Le bruissement de la langue
01 Jan 1993-
About: The article was published on 1993-01-01 and is currently open access. It has received 183 citation(s) till now.
30 Aug 2011-Neohelicon
TL;DR: In the textualized universe of Denis Roche, the poetic impulse is inextricably linked to the unstable framework in which such matter is cast as mentioned in this paper, and the text is birthed as an object of inquiry, ultimately to be dismantled: the poem is both "inadmissible" and " inexistant".
Abstract: In the textualized universe of Denis Roche, the poetic impulse is inextricably linked to the unstable framework in which such matter is cast. Utterances of language translate the power of transgression. The text is birthed as an object of inquiry, ultimately to be dismantled: the poem is both « inadmissible » and « inexistant » . As a self-fixed interrogator focused upon the residual matter that it is and which it only can be, it is no longer subservient to the references it struggles to invoke, much less to signify. Writing, then, as an unending auto-reflexive process of annihilation and reification, and subsists, as such, to the sole extent that it disassociates from all conventional voices of articulation. More obtusely, to poeticize is to re-transcribe—otherly and with abruptness—the withered sputtering(s) of the artistic imperative. Poetry, like photography, aims and frames, slices the world into sequences and images—partial, scattered, at once undone so as to be resuscitated, briefly, again. The extant is eschewed. At stake and at center-stage: a propelled form of motivity, speed, accelerations and dead-stops, an aleatory array of unremitting shifts, « instantanees »—obstinately un-emblematic. Raging or controlled, the poem or the photo can only be a non-representational sliver, the transitory residue of an infinite combinatorics of possibles. Hence, arbitrary breaches, clamoring interruptions, ludic contortions of incompleteness. A curious dynamic.
01 Jan 1991-L'Esprit Créateur
TL;DR: In this article, the authors synthesise the results of a collaborative research, carried out in a public high school in the northwest of Argentina, whose objective was the design, implementation and evaluation of teaching strategies that prioritise the development of dialogical argumentative practices in order to promote critical thinking when learning philosophy.
Abstract: Research in different educational contexts has shown the difficulties that high school students have understanding texts of a certain complexity and substantiating their own positions regarding several disciplinary contents. In Argentina, studies have focused on diagnostic studies on the understanding of narrative and expositive texts, but not on the effects of the implementation of teaching initiatives that favor the understanding and production of argumentative texts. In this article, we synthesise the results of a collaborative research, carried out in a public high school in the northwest of Argentina, whose objective was the design, implementation and evaluation of teaching strategies that prioritise the development of dialogical argumentative practices in order to promote critical thinking -in a broad sense- (Paul and Elder, 2003), when learning Philosophy. Results were triangulated from three data sources: students’ productions, students and teachers’ perspectives, and the implemented teaching sequences.
TL;DR: Au commencement of his essay "Le plaisir du texte" publié en 1973, Roland Barthes relie le lecteur du lecteur au mythe biblique de Babel, lequel relate le mélange des langues par Dieu as discussed by the authors.
Abstract: Au commencement de son essai « Le plaisir du texte » publié en 1973, Roland Barthes relie le plaisir du lecteur au mythe biblique de Babel, lequel relate le mélange des langues par Dieu. Barthes évoque ce mythe de Babel afin de le retourner. Mais pourquoi un tel renversement du mythe était-il nécessaire ? Selon Barthes, pour renverser ce mythe biblique, il ne faut plus interpréter Babel en tant que punition. Il suggère que Babel soit plutôt un don, don qui ne serait pas celui d’une seule langue, mais celui d’une pluralité de langues. Il écrit : « ...le vieux mythe biblique se retourne, la confusion des langues n’est plus une punition, le sujet accède à la jouissance par la cohabitation des langages, qui travaillent côte à côte : le texte de plaisir, c’est Babel heureuse » (Le plaisir 10). Pour Barthes, une Babel heureuse est une autre manière de désigner le texte comme source et lieu de plaisir. À cet égard, une Babel heureuse est un texte capable de produire un « désir d’écrire » chez le lecteur, car selon Barthes, c’est la lecture du texte de plaisir qui est « conductrice » du « désir d’écrire... » (« Sur la lecture » 45). Barthes lie ce mythe de Babel au lecteur, à la pluralité des langues et au plaisir, mais curieusement, il ne le lie pas ouvertement, comme l’on pourrait s’y attendre et comme d’autres l’ont pourtant fait, à la traduction. On peut penser ici à plusieurs études portant sur la tra-
01 Jan 2009-New Literary History
TL;DR: For instance, Cohen as discussed by the authors describes a special case of the more general social and cultural activity of identifying, classifying, and relating the classes and species of things both natural and unnatural.
Abstract: of Ralph Cohen as "master of genres." No one has been more assiduous in the cultivation of genre consciousness; no one has been more liberal in the entertainment of different conceptions of genre. Of course, as a literary scholar, Ralph Cohen has been especially interested in the concept and history of the genres of literary expression. But he has always treated literary genres as a special case of the more general social and cultural activity of identifying, classifying, and relating the classes and species of things both natural and unnatural. Up until the end of the eighteenth century, conformity to the "law of genre" which is supposed to have held that "thou shalt not mix the kinds" was considered a matter of moral, as well as ontological and aesthetic, necessity. The domain of literary genres was only the most cultivated and sophisticated place where the law was applied, tested, and, when necessary, revised. The law of genre was also supposed to preside over the joining of forms with contents. In literary writing, it was forbidden to join a noble form (such as tragedy) with a base content (such as villainy) . But in literature, as in life, Charles Darwin destroyed all that.
Related Papers (5)
01 Apr 1974-Modern Language Review
01 Jan 1968
01 Jan 1977-World Literature Today
01 Jan 1969