french, patrick - the time of theory a history of tel quel 1960-1983 (oxford up 1995)

8/12/2019 French, Patrick - The Time of Theory a History of Tel Quel 1960-1983 (Oxford UP 1995)

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The Time of Theory

A History of Tel Quel (1960-1983)

PATRICK FFRENCH

CLARENDON PRESS · OXFORD 1995

TOmy Father and Mother

ContentsAbbreviations

!T"#$%CT#!

1& TH' '"'!T*& !T'"+'CT#!+The ormation of Tel Quel The 'mer,ene of itional +.aentersetions in the Avant-/areo,is of the imit3& TH' T' # TH'#"2Tel Quel arismTel Quel an 4syhoanalysisTheoretial ition5ulia risteva7 L'Étrangèr ̓& TH'#"2+ :A'The $issolution of arism'this7 The a; an its 'essThe 4olitis of $issiene The 'e.tion in iterature<& $++#%T#!

Chronolo,y=iblio,ra.hy



Abbreviations APF Association psychanalytique de France Cin. Cinéthique CPA Cahiers pour l'Analyse CPSU Communist Part o! t"# So$i#t Union

Crit Critique EFP École freudienne de Paris ENS École normale supérieure EPE École pratique des hautes études F!N Front de li"ération nationale IPA Int#rnationa% Ps&"oana%ti&a% Asso&iationN#F Nou$elle #e$ue fran%aise &AS &ranisation armée secr(te PCF Parti communiste fran%ais PC) Partito comunista italiano SFP Société fran%aise de psychanalyse SPP Société psychanalytique de Paris

*+ *el +uel

ntroutionIn An&i#nt 'r##&#( a )rou* o! *#o*%# tra$#%( in a *ro&#ssion( to &onsu%t t"# ora&%#+ Ha$in)arri$#,( an, "#ar, t"# ,i$in# -or,s( t"# sit ,o-n to &ont#m*%at#( to s*#&u%at# on -"att"# "a$# "#ar,+ From *ro&#ssion to s*#&u%ation( t"rou)" t"# #.*#ri#n&# o! t"# ,i$in#$oi&#( a ,ramati& &"an)# o&&urs+ T"is mo$#m#nt is r#!%#&t#, / t"# t-o m#anin)s o! t"#-or, théorie in Fr#n&"0 s*#&u%ati$# t"ou)"t( an, *ro&#ssion+ T"# tim# o! *el +uel, -/0 to-12, e3hi"its "oth deri$ations4 it is a time of speculation, an intense ferment of acti$ity

de$oted to the ela"oration of a theory of literature. )t is also a time of procession, of atra$ersal or passae of people across spaces, spaces 5hich 5ere at the time those"et5een the institutions of intellectual Paris, and are no5 those of the te3ts open to ourreadins. )n this time of theory there is also a dramatic chane, "ut in the oppositedirection. After speculation, theory returns to its processionary mode. *his procession, ortra$ersée is not closed 5ithin the frame of a system, it is not a theory as structure, "ut amore sinuous, sensuous affair, a dance. *el +uel's history e3hi"its this mo$e from theterroristic closure of theory as speculation, a terror "efore the di$ine $oice, to a danceacross space, incarnatin the di$ine $oice in the "ody. )t is the history of a shift to a timeafter theory 5hich is to a lare e3tent that of the present.

6hat is the di$ine $oice in this mythic, metaphoric story7 For *el +uel it is the $oice of5ritin, di$ine in that it spea8s throuh the "ody of the 5riter, not from his intentionaleo, neither from his unconscious. )t is lanuae itself 5hich is the oracle, i$in rise tospeculation and to dance.

*he time of theory, its temporality, is comple3. &n the one hand it refers simply to ahistorical moment in the history of the French intellectual conte3t of the -/0s 5hen$arious anti9humanist, scientific discourses from different sites intersected 5ith oneanother, mo"ili:in the French intellientsia in fa$our of theory. *hese discourses are no5attached to names; !acan, <errida, Foucault, =arthes, Althusser, >riste$a, !é$i9Strauss.*el +uel is the site of their intersection. *he time of theory is, then, the moment of ascientific discourse 5hich in *el +uel ta8es the literary te3t as its o"?ect.

On t"# ot"#r "an,( "istori&a% t#m*ora%it is a tim# o! i%%usions( t"# i%%usion( !or #.am*%#(t"at *el +uel is %imit#, to t"# mom#nt o! t"is t"#or#ti&a% #.*%osion+ T"# t#m*ora%it o!t"#or is a%so t"at o! its &r#ation( an, o! its mutation !rom s*#&u%ation into ,an&#+Int#%%#&tua% "istorians t#n, to assum# t"at t"# &r#ati$# mom#nts o! -ritin)( -"#t"#r!i&tiona% or t"#or#ti&a%( run on t"# sam# %#$#% as t"# "istor o! #$#nts( )i$in) ris# to a $i#-



o! int#%%#&tua% "istor as in$aria/% ,#t#rmin#, / so&ia% an, *o%iti&a% &ont#.ts+ ut t"#t#m*ora%it o! %it#rar &r#ation #.ists on a ,i!!#r#nt %#$#% !rom "istor+ It t#n,s to *un&tur#t"is %#$#%( to ma2# un#.*#&t#, tra$#rsa%s a&ross "istor( #sta/%is"in) a tim# s*#&i!i& toits#%!+ T"# tim# o! t"#or is a%so un,#rmin#, / t"# 3$#rti&a%3 t#m*ora%it o! &r#ati$it( sot"at t"#r# is a &onsist#nt( insist#nt m#ssa)# #noun&#, a&ross t"# "istor o! *el +uel, 5hilethe conte3t itself chanes and the imae of the re$ie5 chanes 5ith it.

*his "oo8, as 5ell as "ein an attempt to assess historically 5hat is possi"ly the mostimportant post95ar literary re$ie5 and mo$ement, is also a"out the modalities and shiftsin the lanuae and style of theory in the French intellectual conte3t. )t see8s to rescue*el +uel from the larely pe?orati$e imaes of it in the Enlish9spea8in academic 5orld "yanalysin the history of the re$ie5 fom the perspecti$e of 5hat is identified as a coherentand consistent theory of literature. *his theory is specific to the re$ie5, particularly to its principal animator, Philippe Sollers. )t is distinct from the 5or8 of =arthes, !acan, <enida,Foucault, and Althusser, 5hile the 5or8 of >riste$a feeds into and off the acti$ity of *el+uel. *he re$ie5 is also distinct from Surrealism. )t is not ?ust a repetition of an oldad$enture, of literature as a$ant9arde promotin social chane, althouh it may at timesappear, despite itself, to echo the fortunes of the Surrealist mo$ement. )t is critical ofSurrealism, reacti$atin interest in fiures dissident from or tanential to it @ Artaud and=ataille, 5hile focusin on other fiures cele"rated "y the Surrealists @ Sade and

!autréamont, only in order to 5rest them from that association and "rin them into adifferent conte3t. =ut Surrealism's limitations for *el +uel do not pre$ent it from adoptinsome of the strateies of a radical mo$ement prefiured in the history of the Surrealist periodicals.

*his is an attempt to esta"lish the specificity of *el +uel and to address its terroristicdifficulty, accountin for this terror 5ithout reducin the difficulty, sho5in ho5 thedifficulty is "oth functional and part of the nature of the ideas themsel$es. *he "oo8emphasi:es the rele$ance in the present of *el +uel's ideas and te3ts, and its continuationin a different form 5ith the current re$ie5 !')nfini.

T"#r# is a *ro/%#m o! r#!#r#n&#+ '*el +uel' &an r#!#r to t"# r#$i#- its#%!( as o/4#&t( or tot"# )rou*( or to t"# i,#o%o) *ro*os#, / /ot"+ It is us#, in a%% t"#s# s#ns#s t"rou)"out

t"# /oo2( )i$in) ris# to an a**ar#nt %oos#n#ss in t#rmino%o)+ ut *el +uel -as un%i2#most *#rio,i&a%s in &ommittin) #$#r arti&%# an, its aut"or to t"# *ro)ramm# or *ro4#&t o!t"# )rou*+ In t"is s#ns# it is not 4ust a r#$i#-( /ut a%so a mo$#m#nt in %it#ratur# an,t"#or+ At t"# sam# tim#( it is not 4ust t"# sum o! its &ontri/utors+ P"i%i**# So%%#rs s*#a2s!or *el +uel, "ut cannot "e identified 5ith it e3clusi$ely. *he re$ie5 is also a site ofcontradictions, "et5een moments of its history and "et5een the different perspecti$es ofits contri"utors. )t is a mo"ile site in continual displacement.

*he study is ?ustified "y the unac8no5leded "ut enormous influence of the re$ie5 in theFrench intellectual conte3t and "eyond. 6hether positi$ely or reacti$ely, the conte3t is stillrespondin to the time of theory focused in *el +uel. Althouh at the time the re$ie5 soldory up to 1,000 copies per issue @up to B,000 for special issues, its influence is 5ideand disparate. Many of the principal intellectual fiures of the time passed across its

paes. *he re$ie5 had a part to play in the launchin of the careers of Michel Foucault and Dacques <errida, certainly Dulia >riste$a4 it remained a $itally supporti$e site for #oland=arthes from -/ until his death in -10. *el +uel also proposed a 5ay of readin te3tsthat influences literary criticism and theory, almost secretly, and it has "rouht 5riters li8eSade, !autréamont, Artaud, and =ataille, to a lesser e3tent Céline, out of l'enfer des"i"lioth(ques and into the liht of analytic enquiry. )ts production contains a lare andimportant "ody of fictional 5or8, in the no$el and in poetry, 5hich seems to ha$e "eeno$ershado5ed "y the parado3ical permanence of the Nou$eau #oman and its perpetuation, the Nou$eau9Nou$eau #oman, and so on. Accounts of the time recall thatscarcely a student or an intellectual could "e found 5ithout the latest copy of the re$ie5 intheir possession. =ut there is a difference "et5een its true and secret lesson and influenceand its ideoloical inflation. *his study attempts to read the te3ts in their oriinal conte3tsand to redress the "alance.

Finally, the "oo8 attempts to sho5 that the e3perience of literature, of 5ritin andreadin, from 5hich *el +uel's theory deri$es, is fundamental to literature, not limited to



the moment of theory. *he time of theory is not simply a historical moment "ut a trans9historical temporality, "rinin to life a procession of literary hosts from the past and pro?ectin itself into a future proposed to "e infinite, infini. *his time is a *un&tuation o!tim# as i%%usion( punctum temporis( an, a r#,is&o$#r o! t"# t#m*ora%it o! &r#ation+P"i%i**# So%%#rs -rit#s o! t"is mom#nt0 3!, pas de temps . . . ou alors le temps $raimentretrou$é+3 1

1 P+ So%%#rs( *héorie des e3eptions 6 Paris( 1978( II+

:;:

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The erment!a énération laquelle ?'apartiens est tumultueuse+

'+ atai%%#( !a !ittérature et le mal

Int#%%#&tua% "istor is a <u#stion o! t"# &ont#.tua%i=ation o! r#a,in) or r#a,in)s+ P%a&in) ar#a,in) in a &ont#.t &an m#an *%a&in) it in r#%ation to a n#t-or2 o! t#.ts( or o! #$#nts+ O!&ours#( #$#r t#.t #.ists in a num/#r o! ,i!!#r#nt &ont#.ts( not a%% o! -"i&" ar# ,#t#rmin#,/ "istor+ A trans:"istori&a% &ont#.t or int#rt#.t &an /# #sta/%is"#, t"at /#ars no r#%ationto &"rono%o) or to #$#nts+ Ho-#$#r( in or,#r !or t"is &ont#.t to #.ist a&ross "istor( t"#"istori&a% &ont#.t "as !irst to /# ,#t#rmin#,+ T"at is -"at is un,#rta2#n "#r#0 t"# ma**in)o! a s#ri#s o! int#rt#.ts or &ont#.ts !or t"# r#a,in) o! t"# r#$i#- *el +uel. *he re$ie5itself, ho5e$er, operates a rereadin of intellectual history as part of its theoretical acti$ity5hich "rins out a hidden conte3t "ehind the most immediate and apparent historicalconte3t. *he follo5in attempts to descri"e "oth the hidden conte3t that 5ill "ecomerele$ant for the re$ie5, and the immediate conte3t of its formation.

Mar8in out a conte3t for a mo$ement that e3isted o$er a t5entyyear period is notstraihtfor5ard. *he conte3t itself shifts and the mo$ement affects it. *his is more difficultin relation to the -/0s and -G0s, 5hen, due to the intense cross9fertili:ation "et5een5hat had "een distinct areas, a sinle conte3t for literary criticism, for e3ample, is notidentifia"le. )t is more pertinent to spea8 of conte3ts and their intersection4 in this 5ay theferment of the period 5ill "e more accurately represented. Ferment sinifies an intense,tumultuous acti$ity. )t also sinifies the result of a process of fermentation. *he time of *el+uel can "e seen as this result, or as the process, so that 5e 5ould no5 "e en?oyin thefruits of this fermentin process, perhaps 5ithout 8no5in it.

Ferment and intersection are not simply a question of ideas or ideoloies. *he intellectualscene in France is centrali:ed in Paris and then in a fairly small area south of the Seinethat runs, let's say, from the start of the =oule$ard Saint9Michel to the Dardin des Plantes

and not further south than Montparnasse. )n this small area, the passaes of *#o*%#(3a&ross a rat"#r /ri#! mom#nt o! tim#3 1 an, s*a&#( an, t"# int#rs#&tion o! t"#ir *assa)#s(!orm t"# "istori&a%% %i$#, as*#&t o! -"at is no- r#%at#, as int#%%#&tua% "istor+ T"# !#rm#nto! t"# tim#( in t"is /ri#! mom#nt o! tim# an, s*a&#( r#su%ts t"#n !rom int#rs#&tions( an,t"# n#t-or2 t"# ,#!in#( o! )rou*s an, o! *#rsons+ A &ont#.tua%i=ation o! a r#$i#- %i2# *el+uel is a <u#stion o! t"# int#rs#&tion o! i,#as as t"# ar# &on&r#ti=#, in )rou*s an, t"#*#rsona% itin#rari#s o! in,i$i,ua%s+

>#an-"i%#( t"# r#$i#- its#%! is a mi&ro&osm o! t"is( a !#rm#nt( a %o&us o! t"# int#rs#&tion o!t"#s# *assa)#s or tra$#rsa%s+ On% t"is int#rs#&tion is not ar/itrar( it is t"# ,#%i/#rat#%#n)in##r#, 4u.ta*osin) o! ,is*arat# #%#m#nts -it" a $i#- to t"# *romotin) o! a &#rtain#!!#&t in t"# &ont#.t+ P"i%i**# So%%#rs r#*orts t"at t"# a&ti$it o! t"# &ommitt## an, itssma%%#r )rou*in)s -as to -or2 out t"# ,is*osition o! t"# &ont#.t( -# &ou%, sa t"# ma* o!

t"# *assa)#s o! *#o*%# a&ross Paris or a&ross t#.ts( #sta/%is" t"# !au%t %in#s an, t"# ar#aso! r#sistan&#( an, to a&t *ra)mati&a%% a&&or,in) to t"is ma*( -it" a $i#- to *romotin) a&#rtain strat#)+ ? T"# natur# o! t"# strat#) is *art o! t"# su/4#&t o! t"is /oo2+

It is n#&#ssar( t"#n( to ,#%in#at# t"# to*o)ra*" o! t"is s*a&#( /ot" in t#rms o! i,#as6t#.tua% *assa)#s an, *#rsons 6tra4#&tori#s o! in,i$i,ua%s or )rou*s to /# a/%# to )ras*t"# &o"#r#n&# an, &ontinuit o! t"# r#$i#- *el +uel in its "istori&a% &ont#.t+

4ost-;arT"# &ont#.ts t"at ,#t#rmin# *el +uel an, -"i&" *el +uel s##2s to a!!#&t ar# not %imit#, tot"# *#rio, o! its #.ist#n&# 6 198@:7?+ *el +uel *ro*os#,( in !a&t( a r#!ramin) o! t"#

"istor o! %it#ratur# !rom t"# tim# o! Dant#( /ut t"at is /#on, t"# s&o*# o! t"is *ro4#&t+T"# mor# imm#,iat# &ont#.t !or *el +uel, ideoloically, is the post95ar period, hence ourconcentration on the tra?ectories and lines of force of French intellectual life since -2.









*he period from -2 to -/0 is also a time in -"i&" *ot#ntia% !or&#s( in t#rms /ot" o!i,#as an, o! in,i$i,ua% /io)ra*"i#s( ar# s#t in *%a&#+

Durin) t"# O&&u*ation t"# int#%%#&tua% mi%i#u in Fran&# -as un,#rstan,a/% *o%ari=#,/#t-##n t"# san&tion#, an, t"# &%an,#stin#+ "i%# t"# ma4or *r#:-ar %it#rar r#$i#-( t"#Nou$elle #e$ue fran%aise @N#F -as ta2#n o$#r / t"# Fascist <rieu la #ochelle( !es

!ettres fran%aises -as a !o&us !or un,#r)roun, R#sistan&# %it#ratur#+ T"# *u/%is"in) "ous#B,ations ,# >inuit -as a%so !oun,#, in 19;1 as a !orum !or R#sistan&# -ritin)+ 'a%%imar,(m#an-"i%#( -as a%%o-#, to &ontinu# to *u/%is" /oo2s / -rit#rs su&" as Sartr#( Camus(E%uar,( an, u#n#au+ So as -#%% as t"# *o%ari=#, r#s*ons#s o! outri)"t &o%%a/oration6 Dri#u( rasi%%a&" or R#sistan&#( asso&iat#,( *arti&u%ar% in t"# &as# o! !es !ettresfran%aises, 5ith the Communist party @ PCF, 5riters could pu"lish 5ith the apparentsanction of the occupyin forces, 5hile remainin sympathetic to the #esistance.

After the 5ar, the am"iuity of that position defined the atmosphere of the time. *hecolla"orationist elements 5ere pured, and the #esistance and Communist party emeredheroically. *he Nou$elle #e$ue fran%aise ha$in @temporarily disinterated, a space 5asleft for a non9affiliated literature. )t 5as filled to a certain e3tent "y the e3istentialistroupin around Dean9Paul Sartre, 5ho had not "een acti$e in the #esistance and 5ho hadcontinued to pu"lish durin the 5ar. *he tension "et5een the #esistance and Communistfactions and the e3istentialist or 'am"iuous' 5riters 5ould define the intellectualatmosphere for the ne3t ten years.

*he focus of the de"ate 5as the ?ournal !es *emps modernes, founded in -. 2 )tentered into a field of de"ate in 5hich the other prominent re$ie5s 5ere the Communist!es !ettres fran%aises and the Catholic Mar3ist Esprit. *he latter had "een created in-2B "y Emmanuel Mounier as the re$ie5 of the ideoloy of 'personalism', 5hich proposeda humanism "ased on the indi$idual, "ut 5ithout conflict 5ith Communism. )n a slihtlymore marinal position 5as the re$ie5 Critique, founded in -/ "y Heores =ataille andassociates from pre95ar pro?ects such as the Coll(e de socioloie. *he shiftin forces"et5een these periodicals reflect the mo$ements of ideas in this period.

"i%# t"# s%i)"t% #sot#ri& ,#/at#s !i)ur#, in Critique o&&u*i#, a r#s#r$#, s*a&#( t"# main,#/at#s o! t"# tim# &#ntr#, on t"# <u#stion o! &ommitm#nt+ T"# O&&u*ation &ou%, /# sai,to "a$# #n)#n,#r#, a )ui%t a/out t"# &rim#s o! t"# Ri)"t( -"i&" ,#t#rmin#, a -i%% !orr#n#-a% an, r#&onstru&tion o! *o%iti&a% an, mora% $a%u#s+ A sst#m o! $a%u#s "a, to /#&r#at#, t"at -ou%, r#sist t"# 3irr#sisti/%#3 ris# o! Na=ism !or som# it -as Communism( !orot"#rs #.ist#ntia%ism( an, t"is >ani&"#an ,i$i,# ,ominat#, t"# !i#%, o! int#%%#&tua% ,#/at#/#t-##n 19;5 an, 1958+

For Sartr# t"# *"i%oso*"i&a% /asis o! t"is r#n#-a% a%so "a, to /# #sta/%is"#,+ H# *ro*os#,t"at #.ist#ntia%ism -as a "umanism( in a *am*"%#t o! 19;( a!!irmin) t"at #.ist#ntia%ism-as not a <ui#tism( /ut a ,o&trin# o! a&tion( t"at 6#.ist#ntia% man -as !irst o! a%% a*ro4#&t+ 5 At a/out t"# sam# tim#( Simon# ,# #au$oir *u/%is"#, Pour une moraled'am"iquité( ,#!#n,in) #.ist#ntia%ism as a *"i%oso*" o! am/i)uit+ 8 E.ist#ntia%ism3sstan&# o! am/i)uit in a&tion -as in &ontrast to t"# stri&t a,"#r#n&# to Sta%inism o! t"#

PCF+ T"# r#%ation /#t-##n !es *emps modernes an, t"# PCF &riti&s su&" as H#nri L#!#/$r#an, #an Kana*a -ou%, s## $arious #.tr#m#s an, r#$#rsa%s( ma2in) *ro/%#mati& an#%a/oration o! an #.ist#ntia% >ar.ism( or ,#%ain) it unti% 198@( -"#n Sartr# -ou%, *ro,u&#t"# monum#nta% Critique de la raison dialectique. G >anapa, for e3ample, 5hose host5riter 5as rumoured to ha$e "een Michel Foucault, 5rote a reacti$e tract'!'E3istentialisme n'est pas un humanisme' in -G. 1

6ithin the camp of !es *emps modernes, disareements o$er commitment to Mar3ism5ere a source of friction. Maurice Merleau9Ponty, disillusioned 5ith the Communist role in>orea, left the re$ie5 in -2. Sartre had also quarrelled 5ith Camus, 5ho 5as not amem"er of the committee of !es *emps modernes "ut 5as in$ol$ed 5ith the re$ie5Com"at, o$er Camus "oo8 !'omme ré$olté @ --, seein it as an e3istentialism thatrefused the Mar3ist path and had to "e resisted. <espite the lac8 of dialoue 5ith the PCF,

the e3istentialists ne$er dissociated themsel$es, at this time, from a eneral affirmation ofthe ISS# as the locus of proletarian re$olution. Althouh a5are of the e3istence of thela"our camps in the ISS#, Sartre and MerleauPont &ou%, sti%% &%aim( in a 195@ #,itoria%(





















t"at0 3+uelle que soit la nature de la présente société so$iétique, l'I#SS se trou$e rossomodo située dans l'équili"re des forces du cJté de celles qui luttent contre les formesd'e3ploitation de nous connues+3 9 From 19;5 to 1958 t"# r#%ation /#t-##n !es *empsmodernes an, t"# PCF -as to su!!#r num#rous u*s#ts+ Sartr#( a%t"ou)" "# n#$#r 4oin#,t"# *art( -as to r#main( nomina%% at %#ast( a companon de route o! t"# PCF unti% 1958+

At t"# sam# tim#( /ut in an ar#na r#mo$#, !rom t"# !ront %in# o! *o%iti&a% ,#/at#( an,%ar)#% -it"in uni$#rsiti#s( a H#)#%ian r#naissan&# "a, ta2#n *%a&#( ,u#( ori)ina%%( to t"#%#&tur#s o! A%#.an,#r Ko4G$# at t"# École pratique des hautes études 6EPHE /#t-##n19 an, 197 an, t"# t#a&"in) o! #an H**o%it# at t"# École normale supérieure 6ENS+#!or# t"#n( t"# t#a&"in) o! *"i%oso*" in Fr#n&" uni$#rsiti#s "a, /##n %imit#, to t"#Kantian rationa%ism o! runs&"$i&) an, A%ain( r#sistin) an intrusion !rom 3 '#rman3+Ko4G$#3s %#&tur#s( att#n,#, / Sartr#( atai%%#( La&an( r#ton( Ramon, Aron( >#r%#au:Pont( an, Ramon, u#n#au( -#r# &o%%#&t#, in t"# 19; *u/%i&ation( #,it#, / u#n#au()ntroduction la lecture de eel, 5hile yppolite, 5ho tauht Althusser, Foucault,<errida, and <eleu:e, amon others, translated eel PhKnomenoloie des Heistes in--, and 5rote a num"er of commentaries on eel in the follo5in years. -0 >o?($e is particularly important as a filter for the thouht of eel in France. is $ision of eel isfundamentally Mar3ist "ut is also influenced "y the thouht of eideer.

A ma?or focus for these questions 5as the periodical Critique, founded "y =ataille 5ithassociates from the pre95ar roupins of Acéphale and the Coll(e de socioloie. Critique pu"lished articles "y >o?($e, introductory essays on eideer "y the philosopher Ale3ander >oyré, and important articles on Niet:sche. -- *he role of Critique as an e39centric forum for questions remo$ed from the e3istentialism9Mar3ism deadloc8 5as crucialfor the cross9fertili:ation of the -/0s, attractin fiures such as Foucault, =arthes, and<errida, 5ho play an important part in the emerence of the re$ie5 as a $ital force.

The =rea>-u.A num/#r o! #$#nts ,#t#rmin# 1958 as a ,#&isi$# turnin):*oint+ In F#/ruar( at t"#

t-#nti#t" Con)r#ss o! t"# Communist Part o! t"# So$i#t Union 6CPSU( Krus"&"#$,#noun&#, Sta%inism an, /#)an t"# *ro)ramm# o! ,#:Sta%ini=ation an, 3*#a&#!u% &o:#.ist#n&#3 t"at -as to &"ara&t#ri=# t"# n#.t !#- #ars+ In No$#m/#r( So$i#t tan2s #nt#r#,Hun)ar an, t"# Hun)arian u*risin) -as &rus"#,+

T"# in$asion o! Hun)ar %#, ,ir#&t% to Sartr#3s /r#a2 -it" t"# So$i#t Communist *artan, in,ir#&t% to !es *emps modernes3s su**ort o! t"# A%)#rian Front de li"érationnationale 6FLN an, its #m/ra&in) o! r#$o%utionar &aus#s outsi,# t"# USSR+ T"#Krus"&"#$it# ,o&trin# o! ,#:Sta%ini=ation( m#an-"i%#( -as m#t -it" ,isma / man*r#$ious% Sta%inist PCF m#m/#rs( an, t"is %#, #$#ntua%% to t"#ir r#si)nations or#.&%usions an, to a n#- t"#or#ti&a% )#o)ra*"+ it"in Fran&# t"is &r#at#, t"# *ossi/i%it o!t"# #m#r)#n&# o! a %#!tism not a!!i%iat#, to t"# PCF an, not in a)r##m#nt -it" !es *empsmodernes. &utside France, the t5entieth Conress led indirectly to the Sino9So$iet split of-/0 and the e$entual emerence of Maoism as an alternati$e for left95in intellectuals.*he possi"ility of Maoism as an alternati$e for the !eft is a ma?or factor in the tumult of-/1 and the "rea89up of the !eft in the late -G0s, a drama in 5hich *el +uel plays alare part.

*he ne5 space for leftism 5as occupied "y roups such as Socialisme ou "ar"arie,in$ol$in Cornelius Castoriadis, Claude !efort, Dean !aplanche, and later Dean9Fran%ois!yotard, critici:in Stalinism from a *rots8yist perspecti$e that e$ol$ed into a 'critique ofe$eryday life'. -B #e$olution 5as not only political "ut had to affect the totality ofe3perience4 ideoloical and cultural re$olution "ecame paramount. *he notion of culturalre$olution is o"$iously $ery seducti$e for cultural mo$ements and roups 5ho see8 toarticulate art 5ith a re$olutionary politics. )t also partly e3plains the e3plosion of Maoismin France after -//.

*he Aruments roup 5as a more so"er forum for leftism. 6ith =arthes and Edar Morinon its foundin committee, it 5ould act as a corridor for 5or8s of the 6estern Mar3ists,















"ut also for more creati$e socioloical enquiries, in 5or8s "y enri !efe"$re and Dean<u$inaud amon others. -2 *he influence of eideer could also "e felt here t"rou)" t"#a&ti$it o! Kostas A.#%os+ 1; art"#s3s in$o%$#m#nt su))#sts t"# r#$i#- to /# %#ss ,o)mati&an, mor# !r##:t"in2in) t"an ot"#rs o! t"# tim#( o*#n to arti&%#s on %it#ratur#( !or #.am*%#(su&" as art"#s3s o-n &"am*ionin) o! Ro//#:'ri%%#t an, stru&tura%ism+ 15

ot" t"# So&ia%ism# ou /ar/ari# an, t"# Ar)um#nts )rou*s -ou%, "a$# a *ro!oun, /ut&ont#st#, in!%u#n&# on t"# situationist )rou* an, t"#ir r#$i#-( t"# )nternationalesituationniste, 5hich also de$eloped a critique of e$eryday life that 5ould e$ol$e into acritique of the 'spectacle7'. -/ *he spontaneous creation of situations to counter thealienation of the spectacle 5ould "e an e3plosi$e ideoloy for the students of -/1, "utthis also parallels *el +uel in certain 5ays. Sollers's present cele"ration of the 5or8 of Huy<e"ord, *el +uel ha$in not once referred to the situationists, is e$idence of a pro3imityand a "lind spot that 5ill pro$e tellin in the history of the re$ie5. -G

)f intellectual de"ate from - to -/ had "een paralysed "y the Manichean deadloc8 ofthe PCF and !es *emps modernes, the fracturin and dispersal of roups after -/ mayha$e contri"uted to the emerence of disciplines that 5ere pre$iously more marinal. Aruments and Critique, for e3ample, pu"lished 5or8 "y academics from uni$ersityinstitutions such as the École pratique des hautes études or the Centre national derecherche scientifique. Critique also acted as a forum for a eneration of students from theÉcole normale supérieure influenced "y the eelian and eideerian teachin of >o?($e,yppolite, and Dean 6ahl, as 5ell as the radical epistemoloy of =achelard andCanuilhem. *he fracturin and dispersal launches a re$ie5 li8e Critique into a more prominent position, and is a condition for the rise to prominence of certain indi$iduals 5ho5ill "ecome the 'stars' of the period of the -/0s and -G0s.

So 5hile the eneral, ideoloical mo$ement of the fracturin of the 'e3istentialism orMar3ism' question, the dispersal of interests, and the emerence of ne5 areas create theconditions of possi"ility !or -"at is &a%%#, 3stru&tura%ism3( its r#a%i=ation( in t#.ts an, in"istor( ,#*#n,s on a s#ri#s o! *#rsona% itin#rari#s -"i&" -# -i%% no- #.amin#+

AlthuserA num/#r o! t"# nam#s -it" -"i&" t"is "istor is *art% &on&#rn#, "a$# in &ommoninstitutiona% ti#s -it" t"# École normale supérieure, situated in the #ue d'Ilm in Paris+ T"#ENS is a r#s*#&t#, institut# -"i&" trains *ros*#&ti$# t#a&"#rs to "a$# stu,i#, or tau)"tt"#r# is a *r#&on,ition( it s##ms( to /#in) ta2#n s#rious% / t"# int#%%#&tua% -or%, an,*arti&u%ar% t"# a&a,#mi& &ont#.t in Fran&#+ >an o! t"# nam#s o! t"# tim# o! *el +uel #m#r)# !rom t"# ENS( an, in *arti&u%ar !rom t"# !i#%, o! *"i%oso*"+ It is t"# inn#r t#m*%#o! Fr#n&" *"i%oso*"+ In t"# *#rio, -# ar# &on&#rn#, -it" it -i%% a**#ar as a ma)n#ti& *o%#to-ar,s -"i&" *"i%oso*"i&a% !ait" is ,ra-n( /ut a%so as an %it# -"i&" r#sists an*r#t#nsion to its t"ron#+ T"# ,istin&tion /#t-##n a normalien an, a non:normalien is at#%%in) ,i!!#r#n&# in t"# !#rm#nt o! t"# tim# o! *el +uel +

In 19;9( "a$in) /##n tau)"t at t"# ENS / '#or)#s Can)ui%"#m( -"os# a&"#%ar,ian#*ist#mo%o) r#sonat#s in mu&" stru&tura%ist an, *ost:stru&tura%ist t"in2in)( LouisA%t"uss#r too2 u* a %#&turin) *osition at t"# ENS+ H# -ou%, t#a&"( at ,i!!#r#nt tim#s in "is&ar##r( >i&"#% Fou&au%t( a&<u#s D#rri,a( Bti#nn# a%i/ar( a&<u#s Ran&iGr#( Pi#rr#>a&"#r#( a&<u#s:A%ain >i%%#r( >i&"#% Tort( an, man ot"#rs+ H# -ou%, r#main t"#r# unti%No$#m/#r 197@( -"#n "# stran)%#, "is -i!#( H%Gn#( in t"# sam# /ui%,in) in t"# Ru# ,3U%man, &ommitt#, "ims#%! to *s&"iatri& tr#atm#nt o! t"# ,#*r#ssi$# i%%n#ss t"at "a, "aunt#,"im t"rou)"out "is %i!#+ His %#)a& at t"# ENS a!!#&ts an #ntir# )#n#ration o! Fr#n&"int#%%#&tua%s( /ut it is a%so "is a,"#r#n&# to t"# PCF a!t#r 19;7 an, "is att#m*t to r#:#sta/%is" t"# *"i%oso*" o! >ar.ism -it"in t"#s# %imits t"at ma2# !or t"# in#stima/%#im*ortan&# o! A%t"uss#r an, o! "is int#%%#&tua% /io)ra*" !or t"# "istor o! t"# tim#+ On&#mor#( it is in 1987 t"at t"# t#nsions s#t in *%a&# / A%t"uss#r3s %i!# an, -or2 -i%% /#un%#as"#, into 3#$#r,a %i!#3+


















It is n#&#ssar( in or,#r to un,#rstan, A%t"uss#r3s int#r$#ntion( to "a$# som# notion o! t"#t"#or#ti&a% )#o)ra*" o! >ar.ism at t"# tim#+ A%t"uss#r /#&am# a >ar.ist in 19;7( a!t#ran a&ti$# #n)a)#m#nt -it" Cat"o%i&ism( !ina%% a/an,on#, in 195?+ ut it is not unti% t"##ar% 198@s t"at A%t"uss#r -i%% /#)in to *u/%is" t"# arti&%#s t"at #sta/%is" "is *"i%oso*"+ Itis in r#s*ons# to t"# #$#nts o! t"# 195@s t"at "# -rit#s+ 17

Unti% t"# t-#nti#t" Con)r#ss o! t"# CPSU in 1958( t"# Int#rnationa% Communist >o$#m#nt"a, /##n mar2#, / a stri&t t"#or#ti&a% a,"#r#n&# to t"# ,#t#rministi& mat#ria%ism *ut!or-ar, / Sta%in( t"# PCF !o%%o-in) t"is %in# to t"# %#tt#r+ Ho-#$#r( at t"# t-#nti#t"Con)r#ss( Krus"&"#$ ,#tai%#, a *ro)ramm# o! ,#:Sta%ini=ation -"i&" #!!#&ti$#% m#ant a,#,i&ation to t"# ,o&trin# o! 3*#a&#!u% &o:#.ist#n&#3 an, a%so to t"at o! t"# 3*#a&#!u%transition3 to so&ia%ism+ A!t#r t"# initia% s"o&2( t"is ,o&trin# -as in turn !o%%o-#, / t"# PCFan, most ot"#r Euro*#an Communist *arti#s+ Lat#r in t"# sam# #ar &am# t"# So$i#tin$asion o! Hun)ar( -"i&" %#, in *arti&u%ar to t"# #.*u%sion o! %#a,in) PCF int#%%#&tua%sH#nri L#!#/$r# an, #an:Toussaint D#santi( an, t"# a%i#nation o! !orm#r !#%%o-:tra$#%%#rs+19 In 198@ &am# t"# ,#&isi$# s*%it -it" t"# Communist Part o! C"ina 6CPC( -"i&" sa- t"#Krus"&"#$it# ,#:Sta%ini=ation as r#$isionist( /#train) t"# *rin&i*%#s o! >ar.ist:L#ninist*o%iti&a% t"#or+ it"in t"# PCF t"# Krus"&"#$it# ,#:Sta%ini=ation r#su%t#, in a t"#or#ti&a%!ormu%ation -"i&" a,$o&at#, a r#turn to t"# oun) >ar. as an anti,ot# to t"# ,o)matismo! Sta%inism+ T"# r#turn to t"# oun) >ar. str#ss#s t"# H#)#%ian as*#&ts o! >ar.ism( an,

it -as a%so #.#r&is#, in t"# nam# o! a ri)orous "umanism+ Krus"&"#$ ,#&%ar#, at t"#t-#nt:s#&on, Con)r#ss t"at #$#rt"in) -as 3in t"# nam# o! >an( !or t"# /#n#!it o! >an3+?@

T"# r#turn to t"# H#)#%ian >ar. -as a%so a&&om*ani#,( outsi,# t"# PCF( / t"#&ontinuation( or t"# r#n#-#, %#)a&( o! t"# tra,ition o! #st#rn >ar.ism+ T#.ts /#st#rn >ar.ists o! t"# 3!irst -a$#3 6 Lu2aJs( Kar% Kors&" -#r# r#*u/%is"#, or trans%at#,in Fran&# at t"is tim#( an, trans%ations o! t"# -or2 o! %at#r 3#st#rn >ar.ists3 su&" as>ar&us# -#r# a%so *u/%is"#,+ ?1 In 19; Sartr# "a, a%so ,#&%ar#, "is *"i%oso*" to /# a3"umanism3+ T"# most stri2in) as*#&ts o! t"is r#naissan&# o! >ar.ist t"#or -#r# its"umanism( its H#)#%ianism( an, its "istori&ism+

It is -it"in t"is &ont#.t t"at A%t"uss#r start#, to ,#$#%o* "is ori)ina% &ontri/ution to >ar.ist

*"i%oso*"+ S##in) t"# Krus"&"#$it# %in# as a ri)"t:-in) &riti<u# o! Sta%inism( an,*rom*t#, to -rit# / t"# t-#nti#t" Con)r#ss an, t"# Sino:So$i#t s*%it( "# "int#,( inarti&%#s o! t"# %at# 195@s( t"at t"is r#turn to t"# oun)( H#)#%ian >ar. -as at t"# #.*#ns#o! >ar.3s !un,am#nta% ,is&o$#r::o! "istori&a% mat#ria%ism as t"# s&i#n&# o! "istor+ His&riti<u# o! Krus"&"#$3s ,#:Sta%ini=ation *ro)ramm# im*%i#, an a%%#)ian&# to t"# >aoist(anti:CPSU *osition( !or -"i&" A%t"uss#r -as arrai)n#, in 198 an, 3-as o/%i)#, to a!!irmt"# &orr#&tn#ss o! t"# PCF3s o-n %in#3+ ??

A%t"uss#r3s &riti<u# o! t"# r#turn to t"# oun)#r >ar. -as a r#su%t o! t-o /#%i#!s0 !irst t"atit im*%i#, a r#)r#ssion to '#rman i,#a%ist *"i%oso*"( -"i&" r#main#, -it"in /our)#oisi,#o%o) an, s#&on,% t"at t"is r#turn n#&#ssitat#, a ,#%i/#rat# /%in,n#ss to t"#3#*ist#mo%o)i&a% /r#a23 #!!#&t#, / >ar. an, En)#%s in *he Herman )deoloy ( -"i&" %#!t/#"in, t"# 3s*#&u%ati$# *"i%oso*" o! "istor3 ? to !ormu%at# t"# s&i#n&# o! "istor t"at -as

"istori&a% mat#ria%ism+ T"# a&&om*anin) "umanism o! Sartr#( 'arau,( an, ot"#rs -as%i2#-is# sus*#&t as &on&omitant -it" ri)"t:-in) /our)#ois i,#o%o)( a /arri#r to an tru#!ormu%ation o! "istori&a% mat#ria%ism on a s&i#nti!i& /asis+ A%t"uss#r3s *ro4#&t -as tor#stru&tur# t"# s&i#n&# o! "istori&a% mat#ria%ism as it -as *ro*os#, / t"# %at#r( matur#>ar. 6o! <as Capital a *ro4#&t o! 3&riti<u#( r#&onstru&tion an, ,#!#n&#3 ?; -"i&" rana)ainst t"# o!!i&ia% %in# o! t"# PCF+

"i%# A%t"uss#rian >ar.ism -as #noun&#, !rom -it"in t"# PCF( it -as not its 3o!!i&ia%3*"i%oso*"+ A%t"uss#r3s -or2 a%-as o&&u*i#, an un#as *%a&# -it"in t"# PCF( /#in) mor#sm*at"#ti& to >aoism( !or #.am*%#( -"i%# not o*tin) !or it #.*%i&it%+ A%t"uss#r3s *osition3insi,#3 t"# *art( -"i%# t#n,in) to-ar,s #%#m#nts #.trinsi& to it( is a &ru&ia% #%#m#nt in t"#*r#: an, *ost:1987 !#rm#nt o! t"# L#!t an, its #.tr#m#s+ *el +uel is irr#sisti/% 2nott#,into t"is a!!air+

A%t"uss#r3s im*ortan&# ,#ri$#s not on% !rom "is *"i%oso*" o! >ar.ism( "is o/stinat#a,"#r#n&# to t"# *art( an, "is status at t"# ENS( /ut a%so !rom t"# ,#)r## to -"i&" "is
























-or2 #sta/%is"#, &ross&urr#nts /#t-##n ,is&i*%inar /oun,ari#s+ A%t"uss#r3s &on&#*t o!r#a,in) #%a/orat#, in !ire le Capital 6 1985 o-#s mu&" to Fr#u, *he )nterpretation of<reams( an, "is arti&%# 3Fr#u, #t La&an3 o! 198 %ai, ,o-n a /asis !or int#r&"an)#s/#t-##n >ar.ism an, *s&"oana%sis t"at -ou%, r#su%t in t"# u)% t#rm 3La&ano:A%t"uss#rianism3 /#in) a**%i&a/%# to a )#n#ration o! ENS stu,#nts -"o stu,i#, un,#rA%t"uss#r+ T"# Ca"i#rs *our %3ana%s# )rou* is su&" a *"#nom#non it -i%% /# instrum#nta%

in &#rtain -as in t"# "istor o! *el +uel + T"# &ross:!#rti%i=ation *ion##r#, in a s#ns# /A%t"uss#r &ou%, /# s##n to #n)#n,#r t"# #n&ount#r /#t-##n *s&"oana%sis an, *o%iti&s ast"# &ru&ia% issu# o! t"# *#rio,+ In som# -as t"# #n&ount#r ,o#s not -or2 out t"# "istoro! *el +uel is t"# "istor o! t"is !ai%ur#+

ouaultAn arti&u%ation o! t"# *s&"o%o)i&a% an, t"# *"i%oso*"i&a% o! an #ntir#% ,i!!#r#nt 2in, -ast"# *ro4#&t o! anot"#r ENS )ra,uat# an, an #.:stu,#nt o! A%t"uss#r3s( >i&"#% Fou&au%t( in"is monum#nta% istoire de la folie l'Le clasique 6 1981+ Fou&au%t3s &ar##r -as not( %i2#A%t"uss#r3s( ,#,i&at#, to t"# #sta/%is"m#nt o! a sst#m( /ut tra$#rs#, mu%ti*%# an,,is*arat# ar#as( !rom t"# "istor o! ma,n#ss to an 3ar&"#o%o)3 o! t"# "uman s&i#n&#s(

an, t"#n stu,i#s o! t"# ,is&ours#s o! t"# &%ini&( o! t"# *#na% sst#m( an, o! s#.ua%it+Fou&au%t3s int#%%#&tua% *#rsona%it r#sists i,#nti!i&ation( /ut t"# ar&"#o%o)i&a% im*#rati$# toana%s# t"# "istor o! a ,is&ours# or o! ,is&ours#s( to #sta/%is" t"# 3s*a&# o! 2no-%#,)#3 orits &on,itions o! *ossi/i%it &ou%,( ris2in) )#n#ra%i=ation( /# sai, to /# &onstant+ Fou&au%t3s,is*arat# int#r#sts int#rs#&t at a num/#r o! *oints -it" t"# "istor o! *el +uel + His #ar%-or2( Maladie mentale et psycholoie 6 1955 an, t"# intro,u&tion to Lu,-i) ins-an)#r3s#$e et e3istence o! 195; ar# ma4or r#!#r#n&#s !or *el +uel -rit#rs in an #ar% *#rio, o!int#r#st in *r#:ana%ti&a% *s&"o%o) an, in ,r#ams+ T"# *ro/%#mati=ation o! a ,ia%#&ti&a%r#%ation /#t-##n su/4#&t an, o/4#&t in #.tr#m# or %imina% stat#s su&" as ma,n#ss or,r#ams -"i&" Fou&au%t3s stu,i#s un,#r%in#, is an im*ortant mom#nt in t"# ,#$#%o*m#nt o!*el +uel 3s $i#- o! %it#ratur# as trans)r#ssi$# o! t"# s*a&# o! su/4#&t:o/4#&t r#%ations+Fou&au%t3s #ssas on %it#ratur# in t"# #ar% 198@s( on atai%%#( %an&"ot( K%osso-s2i(H%,#r%in( in!%u#n&#, / %an&"ot an, atai%%#( ar# an im*ortant *ara%%#% to *el +uel 3st"in2in)( -"i&" "as simi%ar in!%u#n&#s /ut is su/t% ,i!!#r#nt+ T"# t-o int#rs#&t /ri#!% in

198( on% to ,i$#r)# !rom on# anot"#r an, to r#main in&omm#nsurat# !rom t"#n on+D#s*it# t"is ,i!!#r#n&#( Fou&au%t3s tra4#&tor is an im*ortant *art o! t"# &ont#.t !or t"#r#$i#-( t"# &on!%i&t o! int#r#sts a!t#r t"# /ri#! #n&ount#r /#train) a mor# !un,am#nta%int#%%#&tua% ,#sir# not to /# i,#nti!i#, an, &%assi!i#, on t"# *art o! /ot" *arti#s+

Fou&au%t -as a%so in$o%$#, -it" t"# r#$i#- Critique( in$it#, on to t"# a,$isor &ommitt##/ t"# #,itor #an Pi#%( to 4oin "is i%%ustrious &o%%#a)u#s art"#s an, %at#r D#rri,a in t"#s"a,o- &ast / atai%%#( -"o ,i#, in 198?+ T"# o/ituar issu# o! Critique a!t#r atai%%#3s,#at" -as a )oo, in,i&ation o! t"# a%r#a, #sta/%is"#, n#t-or2 t"at %in2#, *el +uel toCritique an, to !i)ur#s %i2# Fou&au%t an, D#rri,a( in&%u,in) arti&%#s / art"#s( Fou&au%t(an, So%%#rs( amon) ot"#rs+ ?5 Anot"#r !i)ur# o! in!%u#n&# on Fou&au%t -as >auri&#%an&"ot( a%so on# o! t"# &ontri/utors to t"# Critique o/ituar issu# on atai%%#+ %an&"ot3s$i#- o! t"# si%#n&# #n)#n,#r#, / %it#ratur# mirrors Fou&au%t3s $ision o! unr#ason as t"#

uns*o2#n ot"#r o! #st#rn rationa%it+ *el +uel 3s r#%ation to %an&"ot( as -i%% /# ,is&uss#,%at#r( is am/i)uous( *art% una&2no-%#,)#,( an, un,#nia/% &riti&a%+ T"# ,i!!#r#n&#/#t-##n Fou&au%t3s t"in2in) on %it#ratur# an, t"at o! t"# r#$i#- *#r"a*s r#sts on t"#in!%u#n&# o! %an&"ot( -"i&" *el +uel -is"#, to r#sist an, -"i&" Fou&au%t -is"#, to*#r*#tuat#+

Fou&au%t3s itin#rar in t"# 198@s an, 19@s is a ma4or *art o! t"# &ont#.t not on% !or *el+uel /ut mor# )#n#ra%%+ T"# soun, an, !ur o! t"# t-o ,#&a,#s -"i&" "is "istor o!ma,n#ss o*#n#, ,i, not !ai% to #n, in tra)#,( %i2# t"# stor o! "is t#a&"#r A%t"uss#r(-"#n Fou&au%t ,i#, o! t"# AIDS $irus in 1975( %#a$in) "is "istor o! s#.ua%it in&om*%#t#+

$erria






a&<u#s D#rri,a3s r#%ations -it" *el +uel -#r# mor# int#ns# an, *ro%on)#,( /ut /#&am##<ua%% ,istant+ D#rri,a "a, a%so #m#r)#, !rom t"# ENS( "a$in) stu,i#, -it" A%t"uss#r an,Fou&au%t+ H# -ou%, #$#ntua%% /#&om# a %#&tur#r at t"# ENS( -"#r# "# -ou%, sta unti%197;+ His asso&iation -it" *el +uel /#)ins in 1985 -it" "is !irst arti&%# in t"# r#$i#-( onArtau,+ H# "a, *r#$ious% *u/%is"#, -or2 in Critique 6on t"# &riti& Rouss#t ?8 an, -as a&o%%#a)u# o! 'rar, '#n#tt#( so "# -as *ot#ntia%% &%os# to *el +uel on t"os# %#$#%s+ ut it

-as "is 198? intro,u&tion to Huss#r%3s !'&riine de la éometrie 6 198?( -"i&" #arn#, "imt"# *r#sti)ious Pri. #an Ca$ai%%Gs( t"at ma,# "im most int#r#stin) !or So%%#rs an, *el+uel + So%%#rs r#!#rs to "is #nt"usiasm on r#a,in) a *assa)# in t"is /oo2 -"#r# D#rri,am#ntions o&#+ ? D#rri,a *ro*os#s t"at t"#r# ar# t-o r#s*ons#s to t"# #<ui$o&ation t"ats&i#n&# or *"i%oso*" must o$#r&om# an, -"i&" is an in#$ita/%# an, #ss#ntia% as*#&t o!%an)ua)#+ Huss#r%3s r#s*ons# is to im*o$#ris" %an)ua)# unti% on% t"# uni$o&a% an,trans%ata/%# r#mains+ o&#3s o*tion( D#rri,a a!!irms( is a %an)ua)# t"at &#%#/rat#s#<ui$o&ation an, 3s#tt%#s into t"# %a/rint"in# !i#%, o! &u%tur#3 6sur#% a $#i%#, a%%usion toRo//#:'ri%%#t3s 1959 no$#% <ans le la"yrinthe, the scope of 5hich is there"y suested as"ein restricted 5ith relation to Doyce, optin for the reatest historical distance possi"le,as opposed to its reduction to sterifity. B1 *he 5ritin <errida descri"es is one of play ande3tension, rather than of reduction and stasis, offerin *el +uel the $ision of 5ritin as anen$elopment of the lanuaes of science and philosophy and hintin at 5ritin as aconcept that could unhine metaphysics and institute a enerali:ed critique of the 6estern

ideoloy of presence. !iterature, cele"rated equi$ocation, 5ould e$idently "ecome the pri$ileed locus of such an unhinin. *he possi"ilities of <errida's $ision, $isited onSollers, 5ere e3tremely promisin.

<errida's relentless deconstructi$e $iilance, his riour and ruthlessness in the e3posure of'loocentrism' @not sparin Foucault B 5ould ma8e him an e3tremely seducti$e fiure for*el +uel and Sollers. *he affair 5ould "e tempestuous.

6hile the ENS har"oured and produced most of the philosophical references and 'stars' ofthe -/0s and -G0s 5hich *el +uel has recourse to or comes up aainst, part of theintense cross9flo5 of intellectual currents deri$es from the emerence of other institutionsand disciplines.

<espite the difference of the disciplines of, for e3ample, anthropoloy, psychoanalysis,socioloy, the emerence of 'structuralism' in these fields can "e traced to a commondenominator or e$en perhaps to a historical e$ent. *he common denominator is theemerence of linuistics and the proposition of lanuae as a model for other sciences.*his emerence itself miht ha$e "een the result of de$elopments 5ithin linuistics, or ofinfluences upon it "y 'harder' sciences such as cy"ernetics, "ut the e3plicit e$idence in thediscourses of the humanities, althouh this term "eins to trem"le, 5as the rise oflinuistics. Paul de Man suests that the ad$ent of 5hat is called 'theory' results from theintroduction of linuistic terminoloy into the discourse of literary criticism. 20 )t ena"les aturn from the aesthetics of the literary te3t to the modalities of its production. At the sametime, the turn to rhetoric undermines the pretension of theory to closure and uni$ersality,since r"#tori& in$o%$#s mom#nts o! r#sistan&# to t"#or+ 1 T"# "istor o! *el +uel &an /#s##n as t"# a,$#ntur# o! t"#or an, its su/s#<u#nt un,oin) / t"# %it#rar t#.t( a *att#rn

"istori&a%% ma**#, out o$#r t"# t-#nt#ar *#rio,+ P#r"a*s on% no- is it *ossi/%# tostan, outsi,# t"is "istor an, tra&# t"# un,oin) o! t"#or+ Its &on&#*tion( m#an-"i%#( is%o&ata/%# in t"# turn to %in)uisti&s( )#n#ra%% in t"# "uman s&i#n&#s an, s*#&i!i&a%% -it"in%it#ratur#+

?vi-+traussI! %in)uisti&s is t"# &ommon ,#nomimator( t"# "istori&a% #$#nt o! t"# turn to %in)uisti&s int"# "uman s&i#n&#s is *#r"a*s t"# m##tin) o! t"# ant"ro*o%o)ist L$i:Strauss an, t"#%in)uist Roman a2o/son in N#- Mor2 in 19;5+ In t"# sam# #ar( L$i:Strauss &ontri/ut#,to a2o/son3s %in)uisti&s 4ourna% 6ord t"# arti&%# 3!'Analyse structurale en linuistique eten anthropoloie3( -"#r# "# %ai, out t"# /asis o! t"# us# o! %in)uisti&s as a mo,#% !or t"#

ana%sis o! 2ins"i* sst#ms( s"o-in) !our o*#rations0 t"# s"i!t to in!rastru&tur#( tor#%ations /#t-##n t#rms( to sst#m or stru&tur#( an, t"# int#ntion to un&o$#r /asi& %a-s+ ?























His main r#!#r#n&#s -#r# to a2o/son an, Trou/#t=2o o! t"# ,#!un&t /ut sti%% in!%u#ntia%Pra)u# S&"oo% o! Lin)uisti&s+

Ho-#$#r( t"# us# o! %in)uisti&s as a mo,#% "a, /##n su))#st#, /#!or#( a%t"ou)" *#r"a*snot in su&" a sst#mati& -a+ L$i:Strauss3s a&2no-%#,)#, *r#&ursor -as t"#ant"ro*o%o)ist >ar&#% >auss+ Intro,u&in) t"# %att#r3s -or2 in 195@( L$i:Strauss un,#r%in#s

>auss3s r#&o)nition t"at so&i#ti#s -#r# sm/o%i& sst#ms an, t"at %an)ua)# -as not on% atoo% !or t"#ir ana%sis( /ut a%so an ana%o)ous stru&tur#( in t"at 3sm/o%s ar# mor# r#a% t"an-"at t"# sm/o%i=#( t"# Si)ni!i#r *r#&#,#s an, ,#t#rmin#s t"# si)ni!i#,3+ T"# n#&#ssito! sst#m( stru&tur#( an, 3&om/inatoria% ana%sis3 6stru&tura%ist ana%sis o! r#%ations/#t-##n t#rms is #.tra&t#, / L$i:Strauss !rom >auss Essai sur le don, "ut 5hile he5arns aainst readin it in isolation, he does not ta8e from it the same lesson as Heores=ataille, se$enteen years earlier, 5ho refers to Mauss as ha$in reconi:ed that e3chane5as "ased on a notion of e3pense as a/so%ut# %oss or ,#stru&tion+ ; "i%# L$i:Strauss/ui%,s stru&tur# an, #.&"an)# out o! >auss3s )i!t( atai%%# r#&o)ni=#s n#)ati$it as anar&"ai& *rin&i*%# /#!or# an sst#m or stru&tur# 6o! #.&"an)#( -"i&" is in&omm#nsura/%#-it" it+ <épense( a ra,i&a% n#)ati$it( is a%r#a, *r#s#nt /#!or# t"# stru&tur# o! #.&"an)#(-"i&" it -i%% &om# to tran)r#ss %at#r( in t"# -or2 o! D#rri,a( Krist#$a( an, +:+ 'ou.+T"rou)" t"# !or#&%osur# o! t"is n#)ati$it t"# stru&tura%ism o! L$i:Strauss a**#ars as asst#m #r#&t#, in or,#r t"at it /# un,#rmin#, / -"at it r#*r#ss#s( -"i&" in !a&t it a%r#a,

2no-s+ T"# stru&tur# is #r#&t#, so t"at t"# *ain o! its su/$#rsion &an /# #.*#ri#n&#,( amaso&"isti& *att#rn t"at s##ms #<ua%% to a**% to t"#or in )#n#ra%+

L$i:Strauss3s main a,$#rsar in t"# int#%%#&tua% &ont#.t o! t"# tim# -as not atai%%#("o-#$#r( /ut t"# "umanism o! Sartr#+ T"# *u/%i&ation o! L$i:Strauss Anthropoloiestructurale 6 1957 an, !a Pensée sau$ae in 198? -as &ru&ia% to t"# transition !rom#.ist#ntia%ism to stru&tura%ism+ ritin) in a &"a*t#r #ntit%#, 3istoire et dialectique3(,ir#&t#, s*#&i!i&a%% a)ainst Sartr#3s 3snt"#ti& ant"ro*o%o)3 o! t"# Critique de la raisondialectique, that; 'le "ut dernier des sciences humaines n'est pas de constituer l'homme,mais de la dissoudre', 2 !é$i9Strauss 5as layin do5n the precepts of a scientific, anti9humanist perspecti$e in the human sciences. Structuralism had o$erta8en and confrontede3istential anthropoloy "efore it had e$en had the time to enounce its ne5 and total$ision.

!é$i9Strauss's structural anthropoloy 5as the condition of possi"ility for the cross9o$er oflinuistics to other disciplines and the rise of a "road front across the human sciences. )fthe e3istentialists could ha$e accused structuralism of elidin the dimension ofsu"?ecti$ity, a factor in fa$our of the latter 5as the de$elopment and emerence of a psychoanalysis that too8 partial inspiration from the linuistics of Saussure and Da8o"son.o5e$er, psychoanalysis, 5ith its models and terms, plays the same role of cross9fertili:ation across the disciplines, and especially in literary theory, as did linuistics. *he-/0s and -G0s is also the time of the psychoanalytic re$olution. *el +uel plays a lare"ut critical role in this cross9o$er. *he intersection of these sinifiers in different disciplinesmay "e disparate and framentary, "ut the name that 'upholsters' them is !acan. 2/

aanT"# im*%antation o! *s&"oana%sis as a s#*arat# ,is&i*%in# in t"# Fr#n&" a&a,#mi& -or%,-as *r#&#,#, / its #n)a)#m#nt -it" %it#ratur# an, art in Surr#a%ism+ Ps&"oana%sis -asa%r#a, #nm#s"#, -it" %it#ratur#( an, t"is is *#r"a*s tru# in a -i,#r s#ns#( sin&# Fr#u,3st"#or#ti&a% mo,#%s !r#<u#nt% r#$#a% a ,#/t to %it#ratur#+ As Surr#a%ism "a, a%r#a,ann#.#, Fr#u,ian t"#or( t"# main t"rust o! t"# &riti<u# o! Surr#a%ism o! *el +uel is t"atr#ton3s r#a,in) o! Fr#u, -as a misr#a,in) t"# Surr#a%ist #n)a)#m#nt -it" Fr#u, is t"#ma4or "istori&a% *ara,i)m o! t"# arti&u%ation o! %it#ratur# -it" *s&"oana%sis( "#n&# itsim*ortan&# as an o/sta&%# to /# o$#r&om#+ *el +uel 3s &riti<u# o! Surr#a%ism un,#r%in#st"# n#&#ssit o! r#a,in) Fr#u, 3t"rou)"3 La&an Surr#a%ism is "istori&a%% ,isa,$anta)#, /&omin) 3/#!or#3 La&an+ M#t t"is /%in,n#ss &aus#, / "istor is a&&om*ani#, / an #<ua%/%in,n#ss to "istor on t"# *art o! *el +uel ( sin&# La&an3s #ar% -or2 as a *s&"iatrist -as

un,#rta2#n in &%os# *ro.imit to t"# Surr#a%ist mo$#m#nt+7

La&an -as to *u/%is" in t"#art 4ourna% Minotaure( !or #.am*%#( an, "is t"#sis on 3le cas Aimée3 is in#.tri&a/%# !rom t"#Surr#a%ist &u%t o! t"# "st#ri&a%( #&stati& -oman( as Da$i, >a&# "as s"o-n in "is !acan in





















Conte3ts 6 1977+ #!or# ,#$#%o*in) t"# t"#or !or -"i&" "# is *#r"a*s mor# notorious(-"i&" ,o#s not r#a%% /#&om# -i,#% 2no-n unti% a!t#r t"# *u/%i&ation o! Écrits in 1988(La&an -as a%so in &%os# &onta&t -it" '#or)#s atai%%#( -"os# #.:-i!# "# -ou%, marr+ SoLa&an -as a%r#a, *art o! a n#t-or2 in -"i&" mutua% #.&"an)#s /#t-##n *s&"oana%sisan, %it#ratur# -#r# &ommon+ T"is *r#"istor -i%% /# #ss#ntia%% !or)ott#n in t"# *#rio, o!t"#or+ T"# int#r$#nin) #ars s## *s&"oana%sis /#&omin) institutiona%% #sta/%is"#, an,

t"#n #m#r)in) as a s#*arat# ,is&i*%in#+ It is La&an3s r#%ations -it" t"# institution o!*s&"oana%sis its#%! t"at *ro$i,# t"# *ossi/i%it o! t"# t"#or#ti&a% !#rm#nt t"at -ou%,#m#r)# in t"# 198@s+ 9

T"# So&it *s&"ana%ti<u# ,# Paris 6SPP -as !orm#, in 19?8+ La&an -as to 4oin it in19;( "a$in) train#, as a *s&"iatrist un,#r C%ram/au%t an, /##n ana%s#, / t"# #)o*s&"o%o)ist Ru,o%! Lo-#nst#in+ Ha$in) start#, -or2 at t"# Saint#:Ann# "os*ita% in 19?("# *u/%is"#, "is ,o&tora% t"#sis( 3D# %a *s&"os# *aranoa<u# ,ans s#s ra**orts a$#& %a*#rsonna%it3( in 19?+ In t"# %at# 19@s La&an -ou%, att#n, A%#.an,#r Ko4G$#3s %#&tur#son H#)#%( -it" man ot"#r nota/%# !i)ur#s o! t"# tim#+ T"is #n&ount#r -ou%, r#$o%utioni=#La&an3s t"ou)"t an, r#su%t in a *s&"oana%ti&a% a&&ount o! t"# in!ant3s !ormati$# #arsarti&u%at#, -it" a *"i%oso*"i&a%( H#)#%ian $ision o! ,#sir#+ Fr#u,ian ,#sir# is r#r#a, as a,#sir# !or r#&o)nition+ D#sir# is ,#sir# !or t"# Ot"#r+ Lat#r t"is r#a,in) -i%% its#%! /# r#r#a,an, trans!orm#, / Saussur#an an, a2o/sonian %in)usti&s( /ut a%so / an #n&ount#r -it"

H#i,#))#r( -"om La&an -ou%, m##t in 1951+ T"# ,#$#%o*m#nt o! t"#or( -"i&" "#r# issu))#st#, as r#su%tin) !rom t"# im*ortation o! H#)#%ian *"i%oso*" into *s&"oana%sis(-as not -it"out &osts+ T"# SPP -as /#&omin) in&r#asin)% *o%ari=#, into m#,i&a% an,a&a,#mi& !a&tions( t"# stru))%# /#t-##n -"i&" r#su%t#, #$#ntua%% in t"# s&"ism o! 195(-"#n a num/#r o! ana%sts s*%it o!! !rom t"# SPP to !orm t"# So&it !ranJais# ,#*s&"ana%s# 6SFP+ La&an -as *romin#nt amon) t"#m+ "i%# &ourtin) t"# Int#rnationa%Ps&"oana%ti&a% Asso&iation 6IPA !or institutiona% r#&o)nition( t"is so&i#t -ou%, /# t"#/asis o! a t"#or#ti&a% !%o-#rin) -"i&" #sta/%is"#, *s&"oana%sis as a ,is&i*%in# -it" t"#sam# int#%%#&tua% r#s*#&ta/i%it as *"i%oso*"+ A num/#r o! stu,#nts !rom t"# ENS( !or#.am*%#( /#&am# *s&"oana%sts in t"is so&i#t ana%sts o! a *"i%oso*"i&a%( a&a,#mi&!ormation #m#r)#, amon) t"os# o! a m#,i&a% !oun,ation+ An #.am*%# o! t"# *ossi/i%iti#s o!*assa)#s a&ross t"#s# ,is&i*%in#s is t"# !i)ur# o! #an La*%an&"#( an ENS stu,#nt -"o "a,stu,i#, un,#r H**o%it#( an, -"o -as on# o! t"# !oun,in) m#m/#rs o! t"# So&ia%ism# ou

/ar/ari# )rou*+ T"# *"i%oso*"i&a% /a&2)roun, o! La&anian ana%sts is a !urt"#r *r#r#<uisit#!or t"# #.*%osion o! t"#or+

T"# *#rio, o! #.ist#n&# o! t"# SFP !rom 195 to 198; a%so sa- La&an( in "is 3Dis&ours ,#Rom#3 an, ot"#r t#.ts( #%a/oratin) a *s&"oana%ti&a% t"#or $ia t"# stru&tura% %in)uisti&so! Saussur# an, a2o/son+ La&an insist#,( as "a, L$i:Strauss( on t"# *r#,#t#rminati$#natur# an, !un&tion o! t"# si)ni!i#r( %an)ua)# as su&"( an, t"# r#*r#ssi$# /ar t"ats#*arat#, it !rom t"# si)ni!i#,( m#anin)+ ;@ T"# 3*assion o! t"# si)ni!i#r3 -as an as*#&t o!-"at So%%#rs -ou%, s## as a mat#ria%ist t"#or o! %an)ua)#( /ut not unti% mu&" %at#r( in t"#%at# 198@s+ ;1 T"# t"#or#ti&a% )roun,-or2 -as un,#rta2#n in t"# 195@s+

T"# '<iscours de #ome' o! 195 -as *u/%is"#, in a *#rio,i&a% o! t"# SFP tit%#, !aPsychanalyse+ T"is 4ourna% !un&tion#, as t"# ma4or sit# o! t"# t"#or#ti&a% #.*ansion o!

*s&"oana%sis an, its in!i%tration / an, into *"i%oso*" an, %in)uisti&s+ La&an *u/%is"#,arti&%#s on H#)#% an, H#i,#))#r in t"# r#$i#-( as -#%% as t"# s#minar on 3T"# Pur%oin#,L#tt#r3( -"#r# a %it#rar t#.t -as us#, as a *ara/%# !or *s&"oana%ti& t"#or in a -a t"at-as %at#r to *ro$o2# mu&" ,#/at# a/out t"# r#%ations /#t-##n %it#ratur# an,*s&"oana%sis+ ;? T"# r#$i#- -ou%, a%so *u/%is" -or2 / #an H**o%it#( t"# H#)#%s*#&ia%ist( an, Bmi%# #n$#nist#( t"# %in)uist( -"o #%a/orat#, a &riti<u# o! Saussur#!o&us#, on t"# su/4#&t an, su/4#&ti$it t"at -ou%, /# &ru&ia% !or t"#orists %i2# Krist#$a int"# mo$# a-a !rom stru&tura%ism( *r#&is#% to-ar,s a mor# *s&"oana%ti& *#rs*#&ti$#on %an)ua)#+ ; !a Psychanalyse -as t"# ma4or !orum !or a &ross:!#rti%i=ation o! ,is&i*%in#s/ *s&"oana%sis+ On t"# si,# o! its r#&#*tion it -as a%so t"# sit# !or t"# #n&ount#r o!La&an3s -or2 an, mor# )#n#ra%% o! Fr#u, / *#o*%# %i2# A%t"uss#r( -"o -ou%, "a$# /##nattra&t#, / t"# in&%usion o! nam#s su&" as H**o%it#+ ;; In t"# 195@s( t"#n(*s&"oana%sis #m#r)#, into *"i%oso*"i&a% r#s*#&ta/i%it an, too2 on /oar, t"# in!%u#n&#o! %in)uisti&s+ La&an3s -or2 /#&am# mor# an, mor# &#ntra% an, 2no-n outsi,# t"# -a%%s o!

t"# *s&"oana%ti& institution+ P#o*%# o! non:m#,i&a% /a&2)roun,s /#)an to att#n, La&an3sr#)u%ar s#minar at t"# Saint#:Ann# "os*ita% in Paris+





















It -ou%, /# mis%#a,in) to su))#st( "o-#$#r( t"at La&an -as so%#% r#s*onsi/%# !or t"# ris#to *romin#n&# o! *s&"oana%sis as a t"#or#ti&a% ,is&i*%in#( a%t"ou)" "# -as t"# s&a*#)oatan, &"am*ion o! t"is t#n,#n&+ In t"# %at# 195@s an, #ar% 198@s a num/#r o! -rit#rs in,i!!#r#nt ar#as s*r#a, t"# -or, o! Fr#u,ian t"#or in -as not a%-as !u%% in a&&or, -it"La&an3s t"ou)"t+ In !es *emps modernes( t"# sta%-art o! Sartr#an #.ist#ntia%ism( La&anian*s&"oana%sis "a, a *o-#r!u% $oi&# in t"# arti&%#s o! +:+ Ponta%is( an #.:stu,#nt o!

