, Napolon, sur son petit cheval gris, passait sous les fentres de Hegel qui reconnut en lui lme du monde IM, Decades earlier, Blanchot had evoked this scene to plot the difference between revolutionary Terror and war: linvasion soldatesque nest en rien assimilable ce qua de ncessairement dmesur dimpossible la Terreur rvolutionnaire, lorsque celle-ci est appele dranger et transgresser toute loi. Les armes napoloniennes libraient les peuples en se soumettant les gouvernements, puis soumettaient les peuples au nom de luniverselle libert couronne, lme du monde passant et repassant cheval sous les fentres du Philosophe.

Nous sommes ici trs en retrait par rapport lidologie jacobine. Ian James steers a similar course, inside a narrow margin, and considers the problematic of art and community in light of a technologi- cal age where writing becomes une technique VV, The question of tekhne, particularly in relation to the development of art and the advance of history, is, of course, an ancient one.

It is, also, a deeply Romantic one,55 not least because it is in the wake of Romanticism and of Hegels pro- nouncement on art as a thing of the past that this question really begins to loom as a threat and that art, in the mode of la gnialit romantique EL, , can no longer be seen as providing a refuge from what Blanchot calls, in LEspace littraire, la vitalit dialectique: Lartiste qui croit sopposer souverainement aux valeurs et protger en soi, par son art, la source de la toute-puissante ngation, ne se soumet pas moins au destin gnral que lartiste qui fait uvre utile, peut-tre davantage encore.

Il est dj frappant quil ne puisse dfinir lart qu partir du monde. Il est le monde renvers.


  1. LESS!?
  2. LE CLUB | Art et Essai Cinema!
  3. OLD SOUTH, NEW SOUTH, NO SOUTH;
  4. Bacchus: The Saga of the Wine God;

Mais ce renversement nest aussi rien de plus que le moyen rus dont le monde se sert pour se rendre plus stable et plus rel. Aide dailleurs limite, qui nest importante qu certains moments, que lhistoire plus tard rejette, quand, devenue elle-mme visiblement la ngation du travail, elle trouve dans le dveloppement des formes techniques de la conqute la vitalit dialectique qui lassure de sa fin. EL, It is in light of such statements that one should consider, alongside the possible Blanchot post- romantique, a side to his thinking which would be resolutely anti- or un-Romantic.

And since we have already summoned Hegel, it is in light of the same statements that we can also consider, along- side the possible Blanchot post- hglien, a side which would be resolutely anti- or un-Hegelian. There are thus at least two sides to the debate on the absolute with which Blanchot had to contend. For the Romantics were not alone in laying claim to whatever the absolute might have been.

In addition and in opposition to the Romantics literary absolute, which sought not only to defend art but to extend its reach immeasurably, opening or exposing it to the entirety of life, along the way merging art, philosophy, politics, science, and religion, one can and perhaps must also read Hegel, who famously condemns art as chose passe EL, ; LV, and dismisses its Romantic inflection as wasteful and self-referential, given that Philosophy had now sublated art in its procession toward absolute knowledge. The two interpretations, mobilizations, or mises en uvre of the absolute are important in order to advance our understanding of how Blanchot saw literature and philosophy interacting.

The debate on differing inflections of the absolute is succinctly addressed by Lacoue-Labarthe, when he proposes, in an essay on Blanchot published in , that the religion of politics in Robespierres Paris and the religion of art in the Schlegels Jena emerge at the same time: Une fureur est ainsi ne, parce que, ici et l, sur un mode ou sur lautre [], ce qui tait voulu, ce ntait pas moins que la mise en uvre de lAbsolu, lequel, dcidment, avait rvl quil ne stait pas rvl.

We have. On the contrary, as Blanchot reminds us in La Part du feu, [Hegel] avait de lart la plus haute ide quon en puisse former, puisquil voyait comment lart peut devenir religion et la religion art PF, The other mode Lacoue-Labarthe has in mind is, of course, the Romantic mode of [le] sujet royal EL, , of la souverainet du sujet , to use Blanchots expressions. But Lacoue-Labarthes state- ment can also apply to the Hegelian mode of absolute spirit, of again in Blanchots words labsolu [] devenu consciemment travail de lhistoire To put it bluntly, what was at stake in this encounter was the relation between a certain mode of discourse literature, philosophy and its mode of thinking or presenting itself, of thinking its self- presentation in other words, a works relation to its own genre, concept, theory, principle, premise, axiom, system, idea, ideal, origin, or condition of possibility.

There is, finally, another sense in which Blanchot, particularly in his later writ- ings, conceives of absoluteness: the Holocaust, understood as the vnement absolu de lhistoire ED, 80; his emphasis ; see also A, ; and EP, What literature has wanted or sought, since some such thing has existed, if it exists, is its end: the secret of its origin, the condition rule, law, prohibition it must undergo to be possible.

