Arquivo para September, 2020
In the pleasure of the text there is a dialogue
02
Sep
In the previous post there are Barthes’ expressions on
literature, writing and text, and we have already conceptualized the idea of inscription which is supposed to be supported, writing and the cognitive aspect and in the text the linguistic, artistic and “installation” aspect, and it is this is where his book “The pleasure of the text” is analyzed.
The book despite theoretical aspects is in fact a pleasure to be read, there is dialogue and mainly pleasant surprises, such as, for example, a semiological space, a kind of place between two margins: “an obedient margin, according to, plagiarism (…) the canonical state of the tongue and another movable, empty (…) these two margins wax, are necessary ”(page 40).
It yields more classic literature: “by Zola, by Balzac, by Dickens, by Tolstoy) it carries with it a kind of weakened mimesis: we do not read everything with the same intensity of reading; a rhythm is established, leisurely, with little respect for the integrity of the text ”(page 17)
Proust, Balzac and Tostói deals in a single line of ruptures, “the very rhythm of what is read and what is not read that produces the pleasure of great stories: Proust, Balzac, Guerra e Paz will sometimes have been read , word by word? (Proust’s happiness: from one reading to the next, we never skip the same passages) ”(page 18).
He recommends how to do the real reading: “Read slowly, read everything, from a Zola novel, the book will fall from your hands; read quickly, in fragments, a modern text, that text becomes opaque, timely for our pleasure: you want something to happen, and nothing happens; because what happens to language doesn’t happen to speech: what “happens” *, what “goes away”, the gap in both margins .. “(page 19).
Contrast the text with the theater or the cinema: “In the text scene there is no limelight: there is no one active behind the text (the writer) nor before anyone passive (the reader); there is no subject and object. The text prescribes grammatical attitudes: it is the undifferentiated eye that an excessive author (Angelus Silesius) speaks: ‘The eye with which I see God is the same eye with which he sees me.” (pag.52).
It reveals the secret of another book of his: “Old, very old tradition: hedonism has been repelled by almost all philosophies; only the hedonistic claim is found among the outcasts, Sade, Fourier; for Nietzsche himself, hedonism is pessimism ”(page 74), the book quoted in the previous post that goes far beyond hedonism.
BARTHES, Roland. (1987) O prazer do texto. Trad. J. Guinsburg. Brazil, SP: Editora Perspectiva. (portuguese edition in pdf, in english edition pdf)
Authors and dialogues
01
Sep
I read a 1968´s text by Roland Barthes “The death of the author” 
in which he problematizes the concept, proposing it as “the destruction of all voice, of all origin”, he would also say about man today in a troubled moment of concept and events truly and “strangers” who are building “barricades in the texts”, what he said of his contemporaries (Alain Badiou and Jacques Derridá stated that without this concept no object is critically thought), and what he would say today, certainly his thesis I was right, and more so today.
It is known that Foucault gave pins to Barthes, but in Sade, Fourier, Loyola they were returned by inserting the reader in the discursive game and reformulating the question of authorship in another dimension: the body, this object of consumption of so many theories today, only in Barthes it finds some solidity (not liquid).
For Barthes the text is a body, an object of pleasure endowed with the ability to penetrate the reader’s life in fragments, generating coexistences between reader and author, or verbatim: “The pleasure of the text also includes a friendly return from the author.
The returning author is certainly not the one identified by our institutions (history and teaching of literature, philosophy, Church discourse); not even the hero of a biography he is… it is a simple plural of ‘charms’, the place of some tenuous details, the source, however, of vivid romances, a discontinuous song of kindness, in which we read death with all much more certainty than in the epic of a destination; it is not a person (civil, moral), it is a body. ” (BARTHES, 2005).
Barthes proposed in 1977 (Leçon) a distinction of the terms: literature, writing and text, which is particularly interesting conceptually, writing has something that is the manuscript an inscription in which a support, an utensil is supposed, in second place (although it is only of a didactic character) the cognitive sense, by which the installation is designated and the third the “linguistic” forms endowed with meaning that take on an artistic sense.
To problematize the question of “pluridimensionality” proposed by Barthes for literature, he initiates the so-called “genetic criticism”, problematizing the enunciative aspect of the term, aims to reconstruct a history of the text in its nascent state, seeking to find in it the secrets of fabrication of work, and thus it is explained what a text is and its relation to literature.
It is here that dialogue is established through language, without understanding the genetics of a text, there may be solicitude or dialogue, but it would not leave superficiality nor reach that level desirable for many contemporary authors to assume the preconceptions and establish new horizons. .
Barthes makes a valuable reflection on listening, distinguishing it from the physiological act of the mechanic of “listening”, giving it a statute of psychological act that can only be defined by its object and intention, a category so dear to hermeneutics although it is not exactly the same, has similarities.
The author makes a valuable reflection about listening, distinguishing it from the physiological and mechanical act of “listening”, giving it a status of psychological act that is defined only by its object and intention.
Barthes’ phrase is famous: “Any refusal of a language is a death” and an interpreter of this author explains the difference between hearing and listening: “[…] a poetic listening (‘brute’, as Barthes wants) aims not to imprison sounds in a hierarchical way, as in an insipid object of cold analysis ”(El Haouli, 2002), it is this aspect of hierarchical dialogues that dominate many who think they do it but do not do it, just want the passive submission of the Other to the their categories.
BARTHES, R. Sade, Fourier, Loyola, Paris: Seuil, 1971. [tradução: Sade, Fourier, Loyola. São Paulo: Martins Fontes, 2005.
EL HAOULI, Janete. Demetrio Stratos: em busca da voz-música. Londrina: Gráfica e Editora Midiograf, 2002.