Sartr#+

;5

An im*%i#, &om*ati/i%it /#t-##n Sartr# an, La&an soon -an#,( "o-#$#r( in!a$our o! t"# %att#r 6Ponta%is -ou%, &#as# to *u/%is" in !es *emps mo,#rn#s a!t#r 198(-"i%# in Ponta%is3s arti&%#s t"#r# -as t"# su))#stion t"at a &%os#r a%% to La&an -as>#r%#au:Pont( in !a&t a&2no-%#,)#, as su&" / La&an in "is s#minar o! 198;+ ;8 >#r%#au:Pont3s im*ortan&# s##ms to "a$# /##n #%i,#, !rom t"# t"#or#ti&a% s2#%#ton o! La&aniant"#or( #.tra&t#, !or t"# sa2# o! t"#or+ Em*"asi=in) a *"#nom#no%o)i&a% irr#,u&i/i%it in-"at La&an -ou%, t#rm t"# R#a%( >#r%#au:Pont3s -or2 -ou%, in!%u#n&# t"at o! Lotar, ont"# !i)ur#( ; /ut t"# stru&tura%ist insist#n&# on t"# u/i<uit o! t"# sm/o%i&( %# ,is&ours(-ou%, r#main /%in, to it+

>#an-"i%#( A%t"uss#r3s s#minars at t"# ENS "a, a%so /#&om# a !#rti%# sit# o! &ross:in!%u#n&#+ ENS *u*i%s %i2# a&<u#s:A%ain >i%%#r( %at#r to /#&om# La&an3s son:in:%a-( an,>i&"#% Tort( %at#r to /# in$o%$#, -it" t"# *el +uel issu# on Sa,#( )a$# s#minar *a*#rs onLa&an at t"# ENS+ ;7 it" ot"#r &o%%#a)u#s t"# -ou%, %at#r !orm t"# r#$i#- Cahiers pour

l'analyse( t"# sit# o! an #*ist#mo%o)i&a% snt"#sis o! La&anian an, A%t"uss#rian t"#or( an,a ma4or r#!#r#n&# !or *el +uel.

!acanian analysis had also not inored literature in the -0s and early -/0s. 6hilePontalis had 5ritten a psychoanalytical study of !eiris in !es *emps modernes 0 hiscolleaue at the SFP, Dean !aplanche, 5ould 5rite the important lderlin et la questiondu p(re in -/-. *he "oo8 5ould "e a critical focus of <errida's in an important article on Artaud pu"lished in *el +uel. - *here is a conte3t for psychoanalytic enquiries intoliterature that prefiures *el +uel's enaement 5ith !acan.

So in the early -/0s psychoanalysis 5as a theory in proliferation, 5ith many articles"ein 5ritten under the influence of, or in response to, the "ureonin thouht of !acan.*he -/0 =onne$al colloquium, attended "y !acan, !aplanche, Pontalis, André Hreen,

Merleau9Ponty, Althusser, enri !efe"$re, Dean yppolite, 5as a sho5case for this panoplyof forces, and it led to some ine$ita"le fissures. !aplanche and Pontalis, for e3ample, produced papers critical of !acan in certain 5ays and esta"lished a tension that 5ouldcome to the crunch four years later. )n -/, under pressure from the )PA, the SFPunder5ent an internal crisis that led to its splittin into t5o separate roups. &ne roup,named the École freudienne de Paris @ EFP, consisted of !acan an, ana%sts %oa% to "im+T"# ot"#r( t"# Asso&iation *s&"ana%ti<u# ,# Fran&# 6APF( -as ma,# u* o! La&anians-"o &ou%, no %on)#r stan, su&" &%os# *ro.imit to t"#ir 3mast#r3 an, "is ,ominan&#+La*%an&"#( Ponta%is( an, >i&"#% Tort -#r# amon) t"is )rou*+ T"# s*%it -as *#r"a*s mor#*ro,u&ti$# t"an "arm!u% !or La&an( sin&# "# no- "a, a s&"oo% a%% o! "is o-n( an, "iss#minar s"i!t#, %o&ation !rom Saint#:Ann# to t"# B&o%# norma%# su*ri#ur#( -"#r# "# &ou%,in!%u#n&# a %ar)#r an, mor# ,i$#rs# au,i#n&#+ it" t"# #sta/%is"m#nt o! 3L# C"am*!r#u,i#n3 &o%%#&tion at L# S#ui% -it" La&an as #,itor( t"# La&anian #m*ir# -as r#a, to r#a*

t"# r#-ar,s o! its &on<u#st o! t"#or+

As -#%% as t"# EFP( t"# t-o main )rou*s in 198; -#r# t"# APF an, t"# mor# so/#r SPP+Ho-#$#r( /ot" o! t"#s# )rou*s( *u%%#, / t"# in!%u#n&# o! La&anian t"#or( -#r# a%so*romisin) )roun, !or t"# int#%%#&tua% #.*ansion o! *s&"oana%sis+ La*%an&"# an, Ponta%is(in t"# APF( -#r# to *u/%is" in 198; t"#ir o&a/u%air# ,# %a *s&"ana%s#( -"i&"( t"rou)"#.*%anation o! Fr#u,ian t#rms !i%t#r#, t"rou)" La&an3s r#a,in)( r#n,#r#, *s&"oana%sismor# r#a,i% a&&#ssi/%# to non:ana%sts+ In 19@ Ponta%is -ou%, %aun&" t"# Nou$elle #e$uede psychanalyse, 5hich 5as a crucial forum for psychoanalytic studies of all persuasions.*he SPP's re$ie5, the #e$ue fran%aise de psychanalyse, set up in -BG, 5as still animportant oran. A principal ally of !acan, and one 5ho had much to say a"out literature,5as André Hreen, 5ho 5rote on narcissism in the #e$ue and also orani:ed a seminar atthe SPP9affiliated )nstitut de psychanalyse. Hreen 5ould de$elop a critique of !acan asha$in left out of his theory an account of the affect, a perspecti$e not unli8e the Merleau9Pontyan critique of !yotard focused on the fiure. B *he theoretical dominance of !acanand the silence of *el +uel on 5riters li8e Hreen is all the more surprisin in that Hreen




























5as more sensiti$e to literature @he 5ould also i$e a seminar in =arthes's course at theEPE and the fact that <errida's article on Freud, pu"lished in *el +uel, oriinated in aseminar of Hreen's at the )nstitut. 2 *el +uel also pu"lished 5or8 "y Michel de M'I:an, amem"er of the SPP, on psychosomatic phenomena. *el +uel's initial interest in Freud isthus non9!acanian and institutionally distinct from !acan. *his is e$idence of ho5 the proliferation of psychoanalysis in the early -/0s oes further t"an t"# &ir&%# an, *#rson o!

La&an( -"i%# it ma ,#ri$# its notori#t an, *r#sti)# !rom "im+ T"# *ro%i!#ration -as su&"t"at t"# *u/%i&ation o! La&an3s B&rits in 1988 !#%% on )roun, a%r#a, !#rti%# !or t"# #.*%osiono! t"#or an, t"# !u%% im*ortation o! *s&"oana%sis into %it#rar t"#or+

T"# itin#rari#s o! A%t"uss#r( Fou&au%t( D#rri,a( L$i:Strauss( La&an( an, ot"#rs aroun,t"#m an, in t"#ir -a2# o*#n u* t"# *ossi/i%it !or t"# &on$#r)#n&# an, int#rs#&tion o!,is&i*%in#s to-ar,s -"at -# "a$# &a%%#, t"#or an, its !#rm#nt+ it" *el +uel t"# *rimar&on&#rn is %it#ratur#+ T"#or is a%-as a t"#or o! %it#ratur# an, t"# r#$i#- is t"# sit# o!t"# int#rs#&tion an, a**ro*riation o! t"#s# t"#or#ti&a% tra4#&tori#s !or %it#ratur#( -it"$arin) ,#)r##s o! su&&#ss or !#%i&it+ it"in t"# !i#%, o! %it#ratur# its#%!( an, o! %it#rar&riti&ism( t"#r# ar# im*ortant *r#&ursors -"o &r#at# *art o! t"# &ont#.t !or t"# r#$i#-+ I!in *"i%oso*" t"# ma4or trium$irat# &onsists o! t"r## Hs 6 H#)#%( Huss#r%( H#i,#))#r( int"is !i#%, t"# t"r## r#sonant nam#s /#)in -it" 0 atai%%#( %an&"ot( art"#s+

=atailleT"# im*ortan&# o! atai%%# !or *el +uel is a%% t"# mor# ,#&isi$# !or t"# !a&t t"at atai%%# -asa%-as tan)#ntia% to Surr#a%ism an, at tim#s o*#n% in &on!%i&t -it" An,r r#ton+ atai%%#-as n#$#r *art o! t"# Surr#a%ist )rou* an, &annot /# &onsi,#r#, #$#n as a ,issi,#nt !romSurr#a%ism( !ar %#ss as an #.:Surr#a%ist( a%t"ou)" t"# r#$i#- Do&um#nts ,i, in$o%$# som##.:Surr#a%ists %i2# L#iris an, D#snos+ atai%%# -i%% *%a an im*ortant ro%# in t"# ,istan&in)o! Surr#a%ism / *el +uel atai%%#3s ,i!!#r#n&# n#$#r &#as#s to /# a!!irm#, / t"# r#$i#-+55 T"# $io%#nt *o%#mi&s -it" r#ton t"at aros# t"rou)" atai%%#3s r#$i#- <ocuments an,r#ton3s s#&on, mani!#sto s"o- atai%%# to /# &riti&a% o! t"# i,#a%ist an, romanti&i=in)t#n,#n&i#s o! Surr#a%ism( an, *el +uel 3s *u/%i&ation o! atai%%#3s arti&%# 3La $i#%%# tau*# #t%# *r!i.# sur ,ans %#s mots surriéaliste et surhomme3 is a r#a&ti$ation o! t"is *o%#mi&( att"# &ru&ia% mom#nt o! 1987+

Tan)#ntia% to t"# Surr#a%ist )rou* ,ominat#, / r#ton( atai%%#3s *ro4#&ts !or r#$i#-s an,)rou*s ar# a%so #.#m*%ar !or *el +uel. *hrouh <ocuments, Acéphale, and the Coll(e desocioloie, =ataille souht to found a community "ased on 5hat he 5ill call laterl'e3périence intérieure, an e3perience of the e3cess or dépense he sa5 as primary.

E$i,#nt% t"# #.*#ri#n&# in <u#stion( /#in) int#rior an, trans)r#ssi$#( t#n,#, to !ra&tur#t"# &ommunit its#%!+ 58 T"# )rou*s -#r# ,#t#rmin#, / t"# &ontra,i&tion o! t"#ir *u/%i&(*o%iti&a% int#r$#ntions in t"# r#$i#-s( an, t"# $io%#n&# an, t#nsion o! t"#ir *ri$at#r#%ations( in t"# &as# o! Acéphale !oun,#, in a s#&r#t so&i#t+ T"# r#%ations o! t"# !oun,#rso! t"# mor# *u/%i& Co%%G)# ,# so&io%o)i#( L#iris( Cai%%ois( an, atai%%#( /#ar -itn#ss to t"#trans)r#ssi$# r#%ation to an &ommunit( *arti&u%ar% o! 3s&i#n&#3( t"at atai%%#3s *ro4#&ts#m/o,i#,+ 5 T"is im*#rati$# is a%so *r#s#nt in *el +uel, the Hroupe d'études théoriques,founded in -/1 as a pu"lic forum for the re$ie5's 5or8, e3plicitly souht a reformulationof the aims of the Coll(e in its effect on a 5ider pu"lic, outside institutional 5alls. *hefractured community, of 5hich the re$ie5 5as the e3pression, in a state of 'permanentdissolution', as Sollers puts it, 1 5as the result of the transressi$e and contradictory loicof the te3t that could not remain 5ithin an enclosed, homoeneous collecti$e. Sollers andPleynet 'reali:ed' this stratey, in the sense of not hinderin the effects on the committeethat the loic of transression demanded, accordin to their interpretation. o5 muchthe affecti$e tensions 5ithin the committee 5ere determined "y this 'loic' and ho5 muchenineerin "y Sollers to5ards a certain stratey played a part is a matter for discussion.6hat may "e more interestin, ho5e$er, is the e3tent to 5hich the stratey itself follo5sthe transressi$e mo$ement of literature or $eers into ideoloical "loc8aes. At any rate,ostensi"ly and actually, =ataille's pro?ects of community are e3emplary for *el +uel.
























*he 'fractured community' itself is interestin from the point of $ie5 of the history ofliterature. Dean9!uc Nancy, in his !a Communauté désOu$rée traces the notion of 'literarycommunism' to the Herman #omantic Athenaeum. /0 )n an elliptical 5ay he suests that*el +uel 5as a reformulation of the myth of a literary community. /- *o 5hat e3tent t"#r#$i#- -as t"# *r#s#ntation o! t"# #.*osur# an, !ra&tur#( t"# #.&#ss( o! its &ommunit ina -or2 an, "o- mu&" it -as its#%! in its -ritt#n !orm t"at #.*osur#( is *#r"a*s t"# &ru&ia%

<u#stion !or an stu, o! t"# r#$i#-+ It mi)"t /# a <u#stion o! r#a,in) t"# #.*osur# o!%it#ratur# o! *el +uel a)ainst its ins#rtion into t"#or or sst#m( o! r#a,in) *el +uel a)ainstt"# tauto%o)i&a% &onnotations o! its tit%#( 3as su&"3( or it mi)"t /# a <u#stion o! r#$#a%in)"o- t"# 3as su&"3 is a%-as su/4#&t#, to ,is*%a&#m#nt( to t"# #.*osur# at its %imits+ T"#r#%ation to atai%%# is *art o! t"# sta2#s in t"is ,#/at#+

T"# im*ortan&# o! atai%%# in t"is <u#stion( an, mor# )#n#ra%% !or *el +uel, also rests onthe am"iuous tension of his 5or8 '"et5een' Niet:sche and eel. /B *he Mar3ism andMaoism of the re$ie5 5ill "e sho5n to rest on this am"iuity, 5hich is also resonant in the5or8 of a 5riter li8e Foucault. )s the e3cess of l'e3périence intérieure reinserta"le into adialectic, 5hile ruinin any synthesis, or does it portray a Niet:schean dance or ai sa$oir7*el +uel's history li$es out this am"iuity, 5hich is essentially the drama of the possi"ilityof ettin "eyond eel.

=ut =ataille's e3ample cannot "e limited or enclosed "y this philosophical question. )t alsooperates in his thin8in of the "ody and se3uality, not only in "oo8s li8e !'Érotisme "utalso in his fiction, a more secret part of his influence, re$ealed more in the poetry ofPleynet than in the theory of *el +uel, 5hich it outlasts and undermines. /2 *he $ision ofse3uality as o$erdetermined "y death is fundamental to *el +uel's thouht. =ataille's$ision of femininity is a stron influence on that of Souers, and on !acan's. Femininity ase3cessi$e and $irulent in relation to masculine phallocentricity, femininity as ?ouissance, predetermines any relations 5ith feminism "oth !acan and *el +uel miht ha$e.

T"#s# <u#stions ar# *art o! t"# &ontinuit o! atai%%#3s -or2 in *el +uel + Histori&a%%(atai%%#3s in!%u#n&# r#si,#s mor# in t"# mar)ina%it o! "is *osition an, t"# r#%ations "##nt#rtain#, -it" !i)ur#s %i2# Sartr#+ For #.am*%#( atai%%#3s o**osition to Sartr#( -"o "a,&asti)at#, atai%%# in t"# #ssa 3Un nou$#au msti<u#3( on ata%%#3s si,# -as mor# su/t%

m#,iat#, t"rou)" t"# *osition o! Critique in r#%ation to !es *emps modernes a!t#r t"# -ar+T"# #ssas &o%%#&t#, in !a !ittérature et le mal ( som# o! -"i&" r#s*on, s*#&i!i&a%% toSartr#( a%so !un&tion#, as a us#!u% r#!#r#n&#:*oint !or -rit#rs %i2# Fou&au%t( art"#s( an,D#rri,a( r#a,in) 3a)ainst3 Sartr#+ In !a !ittirature et le mal atai%%# ta2#s issu# -it"Sartr#3s r#a,in)s o! au,#%air# an, '#n#t( ar)uin) t"at %it#ratur# &ou%, not /# us#, as a/asis !or a&tion+ N#it"#r au,#%air# nor '#n#t -#r# )ui%t o! a/,i&atin) mora% or #.ist#ntia%r#s*onsi/i%it( !or 3La %ittratur# n3#st *as inno&#nt#( #t( &ou*a/%#( #%%# ,#$ait %a !ins3a$ou#r t#%%#+ L3a&tion s#u%# a %#s ,roits+3 8; Lit#ratur# &ou%, not /# 4u,)#, a&&or,in) tomora%it( it -as a 3"*#rmora%it3+ Sartr#3s ar)um#nt !or t"# 3&ommitm#nt3 o! %it#ratur# -ast"#r#!or# ina,missi/%#+ Lit#ratur# -as a%% or not"in)+ T"is -ou%, /# an im*ortant in!%u#n&#!or art"#s in "is !e <eré :éro de l'écriture 6 195( an, !or *el +uel in its o*#nin)3D&%aration3+ Critique( in t"# %at# 19;@s an, 195@s( -"#r# man o! t"#s# arti&%#s -#r#*u/%is"#,( s#ts out in man -as t"# "i,,#n *ro)ramm# !or t"# n#.t ,#&a,#+

=lanhot"i%# atai%%# is t"# a&2no-%#,)#, "#ro o! *el +uel ( %an&"ot is t"# *r#&ursor it -ou%, %i2#to !or)#t+ His -or2 is a%so *artition#, /#t-##n !i&tion an, &riti&ism or t"#or( a%t"ou)"%an&"ot sti%% -rit#s in t"# tra,ition o! t"# %it#rar #ssa rat"#r t"an o! t"#or+ %an&"ot3s!i&tion( a *#rsist#nt( "auntin) /ut mar)ina% $oi&# sin&# t"# -ar @ *homas l'o"scur, --and -04 Aminada", -B4 !'Arrt de mort, -14 Celui qui ne m'accompanait pas,-24 !e dernier homme, -G4 !'Attente, l'ou"li, -/- in!orms an, *r#!i)ur#s t"#nou$#au roman an, t"# no$#%isti& #.*#rim#nts o! T#% u#%+ %an&"ot3s &riti&ism is *#r"a*smor# im*ortant t"an t"# !i&tion. )n !a Part du feu, !'Espace littéraire, and !e !i$re $enirnot on% ,o#s %an&"ot ma* out t"# t#rritor at t"# %imits t"at T#% u#% -i%% %at#r #.*%or#( in

#ssas on -rit#rs %i2# Lautramont an, Sa,# 6in a /oo2 o! 19;( Artau,( Ka!2a( an,#s*#&ia%% >a%%arm( /ut "# *ro*os#s( !or #.am*%#( t"at %it#ratur# is 3a <u#stion *os#, to%an)ua)# / %it#ratur# -it" *el +uel at $arious mom#nts( 89 an, -"o ar# /ot" *romin#nt





















amon) &ontri/utors to Critique 6 %an&"ot -as on t"# &ommitt##+ %an&"ot an, Cai%%oisan, anot"#r im*ortant -rit#r( #an Pau%"an( ,ir#&tor o! t"# Nou$#%%# R#$u# !ranJais#( ar#a%so /ot" asso&iat#, -it" t"# r#a,in) &ommitt## at 'a%%imar,( t"# *r#sti)ious *u/%is"in)"ous# -"i&" *u/%is"#, /ot" %an&"ot3s an, atai%%#3s *rin&i*a% -or2s+ T"rou)" atai%%#( *el+uel a%so "as a &onn#&tion -it" 'a%%imar,+

=arthesart"#s3s t"ou)"t is a%so mar2#, !un,am#nta%% / t"at o! %an&"ot( an, in "is %at#r -or2s/ t"at o! atai%%#+ ut it is not sim*% a <u#stion o! in!%u#n&#+ art"#s !irst /oo2 !e <eré :éro de l'écriture 6 195( &ru&ia% !or t"# &ont#.t o! *el +uel 3s $ision o! %it#ratur#( is "#%, ina n#t-or2 o! ot"#r -or2s in$#sti)atin) t"# natur# o! %it#ratur#+ Sartr# +u'est ce que lalittirature7 "a, a**#ar#, in 19;( an, art"#s3s 195 *u/%i&ation is *art% a r#s*ons# tot"at /oo2+ Arti&%#s / atai%%# in Critique in t"# %at# 19;@s "a, &riti&i=#, Sartr#3s/io)ra*"i&a% #ssas on au,#%air# an, '#n#t+ @ A !urt"#r im*ortant t#.t !or art"#s -as#an Pau%"an !es Fleurs de *ar"es ou la tetteur dans les lettres 6 19;1( to -"i&" %an&"ot-rot# a s"ort r#s*ons# #ntit%#, 3Comm#nt %a %ittratur# #st:#%%# *ossi/%#Q3 1

art"#s !e <eré :éro is *art o! a s#ri#s o! r#!%#&tions on t"# natur# o! %it#ratur#( its*ossi/i%it or im*ossi/i%it( -"i&" a**#ar in t"# *ost:-ar *#rio, an, im*%i&it% in!orm *el+uel 3s #$#ntua% t"#or o! %it#ratur#+ T"# ,#/at# is &om*%#.( an, not #as to *ara*"ras#(/ut art"#s3s ar)um#nt *ro*os#s t"at( in a "istori&a%% ,#!in#, *#rio,( %it#ratur# "as/#&om# an o/4#&t an, un,#r)on# a 3*ro)r#ssi$# so%i,i!i&ation3+ ? T"at is to sa t"at -"i%# it-as t"ou)"t to /# m#r# ornam#nt or instrum#nt( !rom C"at#au/rian, on-ar,s it "as/#&om# s#%!:&ons&ious an, ta2#n its#%! as its o-n o/4#&t+ It un,#r)o#s t"# 3&on&r#tion3 o! a%oo2 6C"at#au/rian,( a 3!a/ri&ation3 6 F%au/#rt( t"#n to ,isa**#ar t"rou)" anni"i%ation ormur,#r -it" >a%%arm( an, #n,s as a/s#n&#( in t"# n#utra% or ,#)r##=#ro -ritin) o!Camus( Caro%( %an&"ot( u#n#au+ T"is mo$#m#nt o! n#)ation( art"#s su))#sts( a%so*ara%%#%s t"# &risis o! t"# /our)#ois &ons&i#n&#+ ; T"# notion o! %it#ratur# as n#)ation( as,#stru&tion( o/$ious% r#$#a%s a ,#/t to %an&"ot an, atai%%#( an, mor# !un,am#nta%% to>a%%arm( *#r"a*s t"# 2# to a%% t"#s# &ont#m*orar ,#/at#s( an, it a%so "as a su/t%#in!%u#n&# on t"# t"#or o! *el +uel.

*he other su"9te3t for =arthes, Paulhan's 5or8, proposed that 5hen rhetoric @a la5specific to literature is replaced "y terror @a la5 outside it the search for authenticityoften turns into a purifyin destruction of lanuae. )n the discourse on literature this is arecourse to e3tra9literary $alues. G =lanchot's response is to locate the terror, thedestructi$e 5ill, at the heart of literature as such. G/ *his mo$e is an important part of theconte3t for "oth =arthes and *el +uel, for if all literature is terror, this lea$es the 5ayopen for a terrorism, an a$ant9arde 5hich ta8es literature itself as its ultimate $alue. *heinsistence on rhetoric, on literature's o5n la5s, "ecomes equally terroristic, rather thanconser$ati$e. 6hile =lanchot's $ision of literature is essentially synchronic, =arthes'saddition to the de"ate is to esta"lish the neation as 'proressi$e' and to lin8 it to history.For *el +uel this 5ill ma8e possi"le the $ie5 of te3ts as situated in a historicalinterte3tuality of proressi$e neations, and ena"le the later lin8 "et5een te3tuality and

Mar3ist theory. )t 5ill also pose the pro"lem of finitude, for if the 5ritins of =lanchot,Camus, and others are a literature of a"sence, 5hat could come after the end7

Paulhan's affirmation of rhetoric as an antidote to terror loo8s for5ard to the introductionof linuistic terminoloy in criticism, larely pioneered in *el +uel. #hetoric itself, in thecase of *el +uel, could "ecome terror. Annette !a$ers has suested ho5 the sameimperati$e of a denial of ideoloical ?ustification and a recourse to rhetorical forms 5as present in =arthes Mytholoies @ -G, especially in the last chapter '!e Mytheau?ourd'hui', 5hich refers to Saussure's nascent pro?ect for semioloy and to linuists suchas Da8o"son. GG *he linuistic and semioloical enterprise, the search for an all9em"racin'science of sins' -"i&" -ou%, /# t"# n#- r"#tori& is a%so #$i,#nt in art"#s3s -or2 o! t"##ar% 198@s( u* to 3Éléments de sémioloie3 o! 198;+

I! t"#r# is a &o"#r#n&# /#"in, art"#s3s $arious #n,#a$ours( t"# *ro%i!#ration o! "isa&ti$iti#s an, t"#ir ,i!!#r#n&# is n#$#rt"#%#ss im*ortant in !ormin) t"# &ont#.t !or *el +uel.



























=arthes pu"lished articles in Critique, for e3ample, and so 5as a $alua"le connection tothat net5or8. e 5as a foundin mem"er and contri"utor to Aruments 5ith Edar Morin,5ho 5ould later ?oin him on the committee of the semioloy re$ie5 Communications. e5as also a critical champion of the nou$eau romancier Alain #o""e9Hrillet, 5hose te3tual perspecti$e *el +uel 5ill see8 to o$ercome. Straddlin the contemporary literary a$ant9arde, the non9affiliated !eft, the earlier community around =ataille, and the forum for

linuistics and semioloy at the EPE, =arthes ena"les a series of lin8s and cross9o$ers5hich 5ill ma8e the re$ie5 5ith 5hich he 5as closely associated a ?uncture of manydiscourses. is $ertie du déplacement G1 5ill inform and inspire that of *el +uel.

Perhaps the most important of these connections is the re$ie5 Communications, foundedin -/0, and the oran of a roup of researchers at the EPE, the main forum forstructuralist linuistics and semioloy. =arthes ?oined colleaues such as Edar Morin thesocioloist, Christian Met: the semioloist of film, Hreimas and <ucrot the linuists.*:$etan *odoro$ and Hérard Henette, 5ho 5ill "e important contri"utors to *el +uel, alsocome out of this conte3t.

6hile *odoro$ and Henette produced 5or8s that can "e associated 5ith structuralism andthe EPE conte3t, a further current of importance in criticism in the late -0s 5as thenou$elle critique, as it 5as 8no5n. *he la"el nou$elle distinuished it from the moretraditional modes of criticism of the academic 5orld, influenced "y the important 5or8 of!anson. )n fact, nou$elle co$ered a $ariety of disparate approaches to the te3t. =arthes, inthe article '!es <eu3 Critiques' 5ould characteri:e the difference in terms of ideoloical ?ustification. G 6hile the nou$elle critique e3plicitly ac8no5leded its ideoloical deri$ationfrom e3istentialism, Mar3ism, psychoanalysis, and so on, la critique lansonienne, in=arthes's terms 'refuse toute idéoloie et ne se réclame que d'une méthode o"?ecti$e'. 10 *he polemical conflict "et5een les deu3 critiques 5ould erupt in -/ around =arthes Sur#acine, "ut the round had already "een shifted to5ards structuralism "y that time. Amon the -or2s r#!#rr#, to as nou$elles critiques a num/#r o! ,istin&t a**roa&"#s ar#i,#nti!ia/%#+ #an Staro/ins2i3s -or2 is in!%u#n&#, / #.ist#ntia%ism in its stu, o! t"#mo,a%iti#s o! s#%!:r#!%#&tion in %it#ratur#( !or #.am*%# in !a *ransparence et l'o"stacle, on#ousseau's auto"ioraphies. 1- Charles Mauron's psychocritique is influenced "y psychoanalysis in its study of the 'personal myth' of an author. 1B !ucien Holdmann's 5or8

is influenced "y that of !u8a%s in the relation of the no$el to socioloical and historicalchane. 12 *hese currents, 5hich 5ere e3plicitly lin8ed to certain ideoloies, 5ere not ofspecial interest for *el +uel, 5hose initial approach 5as anti9ideoloical, parado3ically ?oinin 5ith the reacti$e criticism attac8ed "y =arthes. *his apparent pro3imity 5ill soon"e displaced. A less e3plicitly ideoloically determined criticism 5as the 5or8 of Dean9Pierre #ichard, re$ie5ed in *el +uel "y Henette. 1 #ichard's criticism loo8s at the poeticsof a particular 5riter 5ith a $ie5 to esta"lishin a phenomenoloy of the use of imaesspecific to the 5riter. )t is fundamentally influenced "y the 5or8 of =achelard on the phenomenoloy and psycholoy of the elements. 1 Althouh it focuses on literary creationand its enesis, its rele$ance for *el +uel is limited "ecause of the turn a5ay from the te3tand to5ards phenomena that it pri$ilees.

*he nou$elle critique is initially important for the re$ie5 as a ne5 and inno$ati$e moment

in criticism. o5e$er, the interest in =arthes, =ataille, and, in a more am"iuous 5ay,=lanchot, is more fundamental. *he nou$elle critique current 5ill moreo$er "e critici:ed, inthe paes of *el +uel, "y the structuralist9influenced 5or8 of Henette and *odoro$.

The Literary Context in 1960: TheNovel*he conte3t of intellectual Paris in the late -0s is structured around institutions such asthe ENS, the EPE, the PCF, the EFP, SPP, and SFP. *he passaes of indi$iduals "et5eenthese institutions 5ill ma8e possi"le the ferment of theory and its e3plosion in the mid9tolate -/0s.



























it"in an, a&ross t"#s# institutions t"#r# is a%so t"# &ont#.t o! i,#o%o)i#s+ T"# t-oim*ortant !a&tors -# "a$# i,#nti!i#, ar# t"# ,#mis# o! #.ist#ntia%ism an, t"# turn to%it#ratur# 3as su&"3+ T"#s# as*#&ts !orm t"# /roa,( i,#o%o)i&a% &ont#.t !or *el +uel, 5hich it5ill come to inherit after a period of de$elopment. o5e$er, *el +uel emeres into aconte3t of literature and its reception in re$ie5s that also needs to "e ta8en into account.

Any literary conte3t can "e characteri:ed "y 5riters 5ho see8 to esta"lish themsel$es inconflict 5ith tradition and those 5ho "elon to an earlier tradition or perpetuate it. )nterms of conte3tuali:ation, the former are e$idently more important. Consequently, 5or8sthat appeared after the 5ar "y 5riters li8e Hide, =reton, Araon, Hiraudou3, Hiono,althouh they may "e important 5or8s, do not enter into the immediate conte3t. a$insaid this, i$en that *el +uel essentially see8s to reacti$ate a conte3t from "efore the 5ar,certain 5riters 5ho continue to produce 5or8s after the 5ar are important. Céline, fore3ample, 5rote Féerie pour une autre fois in -B, <'un chLteau l'autre in -G, Nord in-/04 a lare part of his output comes after the &ccupation. Artaud, incarcerated in alunatic asylum until ?ust "efore his death in -1, 5rote his Qan Hoh in -G, "ut a lare part of his 5or8 5ritten after the 5ar 5ould not appear until much later, 5ith the pu"lication of his Ru$res compl(tes. Céline and Artaud "oth 5rite at the limit of "oth formand content, and "oth are to an e3tent marinali:ed durin the post95ar period. *hey are part of a hidden history that *el +uel 5ill see8 to recall.

As concerns the literature that souht to esta"lish itself aainst tradition, the ideoloy ofcommitment and responsi"ility affected, at least thematically, a series of no$els produced"efore and after the 5ar. Malrau3 !a Condition humaine, Sartre !a Nausée and theChemins de la li"erté triloy, Camus !'Étraner and !a Peste, Simone de =eau$oir's no$elsthematically address the responsi"ility of the indi$idual, placed 'in situation' in a 5orld5ithout pre9i$en meanin. Althouh style is fundamental to these 5riters, the ideoloicalimperati$e tended to o$erdetermine the reception of the 5or8s. Commitment 5as the 8eyterm. )n the -0s Sartre and Camus "oth turned to5ards the theatre as a more popularand direct form of committed 5ritin. Camus !a Chute @ -2 is the e3ception to thistendency.

As if in response to the e3istential seriousness of this mo$ement, a literature of

désin$olture emered in the mid9-0s in 5hich a stylistic lihtness of tone and theme5as pre$alent. *he hussards and their leader Ro)#r Nimi#r r#4#&t#, t"# i,#o%o) o!&ommitm#nt an, o*t#, inst#a, !or an in,i!!#r#n&#( #$#n a &ni&ism( t"at $##r#,,an)#rous% to-ar,s t"# ri)"t+ Ost#nsi/%( t"# *%#asur# o! -ritin)( o! st%#( -as*aramount+ T"# -or2s o! FranJois# Sa)an( Ro)#r ai%%an,( an, C"ristian# Ro&"#!ort &ou%,a%so /# attri/ut#, to t"is %it#ratur# o! désin$olture+

Ot"#r r#s*ons#s to t"# O&&u*ation t"at ,i, s##2 inno$ation in&%u,#, a r#tr#at intonatura%ism( in t"# no$#%s o! H#r$ a=in an, H#nri Troat( or into t"# !antasti&( in t"# -or2o! An,r D"t#% an, H#nri os&o+ >#an-"i%#( i! t"# r#s*ons#s o! &ommitm#nt an,in,i!!#r#n&# &an /# &"ara&t#ri=#, as a &on!rontation an, a r#!usa% o! "istor( ot"#rno$#%ists sou)"t r#s*onsi/i%it an, #n)a)#m#nt in ot"#r -as+ T"# !i&tion o! -rit#rs %i2#%an&"ot( atai%%#( K%osso-s2i( *uts t"# in,i$i,ua% in t"# &ont#.t o! an a/sur, uni$#rs#( /ut

"#r# t"# r#s*ons# is not t"# &ommitm#nt o! r#$o%ution or m#anin) in art( /ut t"# !ra&tur#o! t"# su/4#&t una/%# to r#s*on,( an, a &orr#s*on,in) ,i!!i&u%t at t"# %#$#% o! t"#%an)ua)# its#%!+ it" t"# no$#%isti& #.*#rim#nts o! u#n#au an, t"# %an)ua)# *%a o!>i&"#% L#iris( r#&a%%in) t"at o! Ramon, Rouss#% an, Surr#a%ism( t"#s# -rit#rs ar# t"# mostimm#,iat# *r#&ursors to t"# nou$eau roman an, to *el +uel 3s inno$ations+ atai%%# !'A""éC 6 195@ an, !e =leu du ciel 6 198( r#*u/%is"#, in 195 *r#s#nt a -ritin) an, a su/4#&t!ra&tur#, / t"# #.*#ri#n&# o! an #.&#ss *r#s#nt t"#mati&a%% in t"# no$#%+ T"# !ra&turin)ta2#s *%a&# most% at t"# %#$#% o! t"#m# rat"#r t"an o! st%#( -"i%# in t"# -or2 o! %an&"ot(t"# r#,u&tion o! *%ot an, &"ara&t#ri=ation to an a/so%ut# minimum %#a$#s t"# -a &%#ar !ora -ritin) o! in!init# "#sitation an, stru))%# !or i,#ntit an, m#anin)+ ot" ar# !un,am#nta%in!%u#n&#s on *el +uel in t"#ir t"#mati& an, st%isti& #!!#&ts+ T"# no$#%s o! K%osso-s2i 6#o"erte ce soir, -24 !e =ain de <iane, -/4 !a #é$ocation de l'Édit de Nantes, -and +ueneau @ a:ie dans le métro, - and the 5ritin of !eiris @ Four"is -/, part ofthe auto"ioraphical series !a #(le du ?eu are equally important e3amples of inno$ati$e5ritin in this period, "ut less o"$iously influential for *el +uel. All can "e said to refusethe false dichotomy of commitment or cynicism and opt for a responsi"ility at the le$el of



form. Althouh =lanchot and +ueneau are included in =arthes's list of 'deree :ero'5riters, these inno$ations can "e said to in?ect ne5 possi"ilities into literature, after itsturn to 'a"sence', "y pushin "ac8 the limits of form and e3perience in the no$el. *hey areimportant historically for *el +uel, despite the re$ie5's e$ident lac8 of ac8no5ledementof this fact.

*he most immediate mo$ement of inno$ation in the no$el rele$ant for *el +uel 5as thenou$eau roman. *he term itself 5as not used unti% 195( 78 so it is #sta/%is"#, as amo$#m#nt 4ust /#!or# t"# !oun,ation o! *el +uel. Many of the 8ey 5or8s 5ere pu"lished"efore this date, ho5e$er. #o""e9Hrillet !es Hommes and !e Qoyeur came out in -2and - respecti$ely. !a Dalousie and <ans le la"yrinthe appeared in -G and -. *helatter no$el is the o"?ect of *el +uel's immediate scrutiny and 5ill "e the focus of itsdiscourse on the nou$eau roman to "ein 5ith. 1G Nathalie Sarraute short *ropismes hadappeared "efore the 5ar, "ut the series of no$els 5hich esta"lished her as part of thenou$eau roman roup 5ere Martereau @ -2, !e Planétarium @ - and !es Fruits d'or@ -/B. Michel =utor had already 5ritten !'Emploi du temps @ -/ and !a Modification@ -G "efore the term nou$eau roman 5as properly esta"lished. *he other 5ritersassociated 5ith the nou$eau roman, #o"ert Pinet, Claude Simon, and Claude &llier, produced their most important 5or8s around the time of *el +uel's formation and after, sothe nou$eau roman is $ery much the literary mo$ement in the ascendance durin *el

+uel's first years of e3istence.

*he ideoloy of the nou$eau roman, 5hich *el +uel 5ill confront, is itself an illusory phenomenon since the creati$e practice of each 5riter 5as different, as =arthes hadunderlined in a -1 article in Aruments, ')l n'y a pas d'école #o""e9Hrillet'. o5e$er,=arthes himself 5as to an e3tent responsi"le for the $ie5 of #o""e9Hrillet's 5ritin, fore3ample, as an 'o"?ecti$e' literature that throuh a 'radical formalism' souht to refuseanthropomorphism. 11 Common characteristics could "e found in the formalistice3perimentation 5ith narrati$e and the reduction of the traditional elements of characterand psycholoy. *his could not, ho5e$er, "e said so easily of Sarraute's 5or8. )n fact thenou$eau roman presented a series of different responses to no$elistic e3perimentation. *el+uel enters a conte3t of inno$ation in the no$el la"elled under an ideoloy it mustconfront in order to esta"lish its o5n practice as distinct. *his 5ill "e the first dramatic

moment of the re$ie5's history.

Poetry since 19!*he situation of poetry after the 5ar 5as understanda"ly difficult. Adorno's questionin ofthe ethics of 5ritin poetry after Ausch5it: &om#s to min,+ 79 M#t &#rtain tra,itions an,$oi&#s &ontinu#,+ Surr#a%ism "a, / t"#n /#&om# a *art o! tra,ition( %osin) its #ar%i#rra,i&a%ism+ T"# imm#,iat# *ost:-ar #ars s## t"# *u/%i&ation o! -or2s / Ara)on( E%uar,(D#snos( Sou*au%t( an, R#$#r,( /ut t"# #.&itin) ,#$#%o*m#nts -#r# #%s#-"#r#+ It s##mst"at *o#tr o! t"# *ost:-ar *#rio, sou)"t som# 2in, o! r#s*ons# to an a/s#n&#( to t"# %osso! an o/4#&t+ Rat"#r t"an t"# *ur#( s#%!:su!!i&i#nt $ision o! a%r( its ant#&#,#nts -#r#au,#%air# an, Rim/au,+ "at #m#r)#, -as a s#ar&" !or som#t"in) %ost( in an o*#n !orm(

-it" a &ons&iousn#ss o! "uman a%i#nation an, t"# arti!i&# o! %an)ua)#+

In som# &as#s t"is %#, to #.tr#miti#s o! !orm an, $ision( !or #.am*%# in t"# -or2 o!>i&"au. 6 Épreu$es, e3orcismes, -4 !')nfini tur"ulent, -G4 Connaissance par lesouffres, -/-4 Qents et poussi(res, -/B and Pone @ Po(mes, -14 !e Hrand receuil,-/-, enormously influential on the poetry of the -/0s. Either throuh the tur"ulence ofimaery, threatenin rational consciousness, or the underminin of the latter throuh ane3treme rhetorical self9a5areness, Michau3 and Pone, in the 5a8e of Surrealism, 5ere po5erful $oices. Also in this lineae 5as the poetry of !eiris @ aut mal, -2 and+ueneau @ Si tu t'imaines, -B, constitutin a decisi$e current of post9Surrealist poetry5hich 5as ne$ertheless freer, less determined "y Surrealism's formulas and poeticideoloy.

&utside the epic character of the poetry of Saint Dohn Perse @ Qents, -/4 Amers, -Gor the poésie "rute of #e$erdy @ Plupart du temps, -4 Main d'Ou$re, -, a















dominant $oice 5as that of #ené Char @ !es Feuillets d'ypnos, -/4 Fureur et myst(re,-14 #echerche de la "ase au sommet, -4 !a Parole en archipel, -/B. is 5as a poetry 5hich souht, after the 5ar and the #esistance, some 8ind of re9esta"lishment ofthe $alue of humanity, throuh a stri$in to5ards the sacred, or =ein, in theeideerian sense. Char 5as a po5erful influence on a roup of poets 5ho emeredradually in the -0s and esta"lished themsel$es in the early -/0s4 T$es =onnefoy @ <u

mou$ement et de l'immo"ilité de <ou$e, -24 ier rénant désert, -14 Pierre écrite,-/, Philippe Daccottet @ !')norant, -G4 Éléments d'un sone, -/-, Dacques <upin @Cendrier du $oyae, --4 !'Éper$ier, -/04 Hra$ir, -/2, and André du =ouchet @ <ansla chaleur $acante, -/-. *hese poets 5ill form the current that is most immediate in theconte3t of *el +uel.

*he poetic conte3t of -/0 is a multiplicity of different $oices, some traditional, some olderyet unreconi:ed, some youner and representati$e o! n#- tr#n,s+ Som# *o#ti& $oi&#s !a%%out o! t"# ,#s&ri*tion o! t"# &ont#.t in t#rms o! &urr#nts( su&" as 'ui%%#$i&( a/Gs(Su*#r$i#%%#( Emmanu#%( ou$#( no %#ss im*ortant !or t"# "istor o! *o#tr in t"# *#rio,+ *el+uel in its #ar% #ars -i%% *u/%is" -or2 !rom a $ari#t o! sour&#s( / E%uar,( >i&"au.(Pon)#( a&&ott#t( Du*in( ,u ou&"#t( /#!or# #sta/%is"in) its o-n *o#ti& $oi&#s -it">ar&#%in P%#n#t an, D#nis Ro&"#+ 9@ E.&#r*ts !rom t"# -or2 o! *o#ts >i&"#% D#)u an,#an:Pi#rr# Fa# -ou%, a%so a**#ar in t"# #ar% #ars+ *el +uel #ss#ntia%% &ontinu#s an,

,#$#%o*s t"# &urr#nt o! -ritin) in t"# -a2# o! Surr#a%ism r#sonant in t"# -or2 o! Pon)#an, >i&"au.( rat"#r t"an t"# H#i,#))#rian &urr#nt in!%u#n&#, / C"ar+ Ho-#$#r( a%on)si,#t"is a&ti$it an int#r#st ,#$#%o*#, t"at to som# #.t#nt st#**#, outsi,# t"# Fr#n&" &ont#.tto a**#a% to a mor# ra,i&a% an, i&ono&%asti& &urr#nt o! *o#tr !rom t"# USA+ P%#n#t an,Ro&"# trans%at# an, 3a**#a% to -or2 / Poun,( Cummin)s( C"ar%#s O%son( an, o"nAs"/#r+ 91 A !un,am#nta% in!%u#n&#( not #asi% i,#nti!ia/%# in t"# &ont#.t( -as a%so t"#-ritin) o! Artau,+ P%#n#t( !or #.am*%#( "a, 4ust #m#r)#, !rom a ,#tai%#, r#a,in) o!Artau, /#!or# 4oinin) t"# &ommitt## o! *el +uel. B )t 5as the no$el, ho5e$er, 5hich 5asthe ascendant literary form of the time, the nou$eau roman tendin to push poetry intothe shado5s. *he conflict "et5een this interest and the underlyin tension to5ards a more poetic lanuae 5ill lead to interestin de$elopments in *el +uel in its first fe5 years.

"eogra#hy o$ the Context*he map of the intellectual milieu of Paris in the -/0s, the space across 5hich passaesare traced and in 5hich intersections are effected, is to a lare e3tent determined "y thedisposition of pu"lishin houses and the re$ie5s 5hich reside in them, the academic milieuformin a parallel 5orld. )n the late -0s and early -/0s the conte3t is determined "ythree pu"lishers, Seuil, Hallimard, and Minuit. *he intellectual distance "et5een each ofthem is in contrast to their pro3imity in space4 only a fe5 hundred yards separatesHallimard, in the #ue Sé"astien =ottin, from Seuil in the #ue Daco", and Minuit, the ot"#rsi,# o! t"# ou%#$ar, Saint:'#rmain( in t"# Ru# #rnar, Pa%iss+ Ho-#$#r( -"i%# t"#so&io%o)i&a% *#rs*#&ti$# -"i&" -ou%, s## *el +uel as ,#t#rmin#, i,#o%o)i&a%% / t"is 3!i#%,3ma /# a&&urat# in its o-n t#rms( it is #ntir#% una/%# to a&&ount !or ant"in) t"attrans&#n,s its stru&tur#( s*#&i!i&a%% %it#rar &r#ation+ 9 it" t"is r#s#r$ation in min,( it is

*#rtin#nt in a r#stri&t#, s#ns# t"at at t"# tim# o! *el +uel 3s !ormation( t"# *u/%is"#r o!So%%#rs !irst no$#% Ine curieuse solitude 6 1957( S#ui%( is s##2in) to #sta/%is" a r#$i#- tori$a% t"# Nou$elle #e$ue fran%aise o! 'a%%imar,( an, a %it#rar mo$#m#nt to ri$a% t"#nou$eau roman( -"i&" !or t"# most *art &am# out o! >inuit+ 'a%%imar, -as &#rtain% t"#,ominant *u/%is"#r !or %it#ratur#0 t"# -or2s o! most o! t"# !i)ur#s $a%ori=#, in *el +uel ::atai%%#( Artau,( Pon)#::to /#)in -it"( -#r# *u/%is"#, / 'a%%imar,+ T"# N#F -as,ominant in t"# ar#a o! 3%it#rar <ua%it3( -it" its ,ir#&tors( #an Pau%"an an, >ar&#%Ar%an,( assumin) t"# a#st"#ti& r#ins o! t"# r#$i#- in 195+ >inuit( m#an-"i%#( "a, /##nasso&iat#, -it" t"# R#sistan&# ,urin) t"# -ar an, a**ar#nt% *#r*#tuat#, t"is stan&# in its&"am*ionin) o! t"# nou$eau roman+ Its ,ir#&tor( rm# Lin,on( -as mi%itant in !a$our o!an &aus# -"i&" a!!irm#, t"# $a%u# o! %it#ratur# a)ainst &#nsors"i*+ Critique -as a%so*u/%is"#, / >inuit its ro%# as a !orum !or t"# #m#r)in) &urr#nts in t"# "uman s&i#n&#san, in %it#rar &riti&ism 6it *u/%is"#, art"#s( Staro/ins2i( an, Ri&"ar, -as a !a&tor t"atma,# >inuit t"# *rin&i*a% %o&us o! inno$ation at t"# tim#+ S#ui%( m#an-"i%#( "a, /##n

!orm#, / Cat"o%i& >ar.ists in t"# *ost:-ar *#rio,+ Its *rin&i*a% r#$i#- -as Esprit (!oun,#, / Emmanu#% >ouni#r as t"# r#$i#- o! "is *"i%oso*" o! *#rsona%ism+ Esprit -as















ta2#n o$#r / S#ui% a!t#r t"# -ar to /#&om# a &ommitt#, r#$i#-( sm*at"#ti& to >ar.ism/ut a%so #m*"asi=in) t"# in,i$i,ua%+ Esprit 3s %#!t( "umanist a**roa&" ,#!in#, t"# &"ara&t#ro! S#ui% /#!or# t"# 198@s+ So%%#rs -ou%, &ari&atur# t"# *u/%is"#rs in "is no$#% Portrait du ?oueur as 3chrétiens proressistes, spiritualistes de pror(s3+ 9; "i%# S#ui% "a, a !inan&ia%su&&#ss -it" *he !ittle 6orld of <on Camillo( it -as a/%# to *u/%is" mor# *o%iti&a%% ra,i&a%mat#ria% / -rit#rs su&" as Fran= Fanon( Lo*o%, S,ar S#n)"or( an, t"# %#!tist !i%m:

ma2#r C"ris >ar2#r+ T"rou)" Fran&is #anson it "a, %in2s -it" Sartr# an, !es *empsmodernes. )ts 5ill to5ards inno$ation in the discursi$e field 5as assured "y the pu"licationof =arthes's early 5or8s, 5ritten from a leftist *#rs*#&ti$#0 !e <eré :éro de l'écriture,Mytholoies, and Michelet. )n the literary field, Seuil had an important fiure in DeanCayrol, 5ho ran a re$ie5 and collection, ' Écrire', de$oted to the launchin of ne5 5riters,"oth no$elists and poets. Most of the 5riters associated 5ith *el +uel 5ere launched "yCayrol's collection.

)n addition to the trianle Hallimard9Minuit9Seuil and the re$ie5s N#F9Critique9Esprit there5as Sartre !es *emps modernes, pu"lished "y Dulliard, 5hich also "rouht out !es !ettresnou$elles, set up in -2 "y Maurice Nadeau. !es *emps modernes 5as an 'enaed're$ie5, ne$er a literary re$ie5 in any sense, althouh it did pu"lish literary 5or84 Sartre play !es Séquestrés d'Altona 5as pu"lished at this time. *he re$ie5 5as specificallycommitted, after -/, to left95in causes in the strule aainst colonialism. !es !ettres

nou$elles 5as run "y Maurice Nadeau, 5ho, despite his lin8s 5ith =arthes, 5as particularlyantipathetic to Sollers. Nadeau's aesthetic tastes in !es !ettres nou$elles fa$ourede3perimental 5or8, "y 5riters such as Sarraute and =ec8ett. *he re$ie5 5ould also pu"lici:e forein literature throuh translations. &ther literary re$ie5s of the time includedsome 5hich had an esta"lished place4 the Mercure de France 5as particularly important.Cahiers du Sud and Action poétique fa$oured poetry and oriinated in Marseille. !'Arc@from -G, Preu$es, and !'erne @ta8in o$er from Preu$es in -/2 5ere lessinfluential, "ut still important. !es !ettres fran%aises, run "y Araon and Pierre <ai3, 5asthe literary oran of the PCF. Pu"lication there essentially meant endorsement "y and ofMar3ism and the party. )t 5ould "ecome particularly important in the mid9 -/0s, first asa site fa$oura"le to 5riters such as Sollers, Pleynet, enric, and Huyotat, then as a siteresisted and resistant to *el +uel in the later period. )ts editors, Pierre <ai3 and then Dean#istat, 5ould interact 5ith *el +uel at certain moments. Non9literary or philosophical

re$ie5s, !a Nou$elle Critique and !a Pensie for the PCF, the leftist Aruments, Socialismeou "ar"arie, and the more marinal )nternationale situationniste 5ere less immediatelyimportant for the conte3t of *el +uel.

Across the space formed "y these sites and the differences "et5een them, intersectionsand alliances could "e made. *he conte3t 5as not a stati& stru&tur#+ art"#s( !or #.am*%#(-as !ri#n,% -it" Na,#au( Caro%( an, a%so t"# >inuit:nou$eau roman &ont#.t+ Caro% -asasso&iat#, -it" Fran&is Pon)# an, #an Pau%"an at t"# N#F + So( in 198@( t"#r# is an#t-or2 o! int#rs#&tions -"i&" *el +uel -i%% !a%% into( /ut trans!orm !air% ra*i,%+ 98 T"#198@s sa- t"# $#r ra*i, ris# o! S#ui% as t"# s*#ar"#a,in) *u/%is"#r o! t"# n#-stru&tura%ism( *romotin) art"#s( t"# Communications t#am an, r#$i#-( *el +uel, ande$entually the 5or8 of !acan. Fran%ois 6ahl, in chare of the human sciences section atSeuil, 5as an important indi$idual fiure in this ad$ance. *he role of *el +uel itself as asite of pu"lication and intersection is inestima"le.

*he structuralist and post9structuralist trends in the human sciences of the -/0s,althouh to a lare e3tent carried in already e3istin re$ie5s such as Critique, 5ill lead tothe creation of ne5 periodicals, such as Communications, Cahiers pour l'analyse, Scilicet,and Chane, all of 5hich 5ere pu"lished "y Seuil. )n -G0 the structuralist and semioloy9inspired currents in linuistics and criticism around *odoro$ and Henette 5ould ain theiro5n platform 5ith the creation of the re$ie5 Poétique. 6hile Poétique is a $ital forum forthe introduction of ne5 critical approaches @ Paul de Man, Dauss and reception theory, it isseen "y Sollers as a re$ie5 created "y Seuil in order to displace *el +uel from itsascendant position, 5here it had a certain independence. G *he re$ie5's position 5ithinSeuil is su"?ect to $arious shifts. )f at the "einnin the re$ie5 is intended as a 'mast9head', this function is soon adum"rated "y the interest in 5riters pu"lished "y Minuit, andin Pone, =ataille, and Artaud, pu"lished "y Hallimard. *he formalist and structuralist

period esta"lish *el +uel as the leadin factor in Seuil's spearheadin pu"lication ofstructuralist 5or8. *he militant period di$erts this "ac8 into politics, "ut this 5as not at all















out of place 5ithin Seuil. *he final period, ho5e$er, sees the re$ie5 esta"lishin lin8s 5ithHrasset and Hallimard and mo$in a5ay from the field of Seuil4 at this point *el +uel is a8ind of encla$e 5ithin its pu"lishin house. 1 After the deaths of =arthes and !acan, thet5o fiures that assured the re$ie5's position at Seuil throuh Sollers's amica"le lin8s 5ith"oth, the "rea8 is *r#&i*itat#, / So%%#rs3s -ritin) o! Femmes, in 5hich =arthes and!acan are thinly disuised and parodically inserted in a humorous narrati$e that does not

spare their pri$acy. *el +uel does not, therefore, act as a mouthpiece of Seuil, althouh attimes it pu"lishes e3cerpts from forthcomin 5or8s, "ut operates independently of the pu"lisher, also 5ith a minimum amount of financial pressure. *his independenceundou"tedly determines the re$ie5's effect of displacement in the conte3t and its a"ility todetermine its o5n tra?ectory.

<urin *el +uel's e3istence, it enaes in polemics and interchanes 5ith a num"er ofother re$ie5s, created durin the period. Amon re$ie5s opposin *el +uel, in competition5ith it, 5ere !a +uin:aine littéraire, !'Arc, !'erne, as 5ell as Chane and Poétique. Noneof these, 5ith the e3ception of Chane, is the $ehicle of a pro?ect, a roup, or amo$ement. *el +uel occupies a quite specific place as a re$ie5 5ith a defined pro?ect andtheory, intersectin perspecti$es from numerous disciplines to5ards the furtherance of this pro?ect. &ther re$ie5s are more eclectic, ?ournalistic sites. Apart from Critique, and thePCF re$ie5s, a num"er of satellites to *el +uel 5ill appear durin its e3istence; Promesse,

Peinture, cahiers théoriques, Cinéthique, Art press, and to a lesser e3tent the music theoryre$ie5 Musique en ?eu. *heir interaction 5ith *el +uel forms part of its history. *he periodof *el +uel's e3istence also sees the formation of a num"er of re$ie5s 5hich are directlyor indirectly modelled on its e3ample. *hese 5ould include Chane, !ittérature, PoUsie,<iraphe, *e3tuel, *V*, Premi(re li$raison, and others. None of them, ho5e$er, aspire tothe "readth and influence of *el +uel, nor do they come close to it.

*his eoraphy of the conte3t, the institutional structure of the time, is none the lesstransformed "y the e3istence and mo$ement of *el +uel. =ecause it 5as an e$er9shiftin,mo"ile site of intersection, the conte3t it enters into is affected "y it profoundly, in 5ays5hich it is the tas8 of this history to assess.

The Political Context in 1960*he immediate political conte3t in 5hich *el +uel's first issue appears is one of relati$einsta"ility. -00 Althouh economic prosperity in France 5as increasin, the country faced ama?or crisis in Aleria. <espite independence ha$in "een ranted to Morocco and *unisiaand #na/%#, in ot"#r A!ri&an &o%oni#s( in 1958( Fran&# -as %#ss r#a, to )i$# u* its "o%, onA%)#ria+ T"# nationa%ists -#r# in o*#n r#$o%t+ T"# a,o*tion o! t#rrorist ta&ti&s %#, t"#)o$#rnm#nt o! 'u >o%%#t to ma2# t#ntati$# mo$#s to-ar,s n#)otiation( /ut( #n&ount#rin)$io%#nt r#sistan&# on t"# *art o! t"# colons an, t"# arm( t"# *o%i& -as ra,i&a%%r#$#rs#,+ T"#r# !o%%o-#, a $io%#nt an, /%oo, &on!rontation /#t-##n t"# nationa%ists( t"#)o$#rnm#nt( an, t"# Ri)"t( *rin&i*a%% t"# arm( -"os# &ount#r:t#rrorist s<ua,( t"#&ranisation armée secr(te 6OAS( a,o*t#, $io%#nt un,#r)roun, ta&ti&s its#%!+ In 1957( t"#Fourt" R#*u/%i& )o$#rnm#nt -as una/%# to !un&tion( a &risis %#a,in) to t"# s-i!t a&&#ssion

to t"# *r#si,#n& o! '#n#ra% ,# 'au%%#( -"o "a, /##n #.*#&tin) su&" an #$#ntua%it+ D#'au%%# intro,u&#, a n#- &onstitution( t"# Fi!t" R#*u/%i&( in 1957+ H# !a$our#, n#)otiationan, in,#*#n,#n&# !or A%)#ria( -"i&" -as !ina%% )rant#, in 198?( /ut not -it"out anin&r#as# o! $io%#n&# !rom t"# Ri)"t+ T"# ri)"t:-in) o**osition &ontinu#, its t#rrorista&ti$it( -"i&" s*i%%#, o$#r into m#tro*o%itan Fran&# an, in to its &a*ita%+ T"# &%imat# inParis is on# o! $io%#n&#( *rin&i*a%% a)ainst to t"# %#!t -in)+ D#s*it# its ina/i%it to&onso%i,at# its #%#&tora% su**ort( t"# PCF -as sti%% a *o-#r!u% *o%iti&a% !or&#+

T"# int#%%#&tua% mi%i#u -as mo/i%i=#, / t"is situation+ Sartr# !es *emps modernes mi%itat#, on /#"a%! o! t"# A%)#rian FLN( -"i%# *u/%is"#rs su&" as >inuit an, S#ui%(!a$oura/%# to t"# %#!t an, to anti:&o%onia%ism( su!!#r#, s#$#ra% plastiquaes 6/om/in)s /t"# OAS+ T"# situation in#$ita/% !a$our#, &ommitm#nt to t"# L#!t amon) int#%%#&tua%s+ InS#*t#m/#r 198@ t"# 3Manifeste des -B-3( a *#tition a)ainst t"# A%)#rian -ar( &r#at#, a

s&"ism /#t-##n t"# &ommitt#, )rou* o! Sartr#( Na,#au( rm# Lin,on( -it" som# o! t"#nou$eau3 romanciers( an, t"# #m#r)in) stru&tura%ist réseau o! art"#s( >orin( an, t"#












Critique )rou*( -"o ,i, not si)n+ T"# &ont#.t is t"us *o%ari=#, aroun, t"# <u#stion o!&ommitm#nt( 3!or or a)ainst3+

*el +uel 3s #ntr into t"# &ont#.t an, its *osition is not as sim*%# as it !irst a**#ars+ T"#tit%# an, t"# ,#&%aration( su))#stin) a &ons#r$atism an, a ,istrust o! &ommitm#nt( -ou%,"a$# a%i#nat#,( an, ,i, a%i#nat#( int#%%#&tua%s sm*at"#ti& to t"# %#!t+ Ho-#$#r( *el +uel 3s

a!!i%iation -it" >inuit ma2#s t"is stan&# am/i)uous+ T#.tua%%( So%%#rs3s !irst t#.t in t"#r#$i#-( 3 #equiem3( a !orma%isti& an, tra)i& a&&ount o! t"# !un#ra% o! a !ri#n, 6in !a&t Pi#rr#,# Pro$on&"Gr#s( 2i%%#, in A%)#ria %#a,s to a notion o! &ommitm#nt at t"# %#$#% o! !ormt"at ,is*%a&#s t"# *o%ari=ation o! t"# &ommitm#nt ,#/at#+ It is a%so *#rtin#nt t"at at t"istim# man o! t"# -rit#rs in$o%$#, in *el +uel -#r# at t"# a)# -"#n t"# -#r# !or&#, toun,#rta2# t"#ir mi%itar s#r$i&#+ T"#r# -as a r#a% s#ns# o! t"# immin#n&# o! $io%#n&#un,#r%in) su&" t#.ts as So%%#rs 3 #equiem3 an, Fa# =attement. At the same time, thelac8 of any consideration of the situation of Francophone literature or the colonial or neo9colonial question @e3cept indirectly, in the te3ts of Huyotat ma8es *el +uel appear aspecifically French, Parisian phenomenon.

*he political crisis of Aleria and the o$ernmental crisis of the Fourth #epu"lic ha$e adirect effect in the mo"ili:ation of intellectuals for a cause. o5e$er, the displacement ofthe focus of intellectual enquiry and artistic practice a5ay from the question ofcommitment9the 5anin of the dominance of Sartre and the rise of structuralism in moredispersed milieu399led to a shift in the relation of intellectual acti$ity to politics. *he lin85as not as direct. *he -/0s is a time 5hen thouht 5as concerned 5ith the inherentstructure of 8no5lede or creati$ity rather than action. -/1, of course, 5illcatastrophically alter this situation. =ut the early -/0s, after the displacement of theintellectual conte3t a5ay from politics, is also a time of inno$ation, "oth in the emerinhuman sciences in the uni$ersity, and in creati$e practice, sinalled "y the proliferation ofthe 'ne5'; nou$eau roman, Nou$elle critique, Nou$elle $aue in the cinema. *hissuested an atmosphere of inno$ati$e enquiry into form, 5hich *el +uel 5ill accelerateand transform. *he intellectual climate is a mi3ture of decline and inno$ation, endin and"einnin. *he incidence in the same year of the traic death of Camus and theappearance of Hodard's casual film A "out de souffle, 5ith the launch of *el +uel, su"tlyindicates this duality.

WWWWWWWWWWWWWWWWWWWW1 S## t"# tit%# o! a !i%m / 'u D#/or,( &"i#! #,itor o! t"# r#$i#- !')nternationale

situationniste 3Sur %# *assa)# ,# <u#%<u#s *#rsonn#s tra$#%s un# ass#= &ourt# unit,# t#m*s3+ S## a%so Sur le passae de quelues personnes tra$ers une asse: courteunité de temps 6 Paris( 1979( &ata%o)u# o! an #."i/ition "#%, at t"# C#ntr# '#or)#sPom*i,ou in 1979+

? S## int#r$i#- -it" P"i%i**# So%%#rs / aut"or( Paris( 19790 3c'est chaque fois desanalyses, un recul, retour des $acances, puis des analyses, 'c'est tr(s, tr(s comple3e4 ily a l'histoire personelle, l'histoire tout court, son complément indéchiffré,incompl(tement. )l y a des rapports de forces. <onc on met tout %a au ta"leau noir eton $oit comment . . . c'est tr(s tr(s lié la $ie, l'e3istence, ce n'est pas desthéor(mes qui se passent comme %a, c'est simplement une mise en pratique des

analyses+3 For "istori&a% a&&ounts o! !es *emps modernes, see; . <a$ies, Sartre and '!es *empsmodernes' @ Cam"ride, -1G4 A. =oschetti, Sartre et '!es *emps modernes'@ Paris,-1.