What literature wants or seeks [] is the impossible; The Contestation of Death, trans. Strangely, this portion of text does not appear in the published French version of the essay, La Contestation de la mort, Magazine littraire, October , And it is precisely this movement transcending and governing the work that, according to Lacoue-Labarthe, Hegel failed to take account of in his dismissal of Romanticism:. Hegels absolute, for its part and for everything else, of course , is commanded by le principe de la relve,63 a principle which art must also necessarily obey.

Romantic art is only a moment le moment du dclin EI, within the greater scheme of la relve, lAufhebung de lart, a moment where lart parvient encore se survivre64 Lacoue-Labarthes emphasis as a movement of dissolution EI, And yet, as Lacoue- Labarthe maintains, lAuflsung [] de la littrature a laiss un reste, un rsidu []: la littrature elle-mme, en tant quelle aura rsist, dans sa propre dissolution, la dissolution philosophique65 his emphasis.

It is precisely in this residual mode, then, that literature as dsuvrement survives in Blanchot and in others , survives its Romantic dissolution,. Whence the fundamental importance of irony for the Romantics otherness in the same , on which Kolliass and Longs chapters concentrate.

Nevertheless, if Romanticism appears to resist dialectical subsumption momentarily at least , it is remarkable that such a principle, universally applicable, should seem so close but as its underside, as it were to the Romanticized or infinitized subject. This proximity, without which no resistance that of Jena Romanticism to Hegel, and vice versa perhaps could have come about in the first place, can be seen in the figures of the spurious infinite67 and of what Kojve and Bataille referred to as Hegels madness.

It seems subtler analysis is called for, then, such as that of Kollias: The ruin of the system is for Blanchot an. Some critics have noted that Blanchots thinking on this issue informs Le Dernier homme From this standpoint, there is, in the final analysis or rather synthe- sis , no possible reste or rsidu to the system, or better, this surplus is always already part of the system.

But if it is part of the system, it is not something the system can present productively. It is at this point that Lacoue-Labarthes reading of Hegel in the context of the latters cham- pioning of the poetry of Schiller can help us see in greater relief the Jena Romantics theory of art as Darstellung presentation , and thus what Blanchots response to this theory might be. He writes:. Est-ce que se prsenter comme tel, pour ce qui est penser, est-ce quappa- ratre dans son propre lment, ce ne serait pas, la limite, ne pas se prsenter du tout, ne pas apparatre?

Ny a-t-il pas, autrement dit, une ncessit de la manifestation? Et dans ce cas, y a-t-il une rvlation possible, une parousie, sans perte ni reste, de ce qui est penser? Unsurprisingly, Hegels answer is formulated in the affirmative. Lacoue- Labarthe continues: [S]il y a bien une ncessit de lapparence de la manifestation , si la manifestation est un moment, lui-mme essentiel, de lessence, il ne sagit prcisment que dun moment, auquel par consquent doit succder [] le moment o se dissout tout moment du retour, de la rintriorisation, de la rappropriation sans perte, sans la moindre perte pas mme celle de la manifestation, releve, et donc maintenue.

Cest la raison pour laquelle une re prsentation comme telle, une manifestation dans son propre lment de ce qui est penser, nest pas seulement possible, mais bel et bien ncessaire. It is here that what Lacoue-Labarthe and Nancy call the literary abso- lute comes into play. If Jena Romanticisms discourse was particularly philo-.

From this perspective, what counts, for the Jena Romantics, is the productive mode of presentation. Productive here has the sense of something self- generative, rather than useful or effective. It is precisely because this presentation does not present itself as ltre, la vrit, la pense elle-mme but produces itself absolutely that art can be theorized or criti- cized and not releve or aufgehoben.

Labsolu littraire, cest aussi, et peut-tre avant tout, cette absolue opration littraire. AL, 22; their emphasis. And if Romanticisms mode of production is also, as we have seen, a mode of dissolution, or, in Blanchotian idiom, if literatures movement vers elle- mme is also a movement vers son essence qui est la disparition LV, , this dissolution or disappearance is not itself available to philosophical.

What at first sight could seem to be a collusion between the two absolutes, between the Romantics affirmation of art as disso- lution and the characterization of art by Hegel as a thing of the past, reveals a crucial difference of emphasis between the Romantics and Hegel. Literature does not manage to accomplish its own task, and therefore does not accomplish any task: lart romantique [] naccde pas la vrit de la dissolution, cest--dire la vrit spculative, rconciliatrice, de la ngativit dtermine Lacoue-Labarthes emphasis.

And it is this difference that brings us back now to Blanchot, more precisely, to the deferring movement he calls, in the Athenum essay, luvre de labsence duvre EI, Having briefly directed our attention to Hegel, we can now look at how Romantic art theory might enable analysis of the way in which Blanchots practice and conception of literature moves from lexigence de luvre to. It is noteworthy in this context that Lacoue-Labarthe goes on to propose une tude de ce que [] Hegel doi[t] Schlegel.

Car dans la thorie de la posie transcendantale, de lart romantique, de la dissolution, etc. It is here that the complex relationship between the absolute and the fragmentary comes into view, leading Blanchot to the statement which perhaps best summarizes if such a summary were indeed possible his debt to Romanticism: affirmer ensem- ble labsolu et le fragmentaire EI, One could perhaps consider, very schematically, that debt to be weighted toward the first term in his earlier work, toward to the second in his later work, and in any case, to involve a reworking and unworking supplementing, exposition, transgression, ironization, exhaustion of the first by the second.

It is worthwhile recalling, in this context, that Blanchots early literary career is largely devoted to the production of three novels published between and , as well as to the theorization of the novel. As Hollands contribution to this volume shows, Blanchots engagement with Schlegels and Jean Pauls differing theories of the novel can be read as alternative models to better-known ones of the Mallarmean Livre or Lautramonts Maldoror. The page proofs reveal that Blanchot considered adding this subtitle, only to revert to the original title at the last moment; see the page appended to this volume in facsimile LEntretien infini, Houghton Library, Harvard University, MS Fr , p.

More generally, on the question of genre, and in particular the novel as non-genre or genre dgnr, see Philippe Lacoue-Labarthe and Jean-Luc Nancy, Le Dialogue des genres, especially pp. Indeed, the Romantic share of this all- pervasive movement overtaking life or being perhaps sheds further light on this aspect of Blanchots work, which has significantly been described as a novel of existence. In fact, where Lacoue-Labarthe and Nancy describe the Romantic project as une uvre indite, infini- ment indite AL, 21 , one can read the proliferating versions of Blanchots texts, and most emblematically Thomas lObscur.

However, for Blanchot this Romantic conception of the roman total is ultimately overshadowed by the sense that la seule manire de laccomplir et t dinventer un art nouveau, celui du fragment This statement gestures to one of the fundamental hinges in Blanchots uvre: where lexigence de luvre moves to lexigence frag- mentaire, as his writings progress, crudely speaking, from the novel, to the rcit, to the fragment ary. Holland writes of Blanchots review of Sartres La Nause: Sartre has taken the novel into the field of existence itself, reveal- ing the possibility that it alone can make existence livable, adding: the contingency and superfluousness experienced by Sartres hero, and explored in his philosophy, never display the degree of absoluteness they attain in Blanchots experience and in his fiction p.

On Blanchots literary experience of what he terms linterminable, see AC, p. It is at this point that Blanchot seems to swerve decisively from Jena Romanticism namely, by distinguishing what he calls the fragmentary from the fragment or aphorism. More exactly, the Romantic conception of the fragment is too complicit, in Blanchots view, with a totality which, although notionally absent, is merely put off rather than properly dealt with. Two instances of this fragment where, as Blanchot has it, le doigt coup renvoie la main EI, would be Novaliss grain of pollen, ready to create a new life, a future totality, or a more general Romantic fascination with ruins, ultimately nostalgic for past totality.

Both these instances, then, rely on a continuous temporality, on the possibility of maintaining or cre- ating a link with the future or the past. It is precisely such continuity that will be called into question by Blanchots unworking or interruption of the fragment by what he calls the fragmentary. This is not to say that, by seek- ing to interrupt a continuous relation to greater, absent totality, Blanchots fragmentary privileges its own present moment, for instance by affirming the immediate importance of its formal or sthetic embodiment. He makes this distinction most clearly during a discussion of Schlegels metaphorical view of the fragment as a hedgehog, rolled up and closed to the outside world.

The fragmentary could be seen to be a form without form, a surplus to form, that is nevertheless not identifiable or present as such: ni le fragment, partie dun tout, ni le fragmentaire en soi PAD, 62; our emphasis. If it is neither concerned with totality whether absent but recuperable, or present in microcosmic form nor simply the presence of that which exceeds totality, we might think of the fragmentary as an infinite exposition or opening. Le Dernier mot and LIdylle composed between and , first published in , and subsequently collected in in Le Ressassement ternel and in in Aprs coup , and his last literary work was not a fragmentary work but a relatively linear, testimonial narrative a rcit?

Kolliass chapter on the accuracy or otherwise of this discussion. The question of the fragmentary in the August article on Jena Romanticism allows us to turn to Blanchots involvement in the ultimately abortive project of founding a Revue internationale, as it came to be called, between and A number of those involved in the Revue project had come to know each other through the Dclaration des acall for soldiers right to insubordination in the Algerian war , and some from that group, notably Blanchot, would carry their interest in collective writing, anonymity, political radicalism, openings to the contemporary, the destitute, the outside all of which were recognized as the concerns of literature over into May and the short-lived review Comit.