; For a "istori&a% a&&ount o! Esprit s##0 >+ ino&2( istoire politique de la re$ue 'Esprit';@-29-0 6 Paris( 195+

5 +:P+ Sartr#( !'E3istentialisme est un humanisme 6 Paris( 19;+8 S+ ,# #au$oir( Pour une morale d'am"iuité 6 Paris( 19;+ +:P+ Sartr#( Critique de la raison dialecdique 6 Paris( 198@+ For an in!ormati$# a&&ount

o! t"is *#rio,( s##0 >+ Post#r( E3istential Mar3ism in Post95ar France 6 Prin&#ton( N(195+

7 + Kana*a( !'E3istentialisme n'est pas un humanisme 6 Paris 19;+1@ + H**o%it#( Hen(se et structure 6 Paris( 19; i,+( )ntroduction la philosophie de

)'histoire de eel 6 Paris( 19;7 r#*u/+ 1977+11 A+ Kor( 3!' É$olution philosophique de eideer 3( Crit. -9B 6 un#:u% 19;8 A+

Ko4G$#( 3eel, Mar3 et le Christianisme3( Crit. 29 6 Au)+:S#*t+ 19;8 '+ atai%%#(



3Ni#t=s&"#3( Crit. 2 6 >a 19;9+9 >+ >#r%#au:Pont an, +:P+ Sartr#( 3!es Dours de notre $ie3( !es *emps modernes, - 6

an+ 195@( 118?+1? S## H+ L#!#/$r#( Critique de la $ie quotidienne 6 Paris( 19;+1 I,+( Fondements d'une société de la quotidiennété 6 Paris( 198@+ T"#r# -#r# s*#&ia%

issu#s o! Ar)um#nts on 3!e Pro"l(me de l'amour 3 6 an+:>ar+ 1981 an, 3e

4robl@me e la osmolo,ie 3 6 O&t+:D#&+ 1981+ S## a%so Post#r( E3istentialMar3ism+1; K+ A.#%os arran)#, t"# *u/%i&ation o! a ,is&ussion /#t-##n #an #au!r#t( t"#

H#i,#))#r #.*#rt( an, H#i,#))#r( 3Dia%o)u# a$#& H#i,#))#r3 an, an arti&%# /H#i,#))#r( 3!es Principes de la pensée3 !or Aruments 6 198@+ T"# r#$i#- a%so*u/%is"#, t"# *ro&##,in)s o! a &on!#r#n&# on H#i,#))#r+

15 R+ art"#s( 3Écri$ains et écri$ants3( Aruments 6 198@( an, 3!')maination dusine3( i/i,+ 6 198?( /ot" r#*u/+ in i,+( Essais critiques 6 Paris( 198;+

18 S## !')nternationale situationniste 6 Paris( 1957:89 '+ D#/or,( !a Société duspectacle 6 Paris( 198+

1 S## P+ So%%#rs an, >+ C%a$#%( <éli$rance 6 Paris( 9( 51+17 For a "istori&a% an, t"#or#ti&a% a&&ount o! A%t"uss#r3s %i!# an, -or2( s## '+ E%%iott(

Althuser; *he <etour of *heory 6 Lon,on( 197+19 +:T+ D#santi -i%% %at#r /# int#r$i#-#, / u%ia Krist#$a in *el +uel as *art o! an

in$#sti)ation o! t"# %imits o! s&i#n&#+ S## *+ 1 6summ#r 19;+?@ S## E%%iott( Althuser ( 1@+?1 >ar&us# -or2s( Eros and Ci$ili:ation( &ne <imensional Man( an, An Essay on !i"eration

-#r# *u/+ / t"# Ar)um#nts )rou* t"rou)" t"#ir &o%%#&tion at >inuit+?? E%%iott( Althuser ( 5+? I/i,+ ;1+ ?; I/i,+ 8+ ?5 Crit.195:8 6 Au)+:S#*t+ 198+?8 + D#rri,a( 3Forme et sinification3( Crit.19; 6 u% 198+? So%%#rs( int#r$i#- -it" aut"or( Paris( 1979+?7 + D#rri,a( intro,+ to E+ Huss#r%( !'&riine de la éométrie 6 Paris( 198?+?9 S## + D#rri,a( 3!a Mytholoie "lanche3( in i,+( Mares de la philosophie 6 Paris( 19?+@ P+ ,# >an( *he #esistance to *heory 6 >an&"#st#r( 1978( 7+1 P+ ,# >an( o*+ &it+( 18+? C+ L$i:Strauss( 3!'Analyse structurale en linuistique et en anthropoloie3( 6ord,

Dournal of the !inuistics Circle of Ne5 Tor8, B 6 Au)+ 19;5+ R#*u/+ in i,+( Anthropoloie structurale 6 Paris( 1957+

I,+( )ntruduction l'Xu$re de Marcel Mauss 6 Paris( 195@( trans+ F+ a2#r as)ntroduction to the 6or8 of Marcel Mauss 6 Lon,on( 197( 8+

; '+ atai%%#( 3!a Notion de dépense3( !a Critique sociale, G 6 an+ 19 an, in i,+(&eu$res compl(tes, i 6 Paris( 19@+

5 C+ L$i:Strauss( !a Pensée sau$ae 6 Paris( 198?( ?8+8 S## La&an3s us# o! t"# m#ta*"or o! t"# point de capiton in Écrits, i 6 Paris( 19@+ S## *+ / 6summ#r 191( !or a &riti&a% ass#ssm#nt o! Surr#a%ism an, n#o:Surr#a%ism

in t"# r#$i#-+7 For an a&&ount o! La&an3s ,#/t to Surr#a%ism( s## D+ >a&#( !acan in Conte3ts

6 Lon,on( 1977+9

For an int#%%#&tua% /io)ra*" o! La&an( s## E+ Rou,in#s&o( !a =ataille de cent ans.istoire de la Psychanalyse en France, ii 6 Paris( 1978+;@ S## + La&an( 'Fonction et champ de la parole et du lanae en psychanalyse' and

'!')nstance de la lettre dans l'inconscient depuis Freud' ( Écrits, i 6 Paris( 19@+;1 S## P+ So%%#rs( 'Sur$olY#apports@=locsYConflit' ( *+ 2/ 6-int#r 1989( 8+;? + La&an( 3Intro,u&tion au &omm#ntair# ,# + H**o%it# sur %a #rn#inun) ,# Fr#u,3(

!a Psychanalyse, - 6 1958 an, 3L# Sminair# sur La L#ttr# $o%#3( !a Psychanalyse, B6 195+ H#i,#))#r -ou%, &ontri/ut# an arti&%# #ntit%#, 3Lo)os3 to issu# i+

; Rou,in#s&o /oo2 6 !a =ataille o!!#rs an #.t#n,#, a&&ount o! t"is *#rio,+;; I/i,+ 7+;5 Arti&%#s &o%%#&t#, in t"# /oo2 Apr(s Freud 6 Paris( 1987+;8 S## + La&an( !e Séminaire( .i0 !es +uatre Concepts fondamentau3 de la psychanalyse

6 Paris 19+; S## +:F+ Lotar,( <iscours, fiure 6 Paris( 191+;7 S## Rou,in#s&o( !a =ataille( 7+;9 S## So%%#rs( 3Sur$o%Ra**orts3( *+ 2/+ 1@:11+ So%%#rs r#!#rs to arti&%#s / A+ a,iou

http://www.questia.com/PM.qst?a=o&d=23169974










an, +:A+ >i%%#r+5@ +:+ Ponta%is( 'Michel !eiris ou la psychanalyse sans fin' ( r#*u/+ in i,+( Apr(s Freud +51 + D#rri,a( 3La Paro%# sou!!%#3( *+ B0 6-int#r 1985( r#*u/+ in i,+( !'Écriture et la

difference 6 Paris( 198( ?5+5? S## A+ 'r##n( !e <iscours $i$ant 6 Paris( 19+5 S## D#rri,a( !'Écriture et la difference, B2.5;

>+ ,# >3U=an 3A*#rJus *s&"ana%ti<u#s sur %# *ro&#ssus ,# &r#ation %ittrair#3( *+ -6autumn 198;+ S## a%so +:L+ au,r r#$i#- o! "is In$#sti)ations *s&"osomati<u#s in*+ -1 6summ#r 198; an, "is #ar% !i&tiona% *i#&# 3Ri&"#ss#3 in *+ 6-int#r 1981+

55 S## +:L+ Hou,#/in#( 3L3Enn#mi ,u ,#,ans3( in P+ So%%#rs 6#,+( =ataille 6 Paris( 19+58 T"is is mor#o$#r a su/4#&t o! s*#&i!i& int#r#st in *el +uel its#%!( t"rou)" t"# *u/%i&ation

o! arti&%#s / >i&"#% Far,ou%is:La)ran)#( a &o%%#a)u# o! atai%%# at t"# tim# o! t"#a/orti$# Co%%#)# so&rati<u#+ S## >+ Far,ou%is:La)ran)#( 3C3#st #n 19;?3( *+ 1- 6autumn 199 an, 3Un art ,i$in0 L3ou/%i3 *+ 2 6autumn 197?+

5 S## D+ Ho%%i#r 6#,+( !e Coll(e de socioloie 6 Paris( 199+57 P+ So%%#rs( 3L# 'SI3( *+ 1/ 6-int#r 197@( 11+59 Int#r$i#-s / aut"or -it" So%%#rs( P%#n#t( Paris( 1979:9?+ Pleynet; '!e roupe produit,

dans ce qui différencie fondamentalement les éléments, quelque chose qui rend la $ieintena"le un des éléments.!a machine tourne . . . et ils sont naturellement démis+3

8@ +:L+ Nan&( !a Communauté désOu$rée 6 Paris( 1978( trans+ 6an, #,+ P#t#r Connor

as *he )noperati$e Community 6 >inn#sota( 1991( 8;+81 Nan&( *he )noperati$e Community, /0 3%an&"ot "as insist#, t"at &ommunit( in its$#r !ai%ur#( r#mains %in2#, in som# -a to -ritin) an, "as r#!#rr#, to t"# i,#a%&ommunit o! %it#rar &ommuni&ation+ T"is &an a%-as ma2# !or on# mor# mt"( a n#-mt"( an, not on# #$#n as n#- as som# -ou%, /#%i#$#0 t"# mt" o! t"# %it#rar&ommunit -as out%in#, !or t"# !irst tim# 6a%t"ou)" in r#a%it it -as *#r"a*s not t"#!irst tim# / t"# #na romanti&s an, it "as !i%t#r#, ,o-n to us in $arious ,i!!#r#nt -ast"rou)" #$#rt"in) r#s#m/%in) t"# i,#a o! a r#*u/%i& o! artists or( a)ain( t"# i,#a o! a&ommunism 6o! a &#rtain 2in, o! >aoism( !or #.am*%# an, r#$o%ution in"#r#nt( t#%s<u#%s( in -ritin) its#%!+3

8? S## D+ Ho%%i#r( '<e l'au9del de eel l'a"sence de Niet:sche' ( in So%%#rs 6#,+( =ataille+8 Int#r$i#- / aut"or -it" P%#n#t( Paris( 19910 'Ma lecture de =ataille a été certainement

"eaucoup plus empirique, de toute fa%on mon attitude est "eaucoup plus empirique quecelle des autres mem"res du roupe, mais =ataille a ?ou un rJle considéra"le. C'est dire, au fond ?'ai tou?ours été da$antae attiré par la production romanesque, littéraire, poétique, entre uillemets, de =ataille, que par sa production théorique+3

8; '+ atai%%#( &eu$res compl(tes i3 6 Paris( 199( 11+85 S## >+ %an&"ot -or2s ,urin) t"is *#rio,0 !a Part du feu 6 Paris( 19;9 !'Espace

littéraire 6 Paris( 1958 !e !i$re $enir 6 Paris( 1959+88 S## P+ So%%#rs in + Ristat 6#,+( +ui sont les contemporains7 6 Paris( 195( 15@:+8 S## P+ So%%#rs( Sur le matérialisme 6 Paris( 19;+87 A+ La$#rs( #olad =arthes; Structuralism and After 6 Lon,on( 197?( 8?+89 P+ K%osso-s2i( 'Sade ou le philosophe scélérat' ( *+ B1 6-int#r 198+ K%osso-s2i3s arti&%#

-as ori)+ a *a*#r )i$#n at a &on!#r#n&# on 'Sine et per$ersion che: Sade' in 1988+ S##a%so a r#$i#- o! K%osso-s2i no$#% !e =aphomet +:P+ Fa#( 'Hnose "lanche, roman noir' (*+ BB 6summ#r 1985+ R+ Cai%%ois( 3Puissances du re$e3( *+ 1 6-int#r 198? or)#Luis or)#s ( '<erés' 6trans+ / Cai%%ois( *+ -- 6autumn 198? Cai%%ois( 3!e <émon de

l'analoie3( *+ - 6summ#r 198+@ atai%%#( &eu$res compl(tes, i3 ( 199:?@?( ?7:18+1 S## >+ %an&"ot( Fau3 pas 6 Paris( 195( 9?:1@1+? R+ art"#s( !e <eré :éro de l'écriture 6 Paris( 195+ I/i,+ 9+; I/i,+ 7+5 + Pau%"an( !es Fleurs de *ar"es ou la terreur dans les lettres 6 Paris( 19;1+8 %an&"ot( Fau3 pas, G; 'elle Zla *erreur[ est la littérature, ou du moins son Lme'. A+ La$#rs( 3Fran&#0 T"# En, o! t"# T#rr#urQ T"# E$o%ution o! Cont#m*orar Criti&a%

Attitu,#s3( *he uman Conte3t, B 6 19@+7 S## S+ H#at"( !e Qertie du déplacement 6 Paris( 19;+9 R+ art"#s( 3!es <eu3 Critiques3( in i,+( Essais critiques.7@ I/i,+ ?;8+71 + Staro/ins2i( !a *ransparence et l'o"stacle 6 Paris( 1957+ S## a%so i,+( !'&eil $i$ant

6 Paris( 1981+7? C+ >auron( <es métaphores o"sédantes au mythe personnel; )ntroduction la












psychocritique 6 Paris( 1981+7 L+ 'o%,mann( !e <ieu caché 6 Paris( 1958 an, Pour une socioloie du roman 6 Paris(

198;+7; +:P+ Ri&"ar,( !ittérature et sensation 6 Paris( 195; an, Poésie et profondeur 6 Paris(

1955+ S## '+ '#n#tt#( 3=onheur de Mallarmé3( *+ -0 6summ#r 198?+75 '+ a&"#%ar,( !a Psychanalyse du feu 6 Paris( 197+78

T"# t#rm -as !irst us#, in t"# r#$i#- Esprit in an issu# o! u%:Au)+ 1957 #ntit%#, 3!eNou$eau #oman3+ An issu# o! Aruments on t"# *"#nom#non( in F#/+ o! t"# sam##ar( &a%%#, it 3le roman d'au?ourd'hui 3( in&%u,in) Duras an, Caro% in t"# %ist+

7 S## P+ So%%#rs( 3Sept points sur #o""e9Hrillet 3( *+ B 6summ#r 198@+77 S## t"# arti&%# / art"#s0 3!ittérature littérale3( in i,+( Essais critiques, /29.79 S## T+ A,orno( Neati$e <ialectics 6 Lon,on( 19( 81+9@ An im*ortant mom#nt is P%#n#t arti&%# 3Poésie 3813 *+ 1 6-int#r 198?91 S## E+ Poun,( 3Canto I3( *+ / 6summ#r 1981 i,+( 3!'Art de la poésie3( *+ --

6autumn 198? D+ Ro&"#( 3Pour E=ra Poun,3 an, 3E+ E+ Cummin)s3( *+ -- >+P%#n#t( 3C"ar%#s O%son( po(te et critique3( *+ -B 6-int#r 198 i,+( 3Notes sur le pro?ecti$e $erse3 *+ - 6autumn 198; o"n As"/#r( 3Po(mes fran%ais3( *+ BG 6autumn 1988+

9? S## >+ P%#n#t( 3!a Mati(re pense3( *+ B 6autumn 19? an, in P+ So%%#rs 6#,+( Artaud 6 Paris( 19( 15:8+

9 S## N+ Kua**i( *el +uel; !a Constitution sociale d'une a$ant9arde 6 H#%sin2i( 199@(an, L+ Pinto( 3 Au su?et des intellectuels de parodie3( Actes de la recherche en sciencessociales 6 O&t+ 1991+

9; P+ So%%#rs( Portrait du ?oueur 6 Paris( 197;( 1?5+95 S## P+ Dai.( Nou$elle critique et art modern 6 Paris( 1987 in t"# 3Co%%#&tion T#% u#%3+

S## a%so arti&%#s / 'nt#r 'rass( Antonin Li#"m( an, Pa$#% Ka"out( *r#s#nt#, / P+Dai.( in *+ 1 6summ#r 19;+ For + Ristat s## + Ristat( 3!'Entrée dans la "aie3( *+ 6-int#r 191 an, i,+( +ui sont les contemporains7 ( -"i&" &ontains int#r$i#-s -it"So%%#rs( D#nis Ro&"#( +:L+ au,r( an, ot"#rs+ !es !ettres fran%aises -ou%, &om# to an#n, in 19?( -"#n Ara)on an, Dai.3s a!!irmati$# r#s*ons# to t"# C=#&" u*risin) an,C=#&"os%o$a2 ,issi,#n&# -ou%, m##t ,is!a$our -it" t"# Part aut"oriti#s+

98 For a %imit#, a&&ount o! t"is n#t-or2( s## +:L+ Ca%$#t( #oland =arthes 6 Paris( 199@+9 S## Ristat +ui sont les contemporains7 ( 188+ S## a%so int#r$i#- / aut"or -it" So%%#rs(

Paris( 19790 3!e Seuil a done créé Poétique et Chane pour essayer de torpiller *el +uel,et *el +uel de$enait plus fort 3+

97 So%%#rs( int#r$i#- -it" aut"or0 3un état dans un état 3+99 I/i,+ 0 3 De crois que !e Seuil était lassé dé? depuis lontemps, de cet esp(ce de cyste

au sein4 or il y a$ait des ens qui trou$aient que ce cyste était nécessaire, c'étaient=arthes et !acan3+

1@@For an a&&ount o! t"# *o%iti&a% "istor o! t"# tim#( s##0 A+ Co//an( A istory of ModernFrance, iii 6Harmon,s-ort"( 1985+






* ntersetionsTH' #"AT#! # T' Q%'=io,ra.hy or yth

T"# /io)ra*" o! P"i%i**# So%%#rs 6 P"i%i**# oau.( 1 is un,ou/t#,% a &ru&ia% &on,ition !ort"# !ormation an, t"# sur$i$a% o! *el +uel. e 5as "orn in -2/ in *alence, near=ordeau3, the son of a minor industrialist and anarchistic li"eral and a Catholic mother.o5e$er, "ioraphy is complicated "y its implication in the 5riter's o5n $ersion of his life.*o some e3tent, the "ioraphy has "ecome a myth, rein$ented in the 5ritin @in ,Paradis, and the no$els from Femmes and for the purposes of an intellectual stratey.*he myth of Sollers in fact ser$es "oth sides4 Sollers's o5n parodic occupation of the

status of the intellectual, his constant displacement of this function, and the conte3tualresistance to this function, 5hich has also pro?ected a certain imae of the 5riter.Certainly, elements may "e pic8ed out of the "ioraphy of Philippe Doyau3 5hich ha$e arele$ance for the 5ritin; his mother's Catholicism affects his later turn to reliion, 5hich5as scandalous 5ith reard to the ideoloies of the time. *he dominance of his t5o eldersisters miht e3plain his $ision of a repressed matriarchy at 5or8 in a society that refusesfemininity, and his em"racin of femininity in the 5ritin. is precocious se3uality mihtdetermine his professed insiht into this area of social discourse. is childhood in=ordeau3 miht suest an affinity for 'the South', a closer connection to Enland, and soon. *hese are all aspects, ho5e$er, 5hich the 5ritin reacti$ates4 they are notunconsciously determinati$e factors. *he "ioraphical imperati$e of criticism is short9circuited "y the 5riter's o5n adoption and interpretation of his 'life', particularly in such"oo8s as Qision Ne5 Tor8 and Carnetde nuit ,# nuit+ ? T"# 3mt"o/io)ra*"3 o! So%%#rs"as mor# to ,o -it" t"# %it#rar strat#)( t"# *%a&# an, !un&tion o! So%%#rs as a -rit#r an,int#%%#&tua%( t"an -it" t"# "istor o! *el +uel an, t"# %i!# o! P"i%i**# oau.+ To ta2# t"#%att#r at !a&# $a%u# -ou%, /# to miss t"# *oint+

T"# #ar% "istor o! So%%#rs as a -rit#r is mor# instru&ti$#+ T"# *u/%i&ation o! '!e <éfi' inCaro%3s &o%%#&tion 'Écrire' an, t"# a-ar, o! t"# Pri. Fnon ar# $ita%% im*ortant+ '!e <éfi'-on t"# a**ro$a% o! FranJois >auria&( anot"#r Cat"o%i& !rom or,#au.( in "is r#)u%ar&o%umn( 3%o&:not#s3 in !e Monde, and of !ouis Araon in !es !ettres fran%aises. Mauriacsa5 in Sollers a promisin youn 5riter 5ho 5ould continue the tradition of stylistic,auto"ioraphical "elles9lettres in the line of Proust and #adiuet. Sollers 5as also incontact 5ith Dean Paulhan at Éditions Hallimard, throuh the person of Francis Pone,5hom he had met at a lecture at the Alliance fran%aise, opposite his flat in the =oule$ard#aspail. Hallimard refused the scurrilous ')ntroduction au3 lieu3 d'aisance', "ut acceptedthe short ')maes pour une maison' for the N#F in -/0. Pone, had, ho5e$er, i$en '!e

<éfi' to Dean Cayrol at Seuil. Sollers's full9lenth no$el Ine curieuse solitude 5as pu"lishedshortly after5ards "y Seuil, in -1. )t 5ould "e a relati$e success. )t is the story of a ritede passae 5ith o"$ious auto"ioraphical elements, "ut it is certainly no indication of thedirection Sollers 5ould su"sequently ta8e.

The %cci&ents o$ istory*el +uel's formation had an economic moti$e. *he promise of Sollers's Ine curieusesolitude 5as ostensi"ly the reason 5hy Seuil areed to the formation of a literary re$ie5around Sollers, as a ood in$estment. Seuil souht to esta"lish a literary re$ie5 of thesame form and status as the N#F, from its o5n sta"le of 5riters. *el +uel 5ould initiallyfulfil this promise. So the pu"lisher's moti$es are determined "y the disposition of the

conte3t, "y financial considerations4 the formation of the re$ie5 is not initially determined"y any 8ind of 5ill to inno$ate or to &r#at# a n#- %it#rar mo$#m#nt+ In t#rms o! t"#



















r#$i#-3s ori#ntation an, t"# "istor o! i,#as( it is an a&&i,#nt+ T"# ,#$#%o*m#nt o! So%%#rs3s-ritin) an, t"# r#$i#- !rom t"#n on -i%% turn t"is a&&i,#nt into a %it#rar mo$#m#nt -it"*r#&is# aims t"at &on!%i&t -it" t"os# o! t"# *u/%is"#r( #sta/%is"in) it as an in,#*#n,#nt#n&%a$# -it"in S#ui%+ T"# &ontra&tua% a)r##m#nt -as su&" t"at t"# *u/%is"#r -as &o:o-n#ro! t"# nam# '*el +uel' ( so t"at %itt%# !inan&ia% *r#ssur# &ou%, /# #.#rt#, an, t"# r#$i#-its#%! "a, som# 2in, o! in,#*#n,#n&#+ From So%%#rs3s *#rs*#&ti$#( mu&" %at#r( it is on% an

a&&i,#nt o! t"is sort t"at &ou%, "a$# s#t t"# inno$ati$# an, trans)r#ssi$# m#&"anism o! t"#r#$i#- in motion( sin&# t"# &ont#.t -ou%, "a$# not *#rmitt#, t"# !oun,ation o! a 3ma&"in#3t"at -ou%, r#int#r*r#t an, trans!orm it+ 8

A*art !rom So%%#rs( t"# !irst &ommitt## o! t"# r#$i#- is ma,# u* o! -rit#rs o! t"# sam#*ot#ntia% an, a**roa&"+ #an:R#n Hu)u#nin( #an:E,#rn Ha%%i#r( an, R#nau, >ati)non"a, m#t at &o%%#)# an, "a, a%% *u/%is"#, -or2 in Caro%3s &o%%#&tion 'Écrire' + Hu)u#nin &ou%,*#r"a*s "a$# ,#$#%o*#, as S#ui% -ou%, "a$# %i2#, So%%#rs to+ His no$#% !a CJte sau$ae -as a%so $#r su&&#ss!u%+ Ho-#$#r( "istori&a% a&&i,#nt -as to int#r$#n#0 Hu)u#nin -as2i%%#, in a &ar &ras" in 198?+ Ha%%i#r -as a $ita% *#rsona%it -"o s##ms to "a$# /##nsom#t"in) o! a ,an,+ His att#m*t to ta2# o$#r t"# &ommitt## as ,ir#&tor in 198? 7 an,t"# su/s#<u#nt &om*%#t# r#!ormu%ation o! t"# &ommitt## a%most %#, to t"# #ar% ,#mis# o!t"# r#$i#-( /ut( %ar)#% ,u# to t"# strat#) o! So%%#rs( t"# n#- &ommitt## %aun&"#, t"#r#$i#- in a !r#s" ,ir#&tion t"at -ou%, *ro$# $ita% an, ra,i&a%+

T"# !irst issu# o! t"# r#$i#- a**#ars $#r mu&" as a *%at!orm !or S#ui% -"i%# at t"# sam#tim# a**ro*riatin) #%#m#nts !rom t"# *romin#nt 'a%%imar, *u/%is"in) "ous#+ It &ontains an#- *o#m / Fran&is Pon)#( '!a Fiue @s(che' as -#%% as an o%,#r 'Pro(me' -"i&" ,at#,!rom 19?;+ #an Caro% is r#*r#s#nt#, / a s"ort *ros# *i#&#+ 9 T"# si. m#m/#rs o! t"##,itoria% &ommitt## -#r# a%% r#*r#s#nt#, in t"# &ont#nts o! t"# !irst issu#( !i$# o! t"#m /s"ort *ros# *i#&#s So%%#rs -ou%, &ontri/ut# t"# s"ort 3#equiem3( >ati)non a s"ort &riti&a%*i#&# on 'Flau"ert et lasensi"ilité moderne' sensi"ilité moderne3+ 1@ Ho-#$#r( t"# #.tra&ts'!a Poursuite' / C%au,# Simon an, '!'Attentat' / #an T"i/au,#au in,i&at# an ori#ntationto-ar,s t"# nou$eau roman an, Éditions de Minuit +

T"# o*#nin) #,itoria% stat#m#nts o! t"# r#$i#- s"o- a &#rtain ori#ntation -"i&" -i%% /# t"#/asis !or its mor# inno$ati$# ,#$iations+ T"# issu# o*#ns -it" a 3D&%aration3( -"i%# at t"#

&#ntr# o! t"# r#$i#- is an 3Enqute sur le don de l'écri$ain3 in -"i&" t"# <u#stion3Pense:$ous a$oir un don d'écri$ainQ3 -as *ut to man &ont#m*orar -rit#rs+ T"# 3)i!t o!t"# -rit#r3 <u#stionnair# !urt"#r su))#sts t"# ,#sir# to r#turn to t"# )roun, o! 3%it#rar<ua%it3( -"i&" t"# 3D&%aration3 #.*an,s on( /ut t"# most% n#)ati$# r#s*ons#s / t"#nou$eau3 romanciers )i$#n t"#r# ma2# t"is su))#stion s%i)"t% am/i)uous+ 11 A *u/%is"#,r#*% / C%in# s"o-s a r#%u&tan&# to /o- to *o%iti&a% moti$#s in #,itoria% &"oi&#s+ 1? At t"##n, o! t"# issu# t"#r# ar# som# 'Notes de lecture' ( in -"i&" /oo2s r#&#nt% *u/%is"#, ar#)i$#n mar2s out o! t-#nt / #a&" o! t"# &ommitt## m#m/#rs+ 1 T"# <u#stionnair# an,t"# %ast ,#$i&# ,#%i/#rat#% r#&a%% t"# Surr#a%ist r#$i#-s( an, a ,#sir# !or %it#rar r#$o%t+T"is is a%so s"o-n / t"# in,i&ation t"at t"# n#.t issu# -ou%, in&%u,# un*u/%is"#, -or2 /E%uar, an, a ,#/at# on Surr#a%ism+ T"is -ou%, un!ortunat#% not a**#ar( ,u# to r#ton3s%a&2 o! r#s*ons# to a <u#stionnair#+ 1;

T"# most noti&#, an, ,is&uss#, #%#m#nts o! t"# !irst issu# -#r# t"# tit%#( t"# 3D&%aration3(an, t"# o*#nin) #*i)ra*"+ "i%# t"# tit%# *el +uel ma "a$# &a%%#, to min, t"# tit%# o! t"#/oo2 o! a*"oristi& !ra)m#nts / a%r( 15 t"# #*i)ra*" ,#ri$#s !rom Ni#t=s&"#0

De $eu3 le monde et le $eu3 tel quel et le $eu3 encore, le $eu3 éternellement, et ?e crieinsatia"lement; "is\ et non seulement pour moi seld, mais pour toute la pi(ce et pour toutle spectacle4 et non pour tout le spectacle seul, mais au fond pour moi, parce que lespectacle m'est nécessaire, parce qu'il me rend nécessaire, parce que ?e lui suis nécessaireet parce que ?e le rends nécessaire+ 18

T"# a!!irmation o! t"# stat# o! t"in)s im*%i&it "#r# ,i!!#rs !rom t"# a%r tit%#( -"#r# t"##m*"asis is on a ra-( un&"an)#, stat#+ A%t"ou)" a%r is a r#!#r#n&# t"# r#$i#- -ou%, /#%i2#% to -#%&om#( su))#stin) a st%isti& s#%!:&ons&iousn#ss an, a $a%ori=ation o! %it#ratur#

a/o$# a%% #%s#( a &#%#/ration o! *o#tr as édifice enchanté(1

t"# *ot#ntia% &ons#r$atism o!t"is *osition is to /# s#t a)aist its o*timism+







































T"# tit%# '*el +uel' is( "o-#$#r( 4usti!i#, an, <ua%i!i#, / t"# 3D&%aration3 as an a*o%o) !or%it#ratur#( -it"out an i,#o%o)i&a% ,#ri$ation0

!es idéoloues ont suffisamment rené sur l'e3pression pour que celle9ci se permette enfinde leur fausser companie, de ne plus s'occuper que d'elle9mme, de sa fatalité et de sesr(les particuli(res+ 17

T"# &a%% !or la qualité litteraire an, an #n, to t"# ru%# o! %it#ratur# / i,#o%o)( t"#>ani&"a#ism o! &ommitt#, or non:&ommitt#, %it#ratur#( in t"is ,#&%aration #."i/its most o!t"# &"ara&t#risti&s o! a %it#rar a#st"#ti&ism+ T"is a#st"#ti&ism a!!irms -ritin) an, *o#tra/o$# a%%( as a *ri$i%#)#, &onta&t -it" t"# -or%,( rat"#r t"an as an 3art !or art3s sa2#3 -"i&",#ni#s r#a%it+ *el +uel 3s a#st"#ti&ism( in t"# &ont#.t( -ou%, "a$# /##n a s&an,a%ousr#!usa% o! r#s*onsi/i%it( /ut "istor s"o-s t"at it is an a#st"#ti&ism t"at is sus&#*ti/%# to,#$#%o* into a !orma%ism( a &ommitm#nt at t"# %#$#% o! !orm+

T"# !irst issu# o! t"# r#$i#- in,i&at#s t"# &o#.ist#n&# o! a num/#r o! &urr#nts+ First( a*ur#% a#st"#ti& &urr#nt &on&#rn#, -it" t"# r#,u&tion to a *ur# $ision o! %it#ratur#3s*o-#rs+ T"is t#n,s to-ar,s a s#&on, &urr#nt( -"i&" is t"# mor# !orma%% #.*#rim#nta%t#n,#n& o! t"# nou$eau roman an, Pon)#( an, a t"ir,( #m*"asi=in) t"# #.*#ri#n&# o! t"#

su/4#&t o! -ritin)+ I! t"# !irst &urr#nt -as t"# n#&#ssar *a#an to 3%it#rar <ua%it3 t"at-ou%, ri$a% t"# N#F an, )i$# a 4o%t to t"# i,#o%o) o! %it#rar &ommitm#nt( it is soon*ur)#,( an, t"# ot"#r &urr#nts ,#$#%o* mor# !u%%+ T"# &on!%i&t /#t-##n t"#m -i%% r#su%t ina &#rtain turmoi% in t"# &ommitt## as t"# ,istin&t &"ara&t#r o! t"# r#$i#- is #sta/%is"#,+T"# insta/i%it o! t"# &ommitt## an, t"# %a&2 o! ,istin&tion ,#t#rmin# t"# 3a#st"#ti&am/i)uit3 19 o! t"# #ar% *#rio,+ T"# r#&ours# to 3%it#rar <ua%it3 m#ans t"at no ,istin&t&riti&a% *#rs*#&ti$# is #sta/%is"#,+ A%t"ou)" t#.ts / So%%#rs( Ha%%i#r( an, ot"#r &ommitt##m#m/#rs us# %an)ua)# in a $#r s#%!:&ons&ious -a( as i! <u#stionin) a%-as t"# notion o!&r#ati$it as su&"( t"is s*#&u%ation on %an)ua)# is not t"ou)"t &riti&a%%+ T"# #m#r)#n&# o!a ,istin&ti$# &riti&a% ,is&ours# on %it#ratur# is ,u#( intia%%( to t"# nou$eau roman an, t"#r#$i#-3s ,isso&iation !rom it+ A%so( art"#s3s r#min,#r in a 1981 int#r$i#- t"at %it#ratur#tel quel -as its#%! an i,#o%o)( not natura%( is a ,#&isi$# mom#nt+ ?@

The !ouveau "oman an inuit*el +uel ,#$iat#s !rom t"# *at" o! a#st"#ti&ism an, t"# tra,itiona% ro%# o! t"# N#F t"rou)"su**ort o! t"# nou$eau roman an, t"# B,itions ,# >inuit+ Asso&iation -it" >inuit is tosom# ,#)r## a )#stur# o! r#sistan&# to ort"o,o.+ It is t"rou)" t"is a%%ian&# t"at *el +uel -i%% mar2 out a *%a&# !or its#%! at t"# !or#!ront o! %it#rar inno$ation+ T"# strat#) *ut into*ra&ti&# is to #sta/%is" t"# a%%ian&# / *u/%is"in) #.tra&ts !rom t"# -or2 o! t"# nou$eau3romanciers( a!!irmati$# &riti&a% r#$i#-s o! t"#ir -or2( an, to intro,u&# into t"# #,itoria%&ommitt## in,i$i,ua%s -"o "a$# a *arti&u%ar &onn#&tion -it" B,itions ,# >inuit an, t"#nou$eau roman+ ?1 At t"# sam# tim#( t"# ta&ti&a% natur# o! t"is su**ort is in,i&at#, / an#m*"asis on ot"#r( *ara%%#%( int#r#sts( s*#&i!i& to t"# r#$i#-( in ar#as -"i&" &ou%, &om# to&on!%i&t -it" t"# i,#as an, *ra&ti&# o! t"# nou$eau roman+ T"#r# is a%so a su**ort o!#%#m#nts !rom -"i&" a *ossi/%# sst#mati& &riti<u# &ou%, #m#r)#+ T"# &riti&a% ,istan&# isa%so attain#, t"rou)" in&r#asin) <ua%i!i&ation o! a!!irmati$# &riti&ism -it" r#min,#rs o!t"#s# ot"#r #%#m#nts+

T"# !irst t-o #ars s## a *ro%i!#ration o! #.tra&ts !rom t"# -or2 o! nou$eau3 romanciers(a&&om*ani#, / &riti&a% r#$i#-s o! t"#ir -or2( in&%u,in) an a!!irmati$# r#$i#- o! <ans lela"yrinthe / So%%#rs in issu# ?+ ??

#r soon t"# no$#%ists an, &riti&s #an T"i/#au,#au an, #an Ri&ar,ou #nt#r t"#&ommitt##+ ot" ar# asso&iat#, -it" >inuit an, "a, -ritt#n &riti&a% arti&%#s on t"# nou$eauroman in Critique+ ? T"i/au,#au an, Ri&ar,ou3s #ntr into t"# &ommitt## &#m#nts t"#a%%ian&#( -"i%# a &riti&a% ,is&ours# /#)ins to #m#r)# t"rou)" t"# '!a !ittérature au?ourd'hui's#ri#s o! int#r$i#-s an, arti&%#s / t"# &riti&s art"#s an, '#n#tt#+ ?; T"# !o%%o-in) #ars-i%% s## t"# ,#$#%o*m#nt o! t"is &riti&ism an, an #.*%i&it stat#m#nt o! t"# r#$i#-3s &riti&a%*osition in So%%#rs3s r#$i#- o! Pour un nou$eau roman. B *he no$elistic trend of the re$ie5is also chec8ed "y the entry into the committee in -/B of the poets Michel <euy @5ho



























5ould lea$e $ery soon, Marcelin Pleynet, and <enis #oche. *he pu"lication of 5or8 "yPone, =ataille, and Artaud also tends to mar8 a distance from the formalistic tendenciesof the nou$eau roman throuh an insistence on the e3perience of the su"?ect.

A ma?or factor in the de$elopment of a critical perspecti$e, enerally and specifically, onthe nou$eau roman is the re$ie5's pu"lication of articles "y Henette and =arthes. *he

former's article 'Qertie fi3é' sounds the first note of ad$erse criticism of #o""e9Hrillet,5hile =arthes's responses to questions posed ena"les a thin8in of the re$ie5's position inthe conte3t of criticism. <espite pu"lications 5hich indicate the re$ie5's sympathy 5ith thenou$elle critique of Dean9Pierre #ichard, for e3ample, it soon "ecomes e$ident that *el+uel separates itself from the nou$elle critique as such, and is more sympathetic to theemerin structuralist criticism of =arthes and Henette. *his sympathy 5ill pro$e efficientin allyin the re$ie5 5ith an inno$ati$e criticism 5hich identifies lanuae or rhetoric asthe main field of enquiry, and in associatin the re$ie5 5ith the structuralist milieu ofCommunications.

(utlining a Canon

*he early period sees the tentati$e de$elopment of a canon or a series of pri$ileed te3ts.=eyond the interest in the nou$eau roman, this mo$es to-ar,s t"# #sta/%is"m#nt o! t"#r#$i#-3s s*#&i!i& &"ara&t#r+ T"# &anon is sti%% !air% !%ui,( "o-#$#r+ T"# *u/%i&ation o!inédits / Artau, an, atai%%# #m*"asi=#s an #.*#ri#n&# o! #.&#ss t"at -i%% %at#r /#&om#t"# /asis o! a t"#or+ ?8 It a%so mar2s out *o#ti& %an)ua)# as o! mor# int#r#st !or t"#r#$i#- t"an t"# rationa%ism o! t"# nou$eau roman+ T"# &ontinuin) &#%#/ration o! Pon)#*arta2#s /ot" o! t"is *o#ti& ori#ntation an, o! an int#r#st in a s#%!:r#!#r#ntia% an, r"#tori&a%us# o! %an)ua)#+ ? Ot"#r t#.ts o! t"# #ar% &anon( Poun,( H%,#r%in( or)#s( r#$#a% mor#s*#&i!i& int#r#sts an, asso&iations+ ?7 Poun,3s t#.ts ar# *r#s#nt #ss#ntia%% /#&aus# o! t"#in*ut o! D#nis Ro&"#( t"#ir trans%ator+ T"# int#r#st in H%,#r%in s##ms to "a$# /##n,ro**#, /#&aus# o! t"# asso&iation -it" t"# #.&#ssi$#% m#ta*"si&a%( H#i,#))#rianori#ntation o! >i&"#% D#)u( /ri#!% a m#m/#r o! t"# &ommitt##+ T"is t#n,#n& is r#sist#,an,( as a r#su%t( H%,#r%in -i%% not a**#ar as *art o! t"# &anon+ ?9 I! t"# a!!irmation o!Artau, an, atai%%# #sta/%is"#s a &ontinuit o! int#r#st in t"# %imits o! %it#ratur# an,#.*#ri#n&#( t"# *u/%i&ation o! -or2 / ir)inia oo%!( T+ S+ E%iot( D#!o#( an, or)#s ismor# %imit#, to t"# a#st"#ti&ism o! t"# r#$i#-3s initia% a**#aran&#+ @

The Committee#!or# ,#$#%o*in) an 2in, o! s*#&i!i& a**roa&"( "o-#$#r( t"# &ommitt## -ou%, un,#r)o!un,am#nta% &"an)#s+ A!t#r t"# #ar%i#r *ur)in) o! t"# "#roi& mora% t#n,#n& o! Hu)u#ninan, t"# H#i,#))#rian t#n,#n& o! D#)u( t"# main s"i!t o&&urs in 198( -"#n t"# !irstma4or s*%it in t"# #,itoria% &ommitt## ta2#s *%a&#( %#a$in) So%%#rs an, t"# mu&":a/s#ntoisrou$ra as t"# on% t-o r#mainin) m#m/#rs o! t"# ori)ina% &ommitt##+ a&<u#s Cou,o%%#a$#s at t"# sam# tim# as Ha%%i#r+ Ha%%i#r3s ,#*artur# is ,u# ost#nsi/% to "is att#m*t tota2# o$#r t"# #.&%usi$# ,ir#&tion o! t"# r#$i#-+ Ho-#$#r( a#st"#ti& ,i!!#r#n&#s /#t-##n t"#!orma%isti& t#n,#n&i#s o! t"# )rou* aroun, So%%#rs an, t"# %#ss s#rious an, %#ss ana%ti&a%a**roa&" o! Ha%%i#r &an /# &it#, as !urt"#r r#asons+

it" Ha%%i#r( Cou,o%( Hu)u#nin( an, >ati)non no- )on#( t"# &ommitt## is #ntir#%r#stru&tur#, un,#r So%%#rs3s initiati$#( -"#n >ar&#%in P%#n#t( #an:Louis au,r( an,D#nis Ro&"# #nt#r t"# &ommitt## at issu# 1 6s*rin) 198+ >ar&#%in P%#n#t imm#,iat#%/#&om#s t"# secrétaire de rédaction( an, t"# &ommitt## is r#stru&tur#, as a )rou* rat"#rt"an a &ommitt## -it" a directeur 6 Ha%%i#r -as nomina%% t"# ,ir#&tor o! t"# r#$i#-+ T"#n#- m#m/#rs o! t"# &ommitt## &"an)# t"# ori#ntation o! t"# r#$i#-+ P%#n#t "a, /##n alecteur at t"# B,itions ,u S#ui% an, "a, *u/%is"#, *o#tr in t"# &o%%#&tion 'Écrire' ( =otteheoscure, and the re$ie5 !ocus Solus, run "y Dohn Ash"ery. 2- e had sent some of his 5or8to Philippe Sollers in -/- and the latter had replied $ery positi$ely, in$itin pu"lications in*el +uel. 2B *he liaison led to Pleynet's e$entual entry into the committee and acti$ity as

secrétaire de rédaction. Pleynet's position at Seuil e$idently made this possi"le, anotherinstance of ho5 ar"itrary, coincidental factors set in place an analytic force99the producti$e

























dialoue "et5een Sollers and Pleynet99that 5in "ecome crucial to the re$ie5 and perhapsthe condition of its sur$i$al. Pleynet's moderatin role as secretary is a $ery importantfactor in this sur$i$al4 it also has repurcussions on his poetic acti$ity 5hich 5ill "ecomee$ident later. 22

<enis #oche had also pu"lished poetry, alonside Pleynet's in !ocus Solus, and then in

'Écrire'.2

is entry, 5ith Pleynet, into the committee in -/B after pu"lishin te3ts onPound or translations of his 5or8 represents a decisi$e step to5ards the poetic, andto5ards a poetry 5hich appealed to a different tradition than the French4 #oche's principalcritical references are the IS poets Pound, Cummins, Carlos i%%iams( an, C"ar%#s O%son(t"# m#ntor o! t"# %a&2 >ountain Co%%#)#+ T"# sam# &ou%, /# sai, o! P%#n#t to a %#ss#r#.t#nt+ T"# t*o)ra*"i&( 3i&oni&3 5 !ra)m#ntation o! /ot" -or2s imm#,iat#% !o&us#satt#ntion on t"#ir !orma%( %in)uisti& #.*#rim#ntation inst#a, o! t"# m#ta*"si&a% /ias o!*o#ts su&" as D#)u+ Ro&"#3s -or2 a%so r#*r#s#nts an i&ono&%asti& #%#m#nt in *el +uel 3s*ano*% o! !or&#s( asso&iatin) it -it" t"# a$ant:)ar,#+ T"# a**#a% to a !r#s" tra,itionin$#sts t"# r#$i#- -it" a ra,i&a% #,)#+

#an:Pi#rr# Fa#3s #ntr into t"# &ommitt## in autumn 198( is not *art o! t"# sam# in!%u.o! *o#ti& a**roa&"#s( ,#s*it# t"# !a&t t"at Fa# is a *o#t as -#%% as a no$#%ist+ Fa# -as in!a&t /#tt#r 2no-n as a no$#%ist( "a$in) a%r#a, *u/%is"#, a no$#%( Entre les rues in 1957+ 198? "# "a, *u/%is"#, a s#&on, no$#%( !a Cassure, and a third, =attement, re$ie5edfa$oura"ly "y Sollers in the N#F. e had also pu"lished 5or8 in 'Écrire'. e 5as slihtlyolder than the other committee mem"ers, and had a more philosophical trainin. Faye'soriinal input 5ould tend to5ards #ussian formalism and to5ards a critique of totalitariandiscourses, 5ith a commitment to the !eft. 2/ *hese specific interests and Faye's different"ac8round are factors 5hich determine the e$entual conflict "et5een himself and Sollers,and his departure from the committee in -/G. Dean9!ouis =audry had "een in$ol$ed 5iththe earlier roupin around Sollers and allier. e had pu"lished critical articles in there$ie5 and a no$el, !e Pressentiment, in -/B 5ith Seuil.

6ith Pleynet, <enis #oche, =audry, and Faye's arri$al the committee is as it 5ill stay forquite some time, until the departure of =oisrou$ray and the arri$al of other ne5 mem"ers,Pierre #otten"er and Dacqueline #isset. *he constitution of the committee is another

accidental factor that ena"les the re$ie5 to function as it does. )t may not "e soaccidental, ho5e$er, if 5e consider the e$entual committee to "e made up of indi$idualsfa$oured "y Sollers, and Sollers as the moti$atin force of the re$ie5. Sollers doeso"?ecti$ely force the e3clusions of allier, Faye, *hi"audeau, and others, "ut he does notcreate the situation in 5hich the e3clusions are made possi"le. *here is a part of thefunctionin of the re$ie5 5hich is that of the mechanism, and a part 5hich is the precipitation of crises "y a 5ill, a5are of this mechanism. *hrouh this functionin, thehistory of ideas intersects 5ith that of indi$iduals.

T"# su/s#<u#nt "istor o! *el +uel, from -/2 to -/G, follo5s the de$elopment of there$ie5 from the inception of the ne5 committee and the e3clusion of allier to itsintersection 5ith the scientific currents that emere in the mid9 to late -/0s, to transformthe space of the a$ant9arde in the re$ie5 into a space of science. *his period sees the

ela"oration of "oth a te3tuality proper to the re$ie5 in the practice of "oth no$elists and poets, and a coherent theory of te3tuality. *his implies a disenaement from the nou$eauroman, the emerence of poetic lanuae as an important force, and the introduction intothe re$ie5 of currents from linuistics and formalism 5hich de$elop into a po5erful criticaltool. *he re$ie5 also functions in this period as a meltin9pot or site of intersections of thea$ant9arde in literature and other areas, 5hich can "e seen as paralleled "y the criticale3ploration of 'limit te3ts' @ Pone, Artaud, <ante, =ataille, Sade, Mallarmé, !autréamontfrom 5hich a theory of literature is "uilt up that forms the "asis of *el +uel's radical $isionof the te3t, and 5hich is affirmed throuhout the e3istence of the re$ie5 in $arious forms.*his period sees *el +uel esta"lishin its specificity and "einnin to emere as theimportant site for pu"lications concerned 5ith a radical te3tuality associated 5ith the ne5emerin discourses of literary theory, psychoanalysis, and philosophy. )t is also the timeof *el +uel's initial associations 5ith the ma?or intellectual fiures of the time, MichelFoucault, #oland =arthes, and Dacques <errida. *hese intersections pro$ide the "asis ofthe moment of synthesis, into theory, of the latter half of the decade. Adoptin ametaphor fa$oured "y the 5riters of *el +uel, the time sees the assem"ly of the
















constituent parts of a mechanism, a machine, that 5ill remain the same throuhout thehistory of the re$ie5, despite its shifts in the conte3t.

T) )*)+")NC) (, ,-CT-(N%L

.P%C)Criti/ue o$ the Nouveau +oan

)n the early -/0s the nou$eau roman 5as the ascendant mo$ement of the literary a$ant9arde. A succession of 5or8s 5ere pu"lished in the early part of the decade thatesta"lished the roup after the earlier 5or8 of #o""e9Hrillet, Sarraute, and =utor. ClaudeSimon, #o"ert Pinet, and Claude &llier 5ould all pu"lish important 5or8s in this period. Acrucial moment, ho5e$er, 5as the pu"lication of #o""e9Hrillet Pourun nou$eau roman unnou$#au roman in 198( -"i&" #sta/%is"#, t"# nou$eau roman as an i,#o%o)i&a%*"#nom#non as -#%% as a &r#ati$# *ra&ti&#+ T"is t#n,#n& -as str#n)t"#n#, -it" #anRi&ar,ou 198 Pro"l(mes du nou$eau roman an, Pour une théorie du nou$eau roman in191( an, #s*#&ia%% / t"# 191 &on!#r#n&# at Cris( 3Nou$eau roman, hier,au?ourd'hui 3+ T"# nou$eau roman is a *"#nom#non t"at &ontinu#s( /ot" i,#o%o)i&a%%an, &r#ati$#%( u* to t"# #n, o! t"# ,#&a,# an, /#on,+

T"# nou$eau roman "as in !a&t !ar#, /#tt#r t"an t"# !i&tion o! t"# *el +uel -rit#rs in t#rmso! *o*u%arit+ rit#rs %i2# Ro//#:'ri%%#t( Sarraut#( an, Simon ar# &ontinuin) to *ro,u&#-or2 -"i&"( -"i%# it ma turn to auto/io)ra*" at &#rtain mom#nts( is not a/so%ut#%,isso&ia/%# !rom t"# #ar%i#r -or2+ 7 From on# *#rs*#&ti$#( So%%#rs "as a/an,on#, t"#!orma% #.*#rim#ntation o! "is #ar%i#r -or2( 6s## C"a*t#r ;( -"i%# ot"#r *el +uel no$#%ists(au,r( S&ar*#tta( H#nri&( an, Rott#n/#r)( "a$# #it"#r &#as#, to *u/%is" no$#%s or o*t#,!or ,i!!#r#nt strat#)i#s+ 9 T"is is *#r"a*s to som# #.t#nt ,u# to t"# ,i!!i&u%t o! t"# *el+uel no$#%s( t"#ir ris2( in t"#ir -ritin) an, r#a,in)+ It ma a%so /# /#&aus# t"# *el +uel no$#% t#n,s to-ar,s t"# ,isso%ution o! t"# no$#% !orm( -"i%# t"# nou$eau roman r#tains#%#m#nts o! narrati$#( *%ot( &"ara&t#r( an, r#a%ism+ On anot"#r %#$#% t"# t"#or#ti&a%na$#t o! t"# nou$eau roman "as *%a#, a *art in its sur$i$a%+ T"# int#r:r#%ations"i* o!

t"#or an, !i&tion in t"# -ritin)s o! *el +uel is a !un,am#nta% as*#&t o! t"# -ritin)( an, o!its !ina%it+ T"# no$#%3s t"#ori=ation o! its o-n *ra&ti&# %#a$#s %itt%# *%a&# !or t"# r#a,#r(#.&#*t t"# *%a&# o! su/4#&tion to t"# m#&"anisms or *%a o! -ritin) its#%!+ A %a&2 o!&ommitm#nt to t"is ,an)#rous su/4#&tion on t"# *art o! r#a,#rs( mor# -i%%in) to r#tain t"#*osition o! s*#&tators outsi,# t"# -ritin)( &an #.*%ain t"# !ina%it or t"# ,#a, #n, o! t"#*el +uel no$#%+ To an #.t#nt t"# nou$eau roman %i$#s o!! t"# t"#or#ti&a% a,$an&#s o! *el+uel, throuh the critical input of #icardou. <espite this, *el +uel's theory and practice offiction is distinct from the nou$eau roman, and the relationship is fairly comple3.

*el +uel is initially $ery positi$e to5ards the nou$eau roman and Éditions de Minuit, 5ith5hich it is larely associated. E3cerpts from the 5or8 o! utor an, O%%i#r ar# *u/%is"#, int"# r#$i#- unti% a !air% %at# mom#nt+ ;@ A t#.t / Simon a**#ars as %at# as 19@+ ;1 On on#%#$#%( t"#r#!or#( t"# &r#ati$# *ra&ti&# o! t"# no$#%ists &on&#rn#, is $i#-#, *ositi$#%+ T"#

*r#s#n&# o! Ri&ar,ou in t"# &ommitt## is un,ou/t#,% a ma4or #%#m#nt o! su**ort+Ri&ar,ou3s #n)a)#m#nt -it" /ot" *el +uel an, t"# nou$eau roman is( "o-#$#r(am/i)uous+ On on# si,# Ri&ar,ou3s &riti&a% ass#ssm#nt o! t"# nou$eau roman is a *ositi$#as*#&t !or t"# r#$i#-+ On t"# ot"#r( "is &r#ati$# *ra&ti&# is asso&iat#, mor# -it" t"#nou$eau roman+ His no$#%s ar# not *u/%is"#, in t"# *el +uel &o%%#&tion+ ;? Ri&ar,ou3st"#or#ti&a% mast#r o$#r t"# ot"#r nou$eau3 romanciers is a%so un,ou/t#,% ,u# to "isin$o%$#m#nt -it" t"# *el +uel )rou*( -"i%# "is t"#or#ti&a% in*ut to t"# r#$i#- is n#$#r !u%%&onsist#nt -it" t"# t"#or o! %it#ratur# *ro*os#, / ot"#r -rit#rs su&" as So%%#rs( au,r(Krist#$a( an, P%#n#t+ It s##ms mor# a&&urat# to s## Ri&ar,ou on t"# si,# o! t"# nou$eauroman( -"i%# /#n#!itin) !rom t"# t"#or#ti&a% a,$an&#s ma,# in *el +uel.

)t is undou"tedly the ideoloical presuppositions of the nou$eau roman that are mostsuspect for *el +uel. )n order to esta"lish its o5n theory and practice as distinct, the

re$ie5 needed to separate itself critically from the nou$eau roman. )t is also o$erta8ente3tually, in the fiction. Sollers !e Parc 5as in certain 5ays reminiscent of the 5or8 of#o""e9Hrillet. As Foucault had suested in '<istance, aspect, oriine', its o"?ects, its





















'loo8' had the same resonance as elements in #o""eHrillet's fiction. 2 !e Parc presents anarrator 5ho, in his room o$erloo8in the par8, recalls memories and pro?ects fantasies,"ut this narrati$e is continuously dou"led "y the 'other' narrator, 5ho sits at the ta"le inthe room and 5rites the narrati$e 5e are no5 readin. *he space or scene of 5ritinenfolds that of representation and imaination 5ithin its frame, 5hile in #o""e9Hrillet therealist and meta9te3tual elements 5or8 on the same le$el as the narrati$e, creatin an

am"iuity "et5een the t5o. !e Parc can "e read as an interte3tual enfoldin of#o""eHrillet's 5ritin, 5hile Sollers's ne3t no$el, <rame, oes "eyond the necessity of thisan3iety of influence. A ma?or aspect of the fiction of *el +uel, the mechanism "y 5hich itattempts to o "eyond the o"?ecti$ism o! Ro//# 'ri%%#t or t"# #.*r#ssionisti& -ritin) o!Sarraut#( is t"# !o&us on t"# 3s&#n# o! -ritin)3 its#%!+

T"# nou$eau roman is a%so &on!ront#, in ot"#r &riti&a% &on&#rns+ It s##ms t"at t"# maintar)#t !or *el +uel in t"# i,#o%o) o! t"# nou$eau roman is t"# notion o! r#a%ism t"at itim*%i#s+ *el +uel /#)ins to ,#$#%o* a t#.tua%it in -"i&" t"# o%, *ro/%#mati& o! r#a%unr#a%is r#,un,ant( as -#%% as t"at o! o/4#&ti$#su/4#&ti$#+ T"is strat#) is an #n&%osin) o!o**ositions -it"in a %ar)#r s*a&#( t"# ,is*%a&#m#nt o! ,ua%iti#s / a t"ir, *osition+ T"is is amo$#m#nt t"at -i%% /#&om# &"ara&t#risti& !or t"# r#$i#-( *#r"a*s t"# *rin&i*a% as*#&t o!its trans)r#ssions+ T"# -i,#r s*a&#( or t"# ar&":is*a&# in D#rri,a3s t#rms( in t"is &as# ist"# s*a&# o! %an)ua)#( so t"at t"# r#$i#-3s &riti<u# o! t"# nou$eau roman #n)a)#s -it"

t"# %in)uisti& !o&us o! man o! t"# stru&tura%ist ,#/at#s o! t"# tim#+

ouault-"oussel7 Tetual +.aeA mom#nt o! int#rs#&tion is So%%#rs3s r#$i#- o! >i&"#% Fou&au%t /oo2 #aymond #oussel + ;; Fou&au%t3s 198 /oo2 is on# o! a s#ri#s o! t#.ts -ritt#n in t"# #ar% 198@s( on H%,#r%in(atai%%#( %an&"ot( *el +uel its#%!( an, K%osso-s2i( -"i&" #%a/orat# a s*#&i!i& $ision o!%it#ratur# $#r &%os# to t"at o! *el +uel, "ut distinct on important points. #oussel 5as a5riter 5ho had not "een i$en much critical ac8no5ledement. Apart from an article inCritique "y Michel !eiris, Foucault's "oo8 is inauural of a critical assessment of #oussel.Echoin the title of Foucault Naissance de la clinique, Sollers reconi:es its inauuralqualities "y referrin to it as 'Naissance de la critique'. is article shifts the perspecti$efrom a de"ate around the question of realism to more radical questions of te3tual space,auto9referentiality and infinity, a space closer to =lanchot than to #o""e9Hrillet. estresses in Foucault's account ho5 te3tual space en$elops questions of o"?ecti$ity orsu"?ecti$ity. )f the de"ate on the nou$eau roman is a question of o"?ecti$ity or realism,the 5hole question is shifted "y relocatin the space of fiction as a te3tual space ratherthan a phenomenal space, a mo$e "eyond the phenomenal that 5ill "ecome characteristic.So 5hile #o""e9Hrillet emphasi:es the o"?ecti$e qualities of #oussel's 5or8, Foucault andSollers focus on the linuistic reality of the te3t;

il faut accepter Zla[ réalité Zde #oussel[, c'est dire une pratique $ertiineuse du lanae@incessament confronté son oriine et au hasard qu'il implique aussitJt+ ;8

T"is su))#sts a !un,am#nta% ,is*arit /#t-##n t"# t-o a**roa&"#s+ Ro//#:'ri%%#t s##s inRouss#% a r#,u&tion o! %an)ua)# to a *ur# ,#s&ri*ti$# !un&tion+ So%%#rs an, Fou&au%t s## inRouss#% a $#rti)inous( t"at is to sa( ris2( trans)r#ssi$# %an)ua)# -"i&" &on!ronts its o-nori)in+ For So%%#rs t"# #<uation "as to /# r#t"ou)"t !rom t"# *oint o! $i#- o! %an)ua)# ast"# s*a&# -it"in -"i&" t"# t#.t o*#rat#s+ In t"is s#ns# Ro//#:'ri%%#t r#mains on t"# ot"#rsi,# o! t"# %imit t"at #na/%#s a t#.t su&" as Rouss#%3s to /# r#a, as a t#.t+ Ro//#:'ri%%#tr#mains a *rison#r o! t"# ,istin&tion /#t-##n su/4#&ti$# an, o/4#&ti$#( r#a% an, ima)inar(int#rior an, #.t#rior( t"at is ,isso%$#, on&# t"# t#.t is s##n as a s*a&# int#rior to %an)ua)#(r#su%tin) *rimari% !rom t"# *ro,u&ti$it o! %an)ua)#+ ;

In t"# sam# -a( Rouss#% &an on% /# sai, to /# a -rit#r o! t"# ima)inar or t"# !antasti&(as !or t"# Surr#a%ists( i! a r#a%it is *osit#, as a /asis !or t"# $i#- o! t"# -or%, im*%i#, int"# t#.t+ So%%#rs r#*#ats an, a!!irms Fou&au%t3s ana%sis t"at Rouss#%3s t#.ts ,o notr#*r#s#nt a *r#:)i$#n r#a%it /ut &onstru&t a n#-( %in)uisti& r#a%it an, ar# 3&#tt#

!a/ri&ation #n a&t#3+ ;7 As an in$#ntor o! an #s*a&# %in)uisti<u#( ;9 Rouss#% is ,is#n)a)#,!rom t"# *ro/%#ms o! r#a%ism t"at Ro//#:'ri%%#t in "is #m*"asis on o/4#&ti$# ,#s&ri*tion
























an, t"# ima)inar "a, !o&us#, on( an, -"i&" Surr#a%ism im*%i#,+ T"# mo$# to-ar,st#.tua% s*a&# is som#t"in) %i2# a *ara,i)m s"i!t /ot" in t"# "istor o! !i&tion an,t"#or#ti&a% a**r#"#nsions o! it( an, in *el +uel 3s "istor+ T#.tua%it is not an %on)#r a<u#stion o! am/i)uit -it" r#%ation to r#!#r#n&# to t"# r#a%( nor ,o#s it *r#&%u,# r#!#r#n&#r#!#r#n&# is *r#&is#% to a r#a%it s##n as t#.tua%+

An ma,inary =oo>T"# ,#%in#ation o! t#.tua% s*a&# in a mor# t"#or#ti&a%( a/stra&t !ram#-or2 &ontinu#s inSo%%#rs im*ortant #ssa 3Lo)i<u# ,# %a !i&tion3+ 5@

*assin) t"# nou$eau roman( So%%#rs ,#s&ri/#s an ima)inar /oo2 t"at -ou%, in"a/it t"iss*a&#+ In ,oin) so "# /ot" &r#at#s a tra,ition( r#!#rrin) to *r#&ursors( an, a *ro4#&t( t"#-ritin) o! no$#%s %i2# t"# /oo2 "# "as *ro4#&t#,+ In !a&t( -"i%# !e Parc r#%at#, in &#rtain-as to t"# nou$eau roman an, su*#rs#,#, it( <rame, the first of a series of te3ts up toParadis, is this imainary "oo8 pro?ected into e3istence.

Sollers "eins characteristically 5ith a distancin of the present ideoloy of the no$el.

)mplicitly, this includes the nou$eau roman. *he representational no$el as a reflection ofreality or as a decoration, from 5hich the reader remains separate and detached, isrelated to a Platonic idealism of forms and ideas. *he te3t of fiction, as Sollers terms 5hat5e ha$e called te3tual space, implicates its reader. As the representational te3t is e3teriorto the reality it purports to represent, the reader is e3terior to the te3t. *he te3t of fictionsituates all three elements 5ithin the same interior, immanent space.

)n order to delineate this space, Sollers has recourse to a usserlian epoché or reduction.#o""e9Hrillet's 5or8 is also a reduction, to the o"?ecti$e, "ut he oes too far and not farenouh in this reduction, elidin su"?ecti$ity. e remains a prisoner of the Cartesian coitothat is implicit in any o"?ecti$ism. Sollers reconi:es su"?ecti$ity as a 8ind of "asis; '+uoique ?e fasse, il y a tou?ours la présence o"scure du reste que ?'étais.' - De is here and no5,neither a"sent nor omnipresent. *his phenomenoloical esture does not o as far as

e3istentialism, ho5e$er, in seein this su"?ecti$ity as a "asis for action. As opposed to thee3istentialist credo ') am "ecause ) do' or ') am constituted "y 5hat ) do', Sollers situatesthe ?e inside a current, a process of thouht, ') am thouht' @De suis pensé.. *he ?e is notin a position of control o$er the current he inha"its, "ut ne$ertheless he attempts tounderstand his position. *his understandin, la compréhension, deri$es from a source ofcontestation of the current and an attempt to follo5 it;

C'est pourquoi ?e définirai la 'compréhension' que ?'attends comme une operation asse:souple, pour sui$re ses propres phénom(nes, se placer leur cJté lorsqu'ils se font'lanae' . . . le mou$ement que ?'é$oque tient de la danse, de la nae, de tout ce ?'appelle une chance en marche. !a mo"ilité déli$re le chant, le chant se fait immo"ilitésans frein @courant dans un courant. B

Fiction is a question of the attempt to s5im 5ith the current of thouht, to contest it, "utnot to control it or to step outside it, "oth illusory possi"ilities. Fiction is a dance 5ithout pause or "rea8, an a!!irmation o! t"# &urr#nt o! t"ou)"t in %an)ua)#+ >or#o$#r( t"# &urr#nt,#!in#, "#r# &an /# r#&o)ni=#, as a &ontinuit( in t"# atai%%#an s#ns#0

Nous sommes ainsi conduits reconna]tre un milieu porteur de continuité, un champ o^s'e3erce périodiquement la faculté d'identification, un espace ni intérieur ni e3térieur,suscepti"le d'tre enlo"é par une com"inatoire neu$e et mathématiquement fondée+ 5

I,#nti!i&ation #.ists *#rio,i&a%% -it"in t"is !i#%,( as a situation o! t"# su/4#&t in t"#&urr#nt+ R#a,#r( -rit#r( su/4#&t an, o/4#&t( &ons&ious an, un&ons&ious ar# not o**os#,"#r# /ut -it"in t"# sam# s*a&# o! &ontinuit+ T"# a%#ator an, &om/inatoria% *ot#ntia% o!t"is s*a&# is r#a%i=#, / t"# os&i%%atin) stru&tur# o! <rame an, t"# 3&om/inatoir# n#u$# #t

mat"mati<u#m#nt !on,#3 o! t"# n#.t no$#%( Nom"res, more e3plicitly "ased on anumerical structure. )t also prefiures the later interest in mathematics and Chinese philosophy @see "elo5.















&n this "asis a num"er of formulations that remain constant throuhout the passae of *el+uel are set in place; fiction as a redou"lement or dou"lin of a su"?ecti$ity that is 5ithina current infinitely in mo$ement, and an aleatory quality that is emphasi:ed as une chanceen marche. 6hile Sollers's essay is important "eyond its implicit critique of the nou$eauroman, the criticism is present in the ela"oration of a continuous space and the critique ofrepresentati$e fiction. 6hile the nou$eau roman's auto9referentiality @as in #o""e9Hrillet

<ans le la"yrinthe, reconi:ed "y Sollers is close to the notion of redou"lement, thetheory of the su"?ect that is outlined "y Sollers is a"sent from #o""e9Hrillet's theoreticalformulations, as is the philosophical "asis in =ataille's notions of continuity andtransression.

)n his re$ie5 of #o""e9Hrillet Pour un nou$eau roman Sollers de$elops the =atailleancritique of the nou$eau roman as a critique of rationality. *he modern no$el, for Sollers, places itself at the le$el of an interroation, or a contestation, as 5as proposed in'!oique de la fiction', of meanin or thouht. Sollers stresses ho5 la déraison or le non9sa$oir is also part of this thouht, part of the continuity of 5hich #o""e9Hrillet's rationalityis a restricted area. *he contestation of thouht must of necessity o "y 5ay of areconition of le non9sa$oir. Foucault's 5or8 on the limit "et5een reason and unreason iscrucial here. Sollers is reconi:in ho5 the rationality of the nou$eau roman is undermined"y the non9sa$oir reconi:ed in or "y Artaud, =ataille, or Foucault.

So%%#rs a%so atta&2s t"# o**osition o! su/4#&ti$# an, o/4#&ti$#( t"# aut"or( an, t"# notiono! t"# t#.t as s*#&ta&%#( a%% !rom a *#rs*#&ti$# t"at -# &an ,#!in# as on# o! trans)r#ssi$#&ontinuit+ T"is is t"# a**%i&ation o! a %o)i& o! trans)r#ssion t"at is a**%i#, at ot"#rmom#nts+ It is a%so a %o)i& o! t"# *r#&i*itation o! &ris#s in *el +uel 3s strat#)+ T"# t"ir,s*a&#( o! &ontinuit( o*#rat#s /ot" strat#)i&a%% an, t#.tua%%+ T"# r#sistan&# to r#a,in)*el +uel 3s !i&tion is *#r"a*s a r#sistan&# to #nt#r t"is s*a&#( -"i%# t"# r#sistan&# to *el+uel 3s strat#) in t"# &ont#.t a%so su))#sts a r#sistan&# to t"# r#&o)nition o! t"# &urr#nto! t"ou)"t -"i&" #n$#%o*s so&ia% ,is&ours#+

%ne litt?rature nouvelle C?risy 1963In 198 *el +uel or)ani=#, a &on!#r#n&# at t"# &o%%o<uium &#ntr# Cris:%a:Sa%%# on t"#<u#stion 3Un# %ittratur# nou$#%%#Q3 5; I,#a%%( t"is -ou%, "a$# #sta/%is"#, t"# n#- !i&tiona%s*a&#( /ut it a**#ars as a !ai%ur# to a**% its %o)i&+ T"# ,is&ussion( &"air#, / Fou&au%t(&om#s u* a)ainst t"# o/sta&%# o! t"# n#&#ssit o! r#!#rrin) #$#r *oint to Ro//#'ri%%#t an,r#a%ism+ Ho-#$#r( -"#r# t"# &on!#r#n&# is us#!u% !or t"# #$o%ution o! t"# r#$i#- is in t"#*r#s#n&# o! >i&"#% Fou&au%t( -"o ,#!in#s !or t"# r#$i#- its o-n status an, ,ir#&tion+ His&omm#nts ar# *#rtin#nt !or a ,is&ussion o! t"# ,i!!#r#n&# /#t-##n *el +uel an, ot"#r!i&tiona% *#rs*#&ti$#s+

Fou&au%t si)ni!i&ant% su))#sts t"# ,i!!#r#n&#s /#t-##n t"# a**roa&" o! *el +uel an, t"#Surr#a%ists( $oi&in) a ,istin&tion t"at -as %at#nt in su&" arti&%#s as 3!oique de la fiction3+T"# ,istin&tion( as Fou&au%t *r#s#nts it( is t-o!o%, -"i%# t"# Surr#a%ists tr#at $ariouss*iritua% #.*#ri#n&#s su&" as ,r#ams( ma,n#ss( trans)r#ssion( as as*#&ts in a*s&"o%o)i&a% s*a&#( *ositin) a /#on, 6au9del or en dec to t"# o*#ration o! t"ou)"t(So%%#rs an, *el +uel tr#at t"#s# #.*#ri#n&#s as ta2in) *%a&# -it"in t"# s*a&# o! t"ou)"ts##n as %an)ua)#+ Fou&au%t &it#s t"# im*ortan&# o! %an&"ot an, atai%%#( #s*#&ia%% o! t"#%att#r( -"os# im*ortan&# !or t"# r#$i#- r#su%ts *art% !rom "is "a$in) /rou)"t su&"#.*#ri#n&#s as #roti&ism an, la folie out o! t"# *s&"o%o)i&a% s*a&# o! t"# Surr#a%ists an,on to t"# %#$#% o! t"ou)"t as su&"+ "i%# !or t"# Surr#a%ists( Fou&au%t &%ari!i#s( %an)ua)#-as on% 3un instrum#nt ,3a&&Gs3 or a 3sur!a&# ,# r#!%.ion3 o! t"# *s&"o%o)i&a% *ro&#ss#s*us"#, !or-ar, / t"# au9del( into t"# s*a&# o! %an)ua)#( %an)ua)# !or So%%#rs an, *el+uel is t"# #%#m#nt in -"i&" t"#s# o*#rations ta2# *%a&#+ 55 As -# sain 3!oique de lafiction3( %an)ua)# is a s*a&# o! &ontinuit( into -"i&" its #.t#rior is m#r)#,+ It t"#r#!or#ma2#s no s#ns# to ta%2 o! a /#on,( a non:%in)uisti& s*a&# in -"i&" *s&"o%o)i&a%o*#rations &ou%, ta2# *%a&#+ T"# main ,i!!#r#n&# /#t-##n a *s&"o%o)i&a% a**roa&" an,on# -"i&" situat#s its#%! on t"# %#$#% o! &ontinuit is t"# ,i!!#r#n&# o! r#%ation to %an)ua)#+

Ps&"o%o) *ostu%at#s t"# #.ist#n&# o! o*#rations o! t"# min, t"at ar# #.t#rior to%an)ua)#( in t"at t"# ar# in,#*#n,#nt an, )#n#rati$# o! moti$#s t"at ar# r#$#a%#, or#.*r#ss#, in %an)ua)# 6as t"# Surr#a%ists -ou%, *ostu%at#+ So%%#rs3s #m*"asis on









%an)ua)# as int#rior s*a&# *%a&#s its#%! in ,ir#&t o**osition to -"at Fou&au%t &a%%s3*s&"o%o)ism30 3*out l'anti9psycholoisme de la philosophie contemporaine, c'est "iendans cette line l que So%%#rs s# *%a&#+3 58

Fou&au%t *ro*os#s "o- So%%#r3s #n<uiri#s a,,r#ss t"#ms#%$#s to t"# ar#a o! &orr#%ation o!t"ou)"t an, %an)ua)#( to t"# int#rm#,iar s*a&# -"i&" %in2s penser et parler + H# -ou%,

a%so ta2# si,#s in t"# ,#/at# a)ainst t"# Ita%ian no$#%ist San)uin#ti( -"o ar)u#, !or a 2in,o! r#a%ism &ommitt#, to so&ia% issu#s+ Ho-#$#r( t"# ,#/at#s on t"# no$#% an, on *o#tr(*u/%is"#, in t"# r#$i#-( #.&#*tin) Fou&au%t3s int#r$#ntions( t#n, mor# to r#$#a% t"#o/sta&%#s to *el +uel 3s n#- %it#ratur# rat"#r t"an ,#$#%o*in) inno$ati$# r#s*ons#s+ T"#inno$ati$# #%#m#nts ar# mor# *r#s#nt in t"# !i&tiona% an, *o#ti& *ra&ti&# o! t"# r#$i#-+

itional +.ae#t-##n 198 an, 198 a s#ri#s o! t#.ts #m#r)# -"i&" ,#!in# *el +uel 3s s*#&i!i& !i&tiona%s*a&#+ T"# 3Co%%#&tion T#% u#%3( run / So%%#rs( "#r# #.#rtin) a ,ir#&t &ontro%( is t"#*%at!orm !or t"#s# -or2s( -"i&" ar# r#&o)ni=a/%# / t"#ir &o$#rs( -"it# -it" a /ro-n#,)in)( as o**os#, to t"# oran)# #,)in) o! L# S#ui%3s ot"#r !i&tiona% *u/%i&ations+ T"#

a%so ,#!in# a &ontinuous s*a&#( in t"# s#ns# t"at t"# t#.ts &orr#%at# -it" #a&" ot"#r in&#rtain -as t"# sam# stru&tur#s ar# r#*#at#,( t"# sam# #.*#ri#n&# is *r#s#nt( t"# sam#ima)#s o!t#n r#&ur+ T"# !i&tiona% an, *o#ti& -or2s ar# mor#o$#r r#&o)ni=#, as /#in)s*#&i!i& to *el +uel in t-o %an,mar2 arti&%#s0 Fou&au%t 3Distan&#( as*#&t( ori)in#3 5 an,art"#s 3<rame, Po(me, roman3 on So%%#r <rame. 1 =oth are sinificantly repu"lished in-/1 in *héorie d'ensem"le, theoretically recastin *el +uel's fictional practice up to that point.