The Romantics views of collective writing, the upholding of life as poetic, and the political calling of an avant-garde are therefore of some importance to understanding Blanchots thinking, as well as all that it indexes at a time when, according to Blanchots hyperbolic words in a text first published in and later collected in LEntretien infini , il sagit manifestement dun changement bien plus important [que la Rvolution franaise], dans lequel viennent se rassembler tous les bouleversements antrieurs, ceux qui ont eu lieu dans le temps de lhistoire, pour provoquer la rupture de lhistoire EI, On the relationship between the Athenum and the Revue project, see Gisle Berkmans piece in this volume.

In fact, however, in the s and thereafter, his work becomes more experimental, whether with the use of post-dialogic entretien or with the fragmentary. He writes, for example, of Ren Chars fragmentary poetry: La juxtaposition et linterruption se chargent ici dune force de justice extraordinaire. Toute libert sy dispose partir de laisance malaise quelle nous accorde EI, Rather than being relativized, then, literature opens onto an ethi- cal demand, an attentiveness and openness to the absolutely or radically other: respectant et prservant cette extriorit ; Blanchots empha- sis.

But this was not merely to believe that the other or outside was purely unknowable: it was also very real, interpellative; it was contemporary, if not the contemporary. This sense can be seen in Blanchots response to the erection of the Berlin wall in He wrote that the city presented un problme quon ne peut formuler adquatement, dans sa ralit complte, quen dcidant de la formuler fragmentairement EP, 72; his emphasis.

In other words, en parler de manire juste, cest en parler en laissant aussi parler le manque abrupt de nos paroles et de notre pense, en laissant donc parler notre impossibilit den parler dune manire prtendument exhaustive EP, This fragmentary demand can also be plotted in terms of collective writing. As Blanchot wrote of the Athenum fragments, [le fragment] est une anticipation de ce que lon pourrait appeler criture plurielle, possibilit dcrire en commun EI, But this imper- sonality is all the more accentuated in the case of collective writing, and in particular the kind of collective writing Blanchot envisaged for the Revue:.

Lart dcrire en commun est un symptme curieux qui fait pressentir un grand progrs de la littrature. Un jour peut-tre, on crira, pensera, agira col- lectivement EI, In contradistinction to the infinitized Romantic subject, the emphasis here is on a loss, destitution, or emptying of subjectivity. The insistence on the possibilit collective 53 emerging from the projected impersonality and international character of the Revue would later be developed into un com- munisme dcriture 97 ,86 the expression used by Blanchot in in a working paper for the review Comit.

One could in fact argue that much of what is at stake in this literary communism is already manifest in Blanchots narration of and concern for various limit-experiences, namely that of extreme suffering or weakness whether in Le Dernier homme, LAttente loubli, or his writing on Antelmes LEspce humaine or Levinass Totalit et infini. In this respect, his work gives voice to plurality and the anony- mous, existing not only in the movement between novels, rcits, criticism, philosophy, the fragment, the fragmentary, and so on, but also extensible to the impersonal, public language of the dispossessed, of les sans paroles EP, 98 : Depuis mai [], la rue sest rveille: elle parle Another aspect of the Revue internationale related to Blanchots read- ing of the Athenum is that of generic immixation, with all the implications concerning the opening of literature to its other or outside.

Again, what begins in the early s will surface again in For instance, an internal document drafted by Blanchot for a section of the Revue reads:. On communism and Romanticism, see Blanchots essay on Henri Lefebvre, collected in A, especially pp. La structure de cette rubrique devra tre telle quelle puisse admettre, en-dehors des textes de commentaires des fragments , dautres textes imprims en dautres caractres et formant comme des sortes de relais: a des citations par exemple: Aby Warburg: der liebe Gott steht in Detail; ou bien: Par mille et mille circuits et sans gagner dun pas, toujours revenir au mme point [Thtte] ; b des sortes daphoris- mes aphorismes de pense, plutt que de style ; c surtout des informations rdiges trs sobrement, informations non pas destines avoir une valeur dinformation, mais valeur de signification.

EP, Puisque le sens est donn par la mise en commun la continuit dune srie de textes toujours discontinus et mme divergents, de formes et de genres essentiellement dif- frents , il ny a pas de raisons de distinguer entre textes dj publis ailleurs et textes crits pour la publication. Il y a souvent dans de tels textes dj publis, latente en eux, une possibilit de citation, cest--dire une appartenance au fragmentaire.

In truth, Blanchots Athenum essay already explores this possibilit de citation, insofar as seven quotations from Novalis, Schlegel, and Schelling jostle or ferment together EI, Thus the fragmentary here is in one sense a synthesis, and is therefore distinct from the aphorismes [] de style rejected by the first text for being too classical in their insistence on rigid form, rather than on movement and flexibility.

In other words, the fragmentary is not the transcendence of the fragment, in the way that literature producing its own theory or concept was perhaps for the Romantics. Instead, the fragmentary produces an irreducible relation between the fragment and its outside. The result, then, of generic immixation is a loss of classical style, of self-present. That this loss exists repetitively or infinitely rather than as absolution from finite, genre-based form is signalled by the fact that the fragmentary must continue to take its name and its sustenance from the fragment and in turn, from totality.

This is one sense in which Blanchots fragmentary is distinct from the synthetic absolutism of the Jena Romantics: the fragmentary repeatedly fails to transcend the individual fragment. Put differently, le langage nest pas donn par le contenu des textes ni par leur forme, mais par leurs rapports EP, 98 : as those relations, the fragmentary nexclut pas, mais dpasse la totalit EI, We can perhaps make use here of Blanchots view of Romanticism as essentielle- ment ce qui commence by saying that, through its non fermeture EP, 98 , the fragmentary is what is constantly, desperately beginning anew.

Blanchots readers know that he spent much of his later career responding to this promise, unfulfillable as such, working and unworking, to varying degrees, this degenerate88 but also strangely generative fragmentary, from LAttente loubli to Lcriture du dsastre. One final way of registering the kind of interruption or difference at stake in Blanchots writings is through the question of translation, which points to yet another instance of how much the Revue was marked by Jena Romanticism. And as if one needed a reminder that here as else- where in Blanchots uvre the subject is a question not easily discounted, one reads in the working paper for the Revue: Le traducteur sera, dune certaine manire, le vritable crivain de la revue EP, The Revues endeavours, and the open subjectivity at stake in them, are thus still being represented by a writer-figure, albeit one turned towards the outside: the translator.

Such richness can be seen as an example of the productive, generative. In truth, this question allows us to chart in a different key Blanchots relation to the infinitized Romantic subject mentioned above, again with Benjamin as a key interlocutor. Blanchot is doubtless aware of the fusional aspect associated with the translators task, which is, in a very literal sense, to overcome the division of languages and of peoples: Le traducteur, he writes, risque dtre un unificateur trop facile EP, The Revues championing of the translator, however, did not seek to produce such fusionalism; and it certainly did not seek to reverse it by insisting on the singular understood as the local, the national or the com- munitarian.

Instead, the richness of privation in translation is a complex notion allowing an opening to what Leslie Hills chapter engages with: the secret infinity, the futural demand exposed by the difference not just between languages but in language itself. If by concentrating on literary language, Jena Romanticism announced faintly ltrange lacune qui est sa propre diffrence et comme sa nuit EI, , it would be perhaps the exclusive privilege or madness of the translator to awaken la prsence de ce quil y a de diffrences dans luvre originale EP, Je suis convaincu que le Shakespeare allemand est prsent meilleur que langlais.

This was not to privilege one linguistic or cultural identity over another, which would be to see translation as mere appropriation. Rather, it is to privilege what is translated as such, as that which belongs fully to neither language. On Novaliss observation, see Antoine Berman, Lpreuve de ltranger: culture et traduction dans lAllemagne romantique Paris: Gallimard, , pp.

Whether revealed through translation, generic immixation, collective writ- ing, or the absence of the work, the fragmentary seems to militate for a loss dissolution, degeneration of the notion of genre, or at least of genre as representing anything like a stable, delimited category form, style, rule, law, etc. After the article, the essay, the entretien, and the fragmentary, can one still speak of criticism or theory? As such, his writing, it would seem, transgresses genre or for it amounts here to the same thing theory, perhaps even writing itself.

Cairn - 01 - Dans L'interminable Ennui De La Plaine

To return once more to Lacoue-Labarthe, who has read Blanchot more closely than most: [L]e romantisme, en ralit, transgresse toute thorie. Cest peut-tre, comme le souponne Blanchot, le lot de lcriture elle-mme91 his emphasis. Perhaps the very existence of Blanchots work stands for this suspicion. If so, we might ask ourselves somewhat hyperbolically : who could talk about the future of criticism or theory, about that which is still to come and thus lies outside our critical-theoretical language, without running the risk that this future already be accessible in Blanchot?

This volumes work on Blanchot and Romanticism draws together fourteen essays that approach, ultimately, this risk. That the future or the outside might be here already is suggested by two quotations. The first is from Foucault: [Blanchot] est plutt pour nous cette pense [du dehors] mme la prsence relle, absolu-. EL, , n. The second is from Novalis: That place outside the world is given, and now Archimedes can fulfil his promise.