A first series of te3ts "y *el +uel no$elists relates more to the nou$eau roman, 5hilesometimes includin elements transressi$e of its frame of reference. Sollers !e Parc and Dean *hi"audeau Ine cérémonie royale @ -/- can "e seen in this liht. *he latter no$elo5es much to #o""e9Hrillet, "ut also hints at the future de$elopment of *hi"audeau's5or8 in the contamination of the o"?ecti$e descriptions "y emoti$e connotations 5hich

imply a su"?ecti$e point of $ie5, ne$ertheless not reduci"le to the identity of a narrator.#icardou '!'&"ser$atoire de Cannes @ -/- is closer to the nou$eau roman. As in#o""e9Hrillet's 5ritin, description is multiplied and pro"lemati:ed throuh shifts in perspecti$e. *he no$el is a clinical analysis of the pro"lems associated 5ith o"ser$ationand $ision in their relation to 5ritin. *he focus on description and o"ser$ation implies that#icardou remains 5ithin the representational frame5or8 of the nou$eau roman. Dean9!ouis=audry, 5ho ?oined the committee in -/2, also ha$in pu"lished in Écrire, had pre$iously pu"lished the no$el !e Pressentiment @ -/B, approachin from the direction of Proustrather than #o""e9Hrillet. )ts first9person narration sinificantly features moments ofsu"?ecti$e tension 5hich inter$ene in the te3t in the form of "lan8s rupturin the narrationand the typoraphic disposition of the te3t. *he narration is deformed "y su"?ecti$ee3cess4 its silence enters the te3t and "ecomes an element to "e read. *he te3ts of Dean9Pierre Faye, althouh also interestin from the point of $ie5 of the fracturin of thenarration, relate this to a psycholoical rather than te3tual perspecti$e. =attement,

pu"lished in -/B "ut not in the 'Collection', features aspects of 5hat 5ill "ecome thecharacteristic *el +uel te3t in its oscillation of point of $ie5 from ?e to il, "ut this is relatednot to the aleatory effects of lanuae "ut to the psycholoical distur"ance of the narrator.*he later Analoues @ -/, 5hich 5as pu"lished "y *el +uel, is more interestin in itsinterte3tual enfoldin of the triloy of pre$ious te3ts, Entre les rues, !a Cassure, and=attement. Faye's su"sequent de$elopment as a no$elist 5ith the roup Chane, 5hich heset up 5ith the poet Dacques #ou"aud, implies, ho5e$er, that his association 5ith *el +uel5as not the sin of a true community of interests @see Chapter 2.

# "a$# a%r#a, su))#st#, "o- in So%%#rs !e Parc t"# su/4#&ti$# #.*#ri#n&# o! t"# s&#n#o! -ritin) #.&##,s t"# narrati$# !ram# -"i&" &ou%, *#rtain to a Ro//#:'ri%%#tian s*a&#+ T"#!irst s#ri#s o! t#.ts an, t"# #.tra&ts !rom t"#m in *el +uel ar# *r#!ator to t"# !i&tions*#&i!i& to t"# r#$i#-( an, )#n#ra%% &an /# ran)#, #it"#r un,#r t"# ,ominan&# o! t"#

nou$eau roman or -it"in t"# &ont#.t o! %it#ratur# s##n as #.*r#ssion or r#*r#s#ntation+T"# #ntr into a t#.tua% s*a&# ,#*#n,s /ot" on t"# ,#$#%o*m#nt o! #%#m#nts in t"#












!i&tiona% *ra&ti&# o! t"# -rit#rs &on&#rn#,( /ut a%so on t"# t"#or#ti&a% in*ut o! t"# &riti&ism(!or #.am*%# in So%%#rs3s *ro4#&ti$# arti&%# 3Lo)i<u# ,# %a !i&tion3+

Fou&au%t3s arti&%# 3Distan&#( as*#&t( ori)in#3 is nomina%% a r#$i#- o! So%%#rs !e Parc 6 1981 an, !')n8médaire 6 198( >ar&#%in P%#n#t3s s#&on, &o%%#&tion o! *o#tr Paysaesen deu3 sui$i de !es !ines de la prose 6 198( an, au,r no$#% !es )maes 6 198+

*hi"audeau's Ine cérémonie royale is a%so m#ntion#,+ Fou&au%t r#&o)ni=#s &#rtain,istin&tions /#t-##n t"# t#.ts an, Ro//#:'ri%%#t( a &#ntra% r#!#r#n&#( an, *ro*os#s too%s!or t"# ,#!inition o! t"# n#- !i&tiona% s*a&# t"# t#.ts in"a/it+ O/4#&ts( !or #.am*%#( ar# notiso%at#,( /ut r#!#r to #a&" ot"#r i,#ntit is not sta/%# /ut "uissonnante( in a s*a&# o!simu%ation( a -or, -"i&" r#&a%%s t"# !i&tion o! K%osso-s2i an, o! atai%%#+ 59 I,#ntitin&#ssant% ,ou/%#s its#%!+ T"# s*a&# o! ,ou/%in) is mor#o$#r at a ,istan&#( Fou&au%ta!!irms( -"i&" #na/%#s a &ontinuit /#t-##n su/4#&t an, o/4#&t( *%a&#, in t"# sam# s*a&#+T"is is in &ontrast -it" t"# o/4#&ti$# )a=# o! t"# narrator in Ro//#:'ri%%#t3s -ritin)+ Tim#(in t"is s*a&#( ,o#s not !%o- in a %in#ar !as"ion /ut is su*#rim*os#, on its#%!( in a s#ri#s o!/%o&2s( -"i&" ar# !i)ur#, / t"# t*o)ra*"i&a%% s#*arat#, /%o&2s o! t"# -ritin) its#%!+ T"#t#m*ora%it o! t"# /oo2 is an&"or#, in t"# t#m*ora%it o! t"# r#a,in) *ro&#ss t"#s*atia%i=ation( or s"i!t !rom r#!#r#n&# to a r#a% tim# to t"# tim# o! r#a,in) is a &ru&ia%as*#&t( -"i&" Fou&au%t ,o#s not insist on( o! *el +uel 3s !i&tion+ T"# stru&tur# o!su*#rim*osition is( "o-#$#r( #asi% r#&o)ni=a/%# in au,r no$#% !es )maes( -"#r# it is

!i)ur#, as a s#ri#s o! r#!%#&tions on a -in,o-( s##n / t"# narrator( -"#r# t"# t*o)ra*"o! t"# /oo2 is r#%at#, to ima)#s in t"# *"#nom#na% -or%,+ A)ain( t"# ,#s&ri*tion o!*"#nom#na is ,ou/%#, an, #n$#%o*#, / a s&#n# o! -ritin)+

Fou&au%t3s arti&%# r#&o)ni=#s a s*a&# o! &ontinuit( -"i&" "# &a%%s !i&tion+ C#rtain o! "isr#!#r#n&#s( to K%osso-s2i( an, to le, Mme as t"is s*a&# o! &ontinuit( s##m( "o-#$#r( to/#%on) to an #ss#ntia%ist *#rs*#&ti$#+ T"# D#rri,#an t#rms o! ,i!!#r#n&# an, ,#!#rra%( tra&#an, #!!a&#m#nt( -i%% ta2# t"# ,is&ussion o! t#.tua%it out o! t"is %an&"otian !ram#+ At t"#sam# tim#( Fou&au%t3s arti&%# ,o#s %aun&" a t"#or#ti&a% ,is&ours# on t"# t#.ts in t"#irs*#&i!i&it( -"i%# su))#stin) int#r#stin) %in2s( -"i&" ar# not ana%s#,( /#t-##n *el +uel 3s!i&tion an, t"# #ar%i#r no$#%s o! %an&"ot( atai%%#( an, K%osso-s2i+

Fou&au%t3s arti&%# "a, a,,r#ss#, t#.ts -"i&" -#r# am/i)uous% at t"# initia% %imit o! *el

+uel 3s s*#&i!i& !i&tiona% s*a&#+ On% au,r !es )maes an, P%#n#t Paysaes en deu3 &an/# sai, to in"a/it !u%% t"is s*a&#+ A su/s#<u#nt s#ri#s o! t#.ts ,#$#%o* its !ronti#rs+ So%%#rs-/ <rame is a 2# t#.t in t"is r#s*#&t( /ut ot"#r t#.ts o! im*ortan&# in&%u,# !e !i$re partai 6 1985 / Pi#rr# Rott#n/#r)( -"o 4oins t"# &ommitt## in 198( an, &u$erture /T"i/au,#au 6 1988+ From outsi,# t"# &ommitt##( /ut in t"# 3Co%%#&tion T#% u#%3E,uar,o San)uin#ti Capriccio italiano 6 198; -as trans%at#, !rom t"# Ita%ian /T"i/au,#au+ >auri&# Ro&"# Compact 6 1988 is an int#r#stin) ann#.# to t"# t#.tua%inno$ations o! t"# r#$i#-+ It #.t#n,s t"# ra,i&a%ism o! t"# t#.t into a su/$#rsion o!t*o)ra*" an, to a *o%*"on o! t#.tua% $oi&#s+ T"# -or2 o! S#$#ro Sar,u( trans%at#,!rom S*anis" an, &omm#nt#, / art"#s( is a%so o! int#r#st+ 8@ Its stri2in) !#atur#s ar# a*aro,i& an, "umorous tr#atm#nt o! t"# %an)ua)#( in -"i&" t"# %at#nt !orma%ism o! *el+uel is r#*%a&#, / a mor# "#,onisti& an, *%a!u%( /aro<u# t#.tua%it+

<rame, !es )maes, !e !i$re partaé( an, &u$erture *r#s#nt a !i&tiona% s*a&# in -"i&" t"#notions o! i,#ntit an, o! narrati$# t#m*ora%it ar# r#*%a&#, / a &ontinuit /#t-##n-ritin) an, r#a,in)+ T"# on% s*a&# t"# r#a,#r &an &"oos# to in"a/it( or to r#a, !rom( ist"# mom#nt o! t"# -ritin) /#in) r#a,+ T"#r# is no *ossi/i%it( #ss#ntia%%( o! a ,istan&#-it" r#)ar, to t"# t#.t -"i&" -ou%, a%%o- its 4u,)#m#nt+ T"# t#m*ora%it o! narrati$# issu*#rs#,#, / t"# *"si&a% m#&"anism o! r#a,in)( -"i&" is !i)ur#, in t"# t#.ts as a&ontinua% &onsumin) an, #!!a&#m#nt o! t"# -ritin) /#"in, t"# *oint o! r#a,in)+ ritin)an, r#a,in) /#&om# a%most in,istin)uis"a/%#+ As t"# -ritin) is a *ro&#ss t"at #!!a&#s t"#t#.t /#"in, it !rom t"# *oint o! t"# *#n u*on t"# *a)#( t"# r#a,in) is a%so a &r#ati$#*ro&#ss un,#rta2#n in t"# t#.t its#%!( / its#%!+ So in a s#ns#( t"# t#.ts r#a, t"#ms#%$#s+Narrati$# t#m*ora%it is r#*%a&#, / a ,i!!#r#nt t#m*ora%it o! &onsumin) an, #!!a&#m#nt(a mo$#m#nt &ontinuous a&ross t"# ,i!!#r#nt t#.ts+ au,r3s m#ta*"or o! t"#su*#rim*osition o! ima)#s( o! /ot" t#.t an, r#a%it /#&om#s in <rame an int#rna% #!!#&t o!r#a,in) an, is !i)ur#, a%so in !e !i$re partaé( as a /urnin)( a sa&ri!i&#( or a %oss o! $ita%/o,:!%ui,s+ T"# su/4#&t o! %it#ratur# !in,s "im: or "#rs#%! &onsum#,( a su/4#&t o! %oss an,o! sa&ri!i&#( an, t"is is !i)ur#, in t"# t#.ts as a ,is*#rsa% an, !ra)m#ntation o! t"# /o,(









an, its dépense in #.&r#ta+ T"is !i)uration o! t"# mo$#m#nt or stru&tur#s o! t#.tua%it*os#s *ro/%#ms( sin&# !i)uration is a r#%ation o! mim#sis /#t-##n -ritin) an, som# 2in, o!r#a%+ >im#sis( as a $ariant o! r#*r#s#ntation( ,o#s not sit #asi% -it"in *el +uel 3s t#.tua%i,#o%o) o! t"# anti:r#*r#s#ntati$# t#.t+ 81 >im#sis( as a r#%ation o! t"# t#.t to som#t"in)outsi,# it( is !urt"#r *ro/%#mati=#,( "o-#$#r( / t"# o*#rations o! *#rmutation t"at t"#t#.ts !a$our+ T"# su/4#&t o! t"# t#.t( !or #.am*%#( )o#s t"rou)" $arious *#rmutations

a&ross a s#ri#s o! *ronoun *ositions as "# or s"# is -ritt#n / t"# tra&in) an, #!!a&#m#nto! t"# no$#%+ T"# I o! t"# narration is !ar !rom sta/%#( o!t#n s*%it /#t-##n 4# an, i%( at#n,#n& !u%% r#a%i=#, in au,r Pesonnes 6 198( -"#r# *ronoun *#rmutations stru&tur#t"# no$#% its#%! as a mu%ti*%i&it o! $i#-*oints+ Du# to t"# im*ortan&# o! r#a,in) as a !i)ur#o! t"# t#.t its#%!( -"i&" it *ro)ramm#s its#%!( an, t"# *#rmutationa% stru&tur#( t*o)ra*"/#&om#s an im*ortant #%#m#nt+ In >auri&# Ro&"#3s -or2 t"is t#n,#n& is ta2#n to its#.tr#m# in t"# &ontamination o! t"# -ritin) / !i)ur#s( musi&a% s&or#s( ,i!!#r#nt %#$#%s an,si=#s o! t*#!a&#+ T"# r#a,in) *ro&#ss /#&om#s non:%in#ar( so t"at a)ain t"# r#a,#r iso/%i)#, to r#a, t"# t#.t at t"# %#tt#r( in its mat#ria%it an, at its mom#nt o! ins&ri*tion+

T"#s# inno$ations ar# t"#or#ti&a%% !ar mor# &om*%#. t"an t"os# o! t"# nou$eau roman(-"#r# t"# am/i)uit /#t-##n r#a%ism or #.*r#ssion r#mains t"# !o&a% *oint+ T"# nou$eauroman3s inno$ations #.ist mor# at t"# %#$#% o! narrati$# an, r#*r#s#ntation as o**os#, tot"# %#$#% o! r#a,in) at -"i&" *el +uel 3s t#.ts o*#rat#+ ut &#rtain &ommon as*#&ts ma /#

!oun, /#t-##n t"#s# -or2s an, t"# !i&tion o! -rit#rs su&" as P#r#& an, t"# Ou%i*o )rou*a%t"ou)" t"# %u,i& #%#m#nts t"#r# ar# %#ss &onn#&t#, to a t#.tua% i,#o%o)( %#ss in"a/it#,/ a t"#or#ti&a% &ons&iousn#ss or strat#)( an, %i# mor# &om!orta/% on t"# %#$#% o!%in)uisti& ,#$iations an, *%a t"an t"# ,##*#r im*%i&ations o! *el +uel 3s !i&tiona% s*a&#+ Int"# &ont#.t( t"# t#.ts t"at ,#!in#, t"is !i&tiona% s*a&# must "a$# a**#ar#, as !air%t#rroristi& in t"#ir !irm r#4#&tion o! t"# tra,itiona% stru&tur#s o! narration( in&%u,in) t"#nou$eau roman( an, in t"#ir &on!i,#nt inno$ations an, ma)n#ti& *u%% o! t"# r#a,#r to a*%a&# a%r#a, *ro)ramm#, / t"# t#.t an, t"# t"#or o! t"# t#.t+ T"#or#ti&a% !i&tion( -"i&"t"#ori=#s its#%!( *ro,u&#s t"#or( an, is strat#)i&a%% in!orm#, / t"#or( is %ar)#% t"#s*#&i!i& an, *ro*#r ,omain o! t"# r#$i#- an, its -rit#rs+

In *o#tr( /oo2s / D#nis Ro&"# an, P%#n#t *r#s#nt start%in) inno$ations -"i&" ar# as!r#s" an, i&ono&%asti& as t"os# in t"# no$#%+ D#nis Ro&"# *u/%is"#, #écits complets in 198?

an, !es )dées centésimales de Miss Elani:e in 198;+ Éros énerum(ne -ou%, !o%%o- in1987+ E.tra&ts !rom a%% t"#s# -or2s a**#ar in t"# r#$i#- its#%! t"rou)"out t"is *#rio,+ 8? Ro&"#3s &riti&a% int#r#sts as r#*r#s#nt#, in t"# r#$i#- ar# rat"#r mor# #&%#&ti& t"an t"os#o! ot"#r m#m/#rs( ran)in) !rom >i&"au. to Finnis" mt"o%o) to Kan,ins2( a%on)si,# t"#&ontinua% int#r#st in Poun, an, Cummin)s+ 8

T"# *o#tr its#%! is o! su/$#rsi$# int#nt+ Ro&"# s##s *o#tr as a $#sti)# o! an i,#a%ist&on&#*tion o! %it#ratur#( an, s#ts out to ,#stro t"is #,i!i&#+ T"is ,#stru&tion is( "o-#$#r( asu/$#rsion in t"at it -or2s !rom -it"in t"# #,i!i&# o! *o#tr to t"# ## t"# -ritin) %oo2s%i2# *o#tr+ It ,is*%as a%% t"# $isua% si)ns0 %in#s o! un#<ua% %#n)t"( #a&" %in# /#)innin) -it"a &a*ita% %#tt#r( surroun,#, an, #ro,#, / t"# #m*t s*a&#s o! t"# *a)#( s#t in its &#ntr#+M#t o!t#n t"# su/4#&t:matt#r is *#r$#rs#% non:*o#ti& o/s&#n#( s&ata%o)i&a%( or sim*%/ana%+ "#r# *o#ti& t"#m#s ar# *r#s#nt( t"# ar# ,#%i/#rat#% su/$#rt#, / t"#

t*o)ra*"i& ,is*osition o! t"# *o#m( / t"# !i.#, %o=#n)#:s"a*# o! t"# *o#m( or t"##n,in) o! t"# %in# in mi,:*"ras# or -or,( or in !a%s# #n4am/#m#nts /#t-##n %in#s+

#écits complets *r#s#nts in !a&t a mu%ti*%i&it o! r&its -"i&" ar# !ar !rom &om*%#t#( /ut!ra)m#nt#, an, int#rna%% !ra&tur#,+ T"# 3i,#s3 o! >iss E%ani=#( -"i&" is a ,#$iat#,ana)ram o! mis&#%%ani#s( ar# 3&#ntsima%#s3( not uni!i#,+ it" Éros énerum(ne it /#&om#smor# a**ar#nt t"at t"# !or&# t"at !ra)m#nts an, su/$#rts t"# i,#a%ist #,i!i&# o! *o#tr ist"# *u%siona% #n#r) o! t"# s#.ua% ,ri$#( mor# o!t#n t"an not !i)ur#, as *#r$#rs#+

Ro&"#3s int#rna% su/$#rsion o! *o#tr a%so "as #!!#&ts in t"#or sin&# t"# *osition o!&riti&a% ,istan&# -it" r#)ar, to t"# t#.t is not so sta/%#( t"# &riti<u# /#in) un,#rta2#n !rom-it"in( in t"# t#.t( t"# *osition o! t"#or is ma,# in&r#asin)% unt#na/%#( %#a,in) to t"#a/,i&ation o! t"is &riti&a% $oi&# / t"# *o#t+ 8; #&aus# o! t"is a/,i&ation( an, /#&aus# o!

t"# sin)u%ar m#&"anisms o! t"# su/$#rsion o! *o#tr( it s##ms t"at D#nis Ro&"# o&&u*i#san #.tran#ous( mar)ina% *osition -it"in *el +uel. =ut the radical $itality of his $oice i$esthe re$ie5 a certain force.















Marcelin Pleynet's e3perience of poetic lanuae is of a radical su"?ection. )t ise3perienced as a "attement de sens that su"$erts identity, authorship, and the name. / )nthe first te3t, Pro$isoires amants des n(res @ -/B, there is a mise en sc(ne of theconflict, induce "y this e3perience, "et5een a eideerian nostalia for a lost oriin andthe radical alienation 5ritin entails. )n the later 5or8s this nostalia is no loner present,so that there is a definite mo$ement to5ards a more fundamental su"?ection to the

5ritin, a more radical e3perience of alienation. *his e3perience of loss of identity is 5hatdefines poetic lanuae, at first, for Pleynet. *he presence of such 5ritin in *el +uel is ane3cess compared to the rationality of the nou$eau roman, 5hich can "e said to attempt toforeclose this question of su"?ecti$ity throuh a fetishistic attention to detail. As Sollershad emphasi:ed, the su"?ection to lanuae could also "e accompanied "y a criticalconsciousness that 5ould run alonside this current. )n Pleynet's 5or8 the motif ofdou"lin is particularly producti$e. )n the second 5or8 it is fiured as a paysae en deu3,the dou"lin itself referrin to lanuae's a"ility to refer either to itself or to the real. *hedou"lin is then "et5een lanuae as chant, simple unmediated sound, and critique,consciousness of itself. // *his is further complicated "y the duality of poetry and prose.*yporaphically, $ertically and hori:ontality come into play as sinifyin elements. *hetitle of the 5or8 itself is a dou"le; Paysaes en deu3 sui$i de !es !ines de la prose. Eachis in fact a separate 5or8 "ut they are *r#s#nt#, in t"# sam# t#.t( as ,ua% $#rsions o! t"#sam# #.*#ri#n&# o! a su/4#&tion to %an)ua)#+ In t"# n#.t t#.t( Comme, the proseYpoetry

di$ision is also present, this time under the same title. ere the di$ision or duality isfiured as emerin from the point of the comme, the moment 5here lanuae turnseither out5ards or "ac8 upon itself. *he as is seen as "oth the internal and e3ternal limitof lanuae. 6ittenstein is a 8ey reference for this te3t, particularly the dictum thatlanuae e3ists "et5een the limits of contradiction and tautoloy. A more formal le$el ofe3perimentation has "een reached. *he poetics of nostalia for some 8ind of a"sentmeanin is dropped. Framentation is seen not in a melancholy sense, as in the poetry ofdu =ouchet, for e3ample, "ut as a source of meanin and eroticism. /G Already in Paysaesen deu3 Pleynet had 5ritten 'Framentation est la source'. /1

Pleynet and #oche's poetry represent t5o $ery different "ut equally radical approaches tolanuae that correlate 5ith many of the inno$ations in the no$el proposed "y other5riters of the roup. *heir influence seems to ha$e "een as diffuse as that of the *el +uel

no$el, "ut the effect in the conte3t is one of a terroristic shift of te3tuality on to the le$elof form and its theoretical analysis, 5ithin the te3t itself.

-NT)+.)CT-(N. -N T) %%NT2"%+3))n the early -/0s the "ureonin mo$ement of 5hat is 8no5n as structuralism 5as infact a num"er of distinct currents or moments, preparin for the theoretical e3plosion ofthe middle of the decade. )n -/ Althusser pu"lished his Pour Mar3 and !ire le Capital, proposin a structural readin of Mar3's 5or8s that purported to do a5ay 5ith the"aae of humanism. )n -// !acan and Foucault "oth produced their 8ey 5or8s,

respecti$ely, the Écrits and the archaeoloy of the human sciences !es Mots et les choses. Almost immediately they "ecame "est sellers and the 5riters 5ere pro?ected into a 8ind ofintellectual stardom. *he 5or8s themsel$es pro$ided the possi"ility for ne5 syntheses ofthe 8ind 5hich *el +uel produced, and this theoretical e3pansion 5ould $ery soon "ecome politici:ed in the 5a8e of May -/1.

T"# *i&tur# is !ar !rom &om*%#t#( "o-#$#r( -it"out an a&&ount o! %#ss o/$ious%stru&tura%ist &urr#nts or t"os# -"i&" -#r# in !a&t att#m*tin) to mo$# /#on, t"# %imits o!stru&tur# t"#s# &urr#nts an, t"#ir int#rs#&tions %#a, u* to an, !##, into t"# atmos*"#r#o! t"#or o! t"# mi,:,#&a,#+ art"#s( D#rri,a( an, D#%#u=# -#r# "i)"% a&ti$# in t"is*#rio,( *ro,u&in) -or2 -"i&" "as an in!%u#n&# on an, t"rou)" t"# tim# o! t"#or+ "i%#art"#s -as $#r &%os# to *el +uel, <errida's 5or8 5ill "ecome rele$ant in this time as anarticulation 5ith a critique of metaphysics. *he 5or8 of <eleu:e, althouh re$ie5ed

affirmati$ely in the re$ie5, e$ol$es independently of it.

/


















The Quarrel o$ the Critics A ma?or moment 5as the =arthes99Picard de"ate of -/9/, 5hich neatly thre5 intodistinction the ne5 critical perspecti$es on literature, as aainst the more traditional andacademic forms of literary criticism. After =arthes pu"lished the radical Sur #acine in

-/2, sho5in ho5 e$en the classic te3ts could "e treated structurally and psychoanalytically, #. Picard, a lecturer at the Sor"onne, too8 him to tas8 in the pamphlet'Nou$elle critique ou nou$elle imposture'. G0 =arthes, in his Critique et $érité @ -//,seems to ha$e ained from the crisis, presentin a reformulation of critical aims and perspecti$es 5hich points to5ards the later de$elopment of literary theory in *el +uel.

*he =arthes99Picard de"ate 5ould also re$eal a potential distinction "et5een 5hat 5as8no5n as the nou$elle critique and the more linuisticsoriented perspecti$e of 5riters li8e=arthes, Henette, and *odoro$. 6hile the first, in the 5or8 of 5riters li8e Dean9Pierre#ichard, Dean Staro"ins8i, and Heores Poulet aimed at a definition of the 'creati$e core ofthe 5or8', G- the second 5as more ta3onomic and structural. 6hile the first could ha$e"een accused of sentimentality and of "ein unscientific "y the second, the second couldha$e "een accused of positi$ism "y the first. Such an impasse seems to ha$e "een the

startin9point for the later 5or8 of =arthes, and the 5or8 of >riste$a. *el +uel is the forumfor "oth 8inds of criticism, "ut criticism 5ith a "asis in linuistics soon superseded theearly interest in the nou$elle critique. *he a**ar#nt %imitations o! t"# stru&tura%ist or!orma%ist a**roa&" n#$#rt"#%#ss soon /#&am# #$i,#nt( a!t#r t"# *u/%i&ation o! *héorie dela littérature, a collection of 5or8 "y the #ussian formalists, introduced to France "y*odoro$ in a 'Collection *el +uel' pu"lication of -/. *he reconition of the limitationsof formalism is the startin9point for *el +uel's de$elopment of a theory of literaturespecific to itself. *he quarrel of the critics produced interestin and $ital distinctions and processes into the de$elopment of criticism, 5ith 5hich *el +uel 5as directly in$ol$ed. )t precedes the moment of theory as such.

A further crucial element in the supersedin of these limits 5as the 5or8 of <errida. Afterthe usserl introduction of -/B, <errida pu"lished a num"er of decisi$e articles, some of5hich appeared in *el +uel itself, and 5hich are for the most part collected in the'Collection *el +uel' pu"lication !'Écriture et la difference. GB *he 8ey 5or8, ho5e$er, 5as<e la rammatoloie, 5hich had first appeared in Critique in -/. G2 ere he ela"oratedthe notion of a eneral 5ritin, or archi9écriture, a structure of difference and deferral thatundermined any posin of a presence, presence to self of the su"?ect of speech, presenceof truth or meanin. Analysin in considera"le depth #ousseau Essai sur l'oriine deslanues, throuh comparison 5ith !e$i9Strauss's 5or8, <errida 5ould sho5 ho5 the notionof structure 5as underpinned "y the notions of truth and presence it souht to displace. G *he notion of a enerali:ed 5ritin, posed "efore the phenomenon of 5ritin itself, couldopen up the limits of structuralism and formalism to the process of eneration of meanin4the focus on meanin as a process rather than a structure or an e3pression entailed afocus on the te3t in its production of meanin. *his "efore, 5hich is more spatial thantemporal, ena"les the emphasis on the te3t and its production in the latter half of thedecade. *el +uel's reference and mutual e3chanes 5ith <errida lin8 the roup's theory of

literature to a critical approach to metaphysics, 5hile indi$idual de$elopments 5ithin there$ie5, in the criticism of Sollers, for e3ample, parallel <errida's 5or8 5ithout dependine3clusi$ely upon it. *he moment 5hen these currents form a 8ind of synthesis is in -/1,5ith the pu"lication of *héorie d'ensem"le.

CritiBueT"# int#rs#&tions o! i,#as an, in,i$i,ua% itin#rari#s in t"is *#rio, ar# us#!u%% r#*r#s#nt#,/ t"# r#%ations /#t-##n t"# r#$i#-s *el +uel an, Critique+ Ear% in t"# ,#&a,#( Critique "a, *ro$i,#, su**ort !or *el +uel -it" t"# *u/%i&ation o! arti&%#s aroun, t"# nou$#auroman / #an T"i/au,#au an, #an Ri&ar,ou+ 5 T"# nou$#au roman "a$in) /##n ,ro**#,!air% #ar% on as a *ri$i%#)#, r#!#r#n&# !or *el +uel, the common denominator shifted to

the influence of Heores =ataille, the founder of Critique, 5ho died in -/B. *he specialo"ituary issue of the ne3t year 5as a crucial site of intersection4 5riters from an earliereneration such as >losso5s8i, !eiris, and =lanchot 5ere represented there, alon 5ith the






















more contemporary perspecti$es of =arthes, Foucault, and Sollers. G/ *he issue isimportant in lin8in the ne5 structuralist approaches to the thin8in of e3cess andneati$ity of an older eneration. )t is also a moment 5here the structure is opened up tonon9structural eneretic forces. *he moment of intersection is also a moment of di$ersion,ho5e$er, since Foucault article 'Preface la transression' re$eals a possi"le di$erenceo$er the question of 5hether the relation "et5een the limit or the la5 and its

transression is a dialectical one.

GG

*el +uel's ela"oration of transression into a dialecticalmo$ement that could pro$ide a hine 5ith the Mar3ist dialectic differed from Foucault'santi9dialectical thin8in on the matter. Foucault "ecomes a less pertinent reference for *el+uel, especially 5ith the later Mar3ism of the re$ie5.

=eyond the issue on =ataille "ut in its 5a8e, Critique is a site of producti$e interchane5ith *el +uel. Sollers, Pleynet, and Dean9Pierre Faye all pu"lish important articles in there$ie5, 5hile =arthes and <errida 5ill "e elected on to the ad$isory "oard of Critique,esta"lishin a firm lin8 "et5een the t5o re$ie5s that lasts up to the end of the decade. G1 *his lin8 is fruitful in the opportunity it pro$ides for the #n&ount#r o! ot"#r -or2 *u/%is"#,in Critique+ 'i%%#s D#%#u=#( -"o -rot# im*ortant -or2s on Ni#t=s&"# an, Proust ,urin) t"istim#( -ou%, *u/%is" a s#ri#s o! arti&%#s t"#r#+ 9 It is a%so a $ita% !orum !or /ot" La&anianan, non:La&anian *s&"oana%sis+ La&an "ims#%! -ou%, *u/%is" t"# #ssa '>ant a$ec Sade' in t"# r#$i#-( /ut t"#r# ar# a%so im*ortant arti&%#s / An,r 'r##n+ 7@ In t"# )#n#ra%

&ont#.t Critique is a us#!u% int#rs#&tion !or s*#&ia%i=#, -or2 !rom man ,i!!#r#nt ar#as o!t"# "uman s&i#n&#s+ T"# s#rious an, s&i#nti!i& a**roa&" o! t"# r#$i#-( to)#t"#r -it" t"#atai%%#an in!%u#n&# -"i&" ma2#s t"is s&i#nti!i& &ommunit *ro/%#mati&( is a ,#&isi$##.am*%# !or *el +uel.

Pro4le an& Currents o$ the %vant2"ar&e*el +uel itself also functions as a site of intersection of a num"er of disparate currents ofthe a$ant9arde, althouh this notion itself 5ill "e critici:ed and displaced into theory andanalysis "y Pleynet in an important article '!es Pro"l(mes de l'a$ant9arde'. 1- *hesecurrents deri$e mostly from e3traneous sites, in the sense of "ein either from outsideFrance or in areas other than literature. )n this 5ay *el +uel functions as a corridor forne5 and fresh artistic practices. *ranslation is an important acti$ity in the re$ie5, from the)talian in the case of *hi"audeau and Dacqueline #isset, from the Enlish in the case ofPleynet and <enis #oche. 1B !in8s 5ith the )talian neo9a$ant9arde, for

Science de !autréamont', B4 M. Pleynet, '!a Poésie doit a$oir pour "ut. . .' @on <enis#oche , B224 D.9D. Hou3, '<éri$a"le et indéri$a"le', BGB4 #icardou, '!a =ataille dePharsale' @on C. Simon, BG4 D . enric, 'Ine profondeur matérielle' @on Artaud, BG14 D. #isset, 'C. E. Hadda ou la philosophie l'en$ers', B1B4 >riste$a, '&"?et, complément,dialectique', B14 Sollers, '!a Mati(re et sa phrase' @on Huyotat, B04 oude"ine,'!ectures d'une refonte' @on >riste$a, B4 >riste$a, '!'Éthique de la linuistique', 2BB4#isset, '!a Poétique mise en question', 2BB @special issue on Da8o"son. After the early

-G0s, the contri"utions 5ill "e more sparse, althouh e39associates of *el +uel such as. <amisch, M. <euy, D.9!. Schefer, and ne5er contri"utors such as !. <ispot and H.Scarpetta, 5ill contri"ute articles. D.9!. =audry contri"utes articles in the late -G0s.

#.am*%#( -#r# !or)#, -it" t"# r#$i#-3s *u/%i&ation o! -or2 / t"# Ita%ian -rit#rs E,uar,oSan)uin#ti( Nanni a%#strini( an, Um/#rto E&o( t"# %att#r a%so asso&iat#, -it" t"# &riti&a%*#rs*#&ti$#s o! stru&tura%ism+ 7 "i%# t"# Ita%ian %it#rar a$ant:)ar,# "as &#rtain%imitations in t#rms o! t"# mor# *#r$asi$# in!%u#n&# o! >ar.ist:ins*ir#, r#a%ism( it #na/%#s%in2s -it" t"# Ita%ian &ont#.t t"at -i%% r#main stron) in *el +uel + 7; T"# t#.ts t"#ms#%$#s(Cappriecio italiano 6 198; / San)uin#ti an, *ristan 6 19? / a%#strini *r#s#ntint#r#stin) a**%i&ations o! t"# t#.tua%it o! *el +uel + From t"# En)%is"( D#nis Ro&"# "as a*ri$i%#)#, *%a&# as a trans%ator o! E:ra Pound ( /ut >ar&#%in P%#n#t3s trans%ation an,intro,u&tion o! -or2 / t"# US *o#t an, &riti& C"ar%#s O%son is a $ita% "in)# into a

&ont#m*orar Am#ri&an &ont#.t t"at -i%% a%so *ro$# a *#rman#nt int#r#st !or t"# r#$i#-+6S## C"a*t#r ;































it" P%#n#t t"# r#$i#- )ains a%so a $ita% an, %on):%astin) &riti&a% *#rs*#&ti$# t"at#n&om*ass#s %it#ratur#( *aintin)( ,an&#( an, musi&+ T"# &ommon #%#m#nt &an /# s##n asa &riti<u# o! t"# #.*#ri#n&# o! *o#ti& %an)ua)#+ Paintin)( ,an&#( an, musi& ar# s##n as an#.&#ss in r#%ation to %an)ua)#( -"i&" *ro,u&# an #.*#ri#n&# in t"# su/4#&t -"i&" "#att#m*ts to ana%s#+ T"# *ro/%#ms o! t"# a$ant:)ar,# -"i&" P%#n#t un,#r%in#s -#r#%in2#, to t"# *ro4#&tion o! t"# notion o! ru*tur# on to "istor t"# a$ant:)ar,# t#n,#, to

/#&om# a su&&#ssion o! ru*tur#s -it" r#)ar, to t"# *ast( !or t"# sa2# o! ru*tur#( in !a&t!un&tionin) as a ,#$iation !rom t"# %imit( a )uar,in) o! t"# %imit( rat"#r t"an atrans)r#ssion o! it+ 75 T"# a**roa&" P%#n#t a!!irms is t"at o! ana%sis an, a &on&#ntrationo! t"# mat#ria%it o! artisti& *ra&ti&#( r#!#rrin) to t"# -or2 o! art"#s( La&an( an, D#rri,at"is a**roa&" is *ut into *ra&ti&# in P%#n#t3s arti&%#s on t"# a$ant:)ar,#+ H# is a 2#!i)ur# in t"# intro,u&tion o! a &riti&a% *#rs*#&ti$# in Fran&# on a/stra&t #.*r#ssionist*aintin)( su&" as t"# -or2 o! K%in#( Rot"2o( Raus&"#n/#r)( -"i%# So%%#rs -rit#s on am#sis"o*+ 78 P%#n#t a%so -rit#s on t"# ,an&# an, musi& o! >#r&# Cunnin)"am an, o"nCa)#+ 7 T"# ,i!!#r#n&# o! t"# Am#ri&an &ont#.t s##ms to r#!%#&t t"# #.&#ssi$# status o!t"#s# arts -it" r#)ar, to %an)ua)#( an int#r#st -"i&" -i%% /# r#$i$#, in t"# %at# 19@s -it"t"# #m#r)#n&# !rom t"#or an, t"# 19 issu# on t"# Unit#, Stat#s+ T"is *#rman#ntint#r#st is a &ru&ia% as*#&t o! t"# r#$i#-3s "istor an, its r#%ation to "istor+ 'i$#n t"at t"#&ont#m*orar artisti& *ra&ti&#s in t"# Unit#, Stat#s ar# ,#t#rmin#, / t"# 3)ra!tin)3 o!Surr#a%ism into a ,i!!#r#nt tra,ition in t"# *ost:-ar #ars( its &riti&a% r#turn in Fran&# is a

,#$iat#, r#r#a,in) o! Surr#a%ism an, its in!%u#n&#+ 77 *el +uel 3s t#ns# r#%ation -it"Surr#a%ism( rat"#r t"an /#in) -or2#, out in a ,ir#&t &on!rontation( is m#,iat#, t"rou)"t"# int#r#st in non:$#r/a% artisti& *ra&ti&#s t"at #manat# %ar)#% !rom t"# Stat#s+ I! a 4usti!i&ation o! t"is int#r#st in t#rms o! a &riti&a% a**roa&" to art &an /# !oun,( it is *#r"a*sin t"# att#ntion to *ro&#ss an, t"# *ro,u&tion o! m#anin)( 3l'imae du sens3 as P%#n#t -i%%t#rm it in an arti&%# in *el +uel + 79 P%#n#t3s int#r#st is in t"# -a t"# ima)#( or t"# non:$#r/a% in )#n#ra%( r#%at#s to %an)ua)#( an, mor# s*#&i!i&a%% to *o#tr( sin&# *o#tr isa%r#a,( in som# s#ns#s( an #.*#ri#n&# o! t"# non:$#r/a%( o! -"at %i#s /#on, t"# %imits o!%an)ua)# i! su&" %imits #.ist+ P%#n#t3s -or2 on *aintin) r#*r#s#nts a &riti&a% "in)# into t"#a$ant:)ar,# in t#rms o! its #.tran#ous r#%ation to %an)ua)# an, to Fr#n&" &u%tur#( to t"#Fr#n&" %an)ua)# as su&"+ 9@ Outsi,# t"# r#$i#-( P%#n#t -ou%, a%so ,#$#%o* "is "i)"%ori)ina% art:&riti&ism in arti&%#s *u/%is"#, in !es !ettres fran%aises. - )n France *el +uel5ould also ain a certain prestie throuh association 5ith the a$ant9arde from its pu"lication of an article and "oo8s "y the &om*os#r Pi#rr# ou%#=+ 9? T"# #m*"asis on t"#*ro&#ss o! m#anin)( in an artisti& *ro&#ss( is a &ommon ,#nominator+ T"# !o&us on !orm(or &ont#nt as !orm( is mor#o$#r &ou*%#, -it" t"# #%a/oration o! a &riti&a% %an)ua)# toa&&ount !or it+ T"is !o&us an, #%a/oration ar# t"# n#&#ssar st#* /#!or# a &ommitm#nt o!!orm( -it" t"# >ar.ist *#rio, o! t"# %att#r "a%! o! t"# ,#&a,#+

Contre =lanhotT"# r#%ations -it" t"# &ont#.t o! *el +uel u* to t"# snt"#sis o! 1987 a**#ar as a ,ra-in)to)#t"#r o! t"# -or2 o! a num/#r o! -rit#rs outsi,# t"# r#$i#-( su&" as art"#s( Fou&au%t(an, D#rri,a( &ou*%#, -it" t"# int#rna% ,#$#%o*m#nt o! t"# t"#or o! %it#ratur# in t"#r#$i#-( *rin&i*a%% in arti&%#s / So%%#rs 6s## /#%o-0 !oics of the !imit + T"#s# r#%ationsar# !o&us#, in institutiona% r#%ations su&" as t"os# -it" Critique or -it" t"#Communications t#am+ #!or# t"# !orma%ist an, stru&tura%ist in!%u#n&#s in t"# r#$i#-( an,t"# a&ti$it o! art"#s &an /# ,is&uss#,( "o-#$#r( t"# i,#o%o)i&a% ,i!!#r#n&#s /#t-##n t"#a**roa&"#s to %it#ratur# o! *el +uel an, Fou&au%t( -"i&" a%so s##m to &arr t"# ,i!!#r#n&#s-it" %an&"ot( n##, to /# #%u&i,at#,( in or,#r to i,#nti! t"# *oints o! &on$#r)#n&# an, o!,i!!#r#n&#+

Aroun, t"# sam# tim# as "is &"airin) o! t"# Cris ,#/at# an, t"# *ro,u&ti$# arti&%# onsom# *el +uel t#.ts( 3Distan&#( as*#&t( ori)in#3( an, &ont#m*orar -it" t"# arti&%# onatai%%# in Critique( Fou&au%t *u/%is"#, an arti&%# in *el +uell #ntit%#, 3!e !anae l'infini 3( -"i&" *r#s#nts a $i#- o! %it#ratur# simi%ar /ut su/t% ,istin&t !rom t"at ,#$#%o*in)in t"# r#$i#-+ 9 T"# isomor*"ism /#t-##n t"# t-o a**roa&"#s is *r#s#nt in t"# #m*"asison %it#ratur# as l'au$re de lanae -"i&" i,#nti!i#s %an)ua)# as t"# s*a&# o! %it#ratur#( /uta%so s##s t"# %att#r as a &riti&a% ,ou/%in) or &ont#station o! t"# !orm#r+ 9; T"# turn to

%an)ua)#( "o-#$#r( is *r#s#nt#, / Fou&au%t as a r#s*ons# to t"# ,#at" o! 'o,( or t"#a/s#n&# o! a sta/%# %o&us o! sm/o%i& m#anin)+ It is o$#r t"# insist#n&# o! t"is <u#stion


































t"at ,i$#r)#n&#s &an /# r#&o)ni=#,+ T"# #ss#ntia%% mo,#rnist <u#stion o! -"at %it#ratur#&an ,o on&# t"# )o,s "a$# ,#*art#,( in t"#ir a/s#n&#( ,#t#rmin#s Fou&au%t3s ar)um#nts(in!%u#n&#, / t"# -or2 o! %an&"ot+ H%,#r%in is a &ru&ia% r#!#r#n&#:*oint !or /ot" &riti&s("#n&# *#r"a*s *el +uel 3s "#sitation to intro,u&# H%,#r%in into its &anon+ T"# <u#stion !orFou&au%t r#mains0 -"at !un&tion &an %it#ratur# "a$# in t"# a/s#n&# o! 'o,Q *el +uel 3sr#s*ons# to t"is %oss s##ms to /# som#"o- /#on, t"# mo,#rnist !ram# a%t"ou)" t"#

<u#stion ,o#s not so mu&" /#&om# irr#%#$ant as si,#:st#**#, in a mor# *r#&is# !o&us ont"# *ro&#ss o! t#.tua% *ro,u&tion+ T"is !o&us soon turns into a s&i#n&# o! t"# t#.t( in -"i&"%in)uisti&s an, *s&"oana%sis /#&om# t"# t-o *o%#s o! s&i#nti!i& aut"orit+ For *el +uel (t"#r#!or#( s&i#n&# ,is*%a&#s t"# <u#stion o! t"# a/s#n&# o! ,i$in# aut"orit+ "#n t"#s&i#nti!i& r#!#r#n&#s ar# #$#ntua%% #$a&uat#, / t"# $#r *ro&#ss o! t"# #%a/oration o! at"#or o! t"# t#.t in t"# 19@s( t"# r#!#r#n&# to r#%i)ion r#turns( /ut on $#r ,i!!#r#nt)roun, 6s## C"a*t#r ;+ T"# ,i$#r)#n&# in <u#stion turns aroun, t"# *#rman#nt insist#n&#on a/s#n&# in Fou&au%t an, %an&"ot3s %it#rar t"ou)"t( an, *el +uel 3s turn to s&i#n&#+"i%# t"# %att#r a**roa&" is *#r"a*s s#%!:,#stru&ti$#( t"# a**%i&ation o! s&i#n&# to an#%#m#nt t"at su/$#rts its *rin&i*%#s an, %#a,s to an a!!irmation o! t"# trans&#n,#nt( t"#!orm#r r#$#a%s its %imitations in an ina/i%it to *ro&##, /#on, t"# ,i&"otom o! a/s#n&#an, *r#s#n&# -"i%# *el +uel 3s %it#rar t"#or ,#$#%o*s into som#t"in) t"at !a%%s n#it"#r-it"in mo,#rnism nor -it"in *ost:mo,#rnism( Fou&au%t3s t#.ts on %it#ratur# ar# %imit#, tot"# !irst "a%! o! t"# 198@s+ T"# sam# ,i$#r)#n&# is *#rtin#nt in t"# *r#s#nt( /#t-##n t"#

#m*"as#s o! So%%#rs an, L3In!ini an, t"# *"i%oso*"ori#nt#, %it#rar &riti&ism o! D#rri,aan, -rit#rs su&" as #an:Lu& Nan&+ 95

ormalismT"# #&%#&ti& int#rs#&tions in t"# a$ant:)ar,# #!!#&t#, in *el +uel in t"# *#rio, !rom 198to 198 ar# ma,# %#ss ,i!!us# / t"# #m*"asis on !orm an, ana%sis in t"# r#$i#-+ In t"iss#ns# t"# !orma%ism o! t"# r#$i#- ,is*%a&#s an asso&iation -it" t"# a$ant:)ar,# t"rou)"-"i&" t"# r#$i#- mi)"t "a$# /#&om# !i.#, in a *r#,i&ta/%# *%a&#+ A 2# mom#nt is t"#im*ortation an, intro,u&tion into t"# Fr#n&" &ont#.t( / *el +uel ( o! t"# -or2 o! t"#Russian !orma%ists !rom t"# 19?@s an, 19@s+ T"# &on4un&tion -it" t"# Russian !orma%istsis #."i/it#, /ot" in t"# *u/%i&ation o! arti&%#s in *el +uel an, / r#!#r#n&#s to t"#m / t"#

-rit#rs o! *el +uel + 98 T"# ma4or #$#nt in t"is &on4un&tion( "o-#$#r( is t"# *u/%i&ation( int"# 'Collection *el +uel' ( o! t#.ts / t"# Russian !orma%ists( #ntit%#, *héorie de lalittéature, collected and translated "y *:$etan *odoro$ in -/2.

*odoro$'s pu"lication and the consequent pu"lici:in of the 5or8 of the #ussian formalistsis an e$ent of e3treme importance not only for *el +uel "ut also for French literary theoryas such. 6hile #oman Da8o"son, a leadin mem"er of the formalists and of the PraueSchool of !inuistics, 5as pu"lishin material in France G and had "een specificallyimportant in pro$idin the enerati$e seeds of structuralism in his interaction 5ith !é$i9Strauss and in introducin important concepts such as the distinction "et5een the t5oa3es of linuistic sinification and the poetic function of lanuae, the #ussian formalistschool as an entity is un8no5n @in France4 it 5as already familiar to anlophone readersuntil *odoro$'s pu"lication. *he importance of the con?unction 5ith #ussian formalism

more specifically for *el +uel is e$ident in a num"er of 5ays. Philosophical, psycholoical,and soci9oloical approaches to the te3t are re?ected in the name of an approach 5hichconcentrates on the immanent structure of the te3t or on the system of literature. )n theconte3t of the specific history of #ussian formalism this approach larely resultedneati$ely from opposition to the traditional approach of Pote"nia and Qesilo$s8y and ofthe sym"olists. *he approach 5hich relies upon e3tra9literary phenomena, accordin tothe formalists, results in a mass of conflictin opinions and confusion, notions ofdecoration and realism, all resultin from a primary lac8 of distinction "et5een thelanuae of literature and the lanuae of ordinary discourse. 1

*he most important aspect of the #ussian formalist approach for *el +uel is the ad$ocacyof an approach to literature as a system 5ith its o5n la5s. *his emphasis catalyses atendency already present in the re$ie5. #esultin from this primary distinction, "et5eenliterary discourse and ordinary discourse, #ussian formalism and its French counterpart present themsel$es as a research into litterarité. *his research is carried out on asynchronic le$el, "y the comparison of literary discourse 5ith ordinary discourse.


















!inuistics, particularly Saussurean linuistics, is an important asset. *he distinction"et5een synchrony and diachrony, "et5een system and incidence @lanue and parole-#r# #!!i&i#nt in &%#arin) u* a %a&2 o! &%arit in &riti&ism+ T"is im*#rati$# a%so &on,ition#,an #n<uir into t"# ,i!!#r#n&# /#t-##n *ros# an, *o#tr( t"# inn#r %a-s o! )#nr#( an, t"#r#%ation o! -or2s to #a&" ot"#r+ Con&#rnin) t"# %att#r <u#stion t"# !orma%ists -ou%,intro,u&# t"# &on&#*t o! t"# s#ri#s an, o! &orr#%ation( -"i&" Fou&au%t "a, a%r#a, "int#, at

in 3Distan&#( as*#&t( ori)in#3( an, -"i&" Krist#$a -ou%, r#*%a&# -it" t"# notion o!int#rt#.tua%it+ T"# *ositi$isti& %imitations o! !orma%ism( -"i&" ,i, not s##2 to #%a/orat# at"#or o! %it#ratur# an,( ,#s*it# t"# &%imat# o! r#$o%ution( -as not a *ro4#&ti$#( ra,i&a%&riti&ism( -#r# !air% soon su*#rs#,#, / t"# ,#$#%o*m#nt o! t"# -or2 o! Ro%an, art"#s(an, t"# arri$a% o! Krist#$a+

"olan =arthesT"# &"ara&t#r o! art"#s3s #ar% int#ra&tion -it" *el +uel is s"o-n in t-o int#r$i#-s&on,u&t#, -it" "im( t"# !irst in 198?( t"# s#&on, in 198;+ 1@@ "i%# t"# !irst s##s art"#s*ointin) out t"# %imitations o! a#st"#ti&ism( t"# s#&on, str#ss#s %it#ratur# as si)ni!i&ation(an as*#&t o! art"#s3s s#mio%o)i&a% ori#ntation o! t"# mom#nt+ It is un,#r%in#, t"at

%it#ratur# is a s#&on,:or,#r si)n:sst#m( ma,# -it" %an)ua)#( /ut ,i!!#r#nt !rom %an)ua)#in t"at it ,o#s not *ur*ort to si)ni! a r#a%( /ut rat"#r t"# !a&t t"at it is %it#ratur#+ 1@1 "i%#t"is r#!#rs /a&2 to art"#s3s #ar%i#r !e <eré :éro de l'ériture, the semioloical emphasis points to further de$elopments4 it is after this inter$ie5 that the relations "et5een =arthesand *el +uel "ein to "ecome more mutually "eneficial. *el +uel offers to =arthes asuita"ly mo"ile site for a continuous mutual friendship and a 5elcome place of pu"lication,"ut if =arthes's nausea for hysteria seems contradicted "y his interaction 5ith the re$ie5,it must also "e remem"ered that there is in =arthes's 5or8 a continual tendency to5ardsmilitancy, a tendency that *el +uel allo5s him to continue 5ithout committin himself.#ather than, as is usual, to stress the idiosyncrasies of the re$ie5's influence on =arthes,it is perhaps more illuminatin to underline that =arthes sets an e3ample of sinularityimportant for *el +uel. =arthes's interaction 5ith the re$ie5 soon emeres as a stronsupport and a parallel articulation of the e3perience of 5ritin 5hich associates it 5ith theacademic conte3t. *his articula9tion ta8es place in articles in Critique and in the seminar at

the EPE.

T"# s#minar &onstitut#s not on% a $ita% sit# o! #.*%oration /ut a%so a m##tin):*%a&#/#t-##n t"# *ro4#&t o! *el +uel an, o! s#mio%o)+ So%%#rs3s #ssa on >a%%arm(3!ittérature et totalité3 -as ori)ina%% )i$#n as an #.*os8 in t"is s#minar in No$#m/#r1985+ It is a%so t"rou)" t"# s*a&# o! t"is s#minar t"at u%ia Krist#$a !irst #n&ount#rsSo%%#rs an, *el +uel + In 1988 s"# -i%% intro,u&# a2"tin# into Fran&# t"rou)" t"is s*a&#+ 1@?

art"#s3s -or2 is a%so in!%u#n&#, in its ,#$#%o*m#nt / "is int#ra&tion -it" t"# r#$i#-+ T"#*assa)# 3!rom t"# -or2 to t"# t#.t3( a-a !rom stru&tur# an, to-ar,s *ro&#ss an, *%a( istra&#, -it" s#nsiti$it in Ann#tt# La$#rs3s /oo2 #oland =arthes; Structuralism and After +1@ It is in #$i,#n&# in t"# ,#$#%o*m#nt o! art"#s !rom t"# stru&tura%% uto*ian Élémentsde sémioloie 6 198; an, Syst(me de la mode 6 198 to t"# mor# %u,i& an, su/4#&ti$#%

ori#nt#, SY 6 19@ an, !'Empire des sines 6 19@+ It is &arri#, t"rou)"( m#an-"i%#( /t"# !o&us on SoH#rs3s t#.ts( on ot"#r -rit#rs asso&iat#, -it" t"# r#$i#- su&" as Sar,uan, 'uotat( an, / t"# !or&# o! Krist#$a3s r#r#a,in) o! s#mio%o)+ For t"# *ur*os#s o! t"#r#%ations -it" *el +uel ( "o-#$#r( t"# 2# t#.t is t"# 1987( !ootnot#, $#rsion o! t"# arti&%#3Dram#( *oGm#( roman3( ori)ina%% *u/%is"#, in 1985( &on&#rnin) So%%#rs no$#% <rame+

T"# r#%ation /#t-##n t"# !irst $#rsion o! t"# #ssa an, its 1987 annotations i%%ustrat#s -#%%t"# mo$# to-ar,s a %#ss !orma%ist or stru&tura%ist *#rs*#&ti$#+ art"#s r#&o)ni=#s( !or#.am*%#( t"# %imitations o! stru&tura%ism3s ant"ro*o%o)i&a% /asis0 3 poser un hori:onanthropoloique, c'est fermer la structure, donner, sous le cou$ert scientifique, un arrtdernier au3 sines3+ 1@;

art"#s mo$#s to-ar,s a %#ss #n&%os#, a**roa&" to t"# t#.t( !or -"i&" si)ns ar# not

in,i&#s o! a stru&tur# /ut ,iss#minat#, an, in!init#% ,is*#rs#,+ T"# a&ti$it o! t"# r#a,in)o! t"# t#.t( an, t"# -a t"# su/4#&ti$it o! t"# r#a,#r is #n)a)#, / t"# t#.t( /#&om#

















mor# im*ortant+ At t"# sam# tim#( t"# t#.t a**#a%s to or su/$#rts t"# &o,#s o! i,#o%o)(-"i&" -i%% /# t"# !o&us o! SY + "i%# t"# mo$#m#nt to-ar,s i,#o%o) is a mar2 o! t"#*o%iti&i=in) &%imat# o! t"# tim#( t"# #n)a)#m#nt o! t"# su/4#&ti$# s"o-s a &#rtain r#a&tiona)ainst stru&tura%ism( -"i&" r#!%#&ts a mor# )#n#ra% tr#n, in t"# &ont#.t+ From no- on(-it" art"#s #sta/%is"#, as an a%% o! t"# )rou*( "is &ontri/utions -i%% o&&u* t"is un#ass*a&# /#t-##n t"# i,#o%o)i&a%( ,#msti!in) im*#rati$# an, t"# #n)a)#m#nt o! t"#

su/4#&ti$it o! t"# &riti&( an, o! "is sin)u%ar tast#s+

4syhoanalysisT"# *ro/%#ms o! t"# a$ant:)ar,#( *arti&u%ar% an asso&iation -it" an #.*%oitation o! t"##roti&( ar# a%so ,is*%a&#, t"rou)" t"# ,#$#%o*m#nt o! a r#!#r#n&# to *s&"oana%sis in t"#r#$i#-+ Ho-#$#r( t"is a**roa&"#s t"# mom#nt o! t"#or !rom a <uit# s*#&i!i& )roun,+From 198@ to 1988( *s&"oana%sis "a, /##n )ainin) )roun, as a *ri$i%#)#, r#!#r#n&#:*oint !or %it#rar &riti&ism or t"#or+ "#n La&an Écrits -#r# *u/%is"#, in 1988 t"#r# -as a$#rita/%# #.*%osion o! t"#or aroun, "is -or2( )#n#rat#, a%so / t"# s#minar an, t"# -or2o! A%t"uss#r an, "is *u*i%s at t"# ENS+ Fr#u,ian *s&"oana%sis o! a ,i!!#r#nt ori#ntation-as not( "o-#$#r( #&%i*s#,( an, in t"# #ars %#a,in) u* to t"# Écrits t"#r# -as a

*ro%i!#ration o! *s&"oana%ti&a% *#rs*#&ti$#s( som# r#*r#s#nt#, in Critique( su&" as t"#-or2 o! An,r 'r##n+ *el +uel s"o-#, its#%! r#%u&tant at !irst to ta2# on t"# La&anianmonum#nt( /ut in&r#asin) r#!#r#n&#s to "is -or2 in t"# mi,:,#&a,# %#a, u* to t"#ann#.in) o! La&anian t"#or to a théorie d'ensem"le in 1987+ 1@5 T"# &ru&ia% *ossi/i%it !ort"is snt"#sis -as La&an3s us# o! t"# stru&tura% %in)uisti&s o! a2o/son an, Saussur#( an, a!o&us on t"# si)ni!i#r( on %an)ua)# as su&"( as stru&tur# o! t"# un&ons&ious or as t"#in#$ita/%# m#,iatin) )ri, o! "uman sm/o%i& a&ti$it+ Lan)ua)# s##n in its mat#ria%it/#&am# a ,#!init# !o&us !or *s&"oana%sis( #n)a)in) -it" %it#ratur#+ T"# *ro.imit o! t"#t-o #n<uiri#s( ana%sis an, %it#rar &riti&ism( %#a,s to int#ns# an, !rau)"t r#%ations in t"#n#.t ,#&a,#+ Initia%%( "o-#$#r( *el +uel is r#sistant to t"# *ot#ntia% *s&"o%o)i&a%im*%i&ations o! *s&"oana%sis( an, its #n)a)#m#nt is mor# -it" t"# %it#ratur# o! ,r#ams+

T"# !irst &ou*%# o! #ars s"o- a mar2#, int#r#st in t"# non:rationa%( %# non:sa$oir inatai%%#3s t#rmino%o)( an, it is in t"is s#ns# t"at it is o! int#r#st !or *el +uel + T#.ts /atai%%#( Cai%%ois( or)#s( an, >i&"au. /#ar out t"is int#r#st an, a**roa&"+ It is not #tin!orm#, / a r#a,in) o! Fr#u, t"# main r#!#r#n&# is to Fou&au%t3s intro,u&tion toins-an)#r3s #$e et e3istence, an e3istential psycholoy filtered throuh a philosophical perspecti$e. -0/ *his emphasis on the non9rational, 5hich in the te3ts of Caillois and insome of the no$els of the roup tends to concentrate e3clusi$ely on dreams, is ela"oratedas a specific interest in the follo5in years.

au,r3s r#$i#- o! 3In$#sti)ations *s&"osomati<u#s3 / >i&"#% ,# >3U=an( Pi#rr# >art(an, C"ristian Da$i, o! t"# non:La&anian SPP !o&us#s on ,r#ams+ 1@ T"# t"#or#ti&a% ors&i#nti!i& $a%u# o! t"is in$#sti)ation is not( "o-#$#r( un,#r%in#,( -"i&" %#a,s to t"#in!#r#n&# t"at t"# int#r#st "#r# is %#ss in *s&"oana%sis t"an in ,r#ams as a t#.t(su))#stin) a *ro.imit -it" Surr#a%ism+ T"# %an)ua)# o! ,r#ams is a%so t"# su/4#&t o!So%%#rs3s r#$i#- o! H#r$# ,# Saint:D#ns !es #$es et les moyens de les din8er. -01

Parallels 5ith the Surrealists are aain suested "y this emphasis on a non9Freudian,non9scientific, and non9analytic approach to dreams. o5e$er, dreams are presented "ySollers as a thouht that e3ceeds rationality, and therefore as a lanuae, and he critici:esthe 5riter for his lac8 of insiht into dreams as a lanuae. ere Sollers at the same time points to future de$elopments and indicates the limitations of the non9analytic approach"y proposin that dreams "e seen as sins. Sollers's formulation a5aits a fertili:ation, as it5ere, "y a scientific readin of Freud *he )nterpretation of <reams, or "y a !acaniantheory of the unconscious as 'structured li8e a lanuae', an encounter that 5ill ta8e placein -/, 5hen Sollers and =audry attend the seminar.

*he interest in pre9Freudian or non9Freudian psycholoy is continued 5ith a re$ie5 ofHroddec8 !e !i$re du %a, 5hile in his re$ie5 of Marthe #o"ert's "ioraphy of Freud,*hi"audeau also affirmati$ely reconi:es Surrealism's in$ol$ement 5ith Freud. -0 A more

specifically psychoanalytical interest is indicated 5ith =audry re$ie5 '!e #$e de lalitterature', a critical re$ie5 of a 'Choi3 de r$es' "y Dean Paul, the eihteenth9centuryHerman 5riter. --0 *he perspecti$e on dreams as treated in literature is informed "y the





















same readins as Sollers '!oique de la fiction', as =audry notes; 'les ordres du su"?ectifet de l'o"?ectif sem"lent se dissoudre dans le milieu onirique, s'il est $rai que le r$eurha"ite et anime les o"?ets qui lui sont proposés'. ---

*he dream 5orld is a milieu of continuity parallel to the te3t. )t is this parallel thatcharacteri:es *el +uel's approach to psychoanalysis, =audry e3tendin the parallel to

descri"e the dream as an intermediary space, 5hich is theoretically the same as theinterior or continuous space of the te3t. )t is a space in 5hich contradiction is not annulled"ut thouht throuh as a fiure of thouht crucial to "oth literature and the on#iri& -or%,+au,r3s *ara%%#% /#t-##n t"# t#.t an, t"# ,r#am is a &riti&a% n#.us !or t"# t"#or o! *el+uel 0

!e r$e, la situation du r$eur l'interiéur de son r$e, fait soner un li$re qui racontaitau lecteur, dans l'instant mme o^ il le lit, sa propre lecture et cette lecture serait la $ie.En fait, nous $i$ons nos r$es mais nos r$es nous lisent + 11?

T"# #m*"asis on %i!# as a t#.t( to /# r#a,( in,i&at#s t"# s#mio%o)i&a% ori#ntation o! t"#r#$i#-( /ut t"# &orr#s*on,in) #m*"asis on t"# mise en a"_me an, on t"# *ro,u&ti$it o!r#a,in)( as a -ritin)( at t"# sam# tim# *r#!i)ur#s t"# s*#&i!i& t"#or o! t"# t#.t o! *el

+uel as écriture9lecture an, *ro&#ss+ T"is -i%% /# t"# !oun,ation !or t"# mor# t"#or#ti&a%%!ram#, ana%o)i#s o! *héorie d'ensem"le.

6ith <errida's essay on Freud in -/ *el +uel anne3es a specifically non9!acanian psychoanalysis. At the same time, ho5e$er, !acanian analysis "ecomes increasinlyimportant as a strateic reference in articles "y Sollers, Pleynet, and =audry, and inarticles contri"uted "y Michel *ort and "y u"ert <amisch to the special issue on Sade, fore3ample. --2 *he references are predominantly affirmati$e, "ut at the same time suest acertain reluctance to apply this theory to the literary te3t 5holesale. A readin of !acan5ith relation to literature 5ill not "e enaed until much later, suestin that there is anunresol$ed tension here "ehind the strateic support.

)n the period in question *el +uel functions to "rin toether di$erse currents; from

structuralism, formalism, psychoanalysis, the a$ant9arde in paintin and other arts.*hese are re$ie5ed in a spirit of analysis 5hich focuses on the formal le$el of the creati$e practice and the production of sense. *he disparate elements do not, ho5e$er, form acoherent theory in the precise sense of the term4 the ela"oration of a theory specific to there$ie5 is more present in the articles of Sollers on a series of te3ts, identified as the limitsof literature. *hese te3ts are collected in the "oo8 !oiques, pu"lished in -/1.

L("-C. (, T) L-*-T)t is larely due to the efforts of Sollers and *el +uel that 5riters such as Artaud, =ataille,Sade, and !autréamont ha$e "ecome the focus of theoretical and te3tually orientedcriticism. Sollers's 5or8, part of an on)oin) &riti&a% an, %it#rar *ro4#&t t"at &ontinu#s -it"

!')nfini, defines the specificity of *el +uel's theory of literature. )t does not, ho5e$er,operate in a $acuum. )t is closely connected to the 5or8 of Marcelin Pleynet and othermem"ers of the roup, and later to the 5or8 of >riste$a particularly. )t is also $ery much part of the conte3t of the re$ie5 and more enerally of the ro5in interest in the marinsof literature and culture that had "een prefiured in the 5or8 of =ataille, =lanchot,=arthes, and Foucault, 5hose istoire de la folie @ -/- emphasi:es the idea of themarin as an inde3 of 5hat has "een e3cluded or repressed. *he esture these andSollers's enquiries follo5 is to reassess culture from the perspecti$e of the limit, 5hencethe appellation the 'limit te3t'.

The )x#erience o$ 5riting

*he e3perience of 5ritin that is cele"rated and analysed in Sollers "oo8 !oiques, in *el+uel enerally throuhout its career, and since then in !')nfini, is fundamentally the same4it defines the continuity of the thirty9four9year e3istence of *el +uel and !')nfini. )t is












fundamentally a sacrificial $ie5 of literature, such that the author is sacrificed to the5ritin4 this is the sense in 5hich =arthes's 'death of the author' is rele$ant. 6ritinin$ol$es an e3perience of alienation and su"?ecti$e death, and this e3perience, throuh a8ind of transference, is also that of the readin process. *his is e3plicitly $isi"le in thete3ts Sollers identifies initially as the limits of literature.

Artaud 5rites in his letters to Dacques #i$i(re; 'De souffre d'une effroya"le maladie del'esprit. Ma pensée m'a"andonne tous les derés.' -- Sollers interprets this alienationfrom thouht as the fiure of a dou"le, or a duality, "et5een thouht and lanuae, in5hich it is the "ody that is fundamentally at sta8e; 'Ce qu'il décrit, ce qu'il crie, c'est ?ustement l'a"sence de corps que de$rait tre cette pensée, sa déperdition, et la torturequ'elle lui fait su"ir.' --

For Sollers, Artaud li$es and 5rites the "odily e3perience of alienation 5hich deri$es fromthe insiht that lanuae spea8s throuh and across, 5ithout the "ody.

<ante tranfers the sacrifice in question $icariously to =eatrice. Sollers 5rites; 'la mort de=éatrice est la clef du lanae de <ante, car "ien plus que la mort d'un autre, elle est laseule fa%on qu'il a de $i$re la sienne et de la parler 3+ 118

Dant# t"#n !in,s "ims#%! %ost in t"# mi,,%# o! %i!#3s *assa)# 63Nel me::o cammin di nostra$ita3 11 to t"#n tra$#rs# its un,#r-or%, an, its a!t#r:%i!# in t"# Di$in# Com#,+ >a%%arm-ou%, #&"o Dant#3s %oss in "is *"ras#0 3!a destruction rut ma =éatrice+3 117 >or# #.*%i&it%("# -ou%, -rit#0 3 De $iens de passer une année effrayante . . . Ma pensée s'est pensée, etest arri$ée une Conception pure . . . mais, heureusement, ?e suis parfaitement mort +3 119 T"# r#a%i=ation in$o%$#, is t"at 3la pensée3( mani!#st#, in %an)ua)#( "as its o-n ru%#s an,int#ntions( 3que la raison ne connait pas3+ T"ou)"t is a &urr#nt t"at t"# su/4#&t is situat#,-it"in( not outsi,# as its aut"or+ T"# %in2s -it" 3!oique de la fiction3( -"i&" /#)ins!oiques, are e$ident. *he autonomy of thouht and lanuae, the sacrifice of identity andof the "ody to this current, is the first stae of the e3perience Sollers is concerned 5ith,and 5hich he, as a 5riter, is implicated in.

*he 5riter does not, "ecause of this sacrifice, fall into silence. 6ritin tra$erses thouht,dou"lin it, attemptin to run 5ith it, to contest it. )n some cases this leads to psychosis,as in the cases of lderlin and Artaud. Artaud's apparently psychotic multiple personalities, lderlin's sinin under o"scure names, are sins of the occupation of the5ritin "y the memory of lanuae, "y other $oices. !autréamont's list of 'Hrandes ttesmolles' in the Poésies put this in a more loical frame. <ante tra$ersal of the )nferno,Puratorio, and Paradiso is read "y Sollers as a tra$ersal of the strata of lanuae, 5hichhe calls an 'archéoraphie'. -B0 )n some senses this pro?ect mirrors Foucault's attempt to5rite an 'archaeoloy of the human sciences', to tra$erse the system of discourses, "utthe epistemoloical "asis is different.