Readers will decide for themselves whether this outside insofar as it is incomplete, deferred, ever futural, punctured, and unworked can be approached without being Blanchot. This volume will serve its purpose if it can act as a lever to help them reach a decision by undertaking a dual reading: of the Romantics afterlife, and of the writer it names and un-names Blanchot romantique. Ce qui frappe, dentre de jeu, cest le beau paradoxe apparent de linti- tul du prsent volume et du colloque ponyme, Blanchot romantique.

Romantique, Blanchot? Romantique, celui que le clich a fig dans une impersonnalit pure et dans la hautaine souverainet du neutre? Mais le clich sefface, et le questionnement saiguise, ds que lon accepte de consi- drer que le romantisme fut bien autre chose quune affaire dorages dsirs et de tumultes intrieurs, ds que, paralllement, lon prend en compte lexceptionnelle richesse des intrts littraires de Blanchot, la dimension spculative de sa rflexion sur la littrature, et le rle central jou par la culture allemande dans son travail.

Pour cet Aufklrer paradoxal, attach aux Lumires de lombre, lpoque quil est coutume de dsigner par le syntagme de romantisme allemand est dune importance considrable. Et notam- ment ce que lon appelle aussi premier romantisme, ou romantisme dIna, cause de la constellation qui sy tait forme autour des frres Schlegel et de lphmre revue lAthenum, laquelle rassembla des crivains-pen- seurs tels que Novalis, Schleiermacher, puis Jean-Paul Richter.

Lindivision revendique entre littrature et philosophie, la pratique du fragment et de cet clair de pense quest le Witz, une certaine revendication de lcriture anonyme et collective dans ce qui fut nomm Symphilosophie philoso- phie en commun : il y a l des traits que Blanchot semble avoir repris dans son criture et sa pense propres, comme pour les relancer au-del de leur concrtisation historique, en un geste de reprise, dans le sens de ressouvenir en avant que Kierkegaard a donn ce terme.

On en repre quelques traces dans Faux pas, et notamment dans larticle Rflexions sur la jeune posie : Il semble que la posie soit plus que jamais attache une conception magique de lart. Ce puissant courant dont le romantisme allemand a retrouv les dbuts et quont retrouv en France Nerval, Baudelaire, Rimbaud, Mallarm, a creus si profond- ment son lit que toute source rve dy couler. Lart le plus savant a eu, depuis plus dun demi-sicle, lambition de rendre aux mots un pouvoir primitif. FP, ; nous soulignons 1. Mais, dans ce recueil critique publi en , les quelques lments touchant au romantisme proprement dit se trouvent occults, tantt par la rfrence lactualit littraire, tantt par les deux sources majeures que constituent pour Blanchot Hlderlin et Mallarm.

Do limportance de la publication des Chroniques littraires, o lon peut mesurer lintrt que Blanchot porte ce romantisme allemand quil oppose significativement au romantisme franais dans un article de , De Jean-Paul Giraudoux. Il y montre comment, pour les romantiques allemands, lart na pas seulement une valeur dexpression, mais une valeur dexprience, dans la mesure o il y a alors mise en uvre de lexistence mme, que luvre accomplit et transforme:.

Pour nos romantiques, lart garde une valeur psychologique, il est expression sincre, miroir fidle; pour les romantiques trangers, la littrature a une valeur dengagement: elle nexprime pas, elle bouleverse; elle est la fois moyen de connaissance et pouvoir de mtamorphose; vivre, crire, cest un mme acte. Dans les grands textes critiques des annes cinquante, la rfrence romantique se trouve occulte par la rflexion sur Hlderlin dont Blanchot dit lui-mme dans LEntretien infini quil ne sinscrit pas proprement. Maurice Blanchot et lAthenum Le rapport critique la lecture heideggrienne de Hlderlin lemporte sur la rfrence directe au romantisme allemand.

Antoine Berman a certes raison de faire remarquer que la rflexion de Blanchot sur Jo Bousquet, dans le chapitre Traduit de de La Part du feu , est totalement prise dans lespace littraire ouvert par lAthenum. Il sagit de larticle intitul LAthenum, tout dabord publi en aot la Nouvelle Revue franaise, et signifi- cativement plac dans la dernire section de LEntretien infini, LAbsence de livre.

Larticle se trouve au centre dune sorte de triptyque allemand, o il est prcd par une rflexion sur la faon dont Thomas Mann, dans Le Docteur Faustus , a vou au nihilisme la musique de Schoenberg, et suivi par une tude de la langue thtrale de Brecht. Il sagit dun texte dune exceptionnelle densit, vritable centre focal de LEntretien infini, o seffectue ce que lon peut appeler, avec Philippe Lacoue-Labarthe et Jean-Luc Nancy, non pas une histoire du romantisme, mais une histoire dans le romantisme AL, 10; Lacoue-Labarthe et Nancy soulignent.