*here is, still, a su"?ecti$ity of the 5riter. Su"?ecti$ity, "ein sacrificed, is rein$ented inthe 5ritin. )n one sense it is multiple and framented4 Proust A la recherche du temps perdu is a paradimatic te3t in this respect. *he e3perience of framentation in 5ritinthat is so e$ident in the poetry of Pleynet and99a ma?or influence99lderlin, is ane3perience of the multiple su"?ecti$ities lanuae affords. Not only e$ery punctualincidence of ?e "ut also its structural opposites, tu and il or elle+ Rim/au,3s ,i&tum 3 De estun Autre3 &ou%, /# r#!ormu%at#, 3 De est Autres3 to r#*r#s#nt t"is #.*#ri#n&# o! su/4#&ti$#!ra)m#ntation+ It is an a-ar#n#ss t"at t"# in,i$i,ua% $oi&# is *o*u%at#, / in!init# $oi&#s+In %it#ratur# t"is is an a-ar#n#ss o! t"# *orousn#ss o! t"# -ritin) -it" r#)ar, to %it#rar"istor+ H#n&# t"# im*ortan&# o! t"# notion o! int#rt#.tua%it+ It is an 3an.i#t o! in!%u#n&#31?1 -"i&" r#&o)ni=#s t"# $oi&#s o! mu%ti*%# )"osts #manatin) !rom a *ast to -"i&" t"#su/4#&t "as no imm#,iat#( aut"oria% a&&#ss+

T"# #.*#ri#n&# is o! t"# sa&ri!i&# o! i,#ntit( aut"ors"i*( t"# /o,( an, o! /#&omin) in t"#-ritin)( /#&omin) t"rou)" t"# -ritin)+ It is #ss#ntia%% an #.ist#ntia%ist #t"i& o! /#&omin)-it" -"i&" So%%#rs is &on&#rn#,+ In 3!e #oman et l'e3périence des limites3 "# "a,

*r#s#nt#, t"# <u#stion in t"#s# t#rms0 #it"#r -# %i$# a&&or,in) to som# #.t#rna%r#*r#s#ntation( -"i&" -# mi)"t *ostu%at# as natur# or "umanit( or -# %i$# a&&or,in) to



























t"# si)ns *ro,u&#, / t"ou)"t+ 1?? Lit#ratur# is a *ri$i%#)#, #.*#ri#n&# o! t"is *ro,u&ti$itt"# -rit#r #.*#ri#n&#s "is t"ou)"t to an o!t#n %i!#:t"r#at#nin) ,#)r##+ T"ou)"t *ro,u&#ssi)ns( mor#o$#r+ So%%#rs3s #ssa on Artau, mis<uot#s >a%%arm in its tit%#0 '!a Pensée émetdes sines' + T"# %imit is a**roa&"#, an, tra$#rs#, -"#n t"# -rit#r att#m*ts not to r#*r#ssor to /%o&2 t"is #mission( /ut to s-im -it" its &urr#nt an, to a%%o- t"# &urr#nt to,#t#rmin# %i!#+ Or( sin&# t"is ,#t#rmination im*%i#s a !air% ra,i&a% *osition( it is *#r"a*s

mor# o!t#n a <u#stion o! a &on!%i&t /#t-##n t"# *"#nom#na%( so&i#ta% as*#&ts o! t"#-rit#r3s #.*#ri#n&#( an, t"# #.*#ri#n&# o! %an)ua)# or t"ou)"t as autonomous an,in!init#( trans)r#ssi$#( -it" r#)ar, to t"is %#$#%+ io)ra*" is !ar !rom irr#%#$ant+ T"#-rit#r3s %i!# is in,i&ati$# o! "o- t"# #.*#ri#n&# is %i$#,+ At mom#nts t"is %i!# #nt#rs into&on!%i&t -it" t"# so&ia%( at its %imit *oints o! ma,n#ss 6 Artau,( Rouss#% an, o! #roti&isman, $io%#n&# 6 Sa,#( atai%%#+ It is a%so r#a**ro*riat#, -it"in a $i#- o! %it#ratur# as,#&oration or r#*r#s#ntation( or as *o#tr 6 Dant#( or it ma /# ,ismiss#, as o/s&urantist6 >a%%arm an, Lautramont+ T"# %imits o! %it#ratur# -it" -"i&" So%%#rs is &on&#rn#, ar#,#t#rmin#, / t"# &on!%i&t /#t-##n an #.*#ri#n&# o! -ritin) an, so&ia% ,is&ours#+

:hy Theory

So%%#rs #ssas in !oiques ar# %ar)#% #.#&ut#, -it"out r#!#r#n&# to t"# a**aratus o!&riti&ism aroun, t"# -or2s in <u#stion+ T"is is o!t#n ,u# sim*% to t"# %a&2 o! su&" ana**aratus( !or #.am*%#( in t"# &as#s o! Lautramont( Artau,( an, atai%%#+ O/$ious% t"#t-o ma4or *r#&usors( "#r#( an, !or Sa,# an, >a%%arm( ar# t"# Surr#a%ists an, %an&"ot+T"#s# ot"#r ,is&ours#s ar# r#&o)ni=#,( ,ismiss#, /ri#!%( /ut not &on!ront#,( %#a$in)s#rious a*orias in So%%#rs3s -or2 in t#rms o! its situation in t"# "istor o! &riti&ism+ 1? Int"# &as# o! Dant#( !or #.am*%#( So%%#rs3s int#r*r#tation is so !ar r#mo$#, !rom t"# norma%s&"o%ars"i* t"at it ,o#s not #nt#r t"# !ram# at a%%( a%t"ou)" So%%#rs3s #ssa -asa&&om*ani#, / #ssas / S&"#%%in)( i&o( an, a Dant# s&"o%ar -it" a s#mio%o)i&a%a**roa&"+ 1?;

In !a&t( t"#s# ar# #ss#ntia%% &%os# r#a,in)s o! t#.ts( #%a/oratin) a t"#or o! %it#ratur#t"rou)" i,#nti!i&ation o! a &ommon( /ut sin)u%ar( #.*#ri#n&#+ In #%a/oratin) t"is t"#or("o-#$#r( So%%#rs ,o#s ma2# $arious a**#a%s an, r#!#r#n&#s to t"#or#ti&a% a**aratus#s(-"i&" %in2 "is r#a,in)s to t"# t"#or#ti&a% #.*ansions o! t"# tim#+ T"# "istori&a% !i)ur#sSo%%#rs r#!#rs to ar# Ni#t=s&"#( >ar.( an, Fr#u,( t"#ir &ont#m*orar int#r*r#t#rs art"#s(La&an( D#rri,a( A%t"uss#r+ A!t#r 198 Krist#$a -ou%, 4oin t"is i%%ustrious &om*an+

Som# o! So%%#rs3s #ssas ar# $#r mu&" %in2#, to t"is ,#$#%o*in) &ont#.t o! t"#or( as t"is&ont#.t is &arri#, / t"# ,#$#%o*m#nt o! t"# r#$i#- *el +uel its#%! an, sin&# som# o! t"#s#!i)ur#s *u/%is" -or2 in *el +uel. <errida essay on Artaud in !'Écriture et la differenceaccompanied that of Sollers in a special issue on Artaud, includin a piece "y Artaud'semissary Paule *hé$enin. -B =arthes essay on Sade, '!'Ar"re du crime' 5as part of the-/G special issue on Sade 5hich also appealed to an older eneration 5ith a te3t "yPierre >losso5s8i and to a contemporary psychoanalytical and philosophical conte3t 5iththe articles "y Michel *ort and u"ert <amisch. -B/ Sollers's essay on Mallarmé 5as i$enas a seminar paper at =arthes's course at the École pratique. *he Lautramont #ssa -as

*u/%is"#, in Critique( 1? -"i%# t"# #ssa on atai%%#( '!e *oit' ( -as r#!us#, !or t"# s*#&ia%issu# o! !'Arc on atai%%#+ 1?7 So%%#rs3s #ssas a**#ar in *%a&#s t"at ti# t"#m into t"#&ont#.t o! *el +uel an, ot"#r &urr#nts+

T"# %in2 t"# #.*#ri#n&# o! t"# -ritin) at t"# %imit to t"# t"#or#ti&a% sst#ms in,#$#%o*m#nt( t"rou)" t"# us# o! t#rms an, t"# $o&a/u%ar o! %in)uisti&s:ori#nt#, &riti&ism+D#rri,a3s écriture "as o/$ious %in2s to t"# pensée qui émet des sines So%%#rs i,#nti!i#s inArtau,( an, t"# &on&or,an&# /#t-##n t"# t-o a**roa&"#s is #$i,#nt in t"# Artau, issu#+art"#s3s $ision o! -ritin) as an intransiti$# $#r/ is a)ain $#r &%os# to t"# r#&o)nition o!-ritin)3s autonom( %#a,in) to t"# *"ras# *#r"a*s #m/%#mati& o! *el +uel 3s *#rs*#&ti$# att"is sta)#0 %a s'écrit + 1?9 As &on&#rns t"# r#%ation to stru&tura%ist &riti&ism an, %in)uisti&s(So%%#rs t#n,s to us# t"# t#rmino%o) o! si)ni!i#rsi)ni!i#, an, énoncé énonciation in or,#rto su*#rs#,# it( sin&# it is too stati& an, /inar to &orr#%at# -it" t"# trans!ormati$#

mo$#m#nt o! -ritin) So%%#rs is &on&#rn#, -it"+1@

T"is %#a,s to a &om*%#. t#rmino%o) an,a n#o%o)i=in) t#n,#n& -"i&" )i$#s t"# -ritin) an o$#r:&om*%#. a**#aran&#+ T"# t#rmsmor# o!t#n t"an not ar# 4usti!i#, / a &ommon s#ns# o! tra$#rsa%+ T"# t#rms






























translinuistique, transfini su))#st t"# -a t"# -rit#r #.*#ri#n&#s or is su/4#&t#, to t"#*ast( /io)ra*"i&a%( "istori&a%( or %it#rar( t"#n r#a,s it( int#r*r#ts it( an, a,,s "im: or"#rs#%! to it at its %imit+ 11 Ot"#r t#rms r#%at# to a t"#mati&s o! n#)ation an, &ontra,i&tion0désénonciation, néati$ité, oui9non( contrascription 6a%% in t"# Lautramont #ssa -"i&" ist"# most t"#or#ti&a%% &om*%#. su))#st "o- %it#ratur# &om#s into /#in) as a n#)ation(-ritt#n a&ross an, a)ainst its *r#t#.ts+ 1?

T"# n#o%o)i=in) t#n,#n& an, its #.*%anation "#r# /#) t"# <u#stion0 -" t"#orQ T"is is#s*#&ia%% *#rtin#nt sin&# So%%#rs3s %at#r -ritin) is !ar %#ss t"#or#ti&a%% &om*%#.( -ritt#n ina mor# *o*u%ar( %#ss a/strus# Fr#n&"+ It is( t"ou)"( !air% ,i!!i&u%t to un,#rstan,( im*%in)t"at t"# su/4#&t in <u#stion is / its natur# &om*%#.( or t"at it r#sists &ommon s#ns#+ T"#a**#a% to t"#or ma /# ,u# to t"# &%imat# o! t"# mom#nt( -"i&" !a$our#, *ro%i!#ratin)t"#or#ti&a% sst#ms to su&" a ,#)r## t"at t"# t#rms t"#ms#%$#s -#r# n#$#r !i.#,(/#&omin)( in La&an3s t#rmino%o)( 3!%oatin) si)ni!i#rs3+ T"# !%oatin) si)ni!i#rs o! t"#or -#r#!i.#, an, un!i.#, at #$#r in&i,#n&# o! t"#ir us#( an, <uit# o!t#n -ou%, /# r#%#$ant on%!or t"# s"ort tim# o! t"#ir #$#ntua%it in an arti&%# or a /oo2+ T"#or *ro$i,#s ana%o)i&a%mo,#%s t"at #na/%# %in2s /#t-##n ,is*arat# ar#as su&" as %it#ratur#( *o%iti&a% #&onom( an,*s&"i& #&onom( %#a,in) to t"# /roa, snt"#s#s o! *héorie d'ensem"le an, %at#r( /utt#n,s to in4#&t into ,is&ours# an #.u/#ran&# an, *ro%i!#ration o! &on&#*tua% inno$ation-"i&" su/$#rts its o-n !i.it an, stru&tur#+

T"# t#rrorism o! t"#or is ,u# *art% to its !%otation( /ut t"is t#rror &an #asi% /# r#m#,i#,/ mor# ,#tai%#, r#a,in)+ T"#r# is *#r"a*s a mor# !un,am#nta% t#rrorism( as in or,#r tot"in2 t"# s*a&# -it" -"i&" So%%#rs is &on&#rn#,( a ra,i&a% %#a* o$#r t"# %imit "as to /#ma,#+ It is n#&#ssar to /# a/%# to s## t"# s*a&# o! ,is&ours#( so&ia% ,is&ours#( !rom a*oint at its %imit+ T"is *oint or %imit is t"# s*a&# o! %it#ratur# an, o! its t"#or+ #in)outsi,# so&ia% ,is&ours# an, *r#s#ntin) a r#int#r*r#tation o! it( t"#or is *aranoia&+ T"#oras *aranoia r#turns on t"# r#a,#r as t#rror( !irst( /#&aus# it r#<uir#s a %#a* outsi,# t"#s#&urit o! so&ia% i,#ntit an, mt"( s#&on,%( /#&aus# it *ro*os#s *"#nom#na as#ss#ntia%% !a%s#+ T"is %ast !a&tor %in2s t"#or in t"is &as# to a &#rtain r#%i)ious $i#- o! t"#-or%,( an, to a *o%iti&s -"i&" a**#ars as r#$o%utionar+ T"#s# as*#&ts -i%% /#&om#in&r#asin)% r#%#$ant in t"# &ours# o! *el +uel 3s "istor+

So t"# t"#or o! -"at is in !a&t an #.*#ri#n&# *r#s#nt in %it#ratur# #na/%#s snt"#s#s -it"*o%iti&s an, *s&"oana%sis+ T"is ma2#s *ossi/%# t"# arti&u%ation o! t"# #.*#ri#n&# o!-ritin) -it" so&ia% ,is&ours# s##n as s*#&ta&%# an, t"# #&onom o! t"# su/4#&t+ T"#t"#or#ti&a% !ront( a&ross %it#ratur#( *o%iti&s( an, *s&"oana%sis( -i%% /# t"# &%ima&ti&a,$#ntur# o! t"#or o! *el +uel. =oth the political and psychoanalytical encounters 5ill fail,5hile the e3perience of literature 5ill remain constant, later to "e lin8ed to the sacred.

Logic *atheatics Chinese Thought*he comple3ity and often the impenetra"ility of Sollers's 5ritin in !oiques, 5hich tendsalso to determine that produced "y other 5riters in the re$ie5 -22 i s in some partconditioned "y the reorani:ation of loic that is proposed. Essentially, Sollers issuestin that literature trans!orms t"# /asis o! t"ou)"t an, 2no-%#,)#+ T"# %it#rar t#.t(its &r#ation an, its a**r#"#nsion( is a trans!ormation at t"#s# most /asi& %#$#%s+ "i%#t"#r# is a &#rtain &ontinuit /#t-##n t"# ,i!!#r#nt t#.ts ana%s#,( su&" t"at t"#r# is a&onsist#nt %o)i& o! %it#ratur#( #a&" t#.t *ro*os#s a ,i!!#r#nt r#or,#rin) o! its uni$#rs#("#n&# t"# tit%# !oiques.

!oique in this sense has different connotations from the 5ord loic in Enlish, 5hich in philosophy is associated 5ith the analytic approach of, for e3ample, #ussell and6ittenstein. <espite the apparent difference, ho5e$er, Sollers does propose alternati$econceptions of, for e3ample, neation and contradiction. *his reorderin of conceptualloic 5as $ery much part of the atmosphere of the time. !acan, in his seminars, 5asmo$in to5ards the comple3 and some 5ould say irresponsi"le theory of 8nots, M"iusstrips, and interconnected loops that proliferated in the "aroque style of his 5or8 in the

-G0s. e had already proposed a num"er of diarammatic representations of theunconscious and its structures in the articles in Écrits. -2 *hey 5ere collected "y D.9A.
















Miller of the Cahiers pour l'analyse roup, in 5hose periodical appeared a num"er ofarticles "earin on loic, "y +uine, the mathematicians =oole and Cantor, and on6ittenstein. -2 Dulia >riste$a, ha$in arri$ed in -/ from =ularia, produced 5or8 of analmost oppressi$e comple3ity, referrin to mathemetics and loic and structurin herarticles numerically, as 6ittenstein *ractatus. -2/ *he loical imperati$e is $ery much partof the climate. *he title *héorie d'ensem"le 5as an e3plicit echoin of a 5or8 of the roup

of mathematicians 5ho pu"lished under the name =our"a8i, 5ritin in France at this time.-2G

)n *el +uel, ho5e$er, the references to mathematics, to the set theory of Cantor, fore3ample, -21 function perhaps more radically, since they are in a space 5here literature isthe focus. *he reference to this 'other scene' appears as a terroristic affront to thesentimental or romantic approach to literature and its mystery. *he suestion 5as thatthe mystery of literature could and should "e open to analyses of the most radical andformali:a"le nature.

It is not *#r"a*s ,#sira/%# or n#&#ssar in a /oo2 o! t"is sort to )o into t"# &om*%#.iti#s o!t"# r#!#r#n&#s to %o)i& an, mat"#mati&s t"at Krist#$a an, So%%#rs #!!#&t+ T"#ir !un&tion an,&"ara&t#r &an( "o-#$#r( /# su))#st#,+ In So%%#rs3s &as# t"# #ssa on Lautramont is t"#most &om*%#. in t"is &ont#.t( &omin) a!t#r an, r#!#rrin) to Krist#$a 'Pour une sémioloiedes pararammes' + 19 T"# *oints So%%#rs summari=#s !rom "#r arti&%# &an s#r$# as a us#!u%su))#stion o! t"# #ss#ntia% as*#&ts o! t"# trans!ormation o! %o)i& in <u#stion+

First( 3le fait de décrire le mécanisme des ?onctions dans une infinité perpétuelle3 1;@ 6 So%%#rs3s #m*"asis r#!#rs to t"# *#rmutati$#( &om/inatoria% mo$#m#nt o! %an)ua)#(-"i&" is *ot#ntia%% in!init#+ I! %an)ua)# is t"ou)"t as in!init#( &a*a/%# o! 3sain)#$#rt"in)3 63tout dire3 1;1 ( t"#n %it#ratur# &an /# s##n as t"# r#a%i=ation o! t"is *ot#ntia%+It o*#ns &%os#, stru&tur#s( su&" as t"at o! &ommuni&ation( to an in!init# *ro&#ss o! t"##n)#n,#rm#nt o! m#anin)+ T"is o*#nin) to l'infini is !rom a *oint or %imit r#!#rr#, to as3trans!init#3+ 1;?

S#&on,%( So%%#rs r#!#rs to 3la nécessité de penser la contradiction et la néation selon uneautre loique3+ 1; H#r# Krist#$a "a, *ro*os#, t"at &ontra,i&tion is %o)i&a%% *ossi/%# an,si)ni!i&ant in t"# %it#rar t#.t+ Du&ass#3s )#n#ration o! &ontra,i&tions in t"# Poésies, fore3ample, points to an interte3tual parodic en$elopment of apparent contradictions, oodand e$il, for e3ample, in the 'hiher' system of a ne5 te3t. Neation is determinati$e, thatis, it is not a denial or a repression. - &n the same su"?ect Pleynet refers in his "oo8 on!autréamont to the linuist =en$eniste's statement that linuistic neation has to enounce5hat it neates to "ein 5ith, so that the te3t itself is a contradictory site of neati$ity. - >riste$a sees literary te3ts as fundamentally neati$e in their relation to lanuae, literaryhistory, society. =ut as 5ell as a destruction, this is at the same time a creation. )n thissense neati$ity is a creati$e mo$ement. Contradiction and neation are in fact, forSollers, >riste$a, and Pleynet, the t5o "asic elements of the philosophy of Mar3ism, as5ell as its materialism. *he in$estiation of the philosophy of Mar3ism 5ill focus on theseelements @see Chapter 2, so that as 5ell as proposin a loic at odds 5ith that ofrationality, in 5hich t"# %a- o! non:&ontra,i&tion "o%,s 6M#s is t"# o**osit# o! No( -"i%#

So%%#rs r#!#rs to t"# oui9non o! %it#ratur#1;8

t"is as*#&t "in)#s into t"# ,#ns#*"i%oso*"i&a% ar)um#nts aroun, ,ia%#&ti&a% mat#ria%ism+

T"# t"ir, o! t"# %o)i&a% trans!ormations So%%#rs !ootnot#s is 3la mise en connection de la pensée mathématique et du te3te3 1; 6 So%%#rs3s #m*"asis+ T"is *ro*os#s sim*% to %oo2 att"# t#.t as a r#%ation o! si)ni!i#rs( t"at is( -it"out r#!#r#n&# to a *r#:)i$#n m#anin)( at its!orma% r#%ations an, its *ro,u&ti$it+ >at"#mati&a% r#%ations( as D#rri,a "a, r#mar2#,( ,onot r#!#r to a si)ni!i#, an, "a$# no r#!#r#nt( as mat"#mati&a% notation is an ar/itrar an,"i#ro)%*"i& sst#m+ 1;7 Loo2in) at -ritin) in t"is -a a%%o-s a %i/#ration !romint#r*r#tation an, a !o&us on t"# *ro&#ss / -"i&" m#anin) is )#n#rat#,+

Fourt"%( t"# t#.t is a 3=#ro *at"3 6$oie :éro+ 1;9 T"is su))#sts t"at it is s#%!:,#stru&ti$#+ Tos## t"# t#.t as #ss#ntia%% n#)ati$# is to s## it as a dépense( not *ro,u&in) m#anin)s t"at

&an /# #.&"an)#, in an #&onom o! $a%u#+ It a%so su))#sts t"# status o! t"# su/4#&tin$o%$#, in %it#ratur#( as non:su/4#&t( or a su/4#&t o! sa&ri!i&#+


















































T"# r#!#r#n&#s to %o)i& an, mat"#mati&s ar# an 3ot"#r s&#n#3 or anot"#r rationa%it+Lit#ratur#( at its %imits( *ro*os#s( a&&or,in) to t"is t"#or( a ,i!!#r#nt rationa%it !rom t"atu*on -"i&" t"# sst#m o! 2no-%#,)# o! t"# #st#rn -or%, is /as#,+ T"is its#%! )i$#s anim*#tus to anot"#r *o-#r!u% strain in So%%#rs3s( Krist#$a3s( an, *el +uel 3s t"#or#ti&a%-ritin) in )#n#ra%( -"i&" is t"# r#!#r#n&# to non:#st#rn *"i%oso*"i#s or tra,itions+ T"#r#!#r#n&#s ar# *r#,ominant% to C"in#s# t"ou)"t( a%t"ou)" In,ian *"i%oso*" a%so &om#s

into <u#stion+

15@

T"is )i$#s *el +uel an #!!#&t o! ra,i&a%it an, stran)#n#ss it is a%so at t"#sam# tim# inno$ati$# an, r#%at#, to a tra,ition in %it#ratur#+ It is inno$ati$# in its #.*%i&itan, s#rious r#%ation to "istori&a% s&"o%ars"i* on t"is su/4#&t( *arti&u%ar% t"# -or2 o! >ar&#%'ran#t 151 an, os#*" N##,"am 15? an, >as*#ro !e *aoism. -2 )t follo5s a certain traditionof literary interest in Chinese life and thouht, on the part of E:ra Pound, Pau% C%au,#%( an,An,r >a%rau.( !or #.am*%#+ T"# !irst t-o -rit#rs ar#( "o-#$#r( &riti&i=#, as i,#a%ist int"#ir r#%ation to C"ina+ 15; >or# r#s*#&t is )i$#n to Artau, an, atai%%#( -"o /ot" ma,#r#!#r#n&# to ori#nta% *"i%oso*" an, r#%i)ion+ In "is #ssa on atai%%#( !or #.am*%#( So%%#rsr#!#rs to C"in#s# Taoism as a r#%i)ion -"i&"( in &ontrast to C"ristianit( "as a *ro,u&ti$#r#%ation -it" s&i#n&#+ 155

It is in t"# #ssa on Lautramont / So%%#rs( -"#r# it a**#ars t"#r# is a ,#!init# s"i!t int"#or#ti&a% &om*%#.it( t"at t"# r#!#r#n&#s to C"in#s# *"i%oso*" ar# most a/un,ant( att"is sta)#+ So%%#rs r#!#rs( t"rou)" N##,"am( to Ts"ai C"#n( to 4usti! t"# notion o! 3une

pensée numéroloique3+ 158 T"# i,#a is t"at a t"ou)"t o! *#rmutation( or o! %an)ua)# as a*#rmutation o! si)ni!i#rs( o*#ns r#a%it to 2no-%#,)#+ Lan)ua)# in its mat#ria%it is a*ri$i%#)#, a&&#ss to t"# r#a%+ So%%#rs <uot#s t"# *"ras#0 3Si on connait lescommencements, alors on connait les fins+3 15 T"is is an anti:P%atoni& *"i%oso*" -"i&"s##s %an)ua)# as in!init# an, mat#ria%+ T"# *"ras# its#%! -i%% %at#r /# us#, / P%#n#t as astru&tura% moti! in Stan:e+ 157 T"is num#ro%o)i&a% t"ou)"t is a%so at t"# /asis o! So%%#rsno$#% Nom"res, pu"lished simultaneously 5ith !oiques, 5hich contains many unattri"uted prél($ements @samples from Chinese 5ritins, as 5ell as Chinese ideorams. )ts structureis loosely "ased on numeroloical thouht as presented in Hranet !a Pensée chinoise.

&ther references to Hranet and Needham in the essay on !autréamont are the firstinstances of an interest that accelerates up to the Maoist shift of -G- and the issue on'!a Pensée chinoise' of -GB. - )n this area *el +uel functions inno$ati$ely to "rin a

5hole area of 8no5lede into theoretical prominence. )t is the philosophical and aestheticaspects of the Chinese question that are of interest, more than the political. *he desire tosee "oth 5elded toether is 5hat fuels the Maoist persuasion of the re$ie5.

Mathematics and Chinese thouht are the 'other scenes' 5hich are introduced into theoryin Sollers !oiques, particularly in the essay on !autréamont and $ia >riste$a. *heterroristic aspects of this theoretical otherness are to "e 5eihed aainst the inno$ationand contri"ution to a thin8in of literature they afford. Sollers's 5ritin is often terroristicor *ro$o&ati$# at %#ast( an, ,#%i/#rat#% so( /ut at t"# sam# tim# it o!!#rs a sa$oir -"i&" itis ,i!!i&u%t to i)nor# or to ,ismiss+

The =oyT"# #.*#ri#n&# o! -ritin) a%i#nat#s( !ra)m#nts( an, !ina%% anni"i%at#s t"# /o,+ Artau, is a$#r #$i,#nt *ara,i)m o! t"is &or*or#a% a%i#nation an, sa&ri!i&#+ D#rri,a arti&%#( 3La Paro%#sou!!%#3 #m*"asi=#s t"# -rit#r3s !##%in) o! "is s*irit "a$in) /##n #ro,#,( 3sou!!%#3 /som# ot"#r( ant#rior *r#s#n&#( i,#nti!i#, or *ro4#&t#, as ,i$in#+ 18@ In t"# #ssa onatai%%#( So%%#rs out%in#s a $ision o! an 3&ritur# &or*or#%%#3 -"i&" -ou%, /# ti#, not to t"#-"o%# /o,( t"# *#rsona% /o,( /ut to its &ontours( ori!i&#s( an, or)ans+ I! t"# /o, issa&ri!i&#, to -ritin)( t"# snta. o! t"# /o, &om#s into *%a0 t"# r"t"m o! *u%sions a&rossan, t"rou)" or)ans an, t"# in)#stion an, #.*u%sion( or dépenses( t"rou)" t"# /o,3s"o%#s+ T"# /o, in -ritin) is t"#r#!or# a !ra)m#nt#, /o, sin&# i,#ntit is in <u#stion( t"#-"o%# /o, is not a uni!in) *rin&i*%#+ Its #&onom /#&om#s mor# im*ortant+ In t"#-rit#rs &on&#rn#,( t"#r# is a ,#ni)ration or a r#mo$a% o! an *rin&i*%# o! &or*or#a%uni!i&ation( or &a*ita%i=ation( su&" as t"# "#a, or t"# *"a%%us+ T"is ,#&a*itation or

&astration is !i)ur#, in So%%#rs no$#% Nom"res( to #na/%# t"# *%a o! t"# -ritin) a&ross t"#or)ani& /o,+ T"# -ritin)s o! Sa,# an, atai%%# ar# #$i,#nt% r#sonant -it" t"is*#rs*#&ti$#+ T"is a%so im*%i#s t"at t"# *s&"oana%ti&a% !ram#-or2 o! t"# O#,i*us &om*%#.(






































/as#, on t"# !#ar o! &astration an, t"# &#ntra%it o! t"# *"a%%us( /#&om#s %#ss r#%#$ant to%it#ratur#( or to t"is -ritin) t"at a**roa&"#s t"# %imit( t"an t"# *r#:O#,i*a%( ana% an, ora%sta)#s ,#s&ri/#, / Fr#u,+ T"# r#%#$an&# o! *s&"oana%sis !or *el +uel -i%% %i# in t"#s#*r#:sm/o%i& ar#as an, t"#ir int#ra&tion -it" t"# sm/o%i&( -"i&" Krist#$a3s*s&"oana%ti&a% -or2 -i%% in$#sti)at#+ D#rri,a3s arti&%# on Artau, su))#sts /ut ,o#s not!o%%o- u* t"is %in#( m#ntionin) t"# -or2 o! >#%ani# K%#in( o! -"os# -or2 D#rri,a3s -i!# -as

t"# trans%ator+ So%%#rs3s arti&%# on 'uotat no$#% Éden, Éden, Éden( 3La >atiGr# #t sa*"ras#3( *r#s#nts a &om*%#. ana%sis o! t"# r#%ation o! -ritin) to t"#s# ora% an, ana%*u%sions in t"# *r#:O#,i*a% *"as#+ 181

T"# /o, in -ritin) is a /o, in"a/it#, / %an)ua)# an, / its #&onom t"is is t"#o**osit# o! a $i#- -"i&" -ou%, "o%, t"at t"# /o, is #.*r#ss#, in -ritin)( !or #.am*%#(t"at t"#r# &ou%, /# a )#n,#r#, -ritin) -"i&" -ou%, r#!%#&t or #.*r#ss t"# !#minin# /o,+Inst#a,( t"# /o, is sa&ri!i&#, in t"# -ritin) *ro&#ss+ It /#&om#s a chair rat"#r t"an acorps( #ntir#% su/4#&t#, to t"# -ritin)( an, r#in$#nt#,( as an or)ani& /o, o! *u%sions( int"# -ritin)+ 18? T"# *ro&#ss is &a*tur#, / t"# *"ras#( -"i&" So%%#rs -i%% <uot# an, !o&us onin "is %at#r -or20 3Au &omm#n&#m#nt tait %# #r/#( #t %# $#r/# s3#st !ait &"air3+ 18 Ess#ntia%%( it is a <u#stion o! a sa&ri!i&# o! t"# /o, an, its o&&u*ation / %an)ua)#( or itsin&arnation 6s## C"a*t#r 5+

T"# #.*#ri#n&# o! -ritin)( as it im*%i&at#s t"# /o,( a%so im*%i&at#s s#.ua%it+ A ,is&ours#on s#.ua%it is a ma4or as*#&t o! *el +uel 3s &ontri/ution to t"# t"ou)"t o! t"# *ost:-ar*#rio,+ T"# su/4#&t #m#r)#s as a !o&us main% in t"# #ssas on Sa,# an, atai%%# /So%%#rs( /ut a%so in t"# s*#&ia% issu# on Sa,# an, in a mor# !ra)m#nt#, -a t"rou)"outt"# t"#or#ti&a% a&ti$it o! t"# r#$i#-( !or #.am*%# in t"# -or2 o! +:+ 'ou. an, +:L+au,r+ 18; It is a%so *r#s#nt in t"# !i&tion( *arti&u%ar% in t"# -or2 o! 'uotat+ In t"# %at#19@s( s#.ua%it #m#r)#s as a su/4#&t o! !un,am#nta% im*ortan&#( *arti&u%ar% in so !ar asit r#%at#s to t"# #.*#ri#n&# o! t"# -rit#r0 o&#( Sa,#( or 'uotat( !or #.am*%#( an, in so!ar as it is stu,i#, / *s&"oana%sis+ S#.ua%it( %it#rar s#.ua%it( on# mi)"t sa( /#&om#st"# &ont#st#, )roun, in a ,#/at# /#t-##n *s&"oana%ti& t"#or an, *el +uel + So%%#rs in*arti&u%ar -i%% a,,r#ss t"is <u#stion( an, in "is %at#r no$#%s *us" t"is int#r#st sti%% !urt"#r+It is not( "o-#$#r( an int#r#st in t"# #roti& !or its o-n sa2#( sin&# t"# *#rs*#&ti$# a,o*t#,is ana%ti&+ T"# #%a/oration o! a sa$oir on 4ouissan&# is( "o-#$#r( *ro*os#, / So%%#rs to /#

a !ar mor# *ro/%#mati& ,is&ours# t"an an 2in, o! *#r$#rsit in r#%ation to a sta/%# norm+185 T"# 2its&" #roti&ism t"at -as in $o)u# in t"# 198@s( t"rou)" su&" *u/%is"#rs as Pau$#rtan, Eri& Los!#%,( an, su&" -rit#rs as K%osso-s2i or Pi#r# ,# >an,iar)u#s( is *r#&is#%a$oi,#, / *el +uel t"rou)" t"# #m*"asis on %# sa$oir an, t"rou)" r#!#r#n&# to*s&"oana%sis+ T"# *#rmissi$# &%imat# o! t"# 198@s is *ro/a/% i%%usor( )i$#n t"# &#nsur#o! 'uotat no$#% Eden, Éden, Éden( 6s## C"a*t#r + At t"# sam# tim#( t"# $a%ori=ation o!s#.ua%it as natura% or as !r## is im*%i&it% &riti&i=#, t"rou)" *el +uel 3s a**roa&" to it as a*ro!oun,% &u%tura% *"#nom#non( -it" an #m*"asis on t"# *#r$#rs# an, o/s&#n#&ount#rin) so&i#t3s su**os#, n#urosis o$#r t"# <u#stion+

A ma4or #m*"asis o! *el +uel 3s #n<uir is t"# r#%ation o! s#. to -ritin)( an, Sa,# is t"#*rin&i*a% !o&us+ T"# s*#&ia% issu# 3!a Pensée de Sade3 un,#r%in#s *r#&is#% t"# ana%ti&a**roa&" an, a**#ars as t"# !irst instan&# o! su&" a *#rs*#&ti$# on le di$in marquis+ 188

T"# #ssas a%% un,#r%in# t"# t#.tua% natur# o! Sa,#3s trans)r#ssions( su))#stin) t"at t"##.*#ri#n&# o! -ritin) a%t#rs t"# #.*#ri#n&# o! s#.ua%it( an, t"at it is t"is -ritt#n s#.ua%itt"at is o! most int#r#st+ art"#s( !or #.am*%#( ,istin)uis"#s Sa,#3s -ritin) !rom mo,#rn#roti&ism( -"i&" !un&tions a%%usi$#%( t"rou)" m#ta*"or an, su))#stion+ In Sa,# t"# s#.ua%is *#rmutati$#( !un&tionin) as a com"inatoire( %o)i&a%% arti&u%at#,+ 18 Sa,#an s#.ua%it iso/s&#n#( &ons#<u#nt%( as it is su/4#&t#, to t"# &om/inator %o)i& o! %an)ua)#+ ot" Pi#rr#K%osso-s2i an, >i&"#% Tort s## Sa,#3s no$#%s as su/$#rsi$# t"rou)" t"is r#*#titi$#stru&tur#( a su/$#rsion o! t"# &o,#( !un&tionin) m#tonmi&a%% as o**os#, to a%%usi$#%+art"#s "a, r#&o)ni=#, t"# su/$#rsi$# an, ra,i&a% *ot#ntia% o! %an)ua)# as *#rmutation(*r#,ominant% m#tonmi&( in an #ar%i#r #ssa on atai%%# istoire de l'Oil, 5hich must "eone of the most scandalous modern te3ts dealin 5ith se3uality, precisely throuh itsriorous su"?ection of human desire to the ar"itrary play of sinifiers, a 'dé$eloppement desines', as =ataille 5rites, cited "y Sollers. -/1

Consequently, to read Sade mimetically, as representation, rather than te3tually, is tomisread. -/ *he censure of Sade depends on this misreadin, "oth =arthes and Sollers































affirm. -G0 So that Sade is a crucial te3t tyin toether a certain $ie5 of se3uality on the part of a neurotic culture, and a $ie5 of literature as representation. Sade is a hine, for*el +uel, "et5een a critical approach to literature and a critique of culture as neurotic.

*he reasons 5hy Sade performs this function are perhaps due to the am"iuous status ofse3uality, "et5een nature and culture. *he demystification of the natural, prefiured in

=arthes and in Mar3ism, is ta8en "y *el +uel into the areas of se3uality and 5ritin. *heconclusion; that t"#r# is no natura% s#.ua%it( or t"at( in So%%#rs3s -or,s( 3%a natur# #st un*"antasm# ,# %a &u%tur#3( 11 is t"# s&an,a%ous %#sson Sa,#3s t#.ts t#a&"+ S#.ua%it as&u%tura%( mor#o$#r( is o*#n#, to t"# *%a o! %an)ua)# it /#&om#s *#r$#rs#+ P#r$#rsit isr#$a%ori=#, as *o%mor*"ous an, trans)r#ssi$#( *ot#ntia%% %i/#ratin)+

On# &ou%, o/4#&t0 i! s#.ua%it is a%r#a, &u%tura%( -"#r# ,o#s ,#sir# &om# !romQ D#sir# "as/##n a s*#&i!i& !o&us o! t"# ,#/at#s on s#.ua%it %ar)#% in!orm#,( as i! s#&r#t%( / *el+uel 3s #.*%orations+ Écriture feminine "as !o&us#, on t"is <u#stion+ "at is t"# r#%ation o!-ritin) to ,#sir#( )i$#n t"at s#.ua%it is -ritt#nQ *el +uel 3s r#s*ons# am/i)uous% s##msto o*#n u* a n#- ar#a o! ,#/at# -"i&" /rin)s into t"# #n<uir t"# <u#stion o! t"# ,#at",ri$#( -"i&" "as a)ain !u#%%#, a %ar)# amount o! &riti&a% #n<uir+

'i$#n t"at / no- *el +uel 3s t#.tua% t"#ori=ations ar# in!orm#, / t"# D#rri,#an notion o!an ori)ina% -ritin) or archi9écriture 6&om*%i&atin) t"# i,#a o! ori)in its#%t( ,#sir# is*ro*os#, as a -ritin) t"# ,i!!#r#ntia% stru&tur# o! -"i&" *r#&%u,#s an notion o! an ori)ina%%i/i,ina% su/stan&#+ D#sir# is 3ce qui se trou$e écrit en Moi 3+ 1? T"# notion o! &aus# isun,#rmin#, an, ,#sir# /#&om#s 3%3#!!#t sans &aus#3+ 1 S#.ua%it an, t#.t /#&om#in#.tri&a/% /oun, as an écriture -"i&" so&i#t att#m*ts to &ana%i=# an, r#*r#ss /*ositin) a &aus#+ ut s#.ua%it is *ro*os#, sti%% as *ost#rior to &u%tur#( in so !ar as it is%in)uisti&0 3L# r#!ou%#m#nt s#.u#% #st ,3a/or, un r#!ou%#m#nt ,u %an)a)#+3 1; Ho-#$#r(-"#r# a &ausa% *ro&#ss is intro,u&#, is in t"# i,#a t"at -ritin) an, s#.ua%it ar# a ,#tour(a ,#!#rra%+ T"# <u#stion is *os#,0 a ,#tour !rom -"atQ a ,#!#rra% in,u&#, / -"atQ T"#,#at" ,ri$#( t"# t#n,#n& to r#turn to inanima&( is /rou)"t into *%a as t"# #n#r)#ti& /utn#)ati$# !or&# -"i&" ,#sir# an, -ritin) must ,#%a an, ,#!#r+ Krist#$a3s *s&"oana%ti&-or2 an, t"# -"o%# ,#/at# aroun, n#)ati$it ,#ri$# !rom t"is r#&o)nition+

T"# %in2 /#t-##n s#.ua%it an, ,#at" is( "o-#$#r( not ori)ina%( /#in) t"# /asi& *r#mis# o!atai%%# -or2 !9Érotisme. *his ma8es =ataille of fundamental interest, specifically incomin after Sade, "oth in terms of his readins of Sade and in terms of the chronoloy of*el +uel and Sollers's readins of 'limit te3ts'. *he erotic, for =ataille, 5e can recall, is 'theaffirmation of life to the point of death'. -G *he lin8in of se3uality to morta%it s"ort:&ir&uits t"# &u%tura% ,#tour a-a !rom t"# ,#at" ,ri$# an,( in %it#ratur#( *ro,u&#s $io%#n&#an, su/$#rsion+ T"# asso&iation o! s#.ua% *%#asur# -it" ,#at" an, "orror ru*tur#s t"#s&r##n o! r#*r#s#ntation %an)ua)# is norma%% s##n as( to *ro,u&# an in!init#dé$eloppement de sines( -"i&" &an /# r#&o)ni=#, t#.tua%%( in Sa,#( atai%%#( So%%#rs( an,'uotat+ T"# #roti& !or *el +uel is !ar ,i!!#r#nt !rom t"# a%%usi$# or *"antasmi& #roti&ism&#%#/rat#, in &u%tur#+ It is s&an,a%ous in its ana%ti&( *#rmutati$# stru&tur# an, in its %in2 to,#at"+ !')nfini &ontinu#s to *romot# su&" a s&an,a%ous $i#- o! s#.ua%it( su))#stin) t"att"# ,#/at# on t"# <u#stion is as a%i$# to,a as t"irt #ars a)o+ 18

!euroti Culture4erverse TheorySo%%#rs !oiques( as -#%% as t"# #%a/oration o! a %it#rar t"#or an, a *ro4#&t( is a &u%tura%&riti<u#+ T"# &omm#ntari#s on t"# t#.ts ar# r#%at#, to t"# so&i#t -"i&" "as misr#a, orr#*r#ss#, t"#s# t#.ts+ T"# t"#or *ro,u&#s a t"#or#ti&a% *ro4#&t %in2#, to a so&ia% an,&u%tura% &riti&ism t"at( sin&# it atta&2s t"# /asis o! so&ia% an, &u%tura% or)ani=ation( &an /#t#rm#, r#$o%utionar+ T"at t"is &riti<u#( in t"# %at#r #ssas an, in t"# t#.t 3Pro)ramm#3(-"i&" o*#ns t"# /oo2 /ut -"i&" -as -ritt#n a!t#r most o! t"# #ssas( in$#sts in >ar.ism(an, t"#n in >aoism( mi)"t /# s##n as an #!!#&ti$# strat#)i& )#stur# o! t"# mom#nt( /uta%so as #ss#ntia%% a ,i$#rsion( sin&# t"# &riti<u# is !rom t"# *oint o! $i#- o! %it#ratur#+ It is!un,am#nta%% a trans!ormati$# $ision o! so&i#t #noun&#, !rom t"# *oint o! $i#- o! t"#

#.&#*tion o! t"# -rit#r+ T"at t"is !o&us ,o#s not #m#r)# s*#&i!i&a%% unti% %at#r ,o#s not,#tra&t !rom t"# &onsist#n& o! !oiques -it" t"# %at#r -or2+ In !a&t( So%%#rs -as to %in2

























t"# tit%#s o! "is t-o main t"#or#ti&a% -or2s in 1987( statin) t"at !oiques -as 3un a**ar#i%(un# sort# ,# ma&"in# de lecture destinée mettre en *%a&#( historiquement, une théoriedes e3ceptions+3 1

"i%# in 3!oique de la fiction3 an, 3!e #oman et l'e3périence des limites3 17 t"# &riti<u#-as ,ir#&t#, mor# s*#&i!i&a%% at t"# i,#o%o) o! %it#ratur# as r#*r#s#ntation( t"# #ssas on

Sa,#( Artau,( atai%%#( >a%%arm( an, Lautramont a%% intro,u&# an arti&u%ation -it" a&riti<u# o! &u%tur#( ta2#n "#r# to r#!#r to t"# sm/o%i& or)ani=ation o! t"# so&ia%::t"# so&ia%its#%!+

>a%%arm3s &riti<u# o! %it#ratur# is r#%at#, / So%%#rs to a &riti<u# o! t"# #&onom o!&ir&u%ation0 3les phénom(nes sont ramenés leurs chiffres et au3 cycles qui éclairent leurréciprocité3( 19 -"i&" %it#ratur# /ot" &om*r#"#n,s an, trans)r#ss#s+ *el +uel 3s >ar.ism(an, to an #.t#nt its *s&"oana%ti&a% int#r#sts( ar# ,#t#rmin#, / t"is #&onomi&&onsi,#ration( -"i&" -i%% )#n#rat# mu&" t"#or#ti&a% #n<uir+ In t"# #ssa on Artau, t"#&riti<u# is ,ir#&t#, mor# s*#&i!i&a%% a)ainst t"# !un,am#nta% ,ua%ism o! so&ia% ,is&ours#03Pensée sans corps4 corps pri$és de pensée+3 17@ ut t"# most ra,i&a% *ro*ositions ar# int"# #ssas on Sa,# an, atai%%#+ T"# !irst &on&#rns t"# notion o! &aus#( t"# s#&on, t"#notion o! ,is&ontinuit+

For So%%#rs( so&i#t is n#uroti& in its r#*r#ssion o! its !oun,ation+ 171 So&i#t *ro4#&ts asnatura% t"# &u%tura% o/4#&ts it in$#nts in or,#r to &"ann#% or r#*r#ss ,#sir#( or ,#sir# as a-ritin)+ T"# &u%tura% /#&om#s natura% in a mo$#m#nt So%%#rs( !o%%o-in) art"#s( &a%%s3"*ostati&3+ 17? R#%i)ion is( o! &ours#( t"# most a**ar#nt !orm o! t"is institut#, n#urosis(/ut /#"in, t"is is t"# notion o! &aus#( o! t"# &aus#+ So&i#t is n#uroti& in its *ostu%ation o!a &aus#( -"i&" in *s&"oana%ti& t"#or -ou%, a**#ar as a sm*tom( -"i&" is ta2#n as,i$in# -"#n it is !oun,#, in %an)ua)#0

+ue le monde se résor"e finalement en discours, que la nature soit ainsi montrée commeétant depuis tou?ours la création la plus irréducti"le de la &u%tur#( qu'il soit donc possi"led'affirmer @un moment calmement; la nature est un fantasme de la culture99$oil99sansdoute99l'intoléra"le lui9mme+ 17

Fr#u, not#, t"at t"# *#r$#rsions -#r# t"# n#)ati$# o! t"# n#uros#s+ Sa,#3s &ata%o)uin) o!*#r$#rsions is in !a&t -i,#n#, / So%%#rs to ta2# in /ot" %it#ratur# an, t"#or+ P#r$#rsion&an in&%u,# n#urosis it is not a r#$#rsi/%# *o%arit+ 'i$#n t"at t"#or &om*r#"#n,s an,ana%s#s so&i#t as n#urosis( an, t"is is t"# stan&# o! *el +uel in )#n#ra%0 3La *#r$#rsion(c'est la pensée théorique elle9mme+3 17; 'i$#n t"at Fr#u, i,#nti!i#s in in!anti%# s#.ua%it a*o%mor*"ous *#r$#rsit -"i&" normati$#( *"a%%i& s#.ua%it ,#ri$#s !rom( t"# *#r$#rsionss##m to /# t"# )roun, on -"i&" n#uros#s #.ist+ P#r$#rsion is a%so %in2#,( in Sa,#( to*#rmutation an, &om/ination( an, t"us to t"# !i&tiona% o*#rations o! *el +uel + ritin) as*#rmutation /#&om#s t"# #<ui$a%#nt o! a )#n#ra%i=#, *#r$#rsit( -"i%# t"#or( -"i&"att#m*ts to un&o$#r t"# )roun, on -"i&" so&ia% an, &u%tura% sm*toms #.ist( ana%s#s t"#)roun, o! *#r$#rsit on -"i&" &u%tur# is /ui%t+

So -"i%# &u%tur# is s##n as n#uroti& in its r#*r#ssi$#( ,#!#nsi$# stan&#( -ritin) an, t"#orar# s##n as *#r$#rs#+ S##in) *el +uel 3s t"#or as *#r$#rs# in t"is s#ns# #na/%#s a%i/#ration !rom t"# s#rious ,is&ours# norma%% asso&iat#, -it" t"# t"#or#ti&a%( an, anun,#rstan,in) o! t"# s"i!ts #!!#&t#, / t"# r#$i#-+ P#r$#rs# t"#or is a *#rs*#&ti$# -"i&"a&ts a&&or,in) to t"# ,is*osition o! t"# &ont#.t( to #!!#&t a strat#)i& uns#tt%in) o! t"#&ont#.t( *ain) no att#ntion to t"# norms o! int#%%#&tua% ,is&ours#( an, mor# att#ntion toits o-n *%#asur#+ I! t"#or is s##n as a &%os#, sst#m( n#&#ssari% in$o%$in) som##.&%usion in or,#r to ,#!in# its o-n %a-s( t"#n a *#r$#rs# t"#or is a t"#or -"i&"un,#rmin#s its#%!( a t"#or in &ontinua% *#rmutation or ,isso%ution+ T"is #.*%ains( i! -#a)r## -it" it( t"# r#sistan&# to *el +uel + It a%so institut#s t"# *ot#ntia% !or a )#n#ra%i=#,ann#.in) o! Fr#u,ian t"ou)"t to t"# t#.tua% t"#or o! t"# r#$i#-( /ut it -i%% #nsur# t"att"is ann#.in) is on% #.*#,i#nt in so !ar as it s#r$#s t"# *#r$#rs#( t"at is( &riti&a%( #n,s o!t#.tua% t"#or+

The History of iterature




























As #m*"asi=#, a/o$#( So%%#rs an, *el +uel 3s $ision o! %it#ratur# is trans:"istori&a%+ T"##.*#ri#n&# o! -ritin) is not %imit#, to a "istori&a% *#rio,+ Ho-#$#r( initia%%( t"# *ro4#&t o!*el +uel is to i,#nti! an, ana%s# t"# %imits o! %it#ratur# in t#.ts t"at !or on# r#ason oranot"#r "a$# /##n &#nsor#,( misr#a,( or sim*% o/s&ur#,+ T"is misr#a,in) is t"# in,#. o!a r#sistan&# to t"# #.*#ri#n&# o! -ritin) an, its trans!ormati$# <ua%iti#s+ Initia%%( a &anono! t#.ts is #%a/orat#,0 Dant#( Sa,#( >a%%arm( Lautramont( Artau,( atai%%#+ To t"is &an

/# a,,#, ot"#rs -"i&" ar# a !o&us !or t"#or#ti&a% arti&%#s0 Rim/au,( Proust( Rouss#%(Pon)#( H%,#r%in+ 175 o&# is a%-as a ma4or #%#m#nt( /ut an #.t#n,#, #.*%oration o! "ist#.ts on t"# *art o! t"# r#$i#- ,o#s not &om# unti% t"# 19@s+ 178 A!t#r t"# tim# o! t"#orin !a&t( t"# &anon is o*#n#, u*( an, t"# %imit /#&om#s in"#r#nt in t"# %it#rar #.*#ri#n&#as su&"( rat"#r t"an /#in) ,#ri$#, !rom t"# r#s*ons# to t"# t#.t+ A%% %it#ratur# /#&om#s*ot#ntia%% o*#n to t"is $ision o! its trans!ormati$# <ua%iti#s+ T"# %at#r *#rio, o! *el +uel an, !')nfini -i%% in&%u,# ana%s#s o! -rit#rs as ,i$#rs# as Dosto#$s2( H#min)-a( C%in#(S"a2#s*#ar#( Ho*2ins( ossu#t( o%tair#( -it" an #.*%oration a%so o! t#.ts r#%atin) tot"#o%o) an, r#%i)ion+ So( a%t"ou)" "istor is o! im*ortan&#( in t"# situation o! t"# -rit#r in"is nationa%( *o%iti&a%( an, /io)ra*"i&a% &ont#.t( -ritin) trans&#n,s t"is "istori&a%t#m*ora%it to #n)a)# in a ,i!!#r#nt t#m*ora%it( o! &r#ation+ T"is s"ou%, /# ta2#n intoa&&ount i! *el +uel is o!t#n asso&iat#, -it" a r#stri&t#, &anon o! %imit t#.ts+ A%t"ou)" t"#r#$i#- is un,ou/t#,% r#s*onsi/%# !or t"# /rin)in) o! t"#s# t#.ts into *romin#n&#( t"#&anon /#&am# a 2in, o! ort"o,o.( -"i&" is t"# r#&u*#ration o! *el +uel 3s #n<uiri#s into a

!i.#, !ram#+ R#sistan&# to t"is ort"o,o. an, r#&u*#ration in t"# %at#r #ars an, in !')nfinis"o-s t"# &riti&a% &anon to /# %#ss ,o)mati& an, mor# a !or&#!u% #ntr into t"# ar#na o!%it#ratur# an, its %imits+

D#s*it# t"# trans:"istori&a% t#m*ora%it -"i&" is #ss#ntia%% in <u#stion( a &#rtain $i#- o!%it#rar "istor is *ro*os#,+ It is not( So%%#rs su))#sts( %in#ar( /ut 3monum#nta%3( ,#s&ri/in)"o- %it#rar t#.ts r#%at# to %an)ua)#+ 17 Unti% t"# #n, o! t"# nin#t##nt" &#ntur( t"# 3%imitt#.t3 att#m*t#, a tota% an, &om*%#t# tra$#rsa% an, trans!ormation o! %an)ua)#+ Dant# isr#a, / So%%#rs as a *anorami& tra$#rsa% o! t"# "istor o! t"# si)ni!i#r( !rom its 3usur3 int"# )nferno to its *%#nitu,# in t"# Paradiso. <ante Ou$re is fundamental also in itsinauural relation to the )talian lanuae. <e Qulari eloquentia, <ante's !atin treatise onthe 'common tonue', 5as in this sense a necessary prefatory stae "efore theinauuration and transformation of the lanuae in the Commedia. Dacqueline #isset's

recent translation of the Commedia into a popular mo,#rn Fr#n&" is r#sonant -it" t"is*#rs*#&ti$#+ 177 Sa,#( a%so( in "is *ro4#&t to 3sa #$#rt"in)3 63tout dire3 *ro,u&#s a tota%r#!ormu%ation o! t"# %an)ua)# o! s#.ua%it+

it" H%,#r%in as a ,i!!#r#nt mom#nt( in$o%$in) a !un,am#nta% #.*#ri#n&# o! t"#!ra)m#ntation o! %an)ua)# an, t"ou)"t( a!t#r >a%%arm an, Lautramont t"#trans!ormati$# #.*#ri#n&# o! %it#ratur# on% arri$#s 3in !ra)m#nts3+ T"# $a%ori=ation o!s*a&# an, si%#n&# in >a%%arm( s*#&i!i&a%% in t"# !ina% *ro4#&ts( is *art% #.*%ain#, / t"#&ons&iousn#ss t"at %an)ua)# as tota%it #s&a*#s t"# -rit#r+ >a%%arm3s utopian pro?ect, for'un te3te enfin réel qui serait l'e3plication permanente du monde3 179 on% arri$#s!ra)m#nt#,( -"i%# t"# *o#tr att#m*ts to &on<u#r t"# ar/itrar an, t"# !ra)m#ntart"rou)" t"# 3)uarant##3 o! a ri)i,( *o%$a%#nt snta. an, an ins#rtion o! %# /%an& into t"#t#.t+ >a%%arm3s #.*#ri#n&# o! t"# tota%it o! %an)ua)#( %i2# t"at o! Dant# or Sa,#( an, "is!ai%ur# to a&&ount !or it( /ut "is att#m*ts to ,o so( ar# a mom#nt o! ,#&isi$# &"an)#(ma2in) >a%%arm #.#m*%ar !or t"# t#.tua% r#$a%ori=ation o! %it#ratur# #!!#&t#, / *el +uel +

"i%# Lautramont Poésies ar# s##n as a ,ia%#&ti&a% a**ar#i%( 19@ #n$#%o*in) an, n#)atin)%it#ratur# an, r"#tori& an, a s*#&i!i& mom#nt at -"i&" %it#ratur# /#&om#s s#%!:&ons&iousan, ta2#s its#%! as an o/4#&t( -it" Artau, an, atai%%# t"# #.*#ri#n&# &om#s to t"# r#a,#r!ra)m#nt#,+ Artau,3s -ritin) is in its t*o)ra*" an, its st%# !ra)m#nt#,( as is "is#.*#ri#n&# o! "is o-n t"ou)"t+ atai%%#3s ,is*#rsa% is #.*%i&it in t"# *ro%i!#ration o! "isa&ti$iti#s an, "is "#t#ro)#n#ous &ar##r+

Ho-#$#r( t"# !ra)m#nt#, natur# o! t-#nti#t":&#ntur %it#ratur# ma2#s t"# att#m*t attota%it o! o&#( an, "is *osition in r#%ation to %it#rar "istor( #.&#*tiona%+ So%%#rs Paradis an, t"# #n&&%o*a#,i& *ro4#&t o! !')nfini an, So%%#rs sin&# *el +uel a%so s"ar# t"is#.&#*tiona% status+ T"# #.&#*tion is t"# !o&us o! t"# %at#r *#rio, o! *el +uel ( as o**os#, tot"# mo$#m#nt to-ar,s t"#or o! Lo)i<u#s0 t"# !o&us on o&# an, t"# -ritin) o! Paradis





















ar# un,#rstan,a/%# -it"in t"# &ont#.t o! t"# "istor o! t"# r#$i#- an, t"# #$o%ution o! its$i#- o! t"# "istor o! %it#ratur#+

>a%%arm is a%so #.#m*%ar an, inau)ura% !or *el +uel in t"at "# *ro,u&#s a s#%!:&ons&iousn#ss in %it#ratur#+ As art"#s "a, *ro*os#,( -it" a s%i)"t% ,i!!#r#nt &"rono%o)(%it#ratur# 3/#&om#s an o/4#&t3 aroun, t"# mi,,%# o! t"# nin#t##nt" &#ntur+ T"is s#%!:

&ons&iousn#ss( an, t"# #%a/oration o! a &riti&a% *#rs*#&ti$# on %it#ratur#( is situat#, /So%%#rs as &ont#m*orar -it" t"# s&i#nti!i& mutation o! >ar. an, Fr#u,+ 191 It is t#rm#, an3#*ist#mo%o)i&a% /r#a23( /orro-in) t"# t#rm !rom a&"#%ar, t"rou)" Fou&au%t an,A%t"uss#r( -"o us# it to r#!#r to a %#a* in 2no-%#,)#( -"#r#/ t"# /asis on -"i&" t"ou)"tr#sts is s"i!t#,+ In *el +uel t"is /r#a2 r#%at#s to a &riti&a% /ra&2#tin)( -"#r#/ %it#ratur#(!or #.am*%#( ta2#s as its so%# o/4#&t o! r#!#r#n&# its#%! an, its o-n *ro,u&tion+ T"is"istori&a% $ision *r#!i)ur#s an, *#rmits t"# >ar.ist t"#or o! t"# r#$i#-( in its !o&us on*ro,u&tion+ It a%so *ara%%#%s Fr#u,3s !o&us on t"# -or2 o! t"# un&ons&ious *rior to !i.#,m#anin)( %# s#ns+ In %it#ratur# t"is /ra&2#tin) is most #.*%i&it -it" Lautramont3stran!ormati$# tr#atm#nt o! r"#tori& an, %it#rar "istor in Maldoror an, t"# Poisies( ma2in)t"#s# t#.ts *ro)rammati& an, #.#m*%ar !or *el +uel +

T"# r#$i#-3s snt"#ti& t"#or t"at /rin)s to)#t"#r >ar.ism( Fr#u,( an, s#mio%o) in its!o&us on t"# *ro,u&tion o! si)ni!i&ation ,#*#n,s on a $ision or $#rsion o! "istor( situatin)a /r#a2 or s"i!t in 2no-%#,)# at a *r#&is# *oint+ It is un,ou/t#,% tru# t"at *ro!oun, s"i!tsin 2no-%#,)# o&&urr#, at t"is tim#( /ut t"# att#m*t at snt"#sis ,o#s t#n, to im*os# astrait:4a&2#t on t"# trans:"istori&a% t#m*ora%it o! %it#ratur#+ T"# r#%ation /#t-##n t"is$#rsion o! &u%tura% "istor an, &r#ati$it( an, t"#ir r#s*#&ti$# t#m*ora%iti#s -i%% ma2# !or at#nsion t"at -i%% run un,#rn#at" t"#or to *us" it to its %imits an, its ,isso%ution+ T"#"istor o! *el +uel a**#ars to an #.t#nt as t"# ,#$#%o*m#nt o! a snt"#ti& t"#or r#%at#,to a !i.#, "istori&a% mom#nt( -"i&" is t"#n ,isso%$#,( ma2in) t"#or mor# *#rm#a/%# tot"# tim# an, mo,a%iti#s o! &r#ati$# -ritin)+

T"# ar#as -# "a$# s#*arat#, in a ,is&ussion o! So%%#rs &ru&ia% /oo2 !oiques !##, into on#anot"#r at num#rous %#$#%s+ T"# &riti<u# o! &u%tur# is( in t"# Sa,# #ssa( arti&u%at#, -it"t"# t"#or o! ,#sir# an, s#.ua%it( -"i&" im*%i&at#s t"# /o,( t"# #.*#ri#n&# o! -ritin)+T"# t"#or#ti&a% st%# o! t"# -ritin)( *#r$#rs# in its *%a an, its #!!#&t( sti%% t#n,s to-ar,s a

snt"#si=in) mom#nt in its %iminar t#.t 3Pro)ramm#3 19? an, t"# /oo2 o! t"# sam# #ar(*héorie d'ensem"le 6 1987+ T"# n#.t *#rio, o! t"# r#$i#-( !rom 1987 to 191( s##s t"ismom#nt o! snt"#sis matur# an, t"#n /#)in to ,#$#%o* into a %#ss stati& an, mor# !%ui,st%# o! t"ou)"t( as its #.&#ssi$# or su/$#rsi$# #%#m#nts ar# a!!irm#,+ T"#or3s auto:,#stru&ti$#( maso&"isti& <ua%it is a%so ,#t#rmin#, / t"# "istori&a% &ir&umstan&# o! t"#*ro!oun, ,istur/an&#( !or so&i#t an, t"#or( o! 1987+

WWWWWWWWWWWWWWWWWWWW1 T"#r# ar# $arious int#r*r#tations o! t"# nam# 3So%%#rs3 )i$#n / t"# -rit#r "ims#%!0 3tout

#nti#r inta&t3 6!rom 6 Paris( 19( 11 is t"# Latin ,#!inition( 3*oss#ss#, #ntir#% o!an art( "#n&#( s2i%!u%( &%#$#r( a,roit3 6 Cassell's !atin <ictionary + It is a%so 3le surnom

d'Ilysse3 6a%so ( 11 + It is %in2#, to t"# 'r##2 'holos', thus to 'holocauste', 'sacrificesans reste' 6int#r$i#- -it" So%%#rs / aut"or an, to 3"o%o)ramm#3( su))#stin) a -ritin)3#n trois ,im#nsions3 6$oi&#:ima)#:t#.t+

? S## P+ So%%#rs( Qision Ne5 Tor8 6 Paris( 1971 an, Carnet de nuit 6 Paris( 1979+ Écrire, 2 6 1957 it &an a%so /# !oun, in *he Penuin French #eader 6Harmon,s-ort"(

198+; S## F+ >auria&( Nou$eau3 "loc9notes 6 Paris( 1981( 8( 1? L+ Ara)on( 3P"i%i**#

So%%#rs3( !es !ettres fran%aises 6 ?@ No$+ 1957+5 S## P+ So%%#rs( 3)maes pour une maison3( Nou$elle #e$ue fran%aise, -- @ -/0.

Sollers early te3ts, includin ')ntroduction au3 lieu3 d'aisance' and ')maes pour unemaison', are included in his "oo8 !')ntermédaire @ Paris, -/2.

8 C!+ So%%#rs( int#r$i#- -it" aut"or( Paris( 19790 3 la re$ue n'a pu a$oir lieu que parce que ?'a$ais pu"lié un li$re qui a$ait eu énormément de succ(s, qui est Ine curieuse solitude.

!'éditeur s'est dit qu'il allait faire un in$estissement renta"le, en créant une re$uelittéraire autour de moi'. S## a%so Hu)u#nin Dournal 6 Paris( 198;( an, "is Ine autre ?eunesse 6 Paris( 1981 !or













/ri#! a&&ounts o! t"# #ar% #ars o! *el +uel an, Hu)u#nin3s in$o%$#m#nt+7 S## +:E+ Ha%%i#r( !a Cause des peuples 6 Paris( 19+9 + Caro%( 3!a Presqu'_le3( *+ - 6s*rin) 198@+

1@ T"# &ommitt## m#m/#rs -#r#0 P"i%i**# So%%#rs( #an:E,#rn Ha%%i#rs( #an:R#nHu)u#nin( oisrou$ra( a&<u#s Cou,o%( R#nau, >ati)non+ T"#ir &ontri/utions to issu#1 -#r# as !o%%o-s0 P+ So%%#rs( '#ecquim' +:E+ Ha%%i#r( 'In $isae part' +:R+ Hu)u#nin(

'Adieu' oisrou$ra( 'Ine $allée sous les nuaes' a&<u#s Cou,o%( '!e Qoyae d'hi$er' R#nau, mati)non( 'Flau"ert et la sensi"ilité moderne' +11 S## *+ -+ ;@+ Ans-#rs to t"# <u#stion0 3Pense:9$ous a$oir un don d'écri$ainQ30 C%au,#

Simon( 'Peut9tre $audrait9il mieu3 parler d'unce certaine disposition de l'esprit' A+Ro//#:'ri%%#t0 'Non' N+ Sarraut#0 'De croyais en a$oir un quand ?'écri$ais en classe mesde$oirs de fran%ais' +

1? S## T 10 ;@0 '&n écrit parce est malheureu3. Qotre monde dé$ore tout le reste.' 1 I/i,+ 9+ Ro//#:'ri%%#t <ans le la"yrinthe, Sarraunte !e Planétarium, =lanchot !e !i$re

$enir et the hihest mar8s from all the committee mem"ers.1; C!+ So%%#rs( int#r$i#- -it" aut"or( Paris( 19790 3une des premi(res idées a été d'en$oyer

un questionnaire asse: détaillé André =reton. Alors la fa%on dont il parle, dont semanifeste son intért pour une nou$elle re$ue est tout fait étonnante, c'est $raimenttr(s chaleureu3 +3

15 P+ a%r( *el +uel 6 ? $o%s+ Paris( 19;1+18 *+ -0 ?+ T"# #*i)ra*" is ta2#n !rom Ni#t=s&"# =eyond Hood and E$il +1 3D&%aration3( *+ -0 ;0 3Qouloir le monde, et le $ouloir chaque instant, suppose une

$olonté de s'a?outer la réalité en la ressaissisant, et, plus qu'en la contestant, en lareprésentant. Alors, l'Ou$re pourra $raiment de$enir, selon le mot de Qaléry, unédifice enchanté3+

17 I/i,+ +19 C!+ P+ So%%#rs( 3!e #éfle3e de réduction3( *héorie d'ensem"le 6 Paris( 1987( 910 3!a

déclaration de 198@::année de fondation de*el +uel ::est en effet un e3empled'am"iuité esthétique+3

?@ R+ art"#s( 3!a !ittérature au?ourd'hui 3( *+ G 6autumn 1981 a%so in i,+( Essaiscritiques 6 Paris( 198;( 181:?+

?1 #an T"i/au,#au an, #an Ri&ar,ou+?? P+ So%%#rs( 3Sept points sur #o""e9Hrillet 3( *+ B+? S## + T"i/au,#au( 3un théLtre de romanciers3( Crit.159:8@ 6 Au)+:S#*t+ 198@ 3!a

!e%on de l'école3 6on Ri&ar,ou( Crit.1 6 O&t+ 1981 3In écri$ain a$erti en $autdeu3 3 6on So%%#rs( Crit.1 6 F#/+ 198?+ + Ri&ar,ou( 3In ordre dans la dé"Lcle3 6onC%au,# Simon ( Crit.18 6 D#&+ 198@+

?; S## 3!a !ittérature au?ourd'hui 3I0 R+ art"#s( *+ G 6autumn 1981 II0 N+ Sarraut#( *+ 6s*rin) 198? III0 L+:R+ ,#s Forts( *+ -0 6summ#r 198? I0 >+ utor( *+ -- 6autumn 198? 0 + Caro%( *+ -2 6s*rin) 198 I0 A+ Ro//#:'ri%%#t( *+ - 6summ#r198+ S## a%so '+ '#n#tt#( 3Sur #o""e9Hrillet 3( *+ 1 6-int#r 198?+

?5 P+ So%%#rs( 3Pour un nou$eau roman3( *+ -1 6summ#r 198;+?8 S## A+ Artau,( 3Chiotte l'esprit 3( *+ 2 6autumn 198@ an, 3Notes sur la peinture3(

*+ - 6autumn 198+ '+ atai%%#( 3!es !armes d'Éros3( *+ 6s*rin) 1981( an,3Conferences sur le non9sa$oir 3( *+ -0 6summ#r 198?+ T"# %att#r t#.t -as a %#&tur#)i$#n *#rsona%% to t"# r#$i#- / atai%%# in 198?+

? A!t#r issu# 1( s## F+ Pon)#( 3!'Asparaus3( *+ 6-int#r 1981 i,+( 3Pour Fenosa3( *+

/ 6summ#r 1981 i,+( 3!'&"?et c'est la poétique3( *+ -0 6summ#r 198? i,+( 3 Ardensoranum3( *+ -2 6s*rin) 198 i,+( 3!e Pré3( *+ -1 6summ#r 198;+ S## a%so P+So%%#rs mono)ra*" on Pon)#( ori)+ *u/+ in !a Mercure de France as 'Francis Pone ou laraison plus haut pri3' 0 Francis Pone 6 Paris( 198+

?7 S## E+ Poun,( 3Canto I3( *+ / 6summ#r 1981 F+ H%,#r%in( 3#etour 3( *+ / 6summ#r1981 + L+ or)#s( 3!'Art narratif et la maie3 6trans+ / So%%#rs( *+ G 6autumn1981 an, 3<erés3 6*o#ms trans+ / R+ Cai%%ois( *+ -- 6autumn 198?+

?9 3Framents inédits3 / H%,#r%in -i%% a**#ar mu&" %at#r( *+ /1 6-int#r 198( a!t#r ar#n#-a% o! So%%#rs3s int#r#st( as #$in&#, in t"# no$#% ( an, a!t#r an arti&%# / +:L+Hou,#/in# 6s## E3c(s de lanaes 6 Paris( 197+ P%#n#t r#*orts 6int#r$i#- -it"aut"or t"at t"# &ommitt## at on# mom#nt 3,#mo&rati&a%%3 ,#&i,#, not to *u/%is" at#.t / H%,#r%in on So*"o&%#s+

@ S## + oo%!( 3!e Moment; Soir d'été3( *+ - T+ S+ E%iot( 3Hoethe ou la saesse3( *+B D+ D#!o#( 3istoire de fantJmes3( *+ G + Donn#( 3Po(mes3( *+ B+

1 S## >+ P%#n#t( Premi(res poésies 6>ont*#%%i#r( 197+? T"# %#tt#r is r#*rint#, in + Riss#t( Marcelin Pleynet 6 Paris( 1977( ;;+







C!+ P%#n#t( int#r$i#- -it" aut"or( Paris( 19910 3 ?e n'ai réussi mon a$is maintenirl'acti$ité qui était la mienne dans la re$ue qu' ne ?amais faire inter$enir dans la re$ueles conséquences que la re$ue pou$ait a$oir sur moi'. e descri"es the relation "et5eenhis acti$ity as secrétaire de rédaction and poet as 'compl(tement schi:ée3+

; D#nis Ro&"#( 3Foresti(re ama:onide3( Écrire, -- 6 Paris( 198? an, 3*rois po(mes3(!ocus Solus, 29 @5inter -/-9B.

5

C!+ + La C"arit( *5entieth Century A$ant9arde French Poetry 6 K#ntu&2( 199?+8 S## +:P+ Fa#( !e #écit hunique 6 Paris( 198 !or a &o%%#&tion o! "is &riti&a% arti&%#s !romt"is *#rio,+

S## + Ri&ar,ou 6#,+( Nou$eau roman ier, au?ourd'hui 6 ? $o%s+ Paris( 19?+7 S## A+ Ro//#:'ri%%#t( !e Miroir qui re$ient 6 Paris( 1975 an, Anélique ou

l'enchantement 6 Paris( 1977 N+ Sarraut#( Enfance 6 Paris( 197 an, *u ne t'aimes pas 6 Paris( 1979 C+ Simon( !'Acacia 6 Paris( 1979+

9 P+ Rott#n/#r) an, '+ S&ar*#tta "a$# not *u/+ -or2s o! !i&tion sin&# t"#ir *el +uel no$#%s+ + H#nri& "as *u/+ *o#tr t"rou)" 'rass#t 6 6al8man( 1977 +:L+ au,r "asr#&#nt% *u/+ a no$#%( Personnaes dans un rideau 6 Paris( 1991( in D#nis Ro&"#3Fiction et Cie3 &o%%#&tion at S#ui%( !orma%% simi%ar to "is #ar%i#r -or2+

;@ >+ utor( 3<ans les flammes3( *+ B 6-int#r 1988 C+ O%%i#r( 'Murnau3 6a !i%mr#$i#-( *+ B2 6autumn 1985+

;1 C+ Simon( 3Propriété des rectanles3( *+ 6-int#r 191+;? S## + Ri&ar,ou( !'&"ser$atoire de Cannes 6 Paris( 1981( !a Prise de Constantinople 6 Paris( 1985 an, !es !ieu39dits 6 Paris( 1989( t"# !irst t-o *u/+ / >inuit( t"# %att#r

/ 'a%%imar,+; S## >+ Fou&au%t( 3Distan&#( as*#&t( ori)in#3( Crit. 6 No$+ 198 an, in *héorie

d'ensem"le, --+;; P+ So%%#rs( 3!oicus Solus3( *+ - 6summ#r 198 >+ Fou&au%t( #aymond #oussel

6 Paris( 198+;5 So%%#rs( 3!oicus Solus3( *+ - 5@+;8 I/i,+ ;8+; C!+ + Krist#$a arti&%# on Rouss#%( 3!a Producti$ité dite te3te3( in #a,+( Séméioti8é4

#echerches pour une sémanalyse 6 Paris( 1989+;7 So%%#rs( 3!oicus Solus3( *+ - ;+;9 I/i,+5@ P+ So%%#rs( 3!oique de la fiction3( *+ - 6autumn 198+ R#*rint#, a%so in i,+(

!oiques 6 Paris( 1987( /ut -it" &#rtain &"an)#s( !or #.am*%#( t"# #%ision o! a r#!+ toun)+

51 I,+( 3Lo)i<u# ,# %a !i&tion3( *+ - 5+5? I/i,+ +5 I/i,+5; T"# &ontri/utions / P%#n#t( 3!a Pensée contraire3( an, Fa#( 3Ine nou$elle

analoieQ3 -#r# *u/+ in *+ -G 6s*rin) 198;( as -#r# t"# 3<é"at sur le roman3 an,t"# 3<é"at sur la poésie3+ So%%#rs &ontri/ution( 3!oique de la fiction3( "a, a%r#a,/##n *u/+

55 S## 3<é"at sur le roman3( *+ -G 0 1+58 I/i,+5 Fou&au%t( 3Distan&#( as*#&t( ori)in#( *héorie d'ensem"le.57 R+ art"#s( 3<raine, po(me, roman3( Crit. BBB 6 O&t+ 1985+ an, *héorie d'ensem"le.59

Fou&au%t( 3Distan&#( as*#&t( ori)in#3( in *héorie d'ensem"le, -29-.8@ S## S+ Sar,u( Écrit en dansant 6 Paris( 1985( an, R+ art"i#s r#$i#- o! it( 3La Fa&#/aro<u#3( *u/+ in !a +uin:aine littéraire in 198 an, in R+ art"#s( !e =ruissement dela lanue 6 Paris( 197;+ S## a%so S+ Sar,u( 3Pa)#s ,ans %# /%an&3( *+ B2 6autumn1985( *o#ms /as#, on *aintin)s / Fran= K%in#( trans+ !rom t"# S*anis" / t"# aut"oran, P+ So%%#rs( an, a &riti&a% arti&%#( 3Sur 'on)ora3( *+ B 6s*rin) 1988+

81 For a r#$a%ori=ation o! mim#sis in t"is s#ns#( s## P+ La&ou#:La/art"#( 3T*o)ra*"i#3 inS+ A)a&ins2i( + D#rri,a( S+ Ko!man( P+ La&ou#:La/art"#( +:L+ Nan&( an, + Pautrat(Mimesis des articulations 6 Paris( 195+

8? D+ Ro&"#( 3!a Poésie est question de collimateur 3( *+ -0 6summ#r 198? i,+( 3!es)dées centésimales de >iss E%ani=#3( *+. - 6summ#r 198 i,+( 3!a =i"lioth(que duConr(s3( *+ -1 6summ#r 198; i,+( 3Éros énerum(ne3( *+ BB 6summ#r 1985 i,+(3Éros énerum(ne; *héLtre3( *+ BG 6autumn 1988+

8 I,+( 'Pour E:ra Pound' ( 3E+ E+ Cummin)s3( an, 3#nts #t *oussiGr#s ,# H#nri

>i&"au.3( *+ )) 6autumn 198? i,+( 3>andins8y $enir 3( *+. - i,+ '!es #eliionsarctiques et finnoises' ( *+ BB+







8; T"#r# ar# no mor# &riti&a% arti&%#s / D+ Ro&"# a!t#r summ#r 1985+ T"# t#.t in *héoried'ensem"le, '!a Poésie est inadmissi"le, d'ailleurs elle n'e3iste pas', staes thisa"dication of the $oice of theory, or its su"$ersion, "y titlin a prosaic, critical section'*héorie )', and a second section, typoraphically 'poetic', '*héorie ))', suestinthat '*heory' is henceforth continued 5ithin the su"$ersi$e acti$ity of the 5ritin.

85 S## >+ P%#n#t( !es *rois !i$res 6 Paris( 197;( a r#*u/%i&ation o! t"# !irst t"r## /oo2s(

Pro$isoires amants des n(res, Paysaes en deu3sui$i de !es !ines de la prose, andComme, prefaced "y Pleynet, p. G; '!'inspiration, l'emportement poétiques ne $i$ent icique de ce "attement de sens qui touche le cOur a$ec force et li$re, en rythmes, la présence sensi"le des réussites et des échecs de la création.'

88 A ,ua%it si)na%#, / Riss#t in Marcelin Pleynet ( 9+8 C! #+)+ A+ ,u ou&"#t( <ans la chaleur $acante 6 Paris( 1981+ S## a%so P%#n#t(

int#r$i#- -it" aut"or( Paris( 199@0 3 Au lieu de le $erser au compte d'une complaintenostalique il est emporté par un dynamisme érotique3 3Pour moi <u =ouchet esttypiquement un phénom(ne de rétention+3

87 P%#n#t( !es *rois !i$res, --.89 S## P+ So%%#rs( 3Proust #t %#s si)n#s3( *+ - 6autumn 198; '+ D#%#u=# -or2s

*r#,omimant% -it"in *"i%oso*" s## Niet:sche et la philosophic 6 Paris( 198? an, !aPhilosophie de >ant 6 Paris( 198+

@ R+ Pi&ar,( Nou$elle critique ou nou$elle imposture7 6 Paris( 1985+1 A+ La$#rs( #oland =arthes4 Structuralism and After 6 Lon,on( 197?( 1?+? D#rri,a arti&%#s in *el +uel !rom !'Écriture et la difference 6 Paris( 1980 3!a Parole

soufflée3( *+ B0 6-int#r 1985 3Freud et la sc(ne de l'écriture3( *+ B/ 6summ#r1988+

I,+( 3<e la rammatoloie3( Crit. BB2:; 6 D#&+ 1985:an+ 1988+; S## a%so t"# arti&%#( 3Structure, sine et ?eu clans le discours des sciences humaines3(

in !'Écriture et la difference 6 Paris( 198( ori)+ a *a*#r at a 1988 &on!#r#n&# ina%timor#( a%so att#n,#, / La&an( art"#s( an, To,oro$( amon) ot"#rs+

5 S## n+ ?+8 3Homma)# '#or)#s atai%%#3( Crit. - :8 6 Au)+::S#*t+ 198+ >+ Fou&au%t( 3Préface la transression3( i/i,+ 50 3Nul mou$ement dialectique, nulle

analyse des constitutions et de leur sol transcendental ne peut apporter de secours pour penser une telle e3perience o^ mme l'acc(s cette e3périence+3

7 T"# arti&%#s / *el +uel m#m/#rs or asso&iat#s in Critique ,urin) t"# 198@s ar#0 P+So%%#rs( 3<e randes irréularités de lanae3 6on atai%%#( 195:8 an, 3Critique de la poésie3 6on P%#n#t( ??8 +:P+ Fa#( '!e *héLtre et ses décors' ( ??8 + Ri&ar,ou(3!'istoire clans l'histoire3( ?1:? + Krist#$a( '=a8htine, le dialoue et le roman' ( ?;an, 3!e Sens et la mode3 6on art"#s( ?; +:L+ Hou,#/in#( 3Fi)ur#s #n r#)ar,3 6on'ui%%#$i&( ?; Ri&ar,ou( 3!e Caract(re sinulier de cette eau+ + +3 6on Po#( ?;:;So%%#rs( 3La

9 S## '+ D#%#u=#( 3Pierre >losso5s8i ou les corps9lanae3( Crit. B- 6mar+ 1985 i,+(3Ine théorie d'autrui 3 6on >+ Tourni#r( Crit. B- 6 un# 198 i,+( 3!e Schi:ophr(neet le mot 3 6on Artau, L+ o%!son( L+ Carro%%( Crit. B9/ 6 Au)+:S#*t+ 1987 i,+( 3Innou$el archi$iste3 6on >+ Fou&au%t( Crit. BG 6 >ar+ 19@ i,+( 3Faille et feu3 locau3 36on K+ A.#%os( Crit. BG 6 A*r+ 19@+

7@ + La&an( 3>ant a$ec Sade3( Crit. -- 6 A*r+ 198 A+ 'r##n( 3<u comportement lachair. !')tinéraire de Maurice Merleau9Ponty 3( Crit. B-- 6 No$+ 198;+

71

>+ P%#n#t( 3!es Pro"l(mes de l'a$ant9arde3( *+ B 6s*rin) 1988+7? Trans%ations ,urin) t"is *#rio, in&%u,#0 *+ ) 0 + oo%! ?0 T+ S+ E%iot( + Donn# 0 R+>usi%( '+ Tra2% ;0 D+ T"omas 80 F+ H%,#r%in( >+ H#i,#))#r 6/ >+ D#)u( E+ Poun,0 + L+ or)#s 6/ P+ So%%#rs( D+ D#!o# 70 '+ Un)ar#tti 6/ F+ Pon)# 90 C+ E+ 'a,,aII0 + L+ or)#s 6/ R+ Cai%%ois( E+ Poun,( 6/ D#nis Ro&"# 1?0 P+ K%## 6/ >+ D#)u(+ #au!r#t( 150 '+ Un)ar#tti 6/ P+ a&&ott#t 190 C+ O%son 6/ >+ P%#n#t ?@0 +As"/#r 6/ D+ Ro&"# ?10 R+ >+ Ri%2# ??0 + o&# ?0 S&"#%%in)( i&o 6/ + Riss#t(Sar,u 6/ So%%#rs an, S+ Sar,u ?50 N+ a%#strini 6/ Riss#t ?0 + urrou)"s@0+ o&#+

7 S## E+ San)uin#ti( 'Capriccio italiano' 6trans+ / + T"i/au,#au( *+ - 6autumn 198i,+( ')nf. Q)))' 6on Dant# 6trans+ / + T"i/au,#au( *+ B2 6autumn 1985 i,+( 3Pourune a$ant9arde ré$olutionnaire3( *+ B 6s*rin) 198 an, i,+( Capriccio italiano 6 Paris( 198; N+ a%#strini( 3Pr#mi#r *%an3 6trans+ / + Riss#t( *+ B 6s*rin) 1988U+ E&o( 3!e Moyen Ae de Dames Doyce3( *+ --9-B( 6autumn 198?:-int#r 198+ T"#

%att#r is an #.&#r*t !rom E&o -or2 !'&eu$re ou$erte 6 Paris( 1985+7; + Riss#t &ontri/ut#s an arti&%# on 'rams&i( 3!ecture de Hramsci 3 !or *+ B+ 6summ#r



19@+ Durin) t"# 19@s t"# r#$i#- -i%% *u/%is" -or2 / San)uin#ti( a%#strini(>ariaAntoni#tta >a&&io&&"i( an, t"# *s&"oana%st Arman,o #r,i)%ion#+ S## C"+ ;+

75 S## P%#n#t( 3!es Pro"l(mes de l'a$ant9arde3( *+ B 6S*rin) 1988+78 I,+( 3E.*osition >ar2 Rot"2o3( *+ -B i,+( 3!a Peinture de Ro/#rt Raus&"#n/#r)3( *+.

-2 i,+( 3Fran: >line et la tentati$e post9cu"iste3( *+ - i,+( P+ So%%#rs( 3La P#intur# #tson su4#t3( *+ B0+

7

I,+( 3!a Companie de >#r&# Cunnin)"am3( 6intro,+ to + Ca)# an, >+ Cunnin)"am (3!'Art impermanent 3( *+. -1+77 S## + Krist#$a( >+ P%#n#t( P+ So%%#rs( 3Pourquoi les États9InisQ3( *+ G-92 6autumn

19+79 >+ P%#n#t( 3!')mae du sens3( *+ -1+9@ C!+ i,+( int#r$i#- -it" aut"or( Paris( 199@0 3!e non9dit $a appara_tre aussi $ite,

notamment un des non9dits du Surréalisme et de ses conséquences, au?ourd'huimondiales, un des non9dits si $ous $oule: de l'a$ant9arde américaine post9dadaiste,au fond, c'est la lanue mme dans laquelle nous nous e3primons. C'est dire la lanuefran%aise et la culture fran%aise en tant qu'elle est née un moment donné del'histoire3+

91 *el +uel a%so *u/+ an im*ortant /oo2 on mo,#rn art / Pi#rr# Dai.( #,itor o! !es !ettresfran%aises. Nou$elle critique et art moderne 6 Paris( 1987+

9? P+ ou%#=( 3!e Ho`t et la fonction3( *+ -9- i,+( #ele$és d'apprenti 6 Paris( 198;+9 >+ Fou&au%t( 3!e !anae l'infini 3( *+ - +9; I/i,+ ;5+95 S## +:L+ Nan&( Ine pensée finie 6 Paris( 199@ an, *he =irth to Presence( #,+ +

Hama&"#r an, D+ E+ #%%/#rr 6Stan!or,( Ca%i!( 199+98 #+)+ P%#n#t( in 3!')mae du sells3( *+ -1+9 a2o/son &ontri/ut#, arti&%#s to *el +uel 0 3<u réalisme artistique3( *+ B

3Hlossolalie3( *+ B/ 3Ine microscopie du dernier spleen dans !es Fleurs du Mal 3( *+B+

97 T"is is a2o/son3s t"#sis in 3<u réalisme artistique3+99 S## Ei2#n/aum( 3!a *hérie de la méthode formelle3( in T+ To,oro$ 6#,+( *héorie de la

littérature; *e3tes des fomalistes russes 6 Paris( 1985( +1@@art"#s( 3!a !ittérature au?ourd'hui 3( *+ G an, 3littérature et sinification3( *+ -/

6int#r 198;( /ot" r#*u/+ in i,+( Essais critiques.1@1S## art"#s( Essais critiques, B/2.1@?S## + M+ Krist#$a( 3Mémoire3( !')nfini, - 6-int#r 197+1@La$#rs( #oland =arth(s+1@;art"#s( 3<rame, po(me, roman3( in *héorie d'ensem"le, BG.1@5S## 3Di$ision de l'ensem"le3( in *héorie d'ensem"le, 10 3V!es noms deW !acan et

d'Althusser seront retrou$és, darts leurs positions de le$iers, l'intérieur des différentesétudes+3

1@8C! So%%#rs( 3!oique de la fiction3( *+ - P%#n#t( 3!a Pensée contraire3( *+ -G 0 57(8;+

1@+:L+ au,r( 3In$#sti)ations psychosomatiques3( *+ -1 6summ#r 198;+1@7P+ So%%#rs( 3!es #$es et les moyens de les dirier 3( i/i,+1@9I,+( 3!e !i$re du %a3( i/i,+ #an T"i/au,#au( 3Fr#u,3( i/i,+11@+:L+ au,( '!e #$e de la littérature' ( i/i,+111I/i,+ 78+11?

+:L+ au,r( 3!e #e$e de la littérature37+113!a Pensée de Sade3( *+ B1 6-int#r 198+ S## /#%o-+11;A+ Artau,( Ru$res compl(tes, @ Paris, -G0, 0.115P+ So%%#rs( 3!a Pensée émet des sines3( *+ B0 6-int#r 1985( a%so in i,+( !oiques,

-2.118I,+( 3<ante et la tra$ersée de l'écriture3( *+ B2 6autumn 1985 an, i,+( !oiques, .11Dant#( !a <i$ine Comédie i; !'enfer, trans. D. #isset @ $ols.4 Paris, -B, B.117C!+ So%%#rs( !oiques, 1.119S+ >a%%arm( Correspondance de Mallarmé, -1/B9-1G- 6 Paris( 1959( ?;@+1?@So%%#rs( !oiques, //.1?1S## H+ %oom( *he An3iety of )nfluence 6 N#- Mor2( 19+ %oom3s *#rs*#&ti$# is(

"o-#$#r( mor# %in2#, to int#rsu/4#&ti$it( to an int#r:*s&"o%o)i&a% notion o! in!%u#n&#(t"an to int#rt#.tua%it+

1??So%%#rs( !oiques, B2.1?&!+ So%%#rs( !oiques. B09-.1?;S## *+ B2 6autumn 1985( in&%u,in)0 F+ + + $on S&"#%%in)( 3<ante dans la









perspecti$e philosophique3 P+ So%%#rs( 3<ante et la tra$ersoée de l'écriture3 E+San)uin#ti( 3In!+ III3 #rnar, Stam/%#r( 3*rois r$es3 '+ i&o( 3<ante et la naturede la $raie poésie3+

1?5P+ T"$#nin+ 3 Antonin Artaud dans la $ie3( *+ B0 6-int#r 1985+1?8S## *+ B1 6-int#r 198( 3!a Pensée de Sade3( in&%u,in)0 P+ K%osso-s2i( 3Sade ou le

philosophe scélérat 3 R+ art"#s( 3!'Ar"re du crime3 P+ So%%#rs( 3Sade dans le te3te3

H+ Damis&" ( 3!'Écriture sans mesures3 >+ Tort( 3!'Effet Sade3+1?P+ So%%#rs( 3!a Science de !autréamont 3( Crit. B 6 O&t+ 198+ A%so in i,+( !oiques.1?7S## So%%#rs( !oiques, -/. )t 5as e$entually pu". in *+ B @sprin -/G and !oiques.1?9S## So%%#rs( !oiques, 1.1@ I/i,+ ?5;+11 I/i,+ ?57+1? I/i,+ ?5;( ?78( ?91+1Su&" as +:L+ au,r( an, %at#r +:L+ Hou,#/in# an, '+ S&ar*#tta+ Not in t"# s#ns# t"at

t"# ar# r#*#atin) So%%#rs3s $oi&#( /ut in t"# s#ns# t"at t"# ar# in!orm#, / t"# sam#t"#or#ti&a% r#!#r#n&#s+

1;S## + La&an( Écrits, ii 6 Paris( 191( 18+15S## Cahiers pour, l'analyse, -9-0 6 Paris( 1988:9+18S## #+)+ + Krist#$a( 3Pour une sémioloie des pararammes3( *+ B 6s*rin) 198+1Ni&o%as our/a2i( Éléments de mathématique. *héorie des ensem"les 6 Paris( 1987+17S## #+)+ P+ So%%#rs( 3#éponses la nou$elle critique3( in *héorie d'ensem"le, 21;'!autréamont, Mallarmé et Cantor, par e3emple, sont réellement contemporains.' See

D.9!. oude"ine, '!'E3périence de Cantor', !')nfini, @autumn -12.19Krist#$a( 3Pour une sémioloie des pararammes3( *+ B+1;@So%%#rs !oiques, B.1;1S## Damis&"( 3!'Ecriture sans mesure3( *+ B1 6-int#r 198( ?9+1;?So%%#rs( !oiques, B1.1; I/i,+ ?55+1;;C!+ Krist#$a( 3Pour une sémioloie des pararammes3( *el +uel, B( 8+1;5>+ P%#n#t( !autréamont 6 Paris( 198( 15:8+1;8So%%#rs( !oiques, B1/.1; I/i,+ ?55+1;7+ D#rri,a( <e la rammatoloie 6 Paris( 198( 1?+1;9So%%#rs( !oiques, B.15@S## i,+( 3Sur$o%Ra**orts6%o&sCon!%it3( *+ 2/( r#!+ to t"# In,ian s&"o%ar Louis

R#nou i,+( 3!a Science de !autréamont 3 in !oiques, refs. to =en$eniste's 5or8 onSans8rit4 id., Sur le matérialisme @ Paris, -G, ref. to )ndian atomist philosophy.

151>+ 'ran#t( !a Pensée chinoise 6 Paris( 19; an, !a Ci$ilisation chinoise 6 Paris( 19?9+15?+ N##,"am( Science and Ci$ilisation in China 6 8 $o%s+ Cam/ri,)#( 195;:7815H+ >as*#ro( !e *aoisme 6 Paris( 195@+15;S## So%%#rs( 3Sur$o%Ra**orts3( *el +uel, 2/+ 1;( an, %at#r0 3Pourquoi ?'ai été chinois3(

*+ 11 6summ#r 1971( an, in i,+( )mpro$isations 6 Paris( 1991( +155I,+( !oiques, -0.158 I/i,+ ?88+15I/i,+157S## >+ P%#n#t( Stan:e 6 Paris( 19( 155:8+159S## *+ 19( 3!a Pensée chinoise3 6S*rin) 19?+18@

+ D#rri,a( 3La Paro%# sou!!%#3( in i,+( !'Écriture et la difference, B/B; 'Soufflée;entendons du mme coup inspirée depuis une autre $oi3, lisant elle9mme un te3te plus $ieu3 que le po(me de mon corps, que le théLtre de mon este.'

181So%%#rs( 3La >atiGr# #t sa *"ras#3( Crit. B0 6 un# 191+18?C!+ i,+( !oiques, -G910.18S## i,+( 3!e Se3e des anes3( *+ G 6s*rin) 197+18;+:L+ au,r( 3!e *e3te de #im"aud 3( *+ 29/ 6autumn 1987:-int#r 1989( an, 3Pour

une matérioloie3( *+ 9 6-int#r 191:s*rin) 191 +:+ 'ou.( 3Numismatiques3(*+ 29/ 6autumn 1987:-int#r 1989+

185S## P+ So%%#rs( 3 De sais pourquoi ?e ?ouis3( *+ 0 6-int#r 1971( i,+( an, in *héorie dese3ceptions 6 Paris( 1978+

188T"# !o&us on Sa,# o! t"# *r#$ious ,#&a,#( #+)+ in ,# #au$oir Faut9il "r`ler Sade 6 Paris( 1951 an, t"# Pau$#rt tria% o! 1957 is mor# #.*%i&it% mora%+ S## Pau$#rt 6#,+(!'Affaire Sade 6 Paris( 1957+

18art"#s( 3L3Ar/r# ,u &rim#3( *+ B1( @+187So%%#rs( !oiques, -12.























189 I/i,+ +1@ I/i,+ 9+11So%%#rs( !oiques, 10.1? I/i,+ 71+1 I/i,+ 9+1; I/i,+ 71+15

'+ atai%%#( !'Érotisme in Ou$res compl(tes, @ Paris, -1G,-G.18S## !')nfini, - @summer -1/.1P+ So%%#rs( 3Écriture et ré$olution3( in *héorie d'ensem"le, G0.17I,+( 3!e #oman et l'e3périence des limites3( *+ B 6s*rin) 1988+19I,+( !oiques, --2.17@ I/i,+ 1+171T"is $i#-( !un,am#nta%% t"# sam# as t"at o! Fr#u,( is a%so *#rtin#nt in t"# -or2 o!

R#n 'irar, 6 <es choses cachées depuis la fondation du monde, @ Paris, -G1, 5hich5ill "e cele"rated in *el +uel in the late -G0s.

17?So%%#rs( !oiques, 10.17I/i,+17; I/i,+ 7?+175S## au,r( 3!e *e3te de #im"aud 3( *+ 29/ So%%#rs( 3Proust et les sines3( *+ -

3!oicus Solus3( *+ -( an, 3!a Poésie, oui ou non7 3( !oiques. Sollers refers to

lderlin in !oiques on pp. - , /- , - , B-G , BB2.178A%t"ou)" So%%#rs ,o#s r#!#r to o&# in !oiques, on pp. 0, 1, BB/, B2/90. *here arealso articles on Doyce in *el +uel "y Eco, '!e Moyen e de Dames Doyce', *+ --9-B,and a concentration in issue 20 @summer -/G, "ased on the translation of P.!a$erne, 5ith te3ts "y D.9P. D. Faye Paris, and a translation from Finneans 6a8e. Pu". ?ust "efore the split 5ith Faye, this emphasis relates more to the perspecti$e de$elopedin Chane.

17So%%#rs( !oiques, -- ; '!a théorie de l'histoire de l'écriture te3tuclle peut tre appeléehistoire monumentale clans la mesure ou elle fait fond de fa%on littérale, par rapport une histoire cursi$e, fiurée @téléoloique, ayant ser$i constituer en ledissimulant un espace écritYe3térieur.'

177Dant#( !a <i$ine Comédie, @trans. D. #isset. See also D. #isset, <ante écri$ain @ Paris,-1B.

179So%%#rs( !oiques, --0.19@ I/i,+ 95+191So%%#rs( !oiques 1+19?I,+( 3Proramme3( *+ 2- 6autumn 198 an, in i,+( !oiques.














































3 The Time of TheoryIt "as /##n su))#st#, t"at t"# tim# o! t"#or -as *r#*ar#, !or / t"# !#rm#nt o! t"ou)"tin t"# *ost:-ar *#rio,( an, / t"# int#rs#&tions o! t"# &ont#.t+ *el +uel a&t#, as a !orum!or t"#s# int#rs#&tions( *u%%in) t"#m to)#t"#r into a snt"#sis a!t#r t"# #.*%osion o! t"#oro! 198+ T"# tim# o! t"#or is a tim# o! snt"#sis( o! t"# arti&u%ation o! ,i!!#r#nt an,,is*arat# t"#ori#s -it" t"# $i#- o! %it#ratur# *ro*os#, in t"# r#$i#-+ T"is mom#nt o!

t"#or#ti&a% *ro%i!#ration is a%so mor# )#n#ra%% r#!%#&t#, in t"# &ont#.t( an, it &oin&i,#s-it" a mom#nt t"at a**#ars as an,:t"#or#ti&a% in its s*ontan#it0 t"# #$#nts o! >a 1987+T"# tim# is #.tr#m#% t#ns# in t"# &ontrastin) *u%% o! ,i!!#r#nt t#m*ora%iti#s+ T"# tim# o!t"#or( t"# t#m*ora%it o! its &r#ation( a%so in$o%$#s a t#nsion /#t-##n t"# stru&tura% an,snt"#ti& t#n,#n& o! t"#or#ti&a% t"ou)"t( an, t"# mor# ,nami&( *un&tua% tim# o! %it#rar&r#ation( t"# o/4#&t o! t"#or+ T"# tim# o! t"#or is on# o! #.tr#m# t#nsion( /ot""istori&a%% an, in t#rms o! its int#rna% or)ani=ation+

Histori&a% t#m*ora%it( -"i&" is not n#&#ssari% t"# sam# as t"# t#m*ora%it o! t"ou)"t ort"#or( runs at an a%armin) *a&#+ In 1988 t"# C"in#s# Cu%tura% R#$o%ution /rou)"t a n#-r#$o%utionar mo$#m#nt on to t"# ma* a n#- r#$o%utionar r#!#r#n&# in &ountri#s %i2#Fran&#+ In Fran&# in 1988 t"#r# -as( -# "a$# *ro*os#,( an #.*%osion in t"#or -it" t"#*u/%i&ation o! Fou&au%t !es Mots et les choses 6 1988( La&an Écrits 6 1988 an, a num/#ro! s#mina% -or2s / D#rri,a+ C%os#r to *el +uel ( it -as t"# #ar o! Krist#$a3s !irst*u/%i&ations+ "#t"#r &onn#&t#, to t"is #.*%osion or not( stu,#nt unr#st /#)an to s*r#a,(s*#&i!i&a%% !rom Stras/our)( -"#r# t"# situationists "a, ,iss#minat#, t"# tra&t 3D# %amisGr# #n mi%i#u tu,iant3+ 1 198 a%so sa- t"# *u/%i&ation( / t"# mar)ina% *u/%is"#r3C"am* Li/r#3( o! 'u D#/or, !a Société du spectacle an, an#i)"#m *raité du sa$oir9$i$re l'usae des ?eunes énérations, "oth ela"oratin a critique of contemporary cultureas alienated spectacle, and "oth aruin for spontaneity, drift @déri$e, the creation of'situations'. *he spontaneous creation of the situation of May -/1 5ould ha$e unforeseenconsequences. =ut in the meantime, after the

WWWWWWWWWWWWWWWWWWWW1 S## a%so !')nternationale situationniste, -- 6 O&t+ 198( ?:1( 3<e nos "uts et nos

méthodes dans le scandale de Stras"our3+

#.*%osion( t"#or#ti&a% tim# "a, a&&#%#rat#,( *ro,u&in) anot"#r int#ns# !#rm#nt o! t"#or!or -"i&" -# "a$# a%r#a, ,#s&ri/#, t"# &on,itions+

*el +uel, rather than "ein an eclectic site of intersection, of te3ts and persons, no5"ecomes a site of synthesis. )ts pu"lications are more related to a pro?ect, 5hich a num"erof te3ts set out. B *his moment of theory ma8es the re$ie5 appear rather more as amo$ement or a roup. )t restricts "oth the scope and num"er of presentations, "ut itintensifies their comple3ity and the le$el of their implications, 5hile the re$ie5 alsodi$ersifies and enaes in other acti$ities. )t is this time of theory 5hich lasts until themid9-G0s, 5hen thins open out more, that defines the intellectual climate in 5hich thee$ents of -/1 occur. *he time of the e$ent also conflicts 5ith the time of theory.

-/1 appears as e3or"itant and em"arrassin 5ith reard to the theory of the structuralistor post9structuralist theoretical orthodo3y, particularly that 5hich had a politicalenaement. &nly the situationists, 5hose re$ie5 dissol$ed a fe5 years after the e$ents,









escape this distance. 2 *he fiures of *el +uel are neither in$ol$ed, nor positi$e to5ardsthe students' re$olt. o5e$er, the fact of the e$ents did mean a sudden emerence of the political on to the scene of theory, and $ice $ersa, since the re$olt 5as deemed to "ecultural. *he theoretical, in *el +uel, "ecomes increasinly lin8ed to the political, and italso mo$es from the orthodo3, "ut crucial, frame of theoretical Mar3ism to5ards a more popular, less a"struse lanuae, to the point of its "rea8do5n. -/1 produced an

acceleration in theory's demise, under the pressure of 5hat miht "e termed desire inlanuae. )t also produced a fracturin of the !eft. *he PCF came out of -/1 discreditedin the eyes of many intellectuals and artists, 5ho desired a more culturally a5are politics.*heoretical Mar3ism of the Althusserian mould 5ould also "e left standin. So if the e$entsof May -/1 are not rele$ant to the history of *el +uel in terms of any influence of theoryon the students, its effects are catastrophic.

WWWWWWWWWWWWWWWWWWWW? P+ So%%#rs( 3Pro)ramm#3( *+ 2- 6autumn 198 i,+( 3Sur$o%Ra**orts6%o&sCon!%it3(

*+ 2/ 6-int#r 1989 an,( in t"# /oo2 *héorie d'ensem"le, id., '<i$ision d'ensem"le','Écriture et ré$olution', and '#éponses !a Nou$elle Critique'.

O! t"# ,isso%ution( 'u D#/or, -rit#s0 3!es a$ant9ardens n'ont qu'un temps4 et ce qui peut arri$er de plus heureu3, c'est, au plein sens du terme, d'a$oir fait leur temps. Apr(s elles, s'enaent des opérations sur un plus $aste théLtre. &n n'en a que trop $u,

de ces troupes d'élite qui, apr(s a$oir accompli quelque $aillant e3ploit, sont encore l pour défiler a$ec leurs décorations, et puis se retournent contre la cause qu'ellesa$aient défendue. )l n'y a rien craindre de sem"la"le de celles dont l'attque a étémenée ?usqu'au terme de la dissolution+3 )m irus imus nocte et consumimur ini 6 Paris( 199@( 81+ In an int#r$i#- &on,u&t#, -it" So%%#rs / t"# aut"or( So%%#rs,#&%ar#, t"at t"is &ou%, a**% #<ua%% to t"# ,isso%ution o! *el +uel +

T"# ar# a%so s%o- to #m#r)#+ T"# n#.t t#n #ars( *ossi/% mor#( is t"# tim#:s*an in -"i&"t"# ar# !#%t in *el +uel an, in t"# Fr#n&" int#%%#&tua% s&#n# in )#n#ra%+ T"# "istor o! *el+uel in t"is tim# is in#$ita/% ,#t#rmin#, / #$#nts -it" -"i&"( at t"# tim#( it "a, %itt%#&onta&t+

T' Q%' A"D+Sin&# t"# #ar% 198@s t"#or#ti&a% >ar.ism in Fran&# "a, su!!#r#, a $ari#t o! mutations+Sartr#3s tota%i=in) *ro4#&t o! t"# Critique de la raison dialectique "a, /##n &riti&i=#, /L$i:Strauss an, o$#rta2#n / t"# -or2 o! A%t"uss#r+ A!t#r t"# r#$i#-s Aruments an,Socialisme ou "ar"arie !o%,#,( "a$in) *ro,u&#, &riti<u#s o! So$i#t /ur#au&ra& 6/Castoria,is( !or #.am*%# ; -"i&" -#nt unnoti&#,( #st#rn >ar.ist t#.ts / >ar&us# an,A,orno -#r# *u/%is"#, in Fran&#( *ro*osin) a &u%tura% >ar.ism $#r s#,u&ti$# !or t"#stu,#nts o! 1987+ T"# >ar.:Fr#u, snt"#sis o! R#i&" -as a%so #.tr#m#% in!%u#ntia% in t"is&ont#.t+ 5 T"# situationists( !or t"#ir *art( -#r# &riti&a% o! >ar.ism( -"i%# t"#ir -or2 is!un,am#nta%% /as#, on t"# notion o! a%i#nation+ A%t"uss#r3s mor# t"#or#ti&a%% a/strus#stru&tura% >ar.ism -as ,istin&t !rom t"#s# &urr#nts+ Fou&au%t !es Mots et les choses,ho5e$er, seemed to suest that Mar3ism 5as not the radical science it 5as proposed to

"e "y Althusser, that history 5as a myth. Foucault had already, in the article on =ataille'Préface la transression', dou"ted the rele$ance of the dialectic and suested itsa"andonment. / &ther, more e3plicit critiques of Mar3ism, such as the early 5or8 of=audrillard, G emerin from the conte3t of !es *emps modernes and the 5or8 of Dean9Marie =enoist, 1 from outside the !eft, perpetuate a current of thouht critical of Mar3ism5hile not fallin into an outriht re?ection. *he influence of 6estern Mar3ism 5ascontinued in the 5or8 of enri !efe"$re, 5hile a distincti$e perspecti$e "ased on thenotion of class emered in the 5or8 of Nicos Poulant:as. -0 *here are a num"er ofdisparate currents in Mar3ist thouht at this time, and

WWWWWWWWWWWWWWWWWWWW1@ N+ Pou%ant=as( Pou$oir politique et classes sociales 6 Paris( 1987+; S## C+ Castoria,is( !e Socialisme "ureaucratique 6 Paris( 19( a r#*u/%i&ation o!

arti&%#s in So&ia%ism# ou /ar/ari#+5 T"# 4ourna% Aruments %ar)#% ma,# t"is *ossi/%# t"rou)" arti&%#s on R#i&" an, its&#%#/ration o! t"# -or2 o! >ar&us#( a%so *romotin) a 3Fr#u,o:>ar.ism3+



























8 S## >+ Fou&au%t( 3Préface la transression3( Crit ( 195:8 6 Au)+:S#*t+ 198+ + au,ri%%ar,( !e Syst(me de o"?ets 6 Paris( 1987+7 +:>+ #noist( Mar3 est mort 6 Paris( 19@+9 H+ L#!#/$r#( !a #é$olution ur"aine 6 Paris( 19@+

t"is !ra)m#ntation su))#sts a t#n,#n& to-ar,s t"# *%ura%i=ation an, !ra&tur# o! t"#

stru&tur# o! >ar.ism its#%!+ A%t"uss#r3s &ontinuin) -or2 a**#ars as an o/stinat# -i%% to "o%,on to >ar.ism as a stru&tur#( !rom -it"in t"# PCF( ma2in) A%t"uss#r3s t"#or *art o! t"##ss#ntia% sta2#s o! a &o"#r#nt t"#or#ti&a% >ar.ism at t"is tim#+ 11 In som# s#ns#s(t"#or#ti&a%( stru&tura% >ar.ism stan,s or !a%%s -it" A%t"uss#rian t"#or+ Ho-#$#r( outsi,#t"# PCF t"# ,#$#%o*m#nt o! *s&"oana%sis( t"# #$#nts o! 1987( an, t"# &riti<u# o!stru&tura%ism -i%% %#a, to t"# #m#r)#n&# in t"# 19@s o! ,#sir# as an #n#r)#ti& !or&# t"at!ra&tur#s an, ,issi*at#s t"# >ar.ist !ram#+ T"# -or2 o! D#%#u=# an, 'uattari( 1? o!Lotar,( 1 an, o! t"# 3Nou$#au. *"i%oso*"#s3 1; in t"# n#.t ,#&a,# &an /# s##n in t"is%i)"t+ *el +uel is a%so &au)"t u* in t"is #*ist#mi& &"an)#+

T"# t#n,#n& to-ar,s >ar.ism mar2#, in So%%#rs !iques -as *rin&i*a% amon) t"# moti$#s-"i&" %#, t"# r#$i#- to #n)a)# in 198 in an a,$#ntur# -"i&" is to som# #.t#nt ar#*#tition o! "istor+ T"# Surr#a%ists( %#, / r#ton( "a, #n)a)#, in a ,ia%o)u# -it" t"#Communist Part( on% %at#r to ,i$#r)# !rom it to-ar,s Trots2ism+ 15 'i,#( a!t#r $isitin)t"# USSR( -ou%, *u/%is" a &riti&a% r#noun&#m#nt o! "is *r#$ious !ait"+ 18 In #!!#&t t"#r#%ation to t"# PCF s##ms to "a$# /##n a *ri$i%#)#, r#!#r#n&#:*oint -"i&" %it#rarmo$#m#nts stru))%# o$#r+ *el +uel 3s a,$#ntur# -it" t"# *art is t"# %ast o! su&" &on!%i&ts(an, mar2s in t"is s#ns# t"# #n, o! an #ra+

it" t"# 1987 &o%%#&ti$# *u/%i&ation *héorie d'ensem"le, *el +uel synthesi:es aspectsderi$in from literary criticism into a comprehensi$e theory. Mar3ism is anne3ed into this pro?ect. *his conte3t replaces the structuralist, formalist, and a$ant9arde conte3ts of the pre$ious years4

WWWWWWWWWWWWWWWWWWWW11 A!t#r Pour Mar3 6 Paris( 1985 an, !ire le Capital 6 Paris( 1985( A%t"uss#r3s ma4or t#.ts

o! t"is *#rio, -#r#0 !énine et la philosophie 6 Paris( 1989 an, 3)déoloie et appareilsidéoloiques d'État 3 !a Pensée, -- 6 un# 19@+

1? '+ D#%#u=# an, F+ 'uattari( Anti9Rdipe; Capitalisme et schi:ophrémie 6 Paris( 19?+1 +:F+ Lotar,( <iscours, fiure 6 Paris( 191 i,+( <éri$e partir de Mar3 et Freud

6 Paris( 19 i,+( <es dispositifs pulsionnels 6 Paris( 19 i,+( Economie li"idinale 6 Paris( 19;+

1; T"# 3Nou$#au. *"i%oso*"#s3 -#r# in !a&t a %oos# )rou*in) o! -rit#rs( a num/#r o!-"om( 6 An,r '%u&2smann( C"ristian am/#t an, 'u Lar,r#au( #rnar, H#nri:L$"a, #m#r)#, !rom t"# #.tr#m#:%#!t )rou*s in t"# -a2# o! 1987+ Ot"#r !i)ur#s 6 >auri&#C%a$#% an, +:>+ #noist -#r# %#ss asso&iat#, -it" t"# L#!t+ T"# !irst ma4or t#.t o! t"#mo$#m#nt -as '%u&2smann !a Cuisini(re et le maneur d'hommes 6 Paris( 195( -"i%##noist an, C%a$#% "a, a%r#a, *ro,u&#, t#.ts &riti&a% o! >ar.ism as a tota%itariansst#m+

15 T"# r#$i#-s !a #é$olution surréaliste an, !e Surréalisme au ser$ice de la ré$olution ar#

*ara,i)mati& !or *el +uel in t"is s#ns#+ So%%#rs r#*orts 6int#r$i#- -it" aut"or( Paris(1979 t"at( /#!or# t"# !ormation o! *el +uel, he had spent much time readin these periodicals in that =i"lioth(que de l'Arsenal in Paris. For a historical account ofSurrealism and its political shifts, see M. Nadeau, !'istoire du Surréalisme @ Paris,-/.

18 A+ 'i,#( #etour de l'I#SS 6 Paris( 198+

its int#rs#&tions( an, mor# !r#<u#nt ,isso&iations( /#&om# t"# $ita% *ro,u&ti$# &ont#.t !ort"# r#$i#-+ T"# t"#or "as its o-n %i!#( "o-#$#r( an, it is &om*%#. an, *ro!oun,+ *el+uel 3s %in2in) o! %it#rar t"#or to >ar.ist t"#or is &ru&ia% in o*#nin) u* a -i,# ar#a o!,#/at#+ T"# %in2s -it" A%t"uss#r ar# *arti&u%ar% t#%%in)+ It is #ss#ntia%% a $#r am/itious/ut !%a-#, *ro4#&t( -"i&" t"ro-s u* <u#stions t"at "a$# in!%u#n&#, %it#rar t"#or sin&#+

T"# turn to an o$#rt ,ia%o)u# -it" >ar.ism -as *r#*ar#, !or / #%#m#nts -it"in %it#rart"#or( #$i,#nt in So%%#rs !oiques+ T"# *r#s#n&# o! #an:Pi#rr# Fa#( &%os#r to t"# &ont#.to! t"# L#!t( -as a%so ,#t#rminin) in t"# s"i!t+ T"# &"rono%o) o! t"# turn in,i&at#s(





















"o-#$#r( #%#m#nts o! t#nsion -it"in *el +uel 3s >ar.ism t"at -i%% "a$# r#*#r&ussions at t"##n, o! t"# ,#&a,#+ In 1988( >ar&#%in P%#n#t -as in t"# Unit#, Stat#s( at Nort"-#st#rnUni$#rsit in C"i&a)o( %#&turin) on Lautramont+ His /oo2 on t"# aut"or o! !es Chants deMaldoror an, t"# Posi#s a**#ar#, in t"# sam# #ar+ T"# ana%sis o! t"# t#.ts o!Lautramont( in P%#n#t3s o-n a&&ount( %#, to a r#a%i=ation t"at an ana%ti& tr#atm#nt o!t"# r"#tori&a% /as#s o! an i,#o%o) &ou%, #na/%# a *o%iti&a% #n)a)#m#nt+ 1 In a s#ns# *el

+uel a,o*ts t"# r"#tori& o! >ar.ism( on% to un,#rmin# its /asis an, *us" it out o! itsi,#o%o)i&a% !ram#+ On "is r#turn( P%#n#t !in,s So%%#rs !as&inat#, -it" t"# r#&#nt #$#nt o!t"# Cu%tura% R#$o%ution in C"ina+ Ho-#$#r( t"# &ommitt##( run ,#mo&rati&a%%( o*ts !or a,ia%o)u# -it" t"# PCF+ In P%#n#t3s a&&ount( it -as not t"# ri)"t mom#nt !or 3%a r"tori<u#&"inois#3+ 17 T"#r# is at t"# "#art o! *el +uel 3s >ar.ism a t#nsion to-ar,s >aoism( &omin)*rin&i*a%% !rom So%%#rs( -"i&" ma2#s t"# #n)a)#m#nt -it" t"# PCF "i)"% unsta/%#+

T"# #n)a)#m#nt -it" t"# PCF is !irst initiat#, in 198( t"rou)" ,ia%o)u#s in t"# PCF&u%tura% r#$i#- !a Nou$elle Critique -it" PCF int#%%#&tua%s 6 C"ristin# '%u&2smann( Antoin#Casano$a( A+ 'iss#%/r#&"t an, C%au,# Pr$ost( an, t"rou)" ot"#r %in2s -it" -rit#rs su&"as a&<u#s H#nri& an, Pi#rr# Dai.( an, t"# #,itors o! t"# *o#tr r#$i#- Prom#ss#( #an:Louis Hou,#/in# an, 'u S&ar*#tta+ 19 !a Nou$elle Critique -as a &ont#.t !a$oura/%# to an#.t#nt to A%t"uss#r3s -or2( an, a%so to-ar,s *s&"oana%sis( t"rou)" t"# #!!orts o!Cat"#rin# a&2Gs:

1 P%#n#t( int#r$i#- -it" aut"or( Paris 1979+17 I/i,+19 "i%# *el +uel m#m/#rs So%%#rs( au,r( Fa#( an, P%#n#t -ou%, *u/%is" arti&%#s or

r#s*on, to <u#stions in !a Nou$elle Critique( t"#r# is no in*ut into *el +uel / itsint#r%o&utors+ Ho-#$#r( Pi#rr# Dai.( #,itor o! !es !ettres fran%aises -it" Ara)on( -ou%,*u/%is" a /oo2( Nou$elle critique et art moderne, in the 'Collection *el +uel' in -/1,and enric, oude"ine, and Scarpetta 5ould "ecome reular contri"utors to the re$ie5.

C%m#nt( att#nuatin) t"# usua% r#4#&tion o! Fr#u, / t"# *art+ >ost o! t"# arti&%#sr#su%tin) !rom t"# int#r&"an)# -it" *el +uel, or oriinally pu"lished in !a Nou$elleCritique, are pu"lished in *héorie d'ensem"le. B0 *here follo5ed a -/1 conference at

Cluny, on '!ittérature et linuistique', orani:ed "y !a Nou$elle Critique and attended "y*el +uel and other roups. B- *he articles and contri"utions to *el +uel determined "y thisinterchane attempted an articulation of the theory of literature 5ith Mar3ism, particularly5ith Althusserian theory.

Criti/ue o$ )xchange)nitially, the mode of this articulation is analoical. Dean9!ouis =audry and Dean9DosephHou3 "oth propose an analoy "et5een an emphasis on literature as the production ofmeanin and Mar3's emphasis on 5or8. BB *he opposin ideoloy is premised on e3chane,of meanin in lanuae, and of the commodity in the economy. !iterature, in its focus onthe production of meanin in lanuae, is a"le to demystify the ideoloy of e3chane and$alue. A ne5 method of readin, 5hich reconi:es the sinifier in its producti$ity andmateriality, its inscription, "ehind the effacin effects of e3chane and of $alue, isnecessary.

Hou3 ma8es an interestin step in sta"ili:in the a"o$e opposition as that "et5een use$alue and e3chane $alue. *he use $alue, or dépense, of literature is related to <errida'sdifférance @the 'a' is added to underline its deferrin mo$ement and to affirm thespecificity of 5ritin, as it de$iates meanin from e3chane and $alue to5ards a deferral,an infinite loss. Hou3's 5or8 5ould e$entually de$iate conte3tually from *el +uel4 he5ould o on to ela"orate a more comple3 theory "ased on this critique of e3chane. )n thelater article 'Numismatiques' in *el +uel Hou3 5ould e3tend this critique of theequi$alent to the realms of se3uality and the family structure, leanin hea$ily on !acanian psychoanalytic theory. B2 *he positi$e sides of the equation are not so 5ell s8etched out,

"ut polymorphous per$ersity, a permutati$e se3uality is
























WWWWWWWWWWWWWWWWWWWW?@ C!+ *héorie d'ensem"le0 +:L+ Hou,#/in#( 3Premi(re approche la notion du te3te3 P+

So%%#rs( 3!'Écriture fonction de transformation sociale3 an, 3#éponses !a Nou$elleCritique3+

?1 T"# *ro&##,in)s -#r# *u/+ in a s*#&ia% issu# o! !a Nou$elle Critique, '!ittérature etlinuistique' @ No$. -/1, 5hile the contri"utions "y Sollers, =audry, Pleynet, and

oude"ine 5ere repu". in *héorie d'ensem"le.?? +:L+ au,r( 3Écriture, fiction, idéoloie3( *+ 2- 6autumn 198( an, in *héoried'ensem"le, id., '!inuistique et production te3tuelle', *héorie d'ensem"le4 D.9D. Hou3,'Mar3 et l'inscription du tra$ail', *+ 22 @sprin -/1 and in *héorie d'ensem"le.

? +:+ 'ou.( 3Numismatiques3( *+ 29/ 6autumn 1987::-int#r 1989+

su))#st#, to r#*%a&# t"# ,ominan&# o! t"# *"a%%us+ An a&#*"a%i& mat#ria%ism is ana**roa&" su))#st#, / 'ou. -"i&" -# &an s## as &o$#rin) a *#rio, o! *el +uel 3s %it#raran, &u%tura% &riti<u#( %in2in) it to atai%%#+ ?; T"# "#a,%#ss( $a%u#%#ss *%a o! t#.t an,s#.ua%it is a $#r *o-#r!u% as*#&t o! *el +uel 3s *ro4#&t( a%t"ou)" it s##ms it is u%timat#%un*ro,u&ti$#( / its $#r natur#+ It %#a,s( "o-#$#r( to-ar,s a $a%ori=ation o! %it#ratur# asan #.&#*tiona% $a%u# outsi,# t"# &ir&uit o! t"# #.&"an)# o! $a%u#s+

"i%# t"is ana%o)i&a%% /as#, t"#or ma /# &riti&i=#, !or its r#%ian&# on an a/stra&t mo,#%(t"# $#r t"in) it &riti&i=#s as a )#n#ra% #<ui$a%#nt( it ,o#s *ro*os# som#t"in) <uit# ra,i&a%in s#*aratin) %it#ratur# !rom $a%u# an, #.&"an)#+ Lit#ratur# is not &ommuni&ation( n#it"#r,o#s it "a$# a so&ia% !un&tion+ It is !un,am#nta%% a dépense( a ra,i&a% %oss( an, it &utsa&ross an *osit#, #&onom+ T"# &ommo,it o! %it#ratur#( in t"# mar2#t( is a%so &riti&i=#,!rom t"is *#rs*#&ti$#+ M#t t"# t"#or r#%i#s mor# "#a$i% on atai%%#3s notions o! t"#)#n#ra% #&onom t"an on >ar.( sin&#( as Krist#$a not#s( >ar. ,i, not "a$# t"# too%s toana%s# t"# *ro,u&ti$it *r#$ious to t"# #&onom+ ?5 >ar.ism r#mains -it"in t"# #&onomin t"is s#ns#( an, >ar.ism3s !ra&turin) in *el +uel is a r#su%t o! t"# *r#ssur# o! t"# $io%#nt!or&#s outsi,# t"# stru&tur# o! t"# #&onom+ 1987( a &u%tura% r#$o%ution o! sorts( -as adépense o! $ita% #n#r)i#s( una&&ounta/%# -it"in t"# #&onomi#s #it"#r o! t"# PCF or o!stru&tura%ist t"#or+ H#r# "istori&a% tim# !o%%o-s t"# tim# o! t"#or3s s#%!:,#stru&tion( !or itis a%most as i! >ar.ism is ann#.#, to t"is $io%#nt !orm o! #.*#n,itur# in or,#r !or it to /#int#rna%% ru*tur#,+

'.istemolo,ial =rea>au,r an, 'ou.3s ana%o)i&a% >ar.ism is *ara%%#%#, in a ,i!!#r#nt -a / Krist#$a( -"oarti&u%at#s "#r #m#r)in) s#mio%o) -it" >ar.ist t"#or+ ?8 T"# 3*r#:s#ns#3 *ro,u&ti$it o!%an)ua)# is *ro*os#, / Krist#$a to /# mor# *ro!oun,% ana%s#, / Fr#u, in *he)nterpretationof <reams

?; I,+( 3Numismatiques )) 3( *+ 2/ 6-int#r 1989( 590 3c'est une pensée non

phallocentrique, non centralisée, une pensée encore impensée du réseau . . . une pensée du te3te que rien ne saurait intituler. <'une mani(re énérale les possi"ilités del'e3istence humaine peu$ent tre d(s maintenant situées au9del de la formation dessociétés monocéphales3 6<uotin) atai%%#+

?5 + Krist#$a( 3!a Sémioloie0 Science critique etYou critique de la science3( in *héoried'ensem"le, 11; 'Cette producti$ité antérieure la $aleur, ce tra$ail pre9sens, Mar3n'a ni l'intention ni les moyens de l'a"order.'

?8 I/i,+ 7@:9;+

o! Dr#ams+ So t"# "in)# o! t"# ana%o) /#t-##n %it#rar *ro,u&ti$it an, *ro,u&tion in t"#>ar.ist s#ns# turns inst#a, to *s&"oana%sis+ A%r#a,( >ar.ism is /#in) o$#rta2#n /Fr#u,+ T"is r#&ours# to Fr#u, an, *s&"oana%sis to a&&ount !or %a&una# in >ar.ism -i%%in&r#as#( &"rono%o)i&a%%( to t"# *oint -"#r# >ar.ism is ,ro**#, as a *ri$i%#)#, r#!#r#n&#3an, *s&"oana%sis /#&om#s a mor# #.*%i&it int#r#st+ T"is *att#rn is #n,#mi& to Krist#$a3s-or2( -"i&" $#r s-i!t% mo$#s !rom %in)uisti&s an, s#mio%o) to-ar,s sémanalyse 6s##

/#%o-+ T"# snt"#sis o! *héorie d'ensem"le is !ar !rom smoot"( r#$#a%in) at a ,##*#r%#$#% &on!%i&ts an, )a*s+ In t"# &ont#.t( >ar.ism a**#ars som#-"at as t"# %am# ,u&2 o!














t"#or( an, *s&"oana%sis( &ata%s#, / La&an( )ainin) in t"#or#ti&a% *romin#n&#+Pro4#&ts o! *s&"oana%ti&a% *o%iti&s ar# n#$#rt"#%#ss *ut !or-ar,( in *el +uel an, in t"#&ont#.t( to "a%t t"is t#n,#n&+ ?

Krist#$a3s ot"#r ma4or *ro*osa% is o! an #*ist#mo%o)i&a% natur#+ ?7 It is to ,o -it" t"#"istor an, stru&tur# o! 2no-%#,)#+ S"# *ro*os#s t"at( -"i%# stru&tura%ist an, s#mio%o)i&a%

%in)uisti&s( unti% "#r -or2( "a, !o&us#, on &ommuni&ation( t"#r# is a %#a* to /# ma,# tot"# *ro,u&ti$it o! %an)ua)# /#!or# t"# si)n an, its s*%it into si)ni!i#r an, si)ni!i#,+ T"is*ro,u&ti$it s"# t#rms sinifiance or pratique sinifiante( -"i&" su))#sts t"# mo$#m#nt /-"i&" m#anin) is *ro,u&#,+ T"# %#a* in <u#stion is t#rm#, an #*ist#mo%o)i&a% /r#a2 an, is*ro*os#, to /# #<ua% to( an, as ra,i&a% as( t"at o! >ar. in t"# s"i!t o! *#rs*#&ti$# !rom$a%u# to *ro,u&tion+ T"# t-o s&i#n&#s o! s#mio%o) an, >ar.ism ar# not a%i2# on% in t"is-a( "o-#$#r+ ot" ar# #*ist#mo%o)i&a%% ,istin&t !rom t"# *r#$ious sst#ms o! 2no-%#,)#in t"at t"# ,o not r#%( Krist#$a su))#sts( on an i,#o%o)( /ut &onstant% r#,#!in# t"#iro/4#&t an, t#rmino%o)+ T"# ar# s&i#n&#s t"at ar# a%so &riti<u#s o! s&i#n&# s&i#n&# is$i#-#, as a &ir&%#( -"i%# s#mio%o)( an, >ar.ist t"#or( o*#n t"is &ir&%# to *ro,u&ti$it+T"# notion o! t"# #*ist#mo%o)i&a% /r#a2 is ta2#n !rom A%t"uss#r( an, it r#$#a%s t"# #.t#ntto -"i&" *el +uel 3s >ar.ism ,#ri$#s an, ,#*#n,s on A%t"uss#r3s r#-or2in) o! >ar.ism+ *el+uel 3s >ar.ism is in#.tri&a/%( it s##ms( -#,,#, to t"# &ar##r o! A%t"uss#r at t"is *oint+ I!A%t"uss#r3s *ro4#&t is r#a, as #ss#ntia%% !%a-#,( as it "as /##n r#a,( ?9 t"#n su&" is t"#

&as# a%so !or *el +uel. *he implication of Althusser also in$ol$es *el +uel 5ith a proliferatin num"er of roups

WWWWWWWWWWWWWWWWWWWW? S## #s*+ A+ #r,i)%ion# 6#,+( Psychanalyse et politique 6 Paris( 19;+?7 S## + Krist#$a( 3!a Sémioloie3+?9 S## '+ E%%iott( Althusser; *he <etour of *heory 6 Lon,on( 197+

an, mo$#m#nts su&" as Ca"i#rs *our %3ana%s#( t"# !i%m:4ourna% Cinethique, 20 and the)talian Mar3ist Maria9Antoinietta Macciocchi. 2- =ut the Althusserian frame is essentiallyunproducti$e, for Althusser's Mar3ism is ultimately structural, elidin any consideration ofsu"?ecti$ity. )t conflicts 5ith the trans9economic theory of >riste$a, 5hich already fa$oursa psychoanalytic approach to meanin. *he tenacity of the reference to Althusser,

ho5e$er, conditions *el +uel's Mar3ism at least until the end of the decade. 2B

-&eology6hat 5e ha$e identified in the 5or8 of Sollers as a perspecti$e that sees social discourseas inherently false and neurotic is de$eloped in the Mar3ist theory of *el +uel as a critiqueof ideoloy. *he notion of ideoloy 5as, after Hramsci, one of the ma?or de$elopments inMar3ist thouht in the post95ar period. Althusser essay '!es Appareils idéoloiques del'État' 22 5as a pi$otal point in this respect. *he notion of ideoloy permitted a lin8"et5een cultural practice and political practice, and many mo$ements, re$ie5s, andintellectuals 5ould focus on this question.

At first Althusser's notion of ideoloy as 'imainary relation', parallelin !acan's imainaryidentification 5ith an ideal eo, and as 'interpellation' 5as endorsed in *el +uel. !iterature5as seen as a pri$ileed place for this interpellation of the su"?ect, as it affirmed notionsof

WWWWWWWWWWWWWWWWWWWW@ Cinéthique -as !orm#, in 1987+ It -ou%, in&%u,# &ontri/utions / So%%#rs( P%#n#t(

Krist#$a( an, au,r u* unti% 1910 P+ So%%#rs( 3Cinéma, inconscient, sacré3( Cin. >+P%#n#t( 3!e Front auche de l'art 3( Cin. an, 3!e Point a$eule3( Cin. / +:L+au,r( 3Cinéma, effects idéoloiques produits par l'appareil de "ase 3( Cin. GY1 +Krist#$a( 3Cinéma, pratique analytique, pratique ré$olutionnaire3( Cin. Y-0+ S## a%so+:P+ Far)i#r( 3Qers le récit roue3( Cin. GY1( on a !i%m *ro,u&#, / +:D+ Po%%#t an,So%%#rs in t"# #ar% 198@s( Méditterranée, also '!e Mai qui fait parler', Cin. Y-0 and'!es Pratiques artistiques dans le Mar3isme9!éninisme', Cin. -- -G-. See 'Cinéma,littérature, politique', *+ @5inter -G-, for a manifesto sined "y *el +uel,
























Cinéthique, and Cahiers du Cinéma. For an account of this tanential history, and itsinfluence on =ritish film theory, see S. ar$ey, May '/1 and Film Culture @ !ondon,-G1.

1 >a&&io&&"i "a, &orr#s*on,#, -it" A%t"uss#r in 1987:9( an, *u/+ t"# &orr#s*on,#n&# inIta% as >+:A+ >a&&io&&"i( !ettere dall' interno del P.C.) 6 >i%an( 1989+ H#r !irst &onta&ts-it" *el +uel -ou%, /# in 191+

?

So%%#rs r#!#rs to A%t"usss#r in 3Sur$olY#apports3( *+ 2/ 6-int#r 1989 an, in t"# !irst$#rsion o! 3Sur la contradiction3( *+ 6s*rin) 191( /ut its s#&on, $#rsion( in t"#/oo2 Sur le matérialisme 6 Paris( 19( t"# a**roa&" is &riti&a%+ Krist#$a arti&%# inCinéthique( &it#, a/o$#( is &riti&a% o! A%t"uss#r3s &on&#*tion o! i,#o%o)+

Pu/+ in !a Pensée, the PCF philosophy ?ournal, in -G0 and in !. Althusser, Positions@ Paris, -G/.

i,#ntit( "uman natur#( &"ara&t#r( r#*r#s#ntation+ Ana%s#s o! %it#rar t#.ts( su&" asart"#s SY -#r# un,#rta2#n !rom t"is *#rs*#&ti$#+ ; As su&" a *ri$i%#)#, sit#( "o-#$#r(%it#ratur# &ou%, a%so /#&om# a s*a&# o! t"# su/$#rsion o! i,#o%o)( *arti&u%ar% in un,oin)notions o! r#*r#s#ntation an, i,#ntit an, in #.*osin) t"# *ro,u&tion o! t"# t#.t+ T"is#m*"asis on t"# m#ans o! *ro,u&tion -ou%, a%so /# &arri#, o$#r into ot"#r ar#as o!&u%tura% *ra&ti&#( su&" as !i%m arti&%#s / au,r an, P%#n#t in t"# r#$i#- Cinéthique %oo2#, at t"# a**aratus o! !i%m as i,#o%o)i&a%% ,#t#rmin#,+ 5 T"is -ou%, "a$# a *ro!oun,

#!!#&t on !i%m t"#or( *arti&u%ar% in ritain( -"#r# *#rio,i&a%s su&" as Screen or Camera&"scura -ou%, *u/%is" trans%ations o! t"#s# 2# t#.ts+ 8 In *aintin)( t"# s#mio%o)ist +:L+S&"#!#r -ou%, *u/%is" im*ortant -or2 on t"# stru&turin) o! $i#-*oint( in *el +uel an, int"# /oo2 Scénoraphie du ta"leau. 2G *hrouh the lin8 "et5een the Althusserian theory ofideoloy and literary creation, "oth classical and su"$ersi$e, *el +uel "ecame thereference point for a mo$ement across the arts, 5hose focus 5as the te3t in its ideoloicalrelations. 21 Analyses of a more a"stract 8ind 5ere also present. Sollers affirmed Althusser's position on theoretical practice that; '&n ne peut par$enir la connaissancedes o"?ets réels concrets qu' la condition de tra$ailler aussi et en mme temps sur deso"?ets formels a"straits.' 2

WWWWWWWWWWWWWWWWWWWW; R+ art"#s( SY 6 Paris( 19@+ art"#s3s t#.t &am# out at t"# sam# tim# as A%t"uss#r3s

#ssa( /ut it -as not %imit#, to t"# >ar.ist t"#or o! i,#o%o)( /#in) !o&us#, mor# on ar#a,in) strat#) t"at ,#*#n,s %#ss on t"#or an, mor# on su/4#&ti$it( t"at -i%% /#,#$#%o*#, into a mor# *%a!u% a**roa&" -it" !e Plaisir du te3te 6 Paris( 19+ art"#s!'Empire de sines 6 Paris( 19@( *u/+ at t"# sam# tim#( /ut in a ,i!!#r#nt #,itoria%&ont#.t 6S2ira( -ou%, a%so su))#st t"is mor# su/4#&ti$# ori#ntation+ It is not &om*%#t#%,istin&t !rom t"# *el +uel &ont#.t( "o-#$#r( in&%u,in) a %on) <uotation !rom So%%#rs3s#ssa 3Sur %a &ontra,i&tion3 on ori#nta% &a%%i)ra*"+

5 S## n+ @+8 S## So&i#t !or E,u&ation in Fi%m an, T#%#$ision( Screen #eader, i; CinemaY)deoloyY

Politics 6 Lon,on( 19+ +:L+ S&"#!#r( 3Note sur les syst(mes représentatifs3( *+ - 6s*rin) 19@ an,

Scénoraphie d'un ta"leau 6 Paris( 1989+ Ot"#r ana%s#s o! *aintin) an, t"# i,#o%o) o!t"# "istor o! art -#r# *r#s#nt in >ar& D#$a,# ana%ti&( 3Sur une peinturechromatique3( *+ - 6s*rin) 19@+ D#$a,# -as a m#m/#r o! t"# *aintin) )rou*Su**ortsSur!a&#s an, #,itor o! its 4ourna% P#intur#( &a"i#rs t"ori<u#s( -"i&"#nt#rtain#, $ita% r#%ations -it" T#% u#% !rom its &r#ation in 19@+ >+ P%#n#t /oo2!'Enseinement de la peinture 6 Paris( 191 ana%s#, t"# "istor o! mo,#rn *aintin)6sin&# C=ann# an, its i,#o%o) in a -a *ara%%#% to *el +uel 3s 3monum#nta%3 "istor o!%it#ratur#+ P%#n#t -ou%, a%so &"am*ion t"# Su**ortsSur!a&#s )rou* in &ata%o)u#s an,&ontri/utions to Peinture, cahiers théoriques. See e.. +uelques pro"l(mes de la peinture moderne; !ouis Cane @ Paris, -GB.