EI, , n. Il serait plutt tout prendre [] celui, pour une part, dune histoire dans le romantisme. Rien de commun, donc, entre ce texte, et la section que Roger Ayrault consacre, en , lAthenum, au tome III de son monumental ouvrage, La Gense du Romantisme allemand. Pour lui, le romantisme allemand, ouvrant une poque qui est celle de labsence duvre,7 constitue ce dans quoi la modernit littraire et philosophique des annes soixante se trouve encore prise.

Que la France vive cette catastrophe dans une angoisse indicible est dramatique. Ils font de la figuration, comme les intermittents du spectacle. Monsieur le Maire, mesdames et messieurs les Conseillers municipaux,. Mai Mes sources? Il est criminel de se taire. Ce fut affreux. Vous votez pour des maquerelles et pour des maquereaux. Ils pillent la Bretagne et la France :.

Ils ne sont ni prescrits, ni prescriptibles. Ceux qui les dissimulent, et ceux qui se rendent volontairement complices sont passibles de lourdes sanctions. La suite viendra. Je remercie M. S Supplice de la roue. Le supplice de la scie. Cornette , t. La Borderie , id. Ces gens furent pendus. Les clochers furent abattus.

Les cloches furent descendues sur le sol. Eglises de Combrit et de Plogastel Saint Germain. Pocquet, id. Pocquet , Id. Cette situation dure encore. Mais avec qui la faire? Qui les plaindra? Nota bene. Incroyable, mais vrai. Beaucoup le savaient.

Pierre Manent

Voir : Marianne, Hollande, retraite. Et coetera. Depuis vingt ans, on vous ment, on vous trompe. Aucune tribune ne lui est offerte. Qui plus est, ils travaillent pour le colonisateur. Cela nous apporte un grand soulagement. Ne craignez vous pas un accident sur le chemin du retour? Un climat de pessimisme souffle sur la Bretagne. Injurier dans les blogs est nul, pire : destructeur. Voir ces noms dans Google. Nous allons voir que ces fautes sont ininterrompues depuis au moins trente ans. En miettes. Voir le programme de Claude Reichman sur la toile. De cela, rien dans la presse, ou presque rien.

Ils sont incultes. Leurs propos sont totalement irresponsables. On ne doit plus me donner la parole : CQFD. Les propos des orateurs sont assez violents, pas besoin de dictionnaire pour comprendre. Je me rends au Palais de justice de Paris, le je retrouverai la date dans mes archives ….. Ils ne seront pas mieux, mais pires. Mieux : M. Nicolas Sarkosy, en et en , tiendra quelques propos lucides et courageux, mais ne tiendra pas ses promesses.

Ah le brave homme!!!! Il a bondi dans les sympathies populaires, comme Jacques Chirac …. Et quels Bretons! Elle est advenue. Q ue le centre reste au centre si cela lui chante. Un Breton en Bretagne vous convient-il? Berlioz romantique est un gluckiste. Son Requiem proportionne la clameur au drame de la mort. Et le grand Wagner lui doit beaucoup, sur ce point….

Depuis deux cents ans? Que cela prouve-t-il? Cela est un signe. Je ferai, M. Croyez, M. Schubert et Schumann sont pour le dessin, Gluck et Berlioz pour la couleur. Mais on craint un peu que toute cette reprise ne soit artificielle. La ville des trois mages et de Stollwerck est trop fameuse, M. Ainsi va le monde. Mais que la gloire ne le grise point. Pour M. Jean Rameau. Novicow qui chante la grandeur de la France comme il convient. Cette phrase de M. Mademoiselle Colette va partir. En France la masse du peuple ignore encore toutes les victoires japonaises. Pour 1.

Le directeur M. Il dirigea la Revue franco-allemande qui fit du bruit en son temps. La Presse nous apprend que M. Boni de Castellane est un homme jeune, brillant et divers. A Channel Passage and other Poems. Un abord difficile. Mais M. Regnault ne nous a rien dit de tout cela. Cependant, El Mokri croit la nouvelle fausse.

Il ne sait pas combien Je temps il y demeurera. Il a une mission. Des petites gens incendient leur maison pour toucher le montant de leur assurance, et la femme du cordonnier Fielitz meurt subitement au dernier acte. Tous ces cordonniers et forgerons parlent pour ne rien dire. La France garde, en Allemagne du moins, le prestige de sa richesse. Les Berlinois applaudissent La Dame de chez Maxim.

Non seulement ses livres se vendent dans toutes les librairies, mais encore dans tous les bazars. La petite salle des Scharfrichter contient une centaine de places. Il ne joue jamais sauf dans les pantomimes. Hans Richard Weinhoppel est le compositeur infatigable de la troupe. Elle est le type pour eux de la femme moderne. Le talent de Robert Randau est puissant, tentaculaire comme un monstre marin.

Leur langue est riche, souple, originale et exactement consciencieuse. Pierre Baudin mis en avant comme celui du prochain gouverneur de la colonie. Il serait alors heureux que M. En M. Ensuite M. Baudin au lieu du chapelier Faberot. Le passage de M. Au point de vue social, diverses mesures prises par M.

Baudin a repris sa place au Palais. Baudin de faire partie du cabinet actuel. Pierre Baudin ne soit pas parti. Mais, allez, je ne demande pas autre chose! Quels sont vos souvenirs de cette lecture? On paria trois bouteilles de champagne pour corser la chose. Si MM. Le plus jeune. Ni Boccioni ni Severini ne sont sans talent. On se demande ce que viennent faire en cette affaire les experts artistiques commis par le juge. Bernheim de nous adresser. Jourdain se tourna alors contre un paysage.

Il a beau dire et beau faire, il ne sortira pas du moignon. Frantz Jourdain fit des restrictions. Il voyait le compotier en biais. En revenant vers les sous-sols du Grand Palais, M. Dans les sous-sols, M. Je suis en train de me le demander et je ne puis le croire… Que diable peut-on faire avec une bouche pareille! Frantz Jourdain vient de faire graver son nom sur tous les piliers de la Samaritaine dont il construit sans cesse de nouveaux magasins.

Il aimait raconter des histoires sur sa peinture. Ils trouvaient le tableau horrible. Abel-Truchet a de remarquables aptitudes commerciales. Je suis franc, au moins. Le fauve des fauves. Lorsque M. Les tableaux de M. Gropeano expose un Portrait de S. Le jury les admit. Frantz Jourdain passa. Il chancela. On le soutint. Frantz Jourdain. Nous avons appris que M.

Le Bargy, les cravates de M. Le cas de M. Comment MM. Quel jardin! Charles Maurras est devenu un homme important. Chantera-t-il encore ou restera-t-il muet pour toujours?

3 modèles de développement

Je le regrette. Vous avez vu un frac bleu. En fait de chansons, vous en avez entendu une des plus populaires et dont la musique est belle comme celle au largo de Haendel. Toutes les expositions se ressemblent. Chaque exposition dure six mois. Est-ce un mal? Je ne le pense pas. En France, on fit parfois du modern Style un emploi fort judicieux. Je me trompais. Mais on ne voit pas ces demoiselles. Elles sont en vacances.

Pierre Bonnard, Vuillard et K. Grands dieux! Il est moins audacieux que moderne. Manguin est un peintre voluptueux. Et il est interdit de se laisser aller. Granzow expose un Triptyque. On les recueille en Angleterre, en Allemagne et ailleurs. La peinture moderne est, dans la plupart de ses tableaux, comme le disait Buonarotti, de la peinture flamande. Mais, je me demande encore si cela vaut bien la peine. Je les trouve trop peu femmes.

Je me mettrai au courant pour la prochaine fois. Cruelle Aurel! Quelle ambition! Comme elle respecte la grammaire! Mais de nos jours le travail du docteur Mardrus ne pouvait avoir aucun effet. Il y a plus. Fernand Gregh, par exemple. On confond le Gange avec le Gave, Bagdad avec Orthez. Imitant M. Clemenceau serait impuissante. Lequel sait parler comme elle du douloureux amour? Ce monsieur signe A.

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Un soir il tombait beaucoup de neige, les omnibus, les voitures ne roulaient plus. Il demeura ensuite un peu de temps dans la salle. Il me parla de Verlaine et nous nous entendions fort bien. Pour MM. En somme, les investigations de M. Jean de Bonnefon, lui, est plus futile que M. Jules Bertaut, mais plus intelligent. Je le lirai, pour voir. Ces platitudes sont vraiment trop nombreuses. Et comme elle se trompe!

En effet, se laisse-t-elle aller? Une lettre de M. Cette invitation au voyage nous fit vite partir bien loin les uns des autres! Voici dans quelles circonstances. La balle alla se perdre dans un rideau. Je ne fus plus ensuite au courant de son existence. Polti, comment cela va-t-il?

Elles regorgeaient de monde. Instinctivement, je saisis au vol ce que je prenais pour un prospectus. Sa chambre retient toute mon attention. Je regardai M. La Jeunesse observe avec grand soin. Son but?.. Comment M.

Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)
Linterminable écriture de lExtermination (Essais - Documents) (French Edition) Linterminable écriture de lExtermination (Essais - Documents) (French Edition)

Related Linterminable écriture de lExtermination (Essais - Documents) (French Edition)



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