7 S## *arti&u%ar%( +:L+ au,r( 3!e *e3te de #im"aud 3( *+ 29/ Pi#rr# Rott#n/#r)(3Ine lecture d')iture3( *+ 2G 6s*rin) 1989 P+ T"$#nin( 3EntendreYQoirY!ire3 6onArtau,( *+ 290( 6autumn 1989:-int#r 19@+

9 So%%#rs( 3Sur$o%Ra**orts3( *+ 2/0 8+

T"#or#ti&a% *ra&ti&#( t"# #%a/oration o! a t"#or t"at -ou%, a&&ount !or t"# i,#o%o)i&a%

situation an, ins&ri*tion o! t#.ts( *ro*os# m#t"o,s o! ,#msti!i&ator ana%sis an,su/$#rsion( a%so /#&am# a %ar)# *art o! t"# r#$i#-3s a&ti$it+ Arti&%#s / +:L+ au,r( +:+























'ou.( an, + Riss#t a**roa&"#, t"# <u#stion o! i,#o%o) in a t"#or#ti&a% -a( -"i%# ot"#rt#.ts in t"# r#$i#- a**%i#, t"# t"#or to s*#&i!i& o/4#&ts+ ;@

Ho-#$#r( in *el +uel t"# A%t"uss#rian &on&#*tion o! i,#o%o) soon /#)an to r#$#a%!un,am#nta% !%a-s !rom t"# #m#r)in) *#rs*#&ti$# o! Krist#$a3s #.*%oration o! t"# )#n#siso! si)ni!i&ation+ A)ain( t"is &an /# s##n as a &riti<u# o! stru&tura%ism / a mor# ,nami&

t"#or o! its #n#r)#ti& /asis( -"i&" it #.&%u,#s+ A%t"uss#r3s i,#o%o) -as #ss#ntia%% astru&tura% a**aratus -"i&" int#r*#%%at#, or im*os#, its#%! on t"# su/4#&t in $arious -as+ A&on&#*tion o! su/4#&ti$it( *ro&#ss( an, %an)ua)# -as %#!t out o! t"# <u#stion+ At t"#/#)innin) o! t"# 19@s( a!t#r t"# 3mom#nt o! A%t"uss#r3( ;1 Krist#$a( an, au,r( in 3Pourun# matrio%o)i#3( ,#$#%o*#, a notion o! i,#o%o) as ins&ri/#, in si)ni!in) *ra&ti&# an, int"# &onstituti$# ,#$#%o*m#nt o! su/4#&ti$it+ T"# sm/o%i&::so&ia% an, &u%tura% ,is&ours#::is in"#r#nt% an, int#rna%% ima)inar an, i,#o%o)i&a%+ T"# ,#/at# o$#r t"# <u#stion o!i,#o%o) as int#r*#%%ation or as ins&ri/#, in si)ni!in) *ra&ti&# -ou%, /# a sour&# o! mu&"#n<uir in t"# #ar% 19@s+ A s#ri#s o! int#r&"an)#s in *el +uel ( /#t-##n >ari#C%air#oons( %at#r o! t"# >aoist )rou* M#nan( an, #rnar, Si&"Gr#( a !#%%o-:tra$#%%#r o! *el +uel (r#!%#&ts t"is t#nsion+ ;?

I! i,#o%o) is in"#r#nt in si)ni!in) *ra&ti&#( "o- is it *ossi/%#( *el +uel as2s( to ,#$#%o*&ount#r:i,#o%o)i&a% strat#)i#sQ *el +uel 3s *u/%is"in) a&ti$it o! t"# tim# im*%i#s a num/#ro! r#s*ons#s0 t"rou)" r#$#a%in) t"# -as i,#o%o) is ins&ri/#, in si)ni!in) *ra&ti&#s( int"#or#ti&a% ana%s#s o! t"# <u#stion( t"rou)" an #m*"asis on t"# mat#ria%it o! si)ni!in)*ra&ti&#s( an, t"rou)" r#!#r#n&# to ot"#r si)ni!in) sst#ms+ T"# tri*%# strat#) o! t"#t"#or#ti&a%( t"# t#.tua%( an, t"# *o%iti&a% is r#!%#&t#, "#r#+ T"# %ast *oint( t"# ana%sis o!non:#st#rn si)ni!in) sst#ms( im*%i#s an in&r#asin) int#r#st in C"in#s# t"ou)"t( -"i&"(arti&u%at#, -it" *o%iti&s( %#a,s in#$ita/% to-ar,s t"# s"i!t to an o$#rt

;@ + :L+ au,r( 3Pour une matérioloie3( *+ 9 6-int#r:s*rin) 191 'ou.(

3Numismatiques3 *+ 29/, + Riss#t( 3!ecture de Hramsci 3( *+ B 6summ#r 19@+T"# %ast t#.t in *arti&u%ar a**roa&"#, 'rams&i3s &on&#*tion o! t"# s*#&i!i&it o! &u%tura%*ra&ti&# an, ana%s#, "is r#a,in) strat#)i#s in -as *#rtin#nt to *el +uel 3s t#.tua%t"#or+

;1 C!+ E%%iott( Althusser, ch. -.;? #rnar, Si&"Gr#( >ari#:C%air# oons( 3Enseinement, répression, répression et

ré$olution4 !e Mou$ement étudiant4 le ré$isionnisme l'école3( *+ 0 6summ#r 19?#rnar, Si&"Gr#( 3Sur la lutte idéoloique3( *+ B92 6-int#r 19?:s*rin) 19+

>aoism+ ; At t"# sam# tim#( D#rri,a "a, /##n *u/%is"in) %on) an, ,#ns# arti&%#s in t"#r#$i#- -"i&" s"o-#, t"# /asis o! #st#rn m#ta*"si&s in t"# *"i%oso*" o! P%ato to /#un,#rmin#, / a t"in2in) o! ,i!!#r#n&# an, a/s#n&#+ ;; T"# i,#o%o)i&a% tar)#t o! t"is*"i%oso*"i&a% &riti<u#( as !or So%%#rs in a num/#r o! &ontri/utions to t"# 'rou*# d'étudesthéoriques( ;5 -as an i,#a%ism s##n as r#*r#ssi$# o! a su/$#rsi$# an, t#.tua% mat#ria%ism+

ay 1968In t"is &ont#.t o! t"#or#ti&a% *ra&ti&# an, t"# a%%ian&# -it" t"# PCF( t"# #$#nts o! >a1987 ar# &om*%#t#% un#.*#&t#,+ T"# imm#,iat# ana%s#s o! t"# #$#nts in *el +uel an, /So%%#rs in !a Nou$elle Critique r#*#at t"# ana%s#s o! t"# #$#nts / t"# PCF( t"at is to sa(t"at t"# -#r# a s*ontan#ous( petit9"oureois r#$o%t t"at #ss#ntia%% un,#rmin#, t"# &%assstru))%# an, t"# *rima& o! t"#or+ ;8 Contestation r#*%a&#, r#$o%ution+ T"# i,#o%o) o!ima)ination an, s*ontan#it is &riti&i=#, as a $o%untarist i,#a%ism or rousseauisme -"i&"mas2s t"# tru# ro%# o! t"# *art( t"# L#ninist ,i&tum o! t"# n#&#ssit o! t"# *art an,>ar.ist s&i#n&#( an, t"# A%t"uss#rian *ostu%at# o! t"# autonom o! t"#or an, its )ui,in)ro%#+

*el +uel 3s imm#,iat# r#a&tion is to a!!irm t"# *rima& o! t"# *art an, t"# im*ortan&# o!t"#or+ A%t"ou)" !rom a >ar.ist:L#ninist *oint o! $i#-( t"# &riti&isms o! t"# stu,#nt #$#ntsar# 4ust( o/4#&ti$#% t"# PCF3s ro%# in t"# #$#nts -as to a&t as a /arri#r /#t-##n t"#
























,#man,s o! t"# stu,#nts an, t"# -or2#rs on on# "an, an, /#t-##n t"# -or2#rs an, t"#)o$#rnm#nt on t"# ot"#r( to *os# r#!ormist ,#man,s /#!or# t"#

; Arti&%#s on t"is <u#stion in *el +uel o! t"is *#rio, in&%u,#0 L+ >%%( 3Ine approche

possi"le du sunya$ada3 6on t"# u,,"ist notion o! n#)ati$it( *+ 2B 6-int#r 1987 R+

art"#s0 3!econ d'écriture3 6on a*an#s# *u**#t t"#atr#( *+ 2 6summ#r 1987C"an) Tun S#n ( 3!a !oique chinoise3( *+ 21 6summ#r 1989 So%%#$#3s trans%ationso! *o#ms / >ao Ts#:tun) in *+ 0 6-int#r 19@+ T"# *u/%i&ation o! A+ Artau, 3Not#s*our un# L#ttr# au. a%inais3( *+ / 6summ#r 191 su))#st#, "o- t"# int#r#st in t"#East -as m#,iat#, t"rou)" t"# t"ou)"t o! Artau, an, atai%%#+

;; S## + D#rri,a( 3!a Pharmacie de Platon3( *+ 2B92 6-int#r:s*rin) 1987( an, 3!a<ou"le Séance3( *+ -9B 6s*rin):summ#r 19@+ ot" #ssas ar# r#*u/+ a%on) -it"D#rri,a3s 19@ #ssa on So%%#$# no$#% Nom"res 6 Paris( 1987( 3!a <issemination3( an,a %iminar 3o$e li$re3( in t"# /oo2 !a <issémination 6 Paris( 19?+

;5 S## P+ So%%#rs( 3Sur le matérialisme3( I( II( an, III( in *+ 9/ 6autumn 19::-int#r19 an, in i,+( Sur le matérialisme. )n fact, the articles 5ere i$en as e3poses to theHroup much earlier than their actual pu"lication.

;8 3!a #é$olution ici maintentant 3( *+ 2 6summ#r 1987 an, 3>ai 3873( in t"# sam#issu#( *+ 9; an, So%%#rs( 3Contestation ou ré$olution3( !a Nou$elle Critique 6 un#

1987+

)o$#rnm#nt an, )i$# in at t"# !irst o**ortunit( t"#r#/ #!!#&ti$#% /#train) t"# %on):t#rm int#r#sts o! t"# -or2#rs an, stu,#nts / s#tt%in) !or s"ort:t#rm -a)# in&r#as#s+ ; *el +uel 3s r#asons !or mistrustin) t"# stu,#nt r#$o%t an, t"os# o! t"# PCF ar# not t"#sam#( /ut t"# a%%ian&# *r#$#nts an *ro*#r #n)a)#m#nt -it" t"# #$#nts+ T"is &r#at#s a&#rtain amount o! im*%i&it t#nsion in t"#ir r#%ations( sin&# *el +uel is t#n,in) to-ar,s>aoism( -"i&" a!!irm#, t"# im*ortan&# o! i,#o%o) an, o! t"# Cu%tura% R#$o%ution( o! -"i&"1987 -as a $#rsion+ At t"# sam# tim#( "o-#$#r( *el +uel nomina%% ass#rts t"# n#&#ssito! t"# *art as &#ntra% to an r#$o%ution+ ut 1987 r#$#a%#, t"# PCF to /# r#sistant to as*irit o! $ita%it an, *ro)ramm#, into t"# "istor o! *el +uel a mo$# to a mor# &u%tura%%ori#nt#,( "#t#ro)#nous( an, o*#n >ar.ism+

T"# #!!#&t o! t"# #$#nts o! 1987 on *el +uel ar# a%so im*%i&at#, in a *o%#mi&a% &on!%i&t -it"#an:Pi#rr# Fa#( -"o %#!t t"# &ommitt## at t"# #n, o! 198+ T"# in$o%$#m#nt o! t"#r#$i#- -it" D#rri,a( to -"os# -or2 Fa# -as rat"#r anti*at"#ti&( an, t"# arri$a% o!Krist#$a( -"os# -or2 #ss#ntia%% /*ass#, t"# !orma%ist #m*"as#s o! Fa#( ar# !a&tors,#t#rminin) Fa#3s ,#*artur#( as -#%% as Fa#3s ,istin&t *osition -it" r#)ar, to t"# ot"#r&ommitt## m#m/#rs+ N#- &ommitt## m#m/#rs a&<u#%in# Riss#t an, Pi#rr# Rott#n/#r)-#r# /rou)"t in imm#,iat#% /#!or# Fa#3s ,#*artur#( &onstitutin) a ma4orit aroun,So%%#rs+ P#r"a*s as a r#su%t o! t"# *u/%is"#r S#ui%3s ,#sir# to oust *el +uel !rom t"#*osition o! in,#*#n,#n&# an, as&#n,an& -"i&" it "a, attain#,( a r#$i#- -as &r#at#,aroun, Fa#( tit%#, Chane+ Ot"#r !i)ur#s in$o%$#, in&%u,#, t"# *o#t a&<u#s Rou/au, an,t"# C"oms2an %in)uist >itsou Ronat+ Chane an, Fa# -#r# to #nt#r into %i$#% /uta&rimonious an, s%i)"t% /ana% *o%#mi&s -it" *el +uel u* to t"# #n, o! t"# ,#&a,#+ ;7 Anum/#r o! int#%%#&tua%s -ou%, #it"#r si,# a)ainst *el +uel -it" Chane or /# a**ro*riat#,

/ Chane in its r#a&ti$# ,#sir# to o**os# *el +uel + From 198( t"# !or&#s o**osin) *el+uel in t"# &ont#.t( in&%u,in) +:P+ Fa#

; For an a&&ount o! t"# #$#nts sm*at"#ti& to t"# stu,#nts( s## P+ S#a%# an, >+

>&Con$i%%#( French #e$olution -/1 6 Harmon,s-ort"( 1987 an, C+ Posn#r 6#,+(#eflections on the #e$olution in France; -/1 6 Harmon,s-ort"( 19@+

;7 +:P+ Fa# *u/+ a %#tt#r in t"# PCF n#-s*a*#r !'umanité in 1989 &riti&a% o! D#rri,a3sa**ar#nt H#i,#))#rian a!!initi#s( asso&iatin) t"#m -it" Na=ism( to -"i&" *el +uel -ou%,r#s*on, in an #,itoria% o! autumn 1989 6 *+ 2+ A s#ri#s o! t#.ts in *+. 2 6autumn19@ 6 3rit ,3un# mar&"an,is#0 L# %u!! C"an)#3 / So%%#rs( P%#n#t( an,T"i/au,#au( -it" su**ortin) %#tt#rs / R+ art"#s( >+ Ro&"#( an, P+ F%aman,( t"#,ir#&tor o! S#ui%( r#s*on, to Fa#3s atta&2s on So%%#rs an, su))#stions t"at *el +uel "a,/##n asso&iat#, -it" t"# #.tr#m# Ri)"t ,urin) t"# A%)#rian -ar( in an int#r$i#- -it"#an Ristat *u/+ in t"# S-iss 4ourna% !a Ha:ette de !ausanne+ T"# int#r$i#-( an, on#-it" So#rs in -"i&" "# atta&2s Fa# an, Chane( ar# r#*u/( in + Ristat( 6 +ui sont les









contemporains7 6 Paris( 195+

an, C"an)#( t"# r#$i#- Action poétique( t"# 3n#o:Surr#a%ist3 A%ain ou!!ro( ,ir#&tor o! t"#art r#$i#- &pus international ( ;9 /#)in to /#&om# mor# #.*%i&it an, a&ti$#( %#a,in) to t"#strat#)i& ,is*%a&#m#nts an, ana%s#s o! t"# r#$i#- in r#s*ons# to t"# *r#ssur# o! t"#o**osition+

On# #.am*%# o! su&" a *o%#mi& -as ,ir#&t% in!%u#n&#, / t"# 1987 #$#nts+ T"# Union)nra%# ,3&ri$ains -as &r#at#, / a %ar)# )rou* o! -rit#rs it o&&u*i#, t"# Ht#% >assa(t"# tra,itiona% /as# o! t"# So&it ,#s '#ns ,# L#ttr#s+ 5@ A &on!rontationa% ,#/at#(/#t-##n So%%#rs an, Fa#( too2 *%a&#( Fa# ar)uin) !or a r#,#!inition o! t"# so&ia% !un&tiono! t"# -rit#r( So%%#rs o**osin) su&" a &ommitm#nt+ A**ar#nt%( So%%#rs -as ,#!#n,in) t"#*osition o! t"# PCF( /ut mor# im*%i&it% *ro*osin) t"at t"# -rit#r &ou%, "a$# no so&ia%!un&tion as su&"+ In !a&t t"# %#!tist an, uto*ian *o%iti&s t"at #m#r)#, a!t#r 1987( &rin) !ora ,isa%i#nat#,( uni!i#, so&i#t( &ou%, not /# !urt"#r a-a !rom t"# #.&#*tiona%( #ss#ntia%%aso&ia% %it#rar a#st"#ti&s o! *el +uel #$#n in its >ar.ist *#rio,+ "i%# t"# a**ar#ntr#asons !or *el +uel 3s ,is#n&"antm#nt -it" 1987 ar# )#n#ra%% *art o! t"# %a&2 o! r#s*ons#on t"# *art o! int#%%#&tua%s in )#n#ra%( 51 its *osition -it" r#)ar, to t"# uto*ian %#!tism t"at#m#r)#, !rom it is &onsist#nt -it" its %it#rar t"#or+

T"# summ#r 1987 issu# o! *el +uel o*#ns -it" a t#.t #ntit%#, 3La R$o%ution i&imaint#nant3 -"i&" &annot in an -a /# ta2#n as an #n,ors#m#nt or &#%#/ration o! t"##$#nts o! >a+ 5? It #m*"asi=#s t"# n#&#ssit o! a t"#or#ti&a% *ra&ti&#+ T"# 3"#r# an, no-3r#!#rs to t"# t#.t at "an,( not to t"# uto*ian !utur#+ It sto*s s"ort o! sain) 3%a r$o%utions#ra t#.tu#% ou n# s#ra *as3( /ut t"is is its im*%i&ation+ It a%so si)na%s t"# &r#ation o! t"#'rou*# ,3tu,#s t"ori<u#s an, is si)n#, / t"#

;9 A+ ou!!ro3s 3*ost"umous r#&on&i%iation3 o! atai%%# an, r#ton( r#ton an, Ara)on(

-ou%, /# &riti&i=#, in 3!'Art de "oucher les trous3( *+ 6-int#r 191+5@ S## P+ Com/#s( !a !ittérature et le mou$ement de Mai /1 6 Paris( 197;( ;:5;+51 A ma4or #.&#*tion -as + :P+ Sartr#( -"o( in t"# 4ourna%s !e Nou$el &"ser$ateur ( !a

Cause du peuple( an, !')diot international 6run / #.:T#% u#% ,ir#&tor + :E+ Ha%%i#r("a, *ro*os#, a!!irmati$# r#a,in)s o! t"# #$#nts( an, -"o "a, ta2#n to t"# str##ts"ims#%! an, *ris %a *aro%# in !a$our o! t"# stu,#nts+

5? Contrar to t"# t"#sis o! K+ R#a,#r in )ntellectuals and the !eft in France since -/1 6 Lon,on( 197( 1@+ T"# tit%# o! t"# t#.t( 3La R$o%ution i&i maint#nant3( &ontrasts-it" t"# Surr#a%ist( Trots2ist motto 3La r$o%ution ,3a/or, #t tou4ours3( su))#stin) a&riti<u# o! uto*ianism+ T"# t#.t imm#,iat#% !o%%o-in) it is '+ atai%%# un*u/+ 3La $i#%%#tau*# #t %# *r!i.# sur ,ana %#a roots surréaliste #t surhomme3( in -"i&" atai%%#&riti&i=#s t"# 3i&arian r#$o%t3 o! t"# Surr#a%ists as petit9"oureois i,#a%ism+ T"# ,i$#rt#,tar)#t( !or *el +uel ( is t"# uto*ianism o! >a 87+ In arti&%#s !o%%o-in) atai%%# t#.t( 3La'ran,# >t"o,#3 an, 3L# Sa$oir !orm#%3( So%%#rs an, D+ Ho%%i#r r#s*#&ti$#% un,#r%in#t"# ,istan&# /#t-##n atai%%#3s >ar.ism an, t"at o! t"# Surr#a%ists( so t"at t"# issu#r#a&ti$at#s an o%,#r *o%#mi& to 4usti! its i,#o%o)i&a% *osition o! t"# mom#nt+

&ommitt##( an, / ot"#r *romin#nt !i)ur#s in t"# &ont#.t( su&" as Pi#rr# ou%#=+ T"#)rou*( *#r"a*s t"# most imm#,iat# r#su%t o! t"# 1987 #$#nts( -as a *u/%i&( #.tra:mura%!orum !or t"# ,iss#mination o! a t"#or o! t"# t#.t( *ro,u&#, / *el +uel + 5 So%%#rs(Krist#$a( au,r( P%#n#t( 'ou.( an, D#rri,a -ou%, )i$# im*ortant *a*#rs( -"i&" ar#*u/%is"#, in t"# r#$i#-( ta2in) u* most o! its s*a&# !or t"# n#.t !#- #ars( a%on)si,# ot"#rt#.ts+ 5; T"# )rou*( run / So%%#rs( -as ,ir#&t% mo,#%%#, on atai%%#3s Co%%G)# ,#so&io%o)i#( a &ommunit -it" a *u/%i& !ront( 3*r#s<u3un# so&it s&rGt# ,#rriGr#3( asSo%%#rs *uts it+ 55 T"rou)" t"is &orri,or( *el +ue%3s !or&# o! #!!#&t in t"# &ont#.t isin&r#as#,+ T"# mi%itan& is( "o-#$#r( in t"# nam# o! t"#or rat"#r t"an a&tion+ It is anatt#m*t to #na/%# t"#or( le sa$oir ( to "a$# an #!!#&t in a *u/%i& s*a&#( to -i,#n t"#int#ra&tion o! t"# r#$i#- -it" t"# &ont#.t+

T"# ro%# o! *el +uel in t"# #$#nts o! 1987 is minima%+ T"# r#$o%ution o! t"# r#$i#- at t"is

sta)# is t"#or#ti&a% an, t#.tua%( not in t"# str##t+ T"# #!!#&t o! t"# #$#nts o! 1987 &annot("o-#$#r( /# %imit#, to t"# !i#%, o! *o%iti&a% a%%ian&#s an, o! >ar.ism( sin&# it -as aninsurr#&tion t"at "a, a *ro!oun,% or)ani& #!!#&t on t"# -"o%# &ountr+ For So%%#rs( -ritin)

























in 198( 1987 -as a%so an #ru*tion( an irru*tion( o! a $ita% %an)ua)#( insi,# a ,#a,%an)ua)#+ 58 T"# ,#a, %an)ua)# -as t"# %an)ua)# o! aut"orit( o! t"# a**aratus 6stat#(uni$#rsit( as -#%% as *art+ 1987 -as t"# irru*tion o! t"# *o%iti&a% si)ni!i#r into #$#r,a%i!#( o! an a,mitt#,% som#-"at &on!us#, t"#or#ti&a% ,is&ours# into t"# situation+ As -#%%as /#in)( *#r"a*s( an 3in!%ation3 o! t"# si)n( 5 t"is -as a &on,#nsation::o! a *o%iti&a%si)ni!i#r -it" ,#sir#::arti&u%at#, / t"# *%a o! si)ni!i#rs a&ross t"# sur!a&#s( -ritt#n or

au,itor( o! 1987+ As an insurr#&tion in %an)ua)#( o! t"# si)ni!i#r( 1987 &annot !ai% to "a$#an or)ani& #!!#&t on an or)anism -"os# ,#t#rminin) a&ti$it is t"# *ro,u&tion o! t#.ts+ Ata %#$#% /#%o- t"# strat#)i&( t"# *el +uel -rit#rs ar# a!!#&t#, or)ani&a%%+ T"is is mar2#, inSo%%#rs !ois( !or #.am*%#(

5 T"# )rou* m#t r#)u%ar% in a %o&ation in t"# Ru# ,# R#nn#s( &"ar)in) a nomina%

a,mission !##+ It attra&t#, %ar)# num/#rs( too %ar)# to !it into its $#nu#( in&%u,in)int#%%#&tua% stars su&" as La&an( D#%#u=#( an, K%osso-s2i+

5; T"# !irst t#.t is So%%#rs 3Sur$o%Ra**orts3+ Fo%%o-in) it -#r#0 au,r 3L# T#.t# ,#Rim/au,3 'ou. 3Numismati<u#s3+ + Krist#$a 3!'Enendrement de la formule3Rott#n/#r) 3Ine lecture d')itur 3 T"$#nin 3EntendreYQoirY!ire3 D#rri,a 3!a <ou"leSéance3 So%%#rs 3!énine et le matérialisme dialectique3 an, 3Sur le matérialisme3( I(II( an, III au,r 3 Pour un# matrio%o)i#3 >+ PL#n#t 3!autréamont politique3+

6S## initia% r#!s+ !or ,at#s o! *u/%i&ation in t"# r#$i#-+55 So%%#rs( int#r$i#- -it" aut"or( Paris 199@+58 *+ So%%#rs( <éli$rance 6 Paris( 19( ;9+5 C!+ + :>+ #noist( 3L3In!%ation ,u si)n#3( in i,+( >ar. #st mort+

/ a s-it&" to a mor# r"t"mi&a%( $ita%( C%in#s<u#( an, o&#an %an)ua)#( in -"i&" t"#*o%iti&a% si)ni!i#r is /rou)"t to t"# !or#!ront( 57 a%so in P%#n#t Stan:e( in -"i&" t"# *o%iti&a%#ru*ts in t"# t#.t in an insurr#&tionar !as"ion+ 59 T"# %#$#% t"at "o%,s /a&2 or ,#%as t"isirru*tion( "o-#$#r( is t"# a%%ian&# -it" t"# PCF+ T"# t#nsion in t"is a%%ian&#( !rom 1987 to191( is ,#t#rmin#, / t"# &ontra,i&tor r#%ations"i* /#t-##n t"# r#sistan&# o! >ar.istort"o,o. an, t"# $ita%it o! t"# %#tt#r in t"# *ra&ti&# o! t"# -rit#rs in <u#stion+ "#n t"is/r#a2s( t"# $ita%it /#&om#s #$i,#nt at t"# strat#)i& %#$#%( in t"# "st#ri&a% s%o)ans o! t"#tra&ts o! t"# >ou$#m#nt ,# uin 191+ 8@ T"# "o%,in):/a&2 o! t"is $ita%it "as a &ount#r:

#!!#&t( in a s#ns#( in t"# som#-"at "st#ri&a% &"ara&t#r o! t"# r#$i#-3s >aoist*ronoun&#m#nts 6s## C"a*t#r 5+

1987 a%so "as a *ro!oun,% !ra)m#ntin) #!!#&t on t"# L#!t in Fran&#+ T"# n#.t !#- #arssa- a *ro%i!#ration o! )rou*s o! $arious s"a,#s o! >ar.ism or >aoism+ T"# Cahiers pourl'analyse )rou*( !or #.am*%#( -ou%, s*%it( an, som# o! its m#m/#rs -ou%, #nt#r into t"#mi%itant 'au&"# *ro%tari#nn# mo$#m#nt( on% to #m#r)# !rom it %at#r( ,isi%%usion#, -it"t"# L#!t in )#n#ra%+ T"# sam# *att#rn is ,#t#&ta/%# -it" ot"#r >ar.ist )rou*s+ T"#s*ontan#ous irru*tion o! #$#r,a %i!# o! 1987 ru*tur#, t"# s#r#nit o! t"# stru&tur#s t"at"a, /##n t"# !o&us o! t"# *r#$ious #ars( #n)a)in) an int#ns# an, #.tr#m#% #n#r)#ti&*o%iti&a% "st#ria -"i&" &ou%, on% *#r"a*s /# ana%s#, t#n #ars a!t#r t"# #$#nts( %#a,in)to a )#n#ra% %assitu,#+ Po%iti&a% #$#nts an, ,is&%osur#s in t"# USSR an, in C"ina a%so&on,ition t"is %oss o! !ait"+ Ho-#$#r( 1987 *ro,u&#s( as i! r#a&ti$#%( an int#nsi!i&ation o! a

t"#or#ti&a% %#!tism -"i&" &onstant% stri$#s to a&&ount !or t"# s*ontan#it o! t"# #$#ntsan, o! t"# situation+ In *el +uel t"is int#nsi!i&ation o! t"#or in its *o%iti&a% arti&u%ationta2#s t"# !orm o! an #.*ansion o! t"# r#$i#-3s *#rs*#&ti$# to ta2# in *"i%oso*"(*arti&u%ar% t"at o! >ar.ism0 ,ia%#&ti&a% mat#ria%ism+

The nvesti,ation of $ialetialaterialismT"# s#&on, *"as# o! *el +uel 3s t"#or#ti&a% >ar.ism( a!t#r t"# snt"#si=in) ana%o) /as#,on t"# &riti<u# o! #.&"an)#( is an in$#sti)ation o! t"# *"i%oso*"i&a% /asis o! >ar.ism+ T"iso!t#n r#a&"#s %#$#%s o! &om*%#.it


















57 P+ So%%#rs( !ois 6 Paris( 191 6s## C"+ ;+59 >+ P%#n#t( Stan:e 6 Paris( 195( in -"i&" !ra)m#nts o! a&tua%it( in&%u,in) n#-s*a*#r

&uttin)s( int#rru*t t"# a%r#a, !ra)m#nt#, *o#ti& t#.t+ S## **+ 57( ( 77( 9?+8@ T"# 4ourna% o! t"# >ou$#m#nt ,# uin 191( -"i&" %ast#, !or a/out !our issu#s( &o%%at#,

r#*orts o! a >aoist an, anar&"ist natur# !rom uni$#rsiti#s aroun, Fran&# it a%so *u/+mat#ria% in Peinture, cahiers théoriques+

-"i&" a**#ar im*#n#tra/%#( /ut it *us"#s >ar.ist t"#or to its %imits / #m*"asi=in)"#t#ro)#n#it( *%ura%it( an, n#)ati$it as #.&#ssi$# o! an stru&tur# or sst#m+ T"##$#nts o! 1987( t"# "#t#ro)#nous irru*tion o! ,#sir#( ar# un,ou/t#,% r#%at#, to t"istrans)r#ssi$# a**roa&"+ It %#a,s !irst to t"# /r#a2 -it" t"# *art an, t"#n to t"# int#rna%su/$#rsion o! t"# stru&tur# o! >ar.ism as su&"( -"i&" -i%% ta2# %on)#r to *ro,u&# its#!!#&ts+ T"# #!!#&t o! t"# *"i%oso*"i&a% in$#sti)ation( as So%%#rs su))#sts in t"# intro,u&tionto a &o%%#&tion o! "is arti&%#s on >ar.ist *"i%oso*" o! 19;( Sur le matérialisme, isscandalous, since a roup of 5riters outside the uni$ersity, the ENS, and the party 5ere proposin to ha$e somethin to say a"out philosophy. /- *el +uel 5as trespassin on theterrain of the inner temple of philosophy. )n another sense, the lin8in of literature toMar3ism, the postulation that literature's neati$ity or its desire 5as someho5 implicatedin the Mar3ist dialectic, 5as scandalous in the eyes of the Mar3ist intellientsia. *el +uelconsequently finds itself occupyin an e3tremely marinali:ed, yet enormously influential

position. )t undou"tedly plays a decisi$e part in the demise of the left95in intellectualoption in the -G0s.

*el +uel's semantic materialism 5as already e$ident in the stress on the materiality of thete3t. )n the Mar3ist period this is accentuated "y references to materialist philosophy. )nthe article 'Sade lisi"le', Pleynet sho5s ho5 part of the su"9te3t of Sade is the philosophical materialism of the time. /B =ataille '!a $ieille taupe et le préfi3e sur' proposed a '"ase materialism' 5hich Dean9Doseph Hou3 referred to as 'acephalic'. /2 Sollers's articles from -/1 de$elop the "asis of materialism to5ards the philosophicalin$estiations of -G0 on5ards. )n 'Sur$olY#apports@=locsYConflit' he affirms thenecessity of 'Zune[ position materialiste de "ase', referrin to !acan's emphasis on thesinifier and on the letter, on lanuae at an infrastructural le$el. / )n other 5ords,lanuae

WWWWWWWWWWWWWWWWWWWW81 So%%#rs( Sur le matérialisme, .8? >+ P%#n#t( 3Sade lisi"le3( in *héorie d'ensem"le, 20; 'Ine théorie est au tra$ail dam

l'Ou$re de Sade qui quelque ni$eau que ce soit ne laisse ?amais passer une occasionde re$enir sur ce qui pourrait le trahir @rousseauisme, déisme répu"licain. Cette théoriequi peut tre entendue comme une consequence en e3tension systématique de la pensée matérialiste du VQ)))e si(cle, demande tre lue partir de cettc multiplicité dete3tes qu'elle fair foncfionncr.'

8 S## 'ou.( 3Numismatiques3( *+ 2/ 6-int#r 1989( 8@0 3une oranisation sociale polymorphique, acéphale3+

8; So%%#rs( 3Sur$olY#apports3( *+ 2/0 5:80 '*héorie du lanae matérialiste, les deu3termes qui la spécifient dans le champ lacanien @Sinifiant, lettre, sinifiant tou?ours

préala"le, lottre tou?ours détourneée' sont inscrire comme principes minimau3 d'une position de départ +3

is *art o! t"# ,#t#rminati$# *ro,u&tion o! t"# r#a%+ Lat#r t"is -i%% /# a!!irm#, in t"#stat#m#nt 3%a matiGr# *#ns#3( t"# tit%# o! an arti&%# / P%#n#t on Artau,+ 85 *el +uel 3smat#ria%ism is a s#manti& mat#ria%ism( *ro*osin) t"# ,#t#rminin) a&ti$it o! %an)ua)#u*on t"# r#a%( rat"#r t"an a *#rs*#&ti$# !rom -"i&" %an)ua)# an, m#anin) is ,#t#rmin#,/ natur#+ N#it"#r is m#anin) s#*arat#, !rom t"# mat#ria% %#$#% o! %an)ua)# D#rri,a3s-or2( ,is*%a&in) t"# si)ni!i#, as anot"#r si)ni!i#r( *ro*osin) t"# tra&# as t"# !un,am#nta%mo$#m#nt o! %an)ua)# an, t"# *ro,u&tion o! m#anin)( *#rmits a $i#- in -"i&" m#anin)its#%! is an as*#&t at t"# %#$#% o! t"# mat#ria%it o! %an)ua)#+

So%%#rs a&&#ntuat#s t"is in "is arti&%# o! autumn 1989 on D#rri,a( 3In pas sur la lune3(

-"#r# "# -rit#s0 3La *#ns# ,# %a tra&# s#rait !on,am#nta%#m#nt matria%ist#+388

Ho-#$#r( in t"is mo$# to-ar,s t"# in$#sti)ation o! ,ia%#&ti&a% mat#ria%ism( So%%#rs #!!#&ts as"i!t !rom D#rri,a3s ,i!!#ran&# to t"# mor# H#)#%ian notion o! &ontra,i&tion -"i&" &r#at#s





















*ro/%#ms -it" t"# D#rri,#an as*#&t o! t"# t"#or+ 8 T"# #.*%i&it in$#sti)ation o! ,ia%#&ti&a%mat#ria%ism is /#)un -it" So%%#rs 3!enine et le materialisme philosophique3+ 87 So%%#rs*ro*os#s a num/#r o! 2# *oints0 mat#ria%ism is not o**os#, to i,#a%ism( /ut is a t"ir,*osition( in&%u,in) t"# o**osition+ 89 >at#ria%ism( as a *osition r#mo$#, !rom *o%#mi&a%o**ositions( in !a&t #na/%#s *el +uel to 3a&t *ra)mati&a%% a&&or,in) to t"# &ont#.t3+ @

T"# s#&on, *oint is t"# i,#nti!i&ation o! H#)#%( t"# summit o! i,#a%ist *"i%oso*"( as ama4or *i$ota% !i)ur# !or >ar.ist *"i%oso*"( 1 -"i&" *ro)ramm#s a !o&us on H#)#% in t"#t"#or o! t"# r#$i#-+ T"# in$#sti)ation o! H#)#% is !#, t"rou)" a atai%%#an *#rs*#&ti$# o!a/stra&t

85 >+ PL#:n#t( 3!a Mati(re pense3( *+ B 6-int#r 19? an, in P+ So#rs 6#,+( Artaud

6 Paris( 19+88 P+ So%%#rs( 'In pas sur la lune' ( *+ 2 6autumn 1989( 7+8 D#rri,a 3ors li$re3 in !a <issémination ,#$#%o*s a &riti<u# o! H#)#%ian &ontra,i&tion(

-"i%# a!!irmati$#% r#!#rrin) to So%%#rs arti&%# 3!énine et le matérialisme dialectique3+"i%# D#rri,a -i%% im*%i&it% /#&om# mor# ,istant !rom *el +uel !or *o%iti&a% r#asons( "issu))#stion o! t"# r#%#$an&# o! t"# D#mo&rit#an &on&#*t o! r"t"ms( a ,i!!#r#ntia%r"t"m un,#r%in) an su/stan&#( s##ms &onsist#nt -it" Krist#$a chora 6s## C"+ ;+

87 So%%#rs( 3!énine et le matérialisme philosophique3( *+ 2 6autumn 19@ an, in i,+(Sur le matérialisme. *his *+ issue also features the enlarement of the su"title'ScienceYlittérature', present since -/G, 5hen >riste$a first article 5as pu". @issueB, to "ecome '!ittératureYphilosophieYscienceYpolitique', irritatin !a Nou$elleCritique, 5hich re"u8ed *el +uel for its pretension to philosophy or politics.

89 S## So%%#rs( 3!énine et le matérialisme philosophique3( in i,+( Sur le matérialisme, G.@ 3air pramatiquement selon le conte3te3( So%%#rs( int#r$i#- -it" aut"or( Paris( 199@+1 So%%#rs( Sur le matérialisme( 1@@0 3la loique du matérialisme sort de l'idéalisme

poussée au "out 3+

n#)ati$it( t"at is( a dépense *rior to an stru&tur# or *osition+ T"# !orm an, m#,iation o!t"is n#)ati$it( an, its r#%ation to Fr#u,3s ,#at":,ri$#( -i%% a%so /# a ma4or !o&us o! *el+uel 3s t"#or in t"is *#rio,( a)ain su))#stin) t"at t"# *rin&i*a% #%#m#nts o! int#r#st ar#

#.tran#ous to >ar.ism as su&"+ D#s*it# t"# *ro/%#ms &r#at#, / t"# #!!a&#m#nt o!,i!!#r#n&# un,#r &ontra,i&tion( -"i&" is ,#$#%o*#, in t"is #ssa( t"# mo$# to-ar,s a $i#-o! n#)ati$it /#!or# stru&tur# #na/%#s a%so an #%a/oration o! a $i#- o! t"# su/4#&t( -"i&"D#rri,a3s *#rs*#&ti$#( u* to t"is *oint( "as a$oi,#,+ As soon as it is *ro*os#, as!un,am#nta%( "o-#$#r( &ontra,i&tion /#&om#s *ro/%#mati&+ So%%#rs i,#nti!i#s in L#nin3s*"i%oso*" 3une pluralisation, une hétéroénéisation de la contradiction3+ ? T"is*ro/%#mati=ation o! t"# ,ia%#&ti& -i%% /# *us"#, !urt"#r in So%%#rs3s %at#r #ssa on t"#r#!ormu%ation o! t"# ,ia%#&ti& / >ao Ts#:tun)( 3Sur la contradiction3+

Krist#$a3s &ontri/utions to t"# s#ssions o! t"# 'rou*# ,3tu,#s t"ori<u#s an, to t"#r#$i#- a%so ,#$#%o* an in$#sti)ation o! mat#ria%ist *"i%oso*" an, o! t"# H#)#%ian ,ia%#&ti&+In 3>atiGr#( s#ns( ,ia%#&ti<u#3 s"# ar)u#s a)ainst a $i#- o! n#)ati$it as a *ur# !or&# t"at&ou%, /# ,i$#rt#, into a n#)ati$# t"#o%o)( o**osin) to t"is a $i#- o! n#)ati$it as t"#

"#t#ro)#nous mo$#m#nt o! matt#r+;

T"# atai%%#an &onnotations o! t"is "#t#ro)#n#it ar##$i,#nt+ T"# su))#st t"at it is t"# #!!#&ts o! t"# "#t#ro)#nous an, t"# *%ura% t"at ar#mor# im*ortant t"an t"# %o)i& o! >ar.ism+ M#t t"# n#&#ssit o! t"# ,ia%#&ti& is a%soa!!irm#,+ T"#r# "as to /# a %a-( a su/4#&t *osition( an ana%ti& a**roa&" to t"is"#t#ro)#n#it rat"#r t"an a &#%#/ration o! its #!!#&ts as a 3*ur# n#)ati$it3+ 5 T"is*r#!i)ur#s t"# mo$# to-ar,s *s&"oana%sis as an att#m*t to m#,iat# or to m#r)# t"#n#)ati$it in ,is&ours#( an, t"# %at#r str#ss on #t"i&s+ At t"is *oint( "o-#$#r( Krist#$a3s-or2 is an im*ortant mom#nt in t"# "o%%o-in):out o! t"# *"i%oso*"i&a% /asis o! >ar.isman, *art o! t"# &ount#r:i,#o%o) o! mat#ria%ism o! *el +uel +

So%%#rs3s int#r#st in C"ina an, in >aoism ran *ara%%#% to t"# ,ia%o)u# -it" t"# PCF( a&onstant am/i)uit in t"is r#%ation+ T"# *u/%i&ation o! trans%ations o! *o#ms / >ao in19@( / So%%#rs( -as a )#stur# o! #.tr#m# im*ortan&# not on% in t"r#at#nin) an, *us"in)

t"# *el +uel :PCF r#%ation( /ut a%so !or >aoism in Fran&# in )#n#ra%+8

































? I/i,+ 1@5:8+ 3Sur la contradiction3( *+ 6s*rin) 191 an, in i,+( Sur le matérialisme.; + Krist#$a( 3Mati(re, sens, dialectique3( *+ 6-int#r 191 an, in #a,+( Polyloue

6 Paris( 198+5 S## #a,+( Polyloue, B1-9B.8 3<i3 po(mes de Mao *se9tun, lus et traduits par P. Sollers3( *+ 0 6-int#r 19@+

Strat#)i&a%%( it is #$i,#nt t"at in arti&u%atin) *el +uel 3s t#.tua% t"#or -it" >ao3s *o#tran, C"in#s# t"ou)"t( So%%#rs is a%r#a, *us"in) !or a /r#a2 -it" t"# PCF( 3*our t#n,r# %a*o%iti<u# ,u PCF3( as "# *uts it+ T"#or#ti&a%%( t"# mor# int#r#stin) mom#nt is So%%#rs3s#ssa 3Sur %a &ontra,i&tion3 in *el +uel in 191+ It is /asi&a%% a &omm#ntar on t"# #ssa3On Contra,i&tion3 -"i&" -as *#r"a*s >ao3s !un,am#nta% &ontri/ution to >ar.ist*"i%oso*"+ Esta/%is"in) t"is &omm#ntar is a -a o! *"i%oso*"i&a%% *r#*arin) t"# )roun,!or t"# s"i!t o! 191 it is a%so a ma4or( i! ,at#,( ,o&um#nt in r#%ation to Fr#n&" >aoism+ 7 So%%#rs ,#s&ri/#s "o- >ao *ro*os#, a *%ura%i=ation o! &ontra,i&tion+ T"#r# -as a,istin&tion( !or #.am*%#( /#t-##n anta)onisti& &ontra,i&tions an, non:anta)onisti&&ontra,i&tions+ T"is a%%o-s So%%#rs to &%aim t"at som# &ontra,i&tions or &on!%i&ts ar# on%a**ar#nt::su&" as t"# &on!%i&t in >ar.ism /#t-##n "umanism an, #&onomism( or i,#a%isman, mat#ria%ism+ In !a&t t"# ar# $i#-#, / So%%#rs as mutua%% ,#*#n,#nt t"# tru#anta)onisti& &ontra,i&tion is /#t-##n t"is ,ua%it an, a t"ir, *osition( 3%# ti#rs #.&%u3(

#n&%osin) t"is ,ua%it+ 9 *el +uel #.*%oits t"is t"ir, *osition in its int#%%#&tua% strat#)+ Soan r#sistan&# to *el +uel !rom -it"in t"# o**ositiona% ,is&ours# o! *o%iti&s &an /#&ount#r#, !rom a r#mo$#, *osition outsi,# it+ 3Mou &an3t un,#rstan, m#( /#&aus# ou,on3t 2no- -"at I 2no-+3 T"is ,ia%#&ti&a% stru&tur# is t"at o! t"#or#ti&a% t#rrorism+A&&usations o! t#rrorism a)ainst *el +uel ar# 4usti!i#,( /ut t"# t#rrorism r#su%ts mor# !romt"# in"#r#nt stru&tur# o! a t"#or *r#mis#, on t"# ,ia%#&ti&+

So%%#rs a%so a!!irms >ao3s 3s*#&i!i&it3 o! &ontra,i&tion+ Contra,i&tions ar# ,#t#rmin#, /t"#ir situation( t"#ir &ont#.t( "#n&# t"# n#&#ssit an, /#n#!it o! a&tin)( as So%%#rs sas o!*el +uel ( 3 pramatiquement, selon le conte3te3+ T"is mi)"t %#a, to t"# &on&%usion t"at it isSo%%#rs3s t"ou)"t -"i&" !in,s its#%! #.*r#ss#, in *o%iti&a% !orm in >aoism+ >ao3s*%ura%i=ation o! &ontra,i&tion ma mor#o$#r /# a mo$#m#nt a-a !rom >ar.ism+ I!&ontra,i&tions ar# *%ura% an, "#t#ro)#nous( t"# 3,#t#rmination in t"# %ast instan&#3 -"i&" is

t"# &orn#rston# o! >ar.ist t"#or( *arti&u%ar% !or A%t"uss#r( /#&om#s un-or2a/%#+ In ot"#r-or,s( >ao 6an, So%%#rs *%ura%i=# an, &om*%i&at# t"# ori)ina% >ar.ist *"i%oso*" to su&" a,#)r## t"at it /#&om#s an a/stra&t( strat#)i& im*#rati$# o! 3a&tin) a&&or,in) to t"# &ont#.t!rom a ,is*%a&#, *osition3( a!!irmin) t"# strat#) o! t"# r#$i#-+ T"# notion o!,#t#rmination / t"# in!rastru&:

So%%#rs( int#r$i#- -it" aut"or( Paris( 199@+7 A !a&t r#&o)ni=#, / Ristat in +ui sont les contemporains7 ( 1;7+9 So%%#rs( 3Sur la contradiction3( in i,+( Sur le materérialisme, G.

tura% %#$#% o! "uman r#%ations is a/an,on#,( i! it -as #$#r a!!irm#, to /#)in -it"+

T"# #ss#ntia% *osition o! *el +uel &an /# s##n to /# !un,am#nta%% non:>ar.ist on a mor#)#n#ra% %#$#%+ I! >ar.ism is a !un,am#nta%ism -"i&" insists t"at a%% anta)onisms ar#m#,iat#, t"rou)" t"at o! t"# &%ass stru))%#( t"# #&onomi& ,#t#rminin) in t"# %ast instan&#(>aoism mo$#s to-ar,s t"# a/an,onm#nt o! t"is %ast instan&# / an insist#n&# on t"#s*#&i!i&it o! #a&" &ontra,i&tion( an irr#,u&i/%# *%ura%it not so%$a/%# / t"# r#so%ution o! a!un,am#nta% anta)onism+ *el +uel 3s >aoist *"as# r#!%#&ts an un#as t#nsion /#t-##n!un,am#nta%ism an, *%ura%ism+ P%ura%ism insists on t"# #ss#ntia% irr#,u&i/i%it o!anta)onisms+ Lat#r( t"is -i%% /# r#*"ras#, as a $io%#n&# in"#r#nt in an so&ia% &ontra&t+T"# #m*"as#s o! *el +uel 3s t"#or *ro*os# a !or&# o! n#)ati$it &onstant% at -or2un,#rminin) an #ss#n&# or stru&tur#( t"at ,o#s not sit #asi% -it" t"# >ar.ist str#ss ont"# stat# an, *ro,u&tion+ Krist#$a3s insist#n&# on t"# sur*%us o! t"# "#t#ro)#nous o$#rstru&tur#( or atai%%#3s n#)ati$it( or Fr#u,3s ,#at":,ri$# /#on, t"# #&onom o! *%#asur#(*ro*os# an irr#,u&i/i%it o! &on!%i&t+ Inasmu&" as >ar.ism *r#s#nts t"# *ossi/i%it o! a

r#so%ution o! t"is *%ura% irr#,u&i/i%it t"rou)" t"at o! an #ss#ntia% anta)onism( it &an /#s##n as a tota%itarian i%%usion+ >aoism is a%so im*%i&at#,( ,#s*it# its *%ura%i=in) *"i%oso*"+














T"# $a%u# o! *el +uel 3s >ar.ism is in *r#s#ntin)( su/t%( t"# un#as a%%ian&# o!!un,am#nta%ism -it" *%ura%ism an, t"# )ra,ua% m#r)in) o! t"# !irst into t"# s#&on,+

So%%#rs #ssa 'Sur la contradiction' &an /# s##n as t"# %ast !un,am#nta% ana%sis o! >ar.ist*"i%oso*" t"at is not t#n,in) to-ar,s its a/an,onm#nt+ In #!!#&t t"# *#rio, !rom 191on-ar,s s##s t"# #!!#&ts o! t"is *"i%oso*"i&a% in$#sti)ation #m#r)# in *el +uel 3s

*u/%i&ations an, its strat#)( i,#nti!in) t"is tim# as t"# ,isso%ution o! t"# t"#or#ti&a%!ram# o! >ar.ism s#t u* /#t-##n 198 an, 191+ >ar.ism is a%so !un,am#nta%%un,#rmin#, t"rou)" a *ara%%#% in$#sti)ation o! Fr#u,ian t"#or an, an arti&u%ation -it"*s&"oana%sis+

T' Q%' A!$ 4+2CH#A!A2++In t"# %at# 198@s( *s&"oana%sis -as a ,is&ours# in t"# as&#n,ant+ T"# Écrits o! La&an-#r# a stan,ar, r#!#r#n&# !or man -rit#rs o! t"#or a&ross ,is&i*%in#s( an, La&an3ss#minars at t"# ENS -#r# att#n,#, / an in&r#asin) num/#r o! int#%%#&tua%s( in&%u,in)So%%#rs( Krist#$a( an, au,r !rom *el +uel. &ther psychoanalytic roups tended to deri$ean im*#tus !rom La&an3s B&o%# !r#u,i#nn# ,# Paris t"# *#rson o! La&an is t"# !o&us( t"#

sm*tom( on# mi)"t sa( !or a%% t"# *s&"oana%ti& )rou*s+ T"is r#naissan&# %#, to t"##sta/%is"m#nt o! a num/#r o! im*ortant *#rio,i&a%s+ Cahiers pour l'analyse, alreadyrunnin, pu"lished !acan '!a Science et la $érité' in -// and important 5or8 "y D.9A.Miller on the suture and on structural causality, attemptin a theory of the su"?ect that5ould fit 5ith Althusser's structural emphases. 10 *he EFP re$ie5 Scilicet 5as set up in-/G as a forum for !acan's 5or8 and that of other mem"ers of the roup, 5hosecontri"utions 5ere anonymous, accordin to the master's decree. Scilicet 5ould pu"lish!acan '#adiophonie', in 5hich !acan replied to questions posed to him in a radiointer$ie5, and 'Pour une loique du fantasme', a te3t of part of one of the seminars, 5herethe 5riter had recourse to formal loic to understand and conceptuali:e the functionin ofthe unconscious. 1- *he reference to loic 5as an increasinly important aspect of !acaniananalysis at the time. !acan 5as searchin for a formali:a"le discourse that 5ouldrepresent, on 'another scene' @than that of speech, the 5or8 of the unconscious.Psychoanalysis 5as attemptin to propose itself as a science. !ater in the decade, in the5a8e of -/1, a department of psychoanalysis 5as set up at the ne5ly created andcontro$ersial Ini$ersity of Qincennes, under Sere !eclaire. )t 5ould "e the focus of li$ely polemics at the end of the decade and the "einnin of the -G0s. 1B *he teachin of psychoanalysis, as a science, 5as also part of this eneral tendency. Psychoanalysis 5astherefore of strateic $alue for *el +uel in oustin any tendency to5ards psycholoy andin parallel to its science of the te3t. *hat there could "e a science of either the literaryo"?ect or the literary su"?ect 5as in radical opposition to a discourse of poetic effusion andintuition, in opposition to the psycholoism identified earlier "y Foucault. *he Mar3ist, Althusserian primacy

WWWWWWWWWWWWWWWWWWWW7@ + La&an( 3!a Science et la $érité3( CPA, - 6-int#r 1988 +:A+ >i%%#r( 3!a Suture,

éléments de la loique du sinifiant 3( CPA -( an, 3 Action de la structure3( CPA

6summ#r 1989+ Suture( ,#s&ri/in) t"# -a t"# su/4#&t !i)ur#, in t"# si)ni!in) &"ainas a %a&2( -as not un%i2# Krist#$a3s notion o! t"# su?et :éroloique 6s## /#%o-( -"i%#t"# %att#r #ssa #%a/orat#, a &on&#*t o! &ausa%it in"#r#nt in stru&tur# rat"#r t"ana)#n&+

71 + La&an( 3#adiophonie3 an, 3Pour une loique du fantasme3( Scilicet, B 6 19@+7? So%%#rs -ou%, int#r$#n# in t"# ,#/at# /#t-##n L#&%air# an, La&an( on t"# si,# o! La&an(

in 3<e quelques contradictions3( *+ 21 6summ#r 1989( "a$in) #ar%i#r &riti&i=#, t"#r#&u*#rati$# #nt#r*ris# o! in&#nn#s in a $#i%#, !as"ion0 3Ine nou$elle estion dusym"olique se met en place et, "ien entendu, pas dans n'importe lequel senséconomique. Nous pou$ons désormais le $érifier tous les ni$eau3, nous nemanquerons pas de nous attacher é$entuellement le démontrer, cette distri"utiond`t9elle se dérouler sur $int sc(nes la fois 3 6 So%%#rs3s #m*"asis( *+ 2/0 +

o! t"#or a%so *%as a *art in t"is r#&ours# to s&i#n&#+ At t"# sam# tim#( s&i#n&# as su&" is&riti&i=#, as #.&%u,in) or 3!or#&%osin)3 6t"# &on&#*t &om#s !rom Fr#u, $ia La&an t"# *%a&#












o! t"# su/4#&t+ It -i%% )i$# -a in t"# 19@s to a !o&us on #t"i&s( *arti&u%ar% in t"# -or2 o!Krist#$a+

*el +uel 3s us# o! La&anian t"#or is in som# s#ns#s s#*arat# !rom t"# r#$i#-3s strat#)i&su**ort o! La&an+ T"is su**ort -as #sta/%is"#, in 1989( -"#n La&an3s s#minar at t"# ENS-as sus*#n,#, / t"# ,ir#&tor( Ro/#rt F%a&#%iGr#+ Outra)#,( So%%#rs( Krist#$a( an, ot"#rs

o&&u*i#, t"# ,ir#&tor3s o!!i&#( "a$in) to /# !or&i/% r#mo$#,+ T"#r# ar# r#*orts o! So%%#rs3&arrin) La&an3s suit&as#3 at mom#nts -"#n La&an !oun, "ims#%! a**ar#nt% -it"outsu**ort+ So%%#rs3s 6un!oun,#, sus*i&ion o! D#rri,a3s in,i!!#r#n&# in t"# 3Flatulenci(re3a!!air( as La&an nam#, it( ma "a$# %#, to a ,istan&in) in t"#ir r#%ations+ Ho-#$#r( La&an3ss#minar -as sim*% ,is*%a&#, to a %#&tur# "a%% in t"# %a- !a&u%t n#ar t"# Pant"on( an, "is*o*u%arit in&r#as#,+ T"# #!!#&t -as to str#n)t"#n t"# %in2s /#t-##n So%%#rs an, La&an an,to *ro$i,# t"# *ossi/i%it o! a ,ia%o)u#+ La&an -ou%, s#n, So%%#rs a &o* o! t"# Écrits ,#,i&at#, -it" t"# -or,s( 3&n n'est pas si seuls apr(s tout 3+ 7 T"# ,ia%o)u# -ou%, not( in!a&t( o&&ur unti% mu&" %at#r( an, #$#n t"#n it is /%o&2#, on &#rtain &ru&ia% *oints 6s##C"a*t#r ;+

it"in t"# La&anian s&"oo%( m#an-"i%#( t"#r# -#r# *ro,u&ti$# ,#$#%o*m#nts an,int#r#stin) *o%#mi&s( t"# ons#t o! t"# !ra&turin) o! La&anian t"#or+ S#r)# L#&%air#( am#m/#r o! t"# EFP( /ut not #.a&t% un,#r La&an3s t"um/( -ou%, -rit# a mor# *ra&ti&a% an,&ur#:ori#nt#, $#rsion o! ana%sis in "is *u/%i&ation Psychanalyser in 1987+ A )rou* o!ana%sts !rom t"# EFP( '+ Roso%ato( + C%a$r#u%( P+ Au%a)ni#r:S*airani( F+ P#rri#r( +:P+a%a/r#)a( *u/%is"#, in 1989( in t"# 3Champ freudien3 s#ri#s at S#ui%( a &o%%#&ti$# -or2on !e <ésir et la per$ersion, 5hich 5as a $alua"le contri"ution to an area of potentialinterest for *el +uel. #osolato 5ould pu"lish in -/ his Essais sur le sym"olique, afterha$in resined from the EFP in protest at !acan's dictatorship. e 5as follo5ed in -/"y Aulanier9Spairani, Perrier, and Qala"rea, 5ho set up a ne5 roup, !e +uatri(meHroupe, 5ith a periodical, *opique. No5 there 5ere four roups, each 5ith a re$ie5, andapparently differin perspecti$es. *el +uel's strateic loyalty remains 5ith !acan, as theircriticism of !eclaire's efforts at Qincennes sho5s, 5hile theoretically, there are referencesto 5or8 "y #osolato and to earlier psychoanalysts

WWWWWWWWWWWWWWWWWWWW7 T"# ,#,i&ation is r#*ro,u&#, in *+ 0 6-int#r 1971( ?+

su&" as F#r#n&=i( an, o! &ours# Fr#u,+ 7; Outsi,# t"# EFP( +:+ Ponta%is -ou%, s#t u* t"#Nou$elle #e$ue de psychanlyse in 19@( *u/%is"#, / 'a%%imar,( *ro,u&in) s*#&ia% issu#son su/4#&ts su&" as 3!a Mort 3( or 3!e Mal 3( -it" &ontri/utions / ana%sts o! ,i!!#r#nt*#rsuasions+ A n#- an)%# -as intro,u&#, at t"is tim#( t"at -ou%, t#n, to-ar,s a ,i!!#r#nta**roa&"( tan)#ntia% to La&anian t"#or( in D#%#u=# an, 'uattari3s -or2( -"#n Louiso%!son /oo2 !e Schi:o et les lanues -as *u/%is"#, in 19@+ Ot"#r -or2s &ru&ia% !or t"istim# in&%u,#,0 An,r 'r##n #ar%i#r r#a,in) o! tra)#,( In Oil en trop o! 1985( *arti&u%ar%$a%ua/%# as an arti&u%ation -it" %it#ratur#( miss#, / *el +uel + C"ass#)u#t:Smirn#%3s&o%%#&ti$# -or2 on !#minin# s#.ua%it( Nou$elles recherches sur la se3ualité feminine 6 198;( a)ain i)nor#, an, Ponta%is &o%%#&tion o! arti&%#s Apr(s Freud 6 1987( som# o!-"i&" &on&#rn -rit#rs %i2# L#iris an, H#nr am#s+

T"is su))#sts t"at a%on)si,# La&an3s *#rson t"#r# -#r# a *ro%i!#ratin) num/#r o! tr#n,san, *#rs*#&ti$#s t"at t#n, to /# o$#r%oo2#, in "istori#s o! t"# *#rio,+ 75 "i%# t"is isun,ou/t#,% "#a%t" !or Fr#n&" *s&"oana%sis in )#n#ra%( t"# !o&us on La&an "ims#%!( on"is *#rson( t#n,s to o$#rs"a,o- t"# -or2 a%on)si,# "im( an, t"is t#n,#n& is #<ua%%*#rtin#nt in *el +uel an, in ass#ssm#nts o! it as a snt"#sis o! La&an an, A%t"uss#r+ *el+uel 3s int#r#st in *s&"oana%sis( -"i%# it nomina%% r#!#rs to La&an as mast#r( in !a&t,#ri$#s its im*#tus !rom ot"#r ar#as+ La&anian t"#or in *el +uel is !ra)m#nt#, /#&aus# itis #ss#ntia%% on% a strat#)i&( nomina% su**ort+ It is initia%% $ia t"# -or2 o! D#rri,a t"atFr#u, is at !irst a**roa&"#,+

=et;een $erria an aan












*el +uel 3s int#r#st in *s&"oana%sis in its #ar%i#r #ars -as( u* to a *oint( *r#:Fr#u,ian it-as an int#r#st in ,r#ams rat"#r t"an in t"# s&i#n&# or *ra&ti&# o! *s&"oana%sis+Ho-#$#r( -it" t"# !irst #.t#nsi$# ana%sis o! Fr#u, in t"# r#$i#-( D#rri,a 3Freud et lasc(ne de l'écriture3( 78 t"# *r#$ious int#r#sts ta2# on a ,i!!#r#nt t#nor( sin&# t"# !o&us ont"# ,r#am as a -ritin)( as o**os#, to a r#*r#s#ntation( %oo2in) at t#.ts a/out ,r#ams(an, t"# -ritin) o! ,r#ams+ D#rri,a3s #ssa initia%%

7; #+)+ P+ So%%#rs( 3!a Mati(re et sa phrase3( Crit. B0 6 u%( 191+75 it" t"# ma4or #.&#*tion o! E+ Rou,in#s&o !a =ataille de cent arts. istorie de la

psychanalyse en France( 6 Paris( 1978( -"i&" is a $a%ua/%# sour&# o! in!ormation a/outt"# *s&"oana%ti& &ont#.t+

78 + D#rri,a( 3Freud et la sc(ne de l'écriture3( *+ B/ 6summ#r 1988 an, in i,+( !'Écritureet la difference 6 Paris( 198+

,#!in#s t"# s*a&# o! *el +uel 3s #.t#nsion o! its t"#or into *s&"oana%sis+ T"is ins&ri/#s in*el +uel a &#rtain am/i)uit( !or su&" arti&%#s as So%%#rs 3!e #oman et l'e3perience deslimites3 an, P%#n#t 3!es Pro"l(mes de l'a$ant9arde3 "a, r#!#rr#, to t"# #nt#r*ris# o!La&an as *ro,u&ti$#( -"i%# D#rri,a3s #ssa ,#!in#s an am/i)uous% non:La&anian s*a&#( att"# %#$#% /ot" o! its ori)ins in a s#minar run / An,r 'r##n an, o! its t"#or+ T"is initia%%#sta/%is"#s an im*ortant ,istan&# !rom t"# mainstr#am o! La&anian ana%sis *el +uel 3sint#r#st -i%% /# in t"# arti&u%ation o! t"# un&ons&ious an, -ritin)( or as a -ritin)( rat"#rt"an in t"# s*a&# o! s*##&" an, int#rsu/4#&ti$# r#%ations+

D#rri,a3s int#ntion in t"# arti&%# is to s"o- "o-( a%t"ou)" *s&"oana%sis r#mains -it"int"# &%osur# o! m#ta*"si&s &riti&i=#, as %o)o&#ntri&( Fr#u, o*#ns out -it"in it a su/$#rsi$#s*a&#( a 3s&#n# o! -ritin)3 t"at trans)r#ss#s t"is &%osur#+ T"# #ssa tra&#s t"# &ar##r o!t"# m#ta*"or o! -ritin) in Fr#u, t#.ts !rom t"# S8etch for a Scientific Psycholoy t"rou)"t"# )ntrpretation of <reams to t"# s"ort 3Not# on t"# >sti& ritin) Pa,3+ Im*%i&it in t"istra&in) is a &riti<u# o! La&an( -"os# Écrits "a, not #t /##n *u/%is"#,+ N#it"#r is La&anm#ntion#, in t"# arti&%#+

D#rri,a3s arti&%# ,is*%a&#s La&an3s !o&us on %an)ua)# in its *ro*osition( t"rou)" a r#a,in)o! t"# &on&#*t o! -ritin) in Fr#u,( t"at -ritin) as espacement an, ,i!!#r#n&# is at -or2 int"# un&ons&ious /#!or# $#r/a% r#*r#s#ntations+ T"# %att#r ar# %in2#, to t"# *r#:&ons&iousan, to t"# #)o+ Dr#ams su))#st an archi9écriture( 3lithoraphie d'a$ant les mots,métaphonétique, non9linuistique, a9loique3+ 7 T"is -ritin) un,o#s t"# ,istin&tion/#t-##n si)ni!i#r an, si)ni!i#, an, is not r#a,a/%# a&&or,in) to an &o,#+ It is not a<u#stion o! 3la consécution linéaire irré$ersi"le, passant de point de présence en point de présence3+ 77 D#rri,a -rit#s0 3!'écriture énérale du r$e dé"orde l'écriture phonétique etremet la parole sa place3( 79 an, 3!'intert de la psychanalyse pour la linuistiquesuppose qu'on transresse le sens ha"ituel du mot lanae3+ 6 D#rri,a <uotin) Fr#u,+ 9@ In so !ar as La&an3s arti&u%ation o! t"# un&ons&ious as stru&tur#, %i2# a %an)ua)# isr#stri&t#, to %an)ua)# /as#, on la parole an, on t"# Saussur#an si)n( La&an is -it"in t"#&%osur# o! m#ta*"si&s t"at r#*r#ss#s a )#n#ra% -ritin)+ La&an3s #m*"asis on t"# si)ni!#r#m*"asi=#s a *r#s#n&#( rat"#r t"an a ,i!!#r#n&#( an, D#rri,a *ro*os#s )#n#ra%% t"at

%an)ua)# is r#stri&t#, to t"# %#$#% o! t"#

7 I,+( !'Écriture et la difference, 20G.77 I/i,+ ?1+79 I/i,+ ?+9@ I/i,+

*r#:&ons&ious+ T"is &riti<u#( -"i&" is r#it#rat#, in *el +uel, is, ho5e$er, discordant to ane3tent 5ith other references in the re$ie5. Michel *ort's references to !acan in his essayon Sade - are to some e3tent ta8en up in <errida's identification of a closure, as are, perhaps, =arthes's emphases on the code in the same issue. B !acan, on the other hand,does not propose any metalanuae of difference "efore lanuae or the sym"olic.

<ifference is an effect of lanuae rather than lanuae "ein an effect of difference,5ritin. An oscillation "et5een these t5o positions is reada"le in the history of *el +uel'stheory, 5hich radually i$es 5ay to an effacement of difference under contradiction in the


























Mar3ist period, and then to a $ie5 of lanuae as 'infinite $irtuality'. 2 <ifference and aeneral 5ritin are effaced "y a faith in the e3ceptional po5er of the $oice.

*he su"?ect is also ta8en up in <errida's critique of the space of loocentrism; 'Al'intéirieur de cette sc(ne @de l'écriture la simplicité ponctuelle du su?et classique estintrou$a"le.' <errida also suests, in a note, that archi9écriture is an effacement of the

su"?ect and the proper name, recallin Sollers's emphasis on 5ritin as thanatoraphy andon the question of the name. E$en in so far as !acan's inter$entions are a su"$ersion ofthe su"?ect, remainin centred on the question of the su"?ect, <errida's article is a critiqueof !acanian theory. =ut analyses closer to *el +uel, "y =audry and >riste$a, 5ill ta8e upthe question of the su"?ect, a su"?ect specifically of literature, to ela"orate a theory of thesu"?ect that 5ill e$entually displace the <erridean emphases and en$elop the !acanianspace. )t is possi"le to refer, therefore, to *el +uel's psychoanalysis, or its literary psychoanalysis, as e$ol$in "et5een <errida and !acan, and essentially $ia >riste$a.

<errida also s8etches out in this essay the foundations of the area in 5hich *el +uel'stheory and its articulation 5ith psychoanalysis is specifically implicated. *he question ofdifference or differance is lin8ed to Freud's death9dri$e. <ifference, <errida proposes, is amo$ement that defers a 'danerous in$estment' throuh the constitution of a reser$e@réser$e. <épense is deferred throuh repetition. !ife defends itself aainst death throuhan economy of difference, repetition, reser$e, in 5hich repetition and diferance appear asthe 5or8in of death in life, the

WWWWWWWWWWWWWWWWWWWW91 >+ Tort( 3!'Effet Sade3( *+ B1 6-int#r 198( 5+9? R+ art"#s( 3!'Ar"re du crime3( i/i,+ ;+9 P%#n#t( 3!'infinie $irtualité des lanues3( int#r$i#- -it" aut"or( Paris( 199@+9; D#rri,a( !'Écriture et la difference, 22.95 I/i,+ @@+

,#at" ,ri$#+ <épesce is a%so su*#rim*os#, on to -ritin)( as an #.*#n,in) t"at is not !i.#,in an *arti&u%ar $a%u#+ So%%#rs !oiques an, t"# ana%s#s o! atai%%# "a, a%r#a,*r#!i)ur#, t"# #&onom as a ,#!#rra% o! dépense+ D#rri,a3s i,#nti!i&ation o! differance -it"dépense an, t"# ,#at",ri$# i,#nti!i#s t"# *rin&i*a% s*a&# o! *el +uel 3s arti&u%ation -it"*s&"oana%sis as t"# ,nami& /#t-##n t"# *rimar ,ri$#s an, t"#ir s#&on,arr#*r#s#ntations( t"# *r#:sm/o%i& an, t"# sm/o%i&+ Krist#$a3s -or2 in *arti&u%ar -i%% !o&uson t"is ,nami&+ Ho-#$#r( D#rri,a -arns a)ainst *ro*osin) an ori)ina% %i!# t"at t"#n&om#s to *rot#&t its#%! 98 t"# &on&#*t o! *rima& is to /# r#t"ou)"t( sin&# it is t"# tra&# ort"# ,i!!#r#n&#( /#t-##n %i!# an, ,#at"( t"at is *rimar( a !a&t t"at un,#rmin#s t"# notiono! ori)in+ D#rri,a %in2s t"is to Fr#u,3s &on&#*t o! t"# nachtrKlich 6trans%at#, as 9retardement 9 ( a r#t"in2in) o! t#m*ora%it -"i&" is o! !un,am#nta% im*ortan&# !or t"#r#$i#-( an, !or our &onsi,#ration o! it+ T"# apr(s9coup trans!orms t"# t#m*ora%it o! *el+uel 3s t"#or( an, D#rri,a3s in*ut is &ru&ia% !or t"is !a&t+

"i%# in,i&atin) t"# am/i)uit o! t"# s*a&# o! *el +uel, "et5een the primary and thesecondary, or "et5een <errida and !acan, <errida's te3t also identifies important areas of

enquiry, such as the question of scenic space, sc(ne, as opposed to one of representation.)t suests the ela"oration of a psychoanalysis of literature as a focus on 'le de$enirlittéraire du littéral', 1 that is, an analysis of the literary sinifier and its specificity. *hat<errida indicates the specificity of literature as the space of the letter, le littéral, parado3ically identifies the rele$ance of !acan, as Sollers 5ill indicate in 'Sur$ol9#apports@=locsYConflit', !acan's insistence on the instance of the letter is part of a materialisttheory of lanuae. >riste$a's readin of Saussure 'Anarammes' is also producti$e inthis area. -00 *el +uel's e3tension of its theory into psychoanalysis ta8es place in this spaceof 5ritin and of the letter, and <errida's essay is prorammatic here.

=audry essay 'Freud et la création littéraire', -0- e3tends the critique of !acan that 5eha$e "rouht out of <errida's article. )t is

WWWWWWWWWWWWWWWWWWWW1@@S## + Krist#$a( 3Pour une sémioloie des pararammes3( *+ B 6s*rin) 198+ T"#

































t"# %o)i& o! t"# *"antasm+ au,r %in2s t"is r#stri&tion a)ain to t"# &#ntra% <u#stion o! t"#su/4#&t !or -ritin) as !or s#.ua%it it is not a <u#stion o! t"# su/4#&t an, "is or "#r ,#sir#/ut o! ins&ri*tion an, dépense( an, t"is in turn is i,#nti!i#, as Fr#u,3s 3/#on, t"#*%#asur# *rin&i*%#3+ T"# <u#stion o! t"# su/4#&t is #!!#&ti$#% #!!a&#, un,#r t"at o! -ritin)(at t"is sta)#( /ut in *el +uel 3s %at#r #m*"as#s it -i%% /# r#intro,u&#, in s*#&i!i&a%%*s&"oana%ti&a% t#rms in t"# -or2 o! Krist#$a( -"o &an /# s##n as *%ain) a ,#&isi$# ro%#

in t"# m#,iation o! t"# r#$i#- /#t-##n D#rri,a an, La&an an, #%a/oratin) a ,ia%#&ti&/#t-##n t"# su/4#&t an, t"# 3non:su/4#&t3 or t"# 3not #t su/4#&t3+

4erversionE 4layE [email protected] annfinite AnalysisT-o s*#&i!i& ar#as -"#r# *el +uel 3s t"#or an, *ra&ti&# o! t"# t#.t "in)#s on*s&"oana%sis an, ma ,#ri$# som# t"#or#ti&a% 4usti!i&ation in Fr#u, ar# t"os# o! t"#n#urosis*#r$#rsion o**osition an, o! *%a+ It is a <u#stion "#r# o! a Fr#u, u*on -"om *el+uel "as r#troa&ti$#% *ro4#&t#, t"# &"ara&t#risti&s o! ra,i&a%it+ In So%%#rs !oqiques, thete3t as a per$erse permutation opposed social discourse as neurosis. *he te3t and

neurosis are mutually e3clusi$e, as =audry suests.-0

*he te3t is

WWWWWWWWWWWWWWWWWWWW1@au,r( 3Freud et la création littéraire3( in *héorie d'ensem"le, -G2.1@;I/i,+1@5 I/i,+ 159:8@+

s##n as a *%a( an as*#&t au,r im*%i#s -as on# o! Fr#u,3s mor# ra,i&a% insi)"ts -"i&"-#r# not ,#$#%o*#,+ H# r#!#rs( in &om*#nsation( to Ni#t=s&"#3s t"ou)"t as "a$in) a mor#&onsist#nt #m*"asis on le ?eu( or atai%%#3s $olonté de chance( *ot#ntia%% su/$#rsi$# o!rationa%( s#rious t"ou)"t+ H#r#( *%a an, r#a%it ar# not o**os#,( as !or Fr#u,+ P%a is nott"ou)"t as !antas /ut as a *#rmutation t"at *ro,u&#s t"# r#a%+ A si)ni!i&ant as*#&t o! *el+uel 3s &ount#r:i,#o%o) is a *ri$i%#)# )i$#n to t"# %u,i& an, t"# *#rmutationa%( ,#t#rminin)

t"ou)"t an, -ritin)( rat"#r t"an /#in) a *ro,u&t o! it+ T"is #m#r)#s /ot" in t"# t"#or6t"# r#a,in) o! Sa,# an, in *ra&ti&# 6t"# r#!#r#n&# to t"# I C"in) o! <rame+ T"# a%#atoras*#&t -"i&" au,r s##s as "int#, at in Fr#u, ma "o-#$#r /# mor# ,#t#rmin#, / *el+uel 3s t"#or its#%!+ It is #ss#ntia%% a &riti&a% a**roa&" to Fr#u,3s &on&#rn -it" t"# su/4#&tan, !antas+

A !urt"#r *oint o! 4un&tur# -it" Fr#u, is on t"# notion o! t"# apr(s9coup+ In t"# sam#arti&%#( au,r i,#nti!i#s Fr#u,3s insi)"t t"at t"# *"antasm a%-as &arri#s a tra&# o! itsori)in+ T"is is a 4usti!i&ation o! t"# i,#a t"at an -ritin) is a%r#a, a r#troa&ti$# r#a,in) o!anot"#r t#.t+ T"# t#m*ora%it o! t"# apr(s coup( -"i&" -# &an a%% -it" t"# D#rri,#antra&#( is /#"in, t"# )#n#ra% notion o! int#rt#.tua%it t"at !un&tions in *el +uel 3s t"#or+ Int"is s#ns# t"#r# is no ori)ina% mom#nt o! &r#ation( an insi)"t t"at au,r a%so !in,s inFr#u,( in "is ana%sis o! t"# *s&"oana%st3s r#%ian&# on t"# &on&#*t o! r#*r#s#ntation+Fo%%o-in) an ana%sis o! >i&"#% Tort in Cahiers pour l'analyse, -0/ =audry suests that$ariants of representation are operati$e at all le$els of Freud's topoloy4 at the le$el of the pulsions, their unconscious representations @ Qorstellunen and symptomatic formations @<arstellunen. *he topoloy appears as 'une représentation de représentation dereprésentation', -0G suestin an infinite chain of representations that "ecome sinifiers,since no loner related to an oriin. *his suests Freud's more radical insiht, 'l'autre$ersant de la pensée freudienne', -01 of interpretation as the eternal ren$oi @referral ofsinifier to sinifier, "ut representation, especially $isual representation, is 5ritten out of*el +uel's $ersion of Freudian theory, lea$in a serious aporia, sacrificed for the ideoloyof the permutational.

WWWWWWWWWWWWWWWWWWWW1@8+:L+ au,r( art+ &it+( *héorie d'ensem"le, -//. M. *ort article is '!e Concept freudien

de #eprésentant', Cahiers pour l'analyse, .1@au,r( 3Freud et la création littéraire3( in *hérie d'ensem"le, -GB92.1@7I/i,+


















nter.retation or "eain,An im*ortant <ua%i!i&ation must /# a,,#,( "o-#$#r( to t"# &om*arison /#t-##n t"# ,r#aman, -ritin)( -"i&" i,#nti!i#s anot"#r ar#a o! Fr#u,3s im*ortan&# an, !or#sta%%s t"#o/4#&tion t"at -"i%# *el +uel 3s t"#or ,#ni#s int#r*r#tation( Fr#u, *ri$i%#)#s it+ T"# %at#nt

&ont#nt o! t"# ,r#am an, %an)ua)# as t#.t ar# not "i,,#n /#"in, or /#!or# t"# mani!#st&ont#nt or %an)ua)# -"#n it is s##n as &ommuni&ation+ For it to /# so -ou%, /# to a!!irmt"# i,#o%o) o! r#*r#s#ntation an, #.*r#ssion+ T"# ,issimu%at#, *ro,u&tion is ins&ri/#, int"# t#.t as %a&unair#( it is a%r#a, t"#r#( in t"# t#.t( an, is -"at #na/%#s t"# t#.t to!un&tion+ For au,r it is an unr#a,a/%# ins&ri*tion #!!a&#, / m#anin) as #.&"an)#03)nscription non lisi"le tant qu'une écriture, par un redou"lement de l'inscription, ne ledonne pas lire+3 11?

Pro,u&ti$it( !i)ur#, as an a/s#nt %#tt#r( or lettre $olée( is on% r#a,a/%# on&# a r#a,in)un&o$#rs or r#-rit#s it( a!!irmin) t"# &om*%#m#ntarit o! r#a,in) an, -ritin) as#m*"asi=#, / *el +uel. *his entails a ne5, non9representati$e, conception of the relation"et5een a te3t and 5hat it dissimulates. *he producti$ity, the 5ritin that determines thete3t is al5ays already inside it, "ut in the mode of a"sence, silent. Freud's interpretation

and !acan's analysis, a readin of dissimulated sinifiers or symptoms 5ithin theanalysand's discourse, appear particularly rele$ant to *el +uel's analoy, althouh this parallel had already "een pointed out "y Althusser. --2 Freud appears as a pioneer of a ne5conception of readin 5hich defines it as a redou"lement, a dou"lin of the 5ritin itreads. *el +uel's theory of readin is distinct from a method of interpretation, since 5ritinand readin are supposed to "e part of the same process, not part of an intersu"?ecti$edialoue. *he readin 5rites or re5rites the already 5ritten te3t in such a 5ay as to ma8eapparent the inscription of the eneral, dissimulated 5ritin that determines the te3t.=audry 5rites; '!ire appara_tra donc comme un acte d'écriture et pareillement écrire seré$élera tre un acte de lecture99écrire et lire n'étant que les moments simultanés d'unemme production.' --

*he readinY5ritin 5ill also read the inscription of ideoloy in the te3t, a crucial factorthat distinuishes the te3t that remains 5ithin ideoloical closure from one thattransresses it. For *el +uel Freud ?oins

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Nou$elle Critique, -/-9B @ <ec. -/9Dan. -/ and in id., Position, 2/.11;au,r( 3Écriture, fiction, idéoloie3( in *héorie d'ensem"le, -2-.

u* -it" >ar. as t"#ori=#, / A%t"uss#r( in !ire le Capital, and 5ith !autréamont, in so faras their te3ts re5rite, dou"le, and transress, the inscription of the te3t in the ideoloy ofliterature. Freud appears, apr(s coup, as an instiator of the readinY5ritincomplementarity proposed "y *el +uel. *he temporality of this pro?ection, after the e$ent,is characteristic of the operation 5here"y theory ?ustifies itself "y reference to pre$ioussystems, only to undermine these systems "y the implantation or the unco$erin ofsu"$ersi$e elements 5ithin them. *he same pro?ection of the characteristics of a post9structuralist radicality on to Freud's 5or8 is operati$e here, "ut this retroacti$e readinitself is 5hat is found in Freud. 6hile Freudian and !acanian analysis $alori:es the momentof readin, rather than the oriinal trauma, *el +uel's theory of readin ?ustifies its o5nreadin of Freud and Mar3 as opposed to any oriinal intention in those authors. *el +uel'sreadin of Mar3 and Freud, li8e its history of literature, is a transformati$e readin thatemphasi:es a moment of creati$ity outside historical temporality.

Priary an& .econ&ary 37#ense*he articulation of the theory of the te3t to Freudian psychoanalysis is inno$ati$e and po5erful in itself, "ut is pro"lematic 5hen it comes to the lin8 to Mar3ism. As >riste$asuests, Freud's analysis of the dream5or8 ma8es up for an a"sence in Mar3. Mar3 does












not tac8le the producti$ity anterior to the e3chane9system of lanuae that he critici:es,and this lac8 restricts the scope of Mar3ism. *he pro"lematic lin8 lies in the relation"et5een the unconscious, dépense, 5or8 and use $alue. Ise $alue and 5or8 remain 5ithinthe restricted economy that is analoous to the conscious and the pre9conscious, 5hiledépense is an anti9economic principle. *he unconscious 5ritin, moreo$er, cannot "e adépense as part of a primary process, since 5ritin is seen as a detour in response to a

primary process or an e3cess of stimuli. *here is a distinction "et5een a primary e3cess,5hich in =ataille's terms 5ould "e the enery i$en 5ithout de"t "y the sun, -- and asecondary dépense, in the detour a5ay from this $iolence ta8en "y 5ritin and theunconscious. *he unconscious as 5ritin, in *el +uel's theory, is a deferred dépense, aninfinite repetition and effacement. Production, mean5hile, can "e associated 5ith thissecondary &7#ense , "ut only if the conscious elements of the su"?ect of production andthe aim of

WWWWWWWWWWWWWWWWWWWW115S## '+ atai%%#( 3!a Notion de dépense3( in i,+( &eu$res compl(tes i 6 Paris( 19@( an,

!a Part maudite, i"id. $ii @ Paris, -G/.

*ro,u&tion ar# a/stra&t#,+ <épense an, *ro,u&tion s##m in a%% r#s*#&ts to /# mutua%%#.&%usi$#+ T"#r# is a &#rtain i,#a%i=ation o! -or2 an, *ro,u&tion( in *el +uel 3s >ar.ism(-"i&" is !or&#, on to t"# Fr#u,ian an, atai%%#an t#rms o! *rimar *ro&#ss an, #.&#ss+T"is #%#m#nt o! #.&#ss -i%% /# t"# !a&tor t"at *us"#s >ar.ism to-ar,s t"# %imits o! itsstru&tur#( -"i%# t"# Fr#u,ian ,#at":,ri$# t#n,s in an &as# to *ro/%#mati=# t"# mor##&onomi& O#,i*a% stru&tur#+

ra,ments of aanian Theory"i%# *el +uel 3s initia% #n)a)#m#nt -it" Fr#u, is !i%t#r#, t"rou)" D#rri,a3s r#a,in) an,"ints at an arti&u%ation -it" atai%%#( La&an is on% r#a%% *r#s#nt at t"is sta)# in!ra)m#nts t"#r# is no r#a% t"#or#ti&a% #n)a)#m#nt -it" t"# La&anian t"#or o! t"#*rima& o! t"# sm/o%i&( or t"# mirror sta)#( or t"# sm/o%i&r#a%ima)inar trinit+ 'ou.

'Numismatiques' "a, im*%i&at#, in its stru&tura% mo,#% La&an3s t"#or o! t"# *"a%%us(&om*arin) it to t"# &a*ita%i=ation o! mon# as $a%u# in &a*ita%ism( /ut 'ou.3s -or2 is,isso&ia/%# !rom t"# #ss#ntia% &urr#nts o! *el +uel 3s t"#or+ 118 So%%#rs r#!#rs to La&an3mat#ria%ist t"#or o! %an)ua)#3 in "is -or2 on t"# si)ni!i#r an, t"# %#tt#r+ 11 T"is issi)ni!i&ant in t"at it is o$#r t"is <u#stion t"at a D#rri,#an &riti<u# o! La&an -i%% /##%a/orat#,+ 117 T"# r#!#r#n&# to t"# 3instan&# o! t"# %#tt#r3 is r#%#$ant !or *el +uel in so !aras t"# si)ni!i#r( t"# mat#ria%it o! %an)ua)#( is t"ou)"t to ,#t#rmin# t"# *ro,u&tion o!m#anin)+ La&an3s t"#sis t"at t"# su/4#&t is r#*r#s#nt#, / a si)ni!i#r !or anot"#r si)ni!i#r(r#!#rr#, to / >i&"#% Tort in "is #ssa on Sa,#( 119 is int#r#stin) !or *el +uel in its*ro*osition o! a su/4#&ti$it su/4#&t to t"# *#rmutations o! -ritin)+ Ho-#$#r( t"# r#!#r#n&#to La&an3s t"#or "#r# ,o#s not #.*r#ss an a/so%ut# a)r##m#nt /#t-##n *el +uel 3s t"#oro! t"# t#.t an, t"# #ntir#t o! La&an3s *s&"oana%ti&a% t"#or or "is t"#or o! %an)ua)# ast"# irr#,u&i/% sm/o%i& Ot"#r o! "uman int#rsu/4#&ti$it+ T"# int#r#st in t"# si)ni!i#r an,t"# %#tt#r is !o%%o-#, t"rou)" in a mor# #.t#nsi$# an, trans)r#ssi$# -a / Krist#$a in "#r

3*ara)rammatism3( ,#ri$#, !rom a stu, o! Saussur#3s 3Ana)ramm#s3+ Krist#$a3s ana%sis,o#s not tr#at t"# %#tt#r or

118A!t#r 'Numismatiques' ( *+:8( 6autumn 1987:-int#r 1989( 'ou. -i%% not *u/%is"

ant"in) mor# in t"# r#$i#-+ His %at#r /oo2s( Freud et Mar3; Économie et sym"olique 6 Paris( 19 an, !es )conoclastes 6 Paris( 19 ,#$#%o* t"# arti&u%ation o! >ar.(Fr#u,( an, atai%%#+

11S## n+ 8;+117S## +:L+ Nan& an, P+ La&ou#:La/art"#( !e *itre de la lettre 6 Paris( 19( a r#a,in) o!

La&an -"i&" -as ta2#n as a &riti&ism / "im+119Tort( '!'Effet Sade' ( *+ ?7 6-int#r 198( 5+

si)ni!i#r as a *r#s#n&# /ut #!!#&ts a s"i!t to a *ro&#ss o! sinifiance( -"i&" &om/in#s t"#,i!!#r#ntia% *ro&#ss o! D#rri,a -it" a r#!ormu%ation o! s#mio%o) an, t"# &on&#*t o! t"#





















si)n+ T"# su/4#&t is im*%i&at#, in t"is *ro&#ss( #sta/%is"in) Krist#$a3s int#r$#ntion#$#ntua%% as an a**roa&" to t"# trans:su/4#&ti$# rat"#r t"an t"# s*%it su/4#&t in La&an ort"# a/stra&tion o! t"# su/4#&t in D#rri,a+ La&an is *r#s#nt strat#)i&a%%( as a r#!#r#n&# inSo%%#rs3s #ssa( /ut La&an3s *s&"oana%sis is #ss#ntia%% /*ass#,+ T"# La&anian mo,#%s o!t"# $#&tor( *assin) !rom si)ni!i#r to si)ni!i#, an, &onstitutin) t"# su/4#&t t"rou)" a 2in, o!s"utt%# or *u%sation( an, t"# %o)i& o! !antas( &an /# r#a, as stru&tura% mo,#%s -"i&" t"#

t#.tua% *ra&ti&# o! t"# -rit#rs a&<u#s H#nri& 6 Archies( 1989 an, a&<u#%in# Riss#t 6 Feu(191 us#s( /ut on% to -rit# a&ross t"#m( trans)r#ssin) t"#ir stru&tur#s+ 1?@

*el +uel 3s #n)a)#m#nt -it" *s&"oana%sis a**#ars to /# /as#, #ss#ntia%% on t"#i,#nti!i&ation o! t"# un&ons&ious -it" a ra,i&a% t#.tua% *ro,u&ti$it+ T"is initia% #n)a)#m#ntis $#r mu&" ,#t#rmin#, / t"# s*#&i!i& &ont#.t o! t"# r#$i#-3s t#.tua% t"#or( its#n)a)#m#nt -it" D#rri,a( /ut a%so / an o*#n a**roa&" to t"# -or2 o! La&an+ La&aniant"#or in its tota%it is not ta&2%#,+ In t"# 19@s it -i%% /#&om# mor# r#%#$ant to an #t"i&sin t"# -a2# o! >ar.ism( an, So%%#rs an, La&an -i%% #n)a)# in a dialoue de sourds o$#ro&# 6s## C"a*t#r ;+ *el +uel -i%% *u/%is" a %imit#, amount o! -or2 / ana%sts( most%on %it#ratur# an, in&r#asin)% o$#r t"# <u#stion o! s#.ua%it+ 1?1 T"# r#$i#-3s attitu,# toFr#u, r#mains an am/i)uous mi.tur# o! &riti&ism an, an a!!irmation o! "is !un,am#nta%ra,i&a%it+ Ho-#$#r( t"# #n)a)#m#nt -it" *s&"oana%sis /#&om#s in&r#asin)% m#,iat#,t"rou)" t"# -or2 o! Krist#$a+

1?@T"# t#.ts s##m to *ro*os# a to*o%o) ana%o)ous to La&an3s r#a%sm/o%i&ima)inar

stru&tur#( #!!#&tin) a ,#msti!i&ation o! t"# ima)inar o!t#n !i)ur#, as a s&r##n( ano*#nin) o! t"# sm/o%i&( !i)ur#, as a &ir&%# or s*"#r#( to t"# r#a%( !i)ur#, as a )roun, or$ide+

1?1Arti&%#s / *s&"oana%sts in *el +uel 6#.&#*tin) + Krist#$a ar#0 >+ ,# >3U=an('#ichesse' ( *+ ; 6-int#r 1981 an, 3 Aper%us psychanalytiques sur le processus decréation littéraire3( *+ - 6autumn 198; >+ Tort( '!'Effet Sade' ( *+ B1 6-int#r 198Lu&# Iri)ara ( 3!e Q@iol de la lettre3( *+ 2 6autumn 1989 >+:C+ oons(3 Automatisme, compulsion; Marque, remarque3( *+ B 6summ#r 19@ D+ Si/on( 3 A propos des mathématiques modernes3 *+ - 6autumn 19? i,+( 3i!ur&ations3( *+ 6summ#r 19 i,+( 3Premier meurtre3( *+ / 6-int#r 195 '+ >i%%#r( 3 A propos

du fascisme fran%ais3( *+ / A+ #r,i)%ion#( 3Notulae3( *+ / A+ Com*a)non(3!'Analyse orpheline3( *+ / 6s*rin) 198 D+ Si/on( 3Premier meurtre )) 3( *+ // 6summ#r 198 i,+( 3Ecriture et folie3( *+ G0 6summ#r 19 i,+( 3>usi&a% I3( *+1: 6autumn 19 S&"n#i,#rmann( 3!acan et la littérature3( *+ 1 6summ#r 197@+T"# on% /oo2 / a *s&"oana%st( #.&#*tin) Krist#$a( in t"# 3Co%%#&tion T#% u#%3 -asD+ Si/on( !e Nom et le corps 6 Paris( 19;+ From t"# mi,:198@s to t"# #n, o! t"#,#&a,#( La&an3s nam# -as on t"# %ist o! !ort"&omin) *u/%i&ations( /ut not"in) -as #$#r*u/+ In 198 an #,itoria% si)na%%#, t"# &r#ation o! a &#r&%# *s&"ana%ti<u#( /uta**ar#nt% not"in) &am# o! it+

t"# 19@s n#- *s&"oana%ti& r#!#r#n&#s "a$# #m#r)#,( -"i&" "a$# an #!!#&t in t"#r#$i#-+ La&an -ou%,( in t"# $i#- o! man( )o o!! on an in!init# ,i)r#ssion on 2nots an,to*o%o)i&a% *ro/%#ms( %osin) "is *r#$ious &uttin) #,)#( -"i%# a n#- an, &ru&ia%

*s&"oana%ti& &ont#.t aroun, !#minin# s#.ua%it -ou%, /#&om# *romin#nt( in t"# -a2# o!1987 an, t"# in!%u#n&# o! D#rri,a on -rit#rs %i2# Lu&# Iri)ara( >i&"G%# >ontr#%a( H%Gn#Ci.ous( an, Cat"rin# C%m#nt+ T"# mom#nt o! t"#or !or *s&"oana%sis #ss#ntia%%*ass#s outsi,# *el +uel, 5hile its effects ha$e a reater impact in the ne3t decade, in the5a8e of theory.

T)(+)T-C%L ,-CT-(N Alonside the theoretical 5or8, the re$ie5 continued in the late -/0s to act as ane3perimental foyer for te3tual practice. -BB *he 'Collection *el +uel' also continued tofunction as a $ital corridor for the pu"lication of fictional 5or8s, no$els and poetry, from5ithin and outside the committee. *he inno$ati$e te3tual practice of *el +uel and its

function as a forum for 5ritin 5ith a theoretical consciousness, Pushin often at the limitsof fiction in its usual sense and also at the limits of typoraphic structure and reada"ility,












is a $ital element of the re$ie5's acti$ity and its relation to the conte3t durin the time oftheory.

The Novel in the Late 1960s

*he conte3t of fiction at this time is 5ide and disparate. E$idently, it is not possi"le to i$ea comprehensi$e sur$ey of it, there 5ill "e o"$ious elisions. )t is possi"le to delineate the"road trends and the emerin indi$idualities of the period. *he period is post9nou$eauroman, in the sense that the lessons of this ideoloy of the no$el had already "een learntand the 5riters 5ere not, as a roup, proposin a ne5 departure. *he indi$idual nou$eau3romanciers 5ere still producin te3ts, "ut the nou$eau roman as a phenomenon, despitethe efforts of Dean #icardou and the Colloque de Cérisy of -G-, 5as in a phase ofdecadence.

#o""e9Hrillet pu"lished the no$el Pro?et pour une ré$olution Ne5 Tor8 in -G0. )te3tends the questionin of narrati$e, narrati$e temporality,

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A*art !rom #.&#r*tis !rom !ort"&omin) no$#%s an, *o#tr &o%%#&tions( t"# r#$i#- -ou%,*u/+ -or2 / P+ Rott#n/#r)( >ar& Ro/i&( + H#nri&( P+ ou,on( C+ Ca/antous( C+ >iniGr#(S+ I$an2o$( +:>+ Sor#au( >+ Lau)ua( as -#%% as un*u/+ t#.ts / + urrou)"s( +'#n#t( A+ Artau,( F+ Pon)#( an, A+ A,amo$+

an, $i#-*oint( /ut it r#mains -it"in t"# !ram#-or2 o! narrati$# !i&tion( #$#n -"i%#&om*%i&atin) it+ T"# sam# notion o! su/$#rsion -it"out ,#*artur# !rom an #ss#ntia% !ram#&an a**% to t"# -or2 o! Pin)#t 6 +uelqu'un, -/4 !e !i"era, -/14 Passacaille, -/. )tis a fiction 5here the mechanism of narration has "ro8en do5n @5hence the openin phrase of Passacaille, '+uelque chose est cassé dans le méchanisme -B2 lea$in themechanics of narration open and to "e read. *his leads to a 8ind of detecti$e 5or8 to findout 5hat is happenin. )n Passacaille the phrase '&n ne sait ?amais, prudence' is reularlyrepeated. *he recourse to the detecti$e story resultin from the "rea8do5n of narration isan influential seam in the no$el, "ut one essentially restricted to a complication ofnarrati$e structure and set 5ithin its limits.

&ther nou$eau3 romanciers 5ere also acti$e. Sarraute 5rote Entre la $ie et la mort in-/1, perhaps the finest of her 5or8s, 5hich e3plore the tense dialectic of speech andthouht, interiority and 'others'. Claude Simon produced istoire @ -/G, !a =ataille dePharsale @ -/, &rion a$eule @ -G0, and !es Corps conducteurs @ -G-. 6ith !a=ataille de Pharsale, Simon mo$ed to5ards a more te3tuali:ed form of 5ritin, that is, one5here the 5ritin is produced more at the le$el of its linuistic reality than as arepresentati$e relation to an o"?ecti$e reality filtered throuh a narrati$e consciousness.*he influence of #icardou, and throuh him of *el +uel, may "e e$ident here4 #icardou produced an important essay on the no$el in Critique, focusin on the te3tual aspects. -B o5e$er, #icardou notes that; 'l'éta"lissement du te3te moderne se reconna_t notamment ce qu'il métamorphose les procédures e3pressi$es traditionnelles en moyens de

production'. -B *his metamorphosis seems restricted in relation to *el +uel's te3tuality,5here aleatory structures and the material tissue of lanuae pro$ide a frame 5hich the5ritin tra$erses, rather than usin aspects of narrati$e as enerati$e elements. 6ithSimon, and 5ith #icardou @ !a Prose de Constantinople, -/4 !es !ieu39dits, -/ areferential architecture is needed to 5eld the disparate framents of te3t into a no$el. *hema?or difference "et5een the te3ts of #o""e9Hrillet, Simon, Pinet, &llier, and =utor, andthe *el +uel te3ts seems to lie in this appeal to an architecture to pro$ide coherence, 5hilefor *el +uel the structure is a $estie that ena"les the aleatory,

WWWWWWWWWWWWWWWWWWWW1?R+ Pin)#t( Passacaille 6 Paris( 1989(1?+1?;+ Ri&ar,ou( 3!a =ataille de la phrase3( Crit. BG 6>ar+ 19@+1?5 I/i,+ ??8:+















*#rmutationa% *%a o! t"# t#.t( -"i%# -ritin) an, r#a,in) /#&om# its r#a%it+ T"# in!%u#n&#o! t"# nou$eau roman is &on!us#, -it" t"# #m*"asis on t#.tua% r#a%it o! *el +uel, $ia#icardou, "ut important differences remain.

6hile the récit remained important, ho5e$er plurali:ed and complicated, for the nou$eau3romanciers, a different perspecti$e 5as adopted "y 5riters 5hose focus 5as more on the

5ay lanuae mediated e3perience, its relation to itself, its relation to its neati$ity, orsilence. *he influence of the 5ritin of =lanchot, 5ho did not produce 5or8s of fiction inthis period, "ut the philosophical !'Entretien infini @ -/0, itself an e3emplary te3tualmonument, 5as e$ident on the 5riter #oer !aporte, 5hose auto"ioraphical series ofno$els @ Ine $oi3 de fan silence, -//4 Pourquoi, -/G4 Fuue, -G04 and Supplément,-G2 are a"out the e3perience of 5ritin li$ed "y the 5riter. *he same meditation on thee3perience of 5ritin is detecta"le in the 5or8 of él(ne Ci3ous, @ *om"e, -/4 <edans,-/ mo$in to5ards a 5ritin of femininity and of the female "ody. )n its desire toescape the phallic postulation of meanin or presence it 5as a 5ritin in the aps, holes,and silences of lanuae4 it attempted to inha"it the silence to 5hich femininity 5asreleated "y a patriarchal discourse. 6hile this 5ritin may seem similar to that of *el+uel, its postulation of a silence underlyin lanuae and deri$in e3pression in itsfracturin o5ed more to =lanchot's su"tle influence.

6hile the nou$eau roman pro"lemati:ed elements of plot and character 5hile retaininthem or a $estie of them, other 5riters su"?ected story to the play of lanuae andame9li8e structures. *he 5or8s of Perec @ !es Choses, -/4 +uel petit $élo, -//4 Inhomme qui dort, -/G4 !a <isparition -/ proposed a ludic fiction in 5hich the possi"ilities of linuistic form 5ere e3plored, not 5ithout humour. *el +uel, 5hile close, inits focus on aleatory structure, to the &ulipo roup to 5hich Perec "eloned, had adifferent, less humorous, approach to the ludic. 6hile for &ulipo, play determines content,for *el +uel the focus on play is determined "y an ideoloy that sees this per$erse permutation as in conflict 5ith society's neurosis. *el +uel's inno$ati$e play is moreaustere, less comic, than that of 5riters li8e Perec. )t also displays a less fetishistic reardfor the surface9le$el idiosyncrasies of lanuae, "ein more concerned 5ith shifts at afundamental le$el. )n !a <isparition, the elision of the e throuhout the te3t is an ar"itrary play at the le$el of the sinifier, the surface of lanuae4 in *el +uel's fiction, play also

functions to produce meanin.

D#s*it# t"# *r#$a%#n&# in t"# no$#% o! a &on&#ntration on !orm an, t"# mo,a%iti#s o!&r#ation( t"#r# -as an #<ua%% inno$ati$# /ut *#r"a*s %#ss mar2#, turn to stor an, mt"as a !i&tiona% #%#m#nt+ T"# -or2 o! >i&"#% Tourni#r 6 Qendredi ou les lim"es du Pacifique,-/G4 !e #oi des Aulnes, -G0 e3emplifies this turn. )nno$ation is not diminished, "ut theno$els of *ournier appeared as a return, after modernism, to a reference to myth asmodel. *he *el +uel no$el occupies a central place, "et5een the nou$eau roman and itsdecadence and the =lanchotesque 5ritins of fiures such as !aporte, Ci3ous and others,5hile 5riters li8e *ournier 5ere de$elopin distincti$e responses to the period. &therno$elists, such as Modiano, <uras, !e Clé:io, are less identifia"le as aspects of a current.*heir 5or8 is e3ceptional and oriinal, "ut does not ha$e the same e3perimental force of*el +uel's theoretical fictions.

Change8Tel Quel)t is also important to distinuish the te3ts produced "y *el +uel from another strand of5hat can "e called theoretical fiction, the fictional productions of the ri$al roup Chane,set up "y Dean9Pierre Faye after his departure from the committee in -/G. *he te3ts ofthe Chane collecti$e, less numerous and relati$ely less 5ell 8no5n, are similar inappearance to the *el +uel no$els, in their lac8 of proper names and their typoraphicdisposition, "ut the perspecti$e and ideoloy that informs them is distinct. Faye's no$elsfrom "efore the split 5ere set in a psycholoical frame, 5hich distinuishes them from thete3tual space of the no$els of Sollers, =audry, #otten"er, and others, 5here it is more aquestion of a su"?ection to the effect of 5ritin than a superimposition of psycholoy and

5ritin. After Analoues, in -/, Faye pu"lished !'Écluse, also from -/, then a ne5edition of his first no$el Entre les rues @ -1, and then !es *royens in -G0, follo5ed "y)nferno; Qersions in -G. *he other no$elists of the Chane collecti$e 5ere Dean9Claude



Montel, 5hose Plaes appeared in Cayrol 'Écrire' collection in -/1, then !e Carne$al inthe 'Chane' collection run "y Faye, in -/. Another no$elist, Philippe =oyer @later tocontri"ute to !')nfini and to 5rite a "oo8 on Proust, pu"lished Mots d'ordre and Non9lieuin -/ and -GB respecti$ely. Chane also pu"lished 5or8 "y the 5riter <ani(le Collo"ert , <ire )9)) in -GB and )) donc in -G/, after her first no$el Meurtre, pu"lished "yHallimard in -/.

Faye's no$els are architectural in their structure, 5hile those of Sollers or =audry can "edescri"ed as eometric. !'Écluse sets up an interplay /#t-##n nam#s( )#n#rat#, / t"#3s%ui&#3 6l'écluse as an int#rna% ,i$ision or ,ou/%in)( 3une $ille coupée en deu3 3( 1?8 /ut( asin Fa#3s *r#$ious -or2s( t"is is !ram#, in a narrati$# an, r#%at#, to t"# *s&"o%o) o!i,#nti!ia/%# &"ara&t#rs+ T"is an&"orin) in narrati$# an, *s&"o%o) o! t#.tua% stru&tur# *utsFa#3s no$#%s in an #ntir#% ,i!!#r#nt &ont#.t !rom t"os# o! *el +uel it *r#$#nts t"# t#.t!rom /#&omin) t"# &aus# an, #!!#&t o! its#%!( #sta/%is"in) an o/sta&%# /#t-##n t"##.*#ri#n&# o! r#a,in) an, t"# *ro,u&tion o! m#anin)( or -ritin)+ !es *royens is su/tit%#,3H#.a)ramm#s3( si)na%%in) t"# entrecroisement o! t"# si. *r#$ious t#.ts Fa# "a, -ritt#n+1? T"is "#.a)rammati& stru&tur# is a)ain r#%at#, to t"# )#o)ra*" o! a &it an, to t"#stor o! a narrator3s s#ar&"( an, t"# narrati$# r#%at#s #n&ount#rs -it" a num/#r o! nam#,&"ara&t#rs+ Narrati$# is *ro/%#mati=#, an, ma,# int#rt#.tua% an, s#mi:auto/io)ra*"i&a%t"rou)" t"# ins#rtion o! *r#$ious t#.ts( /ut it r#mains a %o&us o! r#!#r#n&# an, a

)#n#ratin) *rin&i*%#+ T"is r#!#r#n&# an, moti$# is a/s#nt !rom t"# no$#%s *ro,u&#, / *el+uel, 5hich refer to their o5n functionin 5ithout oin throuh a narrati$e frame,directly or metaphorically, and not 5ith reference to a reconi:a"le, particular reality orthe psycholoy of a character. *his miht suest a ma?or difference to "e in terms ofa"straction and derees of particularity in reference. *he *el +uel no$el escapesreferentiality throuh a"straction, there"y ma8in the moment of readin more particularand sinular, focusin on the materiality of the 5ord or phoneme.

6hile <ani(le Collo"ert's 5or8 5as less no$elistic, more related to an interior, su"?ecti$espace, after the manner of =lanchot, D.9C. Montel's te3ts are similar to those of Faye intheir anchorin of a te3tual 5ritin, one that has a consciousness of itself, that refers toitself and essentially is a"out the e3perience of readin and inha"itin a te3t, to a particular narrati$e e$ent or structure. *hey are less structured and framed than Faye's,

and appear $ery much li8e *el +uel te3ts such as =audry's. *hey are ne$ertheless ?ust theother side of a di$idin9line that separates a te3t from a narrati$e carried "y a te3t. *hetheoretical perspecti$e that informs these no$els is distinct from the theory of *el +uel.*he Chane roup appeals to a pseudo9Choms8yan theory of a deep structure underneaththe surface of lanuae effectin transformations and e3chanes 5hich then appear on thesurface of lanuae. *he deep structure is proposed as essentially narrati$e. Chane'sfiction is decisi$ely prorammed "y this linuistic theory, mainly the 5or8 of D.9P.

WWWWWWWWWWWWWWWWWWWW1?8+:P+ Fa#( !'Écluse 6 Paris( 198;( /a&2 &o$#r+1?I,+( !es *royens; e3arammes 6 Paris( 19@( /a&2 &o$#r+Fa# an, t"# C"oms2an %in)uist >itsou Ronat+ 1?7 For *el +uel, on the other hand, thedeep9structure model is not pertinent. *he surface of the te3t hides nothin, its

enenderment is effected more on the le$el of the materiality of the te3t, at the le$el ofrhythms, phonemic patterns of repetition, metaphoric and metonymic patterns, andtyporaphy. *he te3t is a surface 5ithout depth.

)nlarging Textual .#ace After the initial entry of *el +uel's o5n te3tuality into an area 5here the 5or8s consideredthe linuistic space they inha"ited, and the structure of that space, the second roup ofte3ts, produced "et5een -/ and -G-, enlare and e3plore this space, articulatin it5ith the areas of ideoloy, and of se3uality. *he emerence of interte3tuality is a crucialelement, paralleled in theory in the 5or8 of >riste$a. *he te3ts address their relations notonly to pre$ious 5or8s, "ut to social discourse seen as te3t, to ideoloy as it is inscri"edthere, and to the su"?ecti$e tissue of the 5riter as su"?ect. *he *el +uel no$el from -/to -G- can "e descri"ed as an a"stract te3tuality. *his means effecti$ely that it isimpossi"le to ta8e anythin out of the te3ts that 5ould account for the effect of their

readin, to descri"e or analyse the te3ts. *heir readin is anchored at the moment of theeye's tra$ersal of the pae, 5hich echoes that of the pen. Part of 5hat can "e said a"out












the te3ts is that they defy representation and e3planation. *hey can "e 5ritten 'a"out'4 a5ritin can "e enerated from them that analyses itself. So in 5ritin a"out these te3ts itis the e3perience of their readin that is "ein unthreaded. )t is also possi"le to set outdetails of their structure and of their interte3tuality99that is, ho5 they relate to each otherand to earlier and later te3ts99and to trace eneral mo$ements of the theory of fiction andfictionali:in of theory they produce.*he 5or8s fall into three "road cateories; no$els

5ritten "y committee mem"ers, no$els from outside "ut pu"lished in the ' Collection *el+uel', and no$els pu"lished else5here 5hich are rele$ant to this te3tual space, or arearticulated 5ith it in critical articles "y *el +uel 5riters. *he pu"lications concerned are;

198 +:L+ au,r( Personnes 1987 P+ So%%#rs( Nom"res

WWWWWWWWWWWWWWWWWWWW1?7Chane3s t"#or is -#%% r#*r#s#nt#, in t"# t-o $o%s+ r#%atin) to a 19 &on!#r#n&# at

Cris( tit%#, 'Chanement de forme, ré$olution, lanae' + S## +:P+ Fa# an, +Rou/au, 6#,s+( Chane de forme 6 Paris( 195 an, Chane matériel 6 Paris( 195+

+ T"i/au,#au( )maine: la nuit.1989 + H#nri&( Archées 19@ + :L+ au,r( !a 'Création' P+ 'uotat( Éden, Éden, Éden E+ San)uin#ti( !e No"le Deu de l'oye.

191 P+ Lois So%%#rs >+ Ro&"#( Circus19? '+ S&ar*#tta( Sc(ne N+ a%#strini( *ristan S+ Sar,u( Co"ra+

T"# t"r## ma4or no$#%ists o! t"# &ommitt## ar# So%%#rs( au,r( an, T"i/au,#au( -"i%# int"# 3Co%%#&tion3( a&<u#s H#nri& an, 'u S&ar*#tta -rit# no$#%s in!orm#, / t"#*#rs*#&ti$# o! *el +uel. *he 5or8s "y Sanuineti and =alestrini are translated from the)talian "y *hi"audeau and #isset respecti$ely, anne3ed to the *el +uel roup, 5hilederi$in from a different conte3t, that of the )talian neoa$anuardia and the Hruppo '/2.-B *he 5or8s "y Maurice #oche, Pierre Huyotat, and Se$ero Sarduy @co9translated fromthe Spanish "y Sollers and the author are slihtly different in their approach, "ut thro5an interestin liht on *el +uel's fiction in their form and throuh the comments of *el+uel 5riters a"out them.

After the first series of te3ts, endin in -/ 5ith Sollers <rame and #otten"er !e !i$re partaé, this second roup e3tends te3tual space to articulate it 5ith politics, seen as ate3tual tissue, 5ith ideoloy, seen "oth as myth @particularly e3plored in =audry !a'Création', 5hich focuses on creation myths and also as a certain 5ay of readin, and 5ith"ioraphy, particularly in the case of *hi"audeau's t5o 5or8s, 5hich e3plore the tissue ofmemory as it is fi3ed in the te3t. *hese no$els ha$e a certain "aroque fla$our, "ut theeometrical structures they often use as frame5or8s restrict this aesthetic, 5hich emeresmore in the less structured 5or8 of Sarduy or Maurice #oche. *he no$els also tend toappeal, in their articulation 5ith ideoloy, to non96estern thouht and culture. SollersNom"res, for e3ample, is interspersed 5ith Chinese characters 5hich tend to "loc8 thereadin process and "rutally introduce the limits of 6estern ideoloy. )t featuresquotations, unattri"uted, from 5or8s of Chinese thouht. enric Archées appeals to en=uddhism, particularly to a 5or8 called en in the Art of Archery @ -GB "y E. erriel, tode$elop a non9e3pressi$e, non9causal 5ay of concei$in 5ritin, confrontin this 5ith the6estern tradition of the medie$al

WWWWWWWWWWWWWWWWWWWW1?9For a ,is&ussion o! t"is &ont#.t( s## C+ a)sta!!( '*he Neo9a$ant9arde' ( in >+ Ca#sar

an, P+ Hains-ort" 6#,s+( 6riters and Society in Contemporary )taly 6L#amin)ton S*a(197;+

chanson de este an, t"# *aintin)s o! U&&#%%o+ au,r !a 'Création' amass#s an, &on!ronts&r#ation mt"s( in&%u,in) 'r##2( C"ristian( C"in#s#( an, #,i& In,ian( -it" a ,is&ours#a/out %it#rar 3&r#ation3 an, its i,#o%o)+ T"# t#.ts ,o not r#*r#s#nt a &ount#r:i,#o%o)(/ut t#n, to -rit# a&ross t"# stru&tur#s o! i,#o%o)+ T"# !orma% *att#rns an, r"t"ms o! t"#t#.t #sta/%is" &ross:&urr#nts *assin) t"rou)" t"# i,#o%o)i&a% an, int#rt#.tua% stru&tur#st"at ar# s#t u*+






T"# t#.ts o! >auri&# Ro&"# an, Pi#rr# 'uotat &an /# s##n as tan)#ntia% to *el +uel t#.tua%it t"# /ot" !#atur# sin)u%ar as*#&ts t"at ma2# t"#m ,istin&t !rom t"# t#.ts o!So%%#rs( au,r( T"i/au,#au( an, H#nri&+ Sar,u Co"ra !a%%s into a ,i!!#r#nt )rou*in) o!t#.ts *ro,u&#, ,urin) t"# 19@s( mor# r#%#$ant to t"# *aro,i& "#t#ro)#n#it t"at #m#r)#,in t"at *#rio,+

aurie "ohe7 Com.at orm#!or# Compact 6 1988 >auri&# Ro&"# "a, *u/%is"#, on% a s"ort mono)ra*" on t"#Ita%ian ma,ri)a%ist >ont#$#r,i( 1@ -"i&" su))#sts t"# musi&a% as*#&t o! t"# no$#%ist3s -or2+T"# t#.t a**#ars as a s&or# rat"#r t"an a narrati$#+ 'i$#n >ont#$#r,i3s &ru&ia% *%a&# in t"#transition !rom *o%*"on to sin)%#:%in# "armon in t"# "istor o! musi&( an, su**osin) anin!%u#n&#( t"# no$#% Compact &an /# r#a, as a *o%*"on o! $oi&#s ti#, to)#t"#r into t"#sin)%# !orm o! t"# no$#%( its 3&om*a&t3+ T"# $oi&#s ,o not !orm a sta/%# "armon( /ut ar#3&om*a&t#,3( ,ra-in) att#ntion to t"# i,#o%o)i&a% !un&tion o! t"# no$#% as a uni!i&ation o!mu%ti!arious #.*#ri#n&#+ Ro&"#3s no$#% -as !irst /rou)"t to So%%#rs3s att#ntion / Fa#( an,!or a %imit#, tim# Ro&"# !o%%o-#, Fa# into t"# C"an)# &o%%#&ti$#( on% to r#turn to *el+uel soon a!t#r-ar,s+ A%% o! Ro&"#3s t#.ts ar# *u/%is"#, in t"# 'Collection *el +uel' ( !rom

1985+ Ho-#$#r( t"# &onn#&tion -it" Fa# is r#%#$ant in t"at( as -it" Sar,u an, 'uotat(Ro&"#3s no$#% t#%%s a *arti&u%ar stor0 a ,in) narrator /ar)ains !or "is tattoo#, s2in -it" aa*an#s# ,o&tor+ Ho-#$#r( -it" a%% t"r## -rit#rs( a $ita% #%#m#nt is a *aro,i&( o!t#n /%a&2"umour -"i&" -i%% /#&om# #$i,#nt in %at#r t#.ts / t"# *el +uel -rit#rs t"#ms#%$#s:So%%#rs!ois( !or #.am*%#+ Ro&"#3s -or2 is a *r#&ursor o! t"# *aro,i& t#.tua%it -"i&" -i%% /#&om#in!%u#ntia% in t"# 19@s+

T"# $arious $oi&#s o! t"# no$#% ar# t"# $arin) %#$#%s o! t"# narrator3s #.*#ri#n&# an,m#mor( *%us "is ,ia%o)u# -it" t"# ,o&tor+ A ma4or

1@>+ Ro&"#( Monte$erdi 6 Paris( 198@+

as*#&t o! t"# no$#%( /#on, t"is *o%*"on( is its t*o)ra*"i& ,is*osition+ It in&%u,#s anum/#r o! t*#!a&#s( !i)urin) t"# ,i!!#r#nt $oi&#s or %#$#%s( ,ra-in)s( !ormu%as( t*#:s*a&in)s( si=#s( *it&"#s( musi&a% s&or#s( "i#ro)%*"s( ,#at"3s "#a,s+ T"# -ritin) &om*a&ts,ra-in)( musi&( an, -ritin)( an, t"is t#n,#n& is int#nsi!i#, in Ro&"#3s %at#r -or2+A%t"ou)" t"# no$#% is a t"#or#ti&a% !i&tion in t"# s#ns# t"at it -rit#s t"# t"#or o! its#%!( an,!i&tiona%i=#s it in a narrati$#( t"# t"#or is ,is*#rs#, an, ta2#n out o! its ,is&ursi$# s*a&#t"rou)" t*o)ra*"i& !ra)m#ntation+ T*o)ra*"i& su/$#rsion as a -a o! ,#stru&turin)narrati$# -i%% /# in!%u#ntia% on a s#ri#s o! *el +uel -rit#rs an, ot"#r mo$#m#nts+ 11

4ierre /uyotat7 imits of "eaability'uotat3s t#.t o! 198( *om"eau pour cinq cent mille soldats is a%so ,istin&t !rom *el +uel

no$#%s in its *arti&u%ar stor( a "o%o&aust o! s%a$#s !rom a mt"i&a% #st#rn &a*ita%( t"#A%)#rian -ar /#in) an o/$ious *o%iti&a% su/:t#.t+ A %iminar not# to t"# t#.t si)na%s#,itoria% &"an)#s t"at "a, to /# ma,# to r#n,#r t"# t#.t mor# a&&#ssi/%#( to #sta/%is" 3unemeilleure lisi"ilité éditoriale3+ 1? Pr#$ious% it -as 3une masse sans alinéa3+ 1 T"is&om*romis# to r#a,a/i%it an, t"# o**osin) ra,i&a%it o! t"# -ritin) in,i&at#s 'uotat3sim*ortan&# !or *el +uel t"rou)" a &on!rontation o! t"# %imits o! r#a,a/i%it+ A!t#r anint#r$i#- in *el +uel 1; an, ,is&ussions -it" So%%#rs( 'uotat3s *ra&ti&# -as ra,i&a%i=#,an, t"#ori=#,( so t"at "is n#.t /oo2( Éden, Éden, Éden( #.*%i&it% &on!ronts t"#s# %imits(-it"out &om*romis#+ T"# no$#% -as a%so *r#!a&#, / L#iris( art"#s( an, So%%#rs(#sta/%is"in) its %in2s -it" *el +uel.

*he te3t confronts the limits of readin first in its form, 'une phrase unique qui ne finit pas'. -2 *he one sentence of the "oo8 ne$er closes the scene of the narration, "ut

suspends it, 5ith a semi9colon, colon, or o"lique stro8e. *his non9closure 5ill "e particularly instructi$e and rele$ant to Sollers's unpunctuated no$els @ -G2 and






















Paradis @ -1-, 5hich propose a different 8ind of non9closure. As =arthes suests, thislac8 of closure, a continual metonymic repetition, focuses readin on 'ce

WWWWWWWWWWWWWWWWWWWW11S## #+)+ t"# -or2 o! >+ Ro/i& in *+ 2- 6autumn 198( t"# t#.ts *u/+ %at#r in t"#

r#$i#- / t"# a,o%#s&#nt So*"i# Po,o%s2i 6 '!e Pays o^ tout est permis' ( *+ 2 6s*rin)

19( an, t"# %at#r -or2 o! t"# *V* )rou*+1?P+ 'uotat( *om"eau pour cinq cent mille soldats 6 Paris( 198( +1I/i,+1;I,+( '#éponses' ( *+ 2 6autumn 19@+15R+ art"#s( 'Ce qu'il ad$ient au sinifiant' ( in P+ 'uotat( Éden, Éden, Éden 6 Paris(

19@( 7+

<u3i% a,$i#nt au si)ni!iant3( t"# mat#ria%it o! t"# t#.t+ >at#ria%it a**#ars as t"# %imit o!r#a,a/i%it( a *att#rn a%so #$i,#nt in t"# *o#tr o! D#nis Ro&"#+ 18 >at#ria%it is a %imit(mor#o$#r( !urt"#r on t"an an i,#o%o)i&a% %imit or %a-+ T"# t#.t ,o#s not sto*( !orma%% an,in its &ont#nt( at an i,#o%o)i&a% or mora% %imit+ T"# 3!urt"#r on3 is a%so *r#s#nt in t"#&ont#nt o! t"# narration its#%!( an #.tr#m#% #.*%i&it an, $io%#nt s#ri#s o! s#.ua% an, #roti&*#rmutations /#t-##n so%,i#rs( *rostitut#s( an, anima%s in an uni,#nti!i#,( /ut *ossi/%Nort" A!ri&an( ,#s#rt+ T"is &on!ronts %imits o! r#a,a/i%it -"i&" ar# #t"i&a% an, i,#o%o)i&a%(or rat"#r it )o#s /#on, t"#m+ T"# !a&t t"at t"is *#rmutation is -ritt#n in a !orm t"at&annot *aus# or &%os# *r#$#nts t"# t#.t !rom /#&omin) *orno)ra*"i& %i2# Sa,#( it is a-ritin) t"at att#m*ts to tra$#rs# a%% *ossi/i%iti#s or &om/inations+ T"# a,$#ntur# is t#.tua%rat"#r t"an r#*r#s#ntationa%+

T"# t#.t is !air% im*ortant !or *el +uel. Apart from Sollers's introduction, 5hich lin8sHuyotat's 5ritin to a continuation of Sade, -2G and an article in Critique @ '!a Mati(re etsa phrase', sho5in a maturity of psychoanalytic and linuistic 8no5lede -21 , Huyotat is particularly rele$ant for the re$ie5 "ecause of the scandal surroundin the 5or8 5hen itappeared in -G0. )n &cto"er the Ministry of the )nterior declared it illeal for the 5or8 to"e sold to people under the ae of -1, to "e displayed, or to "e pu"lici:ed, in$o8in thela5 for the protection of minors. )n short, the no$el 5as censored. )n No$em"er, DérJme!indon, director of Minuit, launched a petition protestin aainst the measure and the

application of the la5 for the protection of minors, 'détournée de son sens'. -2 Amon thefirst sinatories 5ere Sollers, Pleynet, *hi"audeau, and other *el +uel mem"ers. *he petition 5as later sined "y most of the French intellientsia of the time.

*el +uel had pre$iously pu"lished an e3cerpt from the no$el, '=ordels "oucherie' -0 and aninter$ie5 5ith Huyotat, oriinally refused "y !e Monde and !a +uin:aine littéraire. -- )n aninter$ie5 5ith Catherine Clément in !a Nou$elle Critique Huyotat affirmed that hismem"ership of the PCF and his association 5ith *el +uel 5ere meant to pre$ent anyattempt at recuperation and to lin8 his 5or8 to 'un dialoue scientifique

WWWWWWWWWWWWWWWWWWWW18S## D+ Ro&"#( !e Mécrit 6 Paris( 19?+1P+ So%%#rs( '-G . . .Y - . . suestions' ( in 'uotat( Éden, Éden, Éden+17So%%#rs3 '!a Mati(re et sa phrase' ( Crit. B0 6 u% 191+19S## P+ 'uotat( !a !ittérature interdite 6 Paris( 19? an, '!a !ittérature interdite' ( *+

6s*rin) 191+1;@I,+( '=ordels "oucherie' ( *+ 2/ 6-int#r 1989+1;1I,+( '#éponses' ( *+ 2 6autumn 19@+

sur %3&ritur#3+ 1;? ritin) as a *ra&ti&# sus&#*ti/%# to /#in) t"#ori=#, -ou%, *r#$#nt anin!%ation o! t"# s#.ua%+ 'uotat is &orr#s*on,in)% a!!irmati$# a/out t"# no$#%s o! So%%#rs(au,r( an, H#nri&+ 1; H# -ou%, r#!#r to So%%#rs arti&%# '!a Mati(re et sa phrase' as a3nou$#%%# *"as# ana%ti<u#3+ 1;; T"# asso&iation -ou%, %ast 'uotat -ou%, &ontri/ut# to t"#Artau, &on!#r#n&# o! 19? 1;5 an, *u/%is" t#.ts in *el +uel ,urin) t"# 19@s+ 1;8 H#&ontinu#s to *u/%is" t#.ts in !')nfini. -G *heori:ation, therefore, is important in pre$entine3ploitation at the se3ual le$el, in imposin a scientific approach. Huyotat is important for

*el +uel in introducin a $ital ideoloical aspect of the practice of se3uality in 5ritin asuse $alue, rather than as e3chane $alue, 5hich leads to a critique of the se3ual ideoloyof the current culture. -1











































2L ;au&ry P .ollers enric Thi4au&eau*he te3ts specific to *el +uel are "y *hi"audeau, enric, Sollers, and =audry. *he

chronoloical limits of this roup of te3ts seems to "e mar8ed "y the appearance of !ois"y Sollers in -G-. )f this roup of te3ts articulate the formal space of a 5ritin that 5riteson itself, its o5n eneration and the e3perience of its creation, 5ith the readin andinscription of ideoloy, still in a formalist mode, the ne3t roup of te3ts, inauurated "y!ois, shifts a5ay from this tendency to5ards a more "aroque, parodic, and anarchicte3tuality. *he formalist moment 5anes to i$e 5ay to 5hat can "e read as a parody ofstructuralist 5ritin. *el +uel parodies itself, in a sense. *his parody is equally present in a5hole rane of 5riters 5hose te3ts appear in the -G0s. - *he te3tual moment of *el+uel, the moment of a theoretical te3tuality, is limited to the "rief num"er of te3ts 5eha$e mentioned. *he 5or8 of #oche and Huyotat,

WWWWWWWWWWWWWWWWWWWW1;?I,+( !a !ittérature interdite, GB.1;

I/i,+ 8@( 85+ S## a%so ,is&ussion -it" + H#nri&( 3Nou$elles inconruitésmonumentales3( in 'uotat( !a !ittérature interdite.1;; I/i,+ 9@+1;5P+ 'uotat( '!anae du corps' ( in So%%#rs 6#,+( Artaud 1;8In *el +uel 0 'D'écris maintenant . . .' ( *+ /2 6autumn 195+ H# -ou%, a%so !#atur#

r#)u%ar% in t"# r#$i#- Art press( asso&iat#, -it" *el +uel t"rou)" on# o! its #,itors( +H#nri&+

1;P+ 'uotat( 'A la lueur de mon se3e' ( !')nfini, - 6-int#r 197 an, '!e li$re' ( i/i,+ ?6s*rin) 197+

1;7S## P+ So%%#rs3s &omm#nts in t"# ,is&ussion !o%%o-in) 'uotat '!anae du corps' inSo%%#rs 6#,+( Artaud ( 17?0 'Huyotat $ient de nous parler de la $aleur d'usae de lase3ualité et nous sa$ons que cette se3ualité pour un appareil social doit trea"solument instituée comme $aleur d'échane.'

1;9S## #+)+ t"# no$#%s o! Pas&a% ru&2n#r( +:L+ #no=i)%io( + A%mira( R#nau, Camus+

m#an-"i%#( is a mo$# to-ar,s a %#ss stru&tur#,( mor# "#,onisti& *%a -it" %an)ua)#+ T"##$#nts o! 1987( t"# irru*tion o! ,#sir# in a *aro%# ,# %a ru#( ar# a%so a ma4or in!%u#n&#+ T"#s#%!:*aro, o! *el +uel, carried "y its te3ts, displaces the re$ie5 from any fi3ed positionand pre$ents any identification of a *el +uel te3t as such.

=ut "efore this parodic element comes into play, the *el +uel no$els e3haust thelimitations of an a"stract, formalistic te3tuality. Structure tends to "e either eometric, asin the case of Sollers Nom"res, or permutational, as for =audry Personnes. *he latterno$el structures itself around the $arious possi"le com"inations of su"?ect positions, @?e,tu, il, elle, nous, $ous, ils, elles and their correspondin o"?ects, the "loc8s of te3tcorrespondin to a place on a rid representin the possi"ilities, printed at the "ac8 of theno$el. *his permutati$e structure, across pronoun positions, tends to e$acuate any

possi"ility of su"?ecti$ity. De "ecomes ?ust one possi"ility amon others. *he 5ritin also plays on the other meanin of the 5ord personne, in French, sinifyin; 'no one'. *he permutational 5ritin enaes a sacrifice of the su"?ect, lin8ed to >riste$a's theori:ation ofthe su?et :éroloique. -0

Sollers Nom"res, despite a similarly comple3 structure, has a more su"?ecti$e approach,"ut aain the e3perience of the su"?ect is of his o5n sacrifice and dépense. Nom"res 5as perhaps the most important of the no$els in the conte3t, "ecause of the lon andtheoretically dense analyses of it made "y <errida and >riste$a. -- )t dra5s hea$ily onmaterialist philosophy, Mar3ist theory, and Chinese thouht, throuh unattri"utedquotations, or prél($ements @samples, 5hich function to thro5 the readin out of ?oint,esta"lishin a continual oscillation "et5een the readin of the te3t at hand and te3tsderi$in from other sites. )n !e Plaisir du te3te, =arthes descri"es such oscillatory

techniques as lin8ed to ?ouissance rather than plaisir. *he readin of the te3t is mademore difficult "y the fact that the te3t theori:es its o5n production, commentin on itso5n readin and structure, so that the position of ?udement, of the reader, "efore the


















te3t, is en$eloped "y it. *he effect is terroristic in that it lea$es the reader no place otherthan that of the 5ritin itself. *he no$el is also, "ecause of this enfoldin, a sacrifice of thereader, an aressi$e decapitation of any $alue the reader miht posit. *his decapitation isalso fiured se3ually, as a castration that

WWWWWWWWWWWWWWWWWWWW15@

S## /#%o-+ S## a%so t"# int#r$i#- -it" au,r in Ristat( +ui sont les contemporains,B229G, 'Pour une littérature matérialiste', for a discussion of =audry's no$elistic practice.

151+ D#rri,a( '!a <issémination' ( Crit. B/-9B( 6 F#/+:>ar+ 1989 Krist#$a('!'Enendrement de la formule' ( *+ 2G91 6s*rin):summ#r 1989 6s## /#%o-+

#na/%#s t"# su/4#&t( -rit#r or r#a,#r( to a&&#,# to a 4ouissan&# &onsi,#r#, as #ss#ntia%%!#minin# 6s## /#%o-+ So( -"i%# it a**#ars as t"# most int#ns#% t"#or#ti&a% o! t"# no$#%s(,u# to t"# -#i)"t o! its &om*%#. )#n#rati$# stru&tur# an, r#!#r#n&#s( Nom"res is a%so t"#stor o! a su/4#&ti$# #.*#ri#n&#( a sa&ri!i&#( s#.ua% an, #.ist#ntia%( o! t"# su/4#&t in t"#*ro&#ss o! -ritin)+

T"# r#%ation /#t-##n So%%#rs Nom"res an, Lois i%%ustrat#s t"# s"i!t !rom !orma%ism an,

t"#or#ti&a% !i&tion to "#t#ro)#n#it an, *aro,+ "i%# Nom"res is )#n#rat#, / a)#om#tri& stru&tur#( r#*r#s#ntin) t"#or#ti&a%% t"# %#a* !rom t"# *r#s#nt into its)#n#rati$# *ast( !ois( in a !irst $#rsion( -as /as#, on t"# stru&tur# o! t"# &u/# /ut on%$#sti)#s o! t"is stru&tur# r#main in t"# *u/%is"#, no$#%( #.&##,#, / t"# *o%*"oni& an, 4o!u% *%a o! %an)ua)# as *aro,+ Nom"res is a mor# aust#r# an, s#rious no$#%( -"i&"a*roa&"#s t"# %imits o! r#a,in) in its &om*%#.it( /ut its &ont#nt t#n,s to )o /#on,!orma%ism+ It is a !i&tion t"at &on&#rns an, is &on&#rn#, -it" its o-n ori)in in %an)ua)#(-it" t"# m#ta*"ors t"is &an *ro,u&#( /ut t"#r# is a%so an im*ortant s#am o! -ritin) on t"#/o, an, on s#.ua%it+ T"# no$#% &an /# r#a, as an att#m*t to %#a* !rom t"# *"#nom#na%*r#s#nt into t"# in$isi/%#( in!init#( an, mat#ria% #n)#n,#rm#nt o! t"# r#a%( i,#nti!i#, at t"#%#$#% o! %an)ua)#+ #on, t"# !orma% )ra&# o! t"# no$#% t"#r# is a su/4#&ti$# an, #roti&,rama in *%a+

T"i/au,#au -or2s &u$erture and )maine: la nuit @&u$erture )) ar# an auto/io)ra*"i&a%-ritin) in t"at t"# narrator 6i! t"is t#rm &an /# maintain#,( it is o!t#n r#*%a&#, / t"#3s&ri*tor3 tra$#rs#s( in a s#ri#s o! /%o&2s o! t#.t( #a&" tim# int#rru*t#, in mi,:!%o-( t"#tissu# o! "is m#mor+ ut t"is is not an auto/io)ra*" in t"# usua% s#ns#( sin&# it is-ritt#n in a présent perpétuel ( 15? -it" a &ons&iousn#ss o! t"# !a&t t"at -"i%# t"# tissu# o!#.*#ri#n&# an, m#mor( o! %an)ua)#( is 3-ritin) its#%!3( it is %o&at#, an, a&ti$# at t"#mom#nt o! t"# *#n3s tra$#rsa% o! t"# *a)#+ T"#r# is a &ontinua% t#nsion( a stru))%#(/#t-##n t"# mom#nt o! -ritin)( t"# &ons&iousn#ss o! t"# /o, at t"at mom#nt( an, t"#t#m*ora% !%u. o! t"# tissu# t"at is &r#at#,+ T"# t#.t o!t#n a**roa&"#s *aro.sms o! t"ist#m*ora% stru))%#0 3)ci, ?e suis ici maintenant, ici assurément ici 3 15 3ici, ?e suis icicependant 3+ 15;

T"# ,i!!#r#n&# /#t-##n t"# t-o *arts o! t"is ou$#rtur# r#%at# to t"at /#t-##n ,a an,ni)"t+ Ou$#rtur# &on&#rn#, t"# tissu# o! -a2in) %i!# t"#

15?+ T"i/au,#au( )maine: la nuit 6 Paris( 1987( /a&2 &o$#r+15I,+( &u$erture 6 Paris( 1988( 11+15; I/i,+ ?+

s#&on, $o%um# att#m*ts to -rit# t"# &on!%i&t o! t"# mor# &%an,#stin#( o/s&ur# #%#m#nts o!#.*#ri#n&# an, m#mor( /ut t"# t-o ar# !orma%% simi%ar in t"#ir #!!#&ts+ # ma /# a/%#(in t"is s#&on, $o%um#( to r#a, t"# *r#s#nt *osition o! t"# narrator as %in) in /#, in t"#,ar2n#ss( !rom t"# r#!#r#n&#s to 3%a &"am/r#3( t"# -a%%s( an, so on( /ut t"#r# is a &onstantstru))%# /#t-##n t"# $ision o! -"at is *r#s#nt an, t"# ima)ination o! -"at is not *r#s#ntto *#r&#*tion+ "at is *r#s#nt &an on% /# ima)in#,( -it" r#%ation to t"# mom#nt o!-ritin)+ ision an, ima)ination ar# #n)a)#, in a &onstant os&i%%ator stru))%#( as -# ma

r#a, in t"# o*#nin) /%o&20















)maine: par conséquent la nuit, imaine: la nuit, imaine: $oye: ce que doit tre, profondeur et fra_cheur, dans cet anle, imaine: et $oye: ce que c'est, les yeu3 ou$erts,les deu3 yeu3 tou?ours depuis tou?ours ou$erts, dans ces tén("res d'a"ord impénétra"les,$oye: ce que $ous imaine:, rearde:, ce qui est, maintenant, malré que par e3emplel'om"re cou$re toute la place, mais elle s'éclaircit enfin et s'él($e et la nuit se colore l9haut de $iolet et de "leu $if et de "lanc en somme ine3plica"les et $ous remarque: ces

franes $aporeuses plus pLles qui passent sur les murs, autour, et alors cette fois, quelleréalité, aussitJt. )maine: "ien sr 155

T"is is #$i,#nt% a *o#ti& *ros# t"at ,o#s not n#&#ssari% r#s*#&t t"# s#nt#n&# stru&tur# o!*rosai& Fr#n&"( usin) r#*#tition -it"in t"# *"ras# to &r#at# a r"t"m+ T"# r"t"mi&(r#*#titi$#( an, !ra&tur#, &"ara&t#r o! t"# %an)ua)# in t"#s# no$#%s is an #%#m#nt t"at t#n,sto /# o$#r%oo2#, -"#n t"# ar# &onsi,#r#, as t"#or#ti&a% !i&tion+ T"# ar# a%so t#.ts -"#r#*o#ti& %an)ua)# &ontaminat#s t"# %a-s o! snta.+

+ H#nri&3s *ros# st%# is simi%ar% su/$#rsi$# o! s#nt#n&# stru&tur#( /ut in a %#ss !%ui, -at"an t"# -ritin) o! T"i/au,#au+ T"# t#.t is int#rru*t#, / o/%i<u# stro2#s an, &itationmar2s( &uttin) t"# %an)ua)# into s"ort !ra)m#nts+ It is a%so &ut into a s#ri#s o! *rint#,/%o&2s+ T"# m#ta*"or t"at )#n#rat#s t"# t#.t is t"at o! t"# arro-:s"ot( r#!#rrin) to t"#Y#n art o! ar&"#r to ,is*%a&# t"# notions o! t"# #.*r#ssion o! a m#anin) an, o!aut"ors"i*+ T"# r#a,in) is an #.*#ri#n&# o! !ra)m#ntation( o! &ontinua%% &omin) u*a)ainst a /%o&2a)# in m#anin)+ T"#or( in som# s#ns#s( t#n,s to *r#$#nt t"# -ritin) !rom/#&omin) a s#am%#ss tissu#( im*osin) an in!init# "#sitation at t"# mom#nt o! &r#ation+ T"#t#.t is t"#or#ti&a% in its r#!#r#n&# to *"i%oso*"i&a% or r#%i)ious su/:t#.ts an, in t"#*r#s#n&# o! énoncés &it#, !rom t#.ts su&" as >ar.( H#rri)#%( /ut a%so >a%%arm+ T"#s#int#rs#&t -it" mor# *o#ti&( m#ta*"ori&

155T"i/au,#au( )maine: la nuit, G.

*"ras#s to )i$# an im*r#ssion o! "#t#ro)#n#it+ "at -# r#a, is an os&i%%ation( *ro,u&in) a!ra)m#nt#, ima)# /#t-##n t"# a&tion o! &r#ation an, t"# m#,itation o! its im*%i&ations+T"is r#su%ts o!t#n in an o*a&it o! >a%%arman <ua%it0

Se mou$oir; )l $a de repos en repos. !e de$ier a date @sur le terrain; se trou$e ponctualisé mme l'her"e "ruléeYtotalitéYperfectionYen$eloppe la line. <eYen; lasuccession éale descenteYcha_ne du discours @premi(res lines des fortificationsad$erses7 @nul fossé; coupa"le imprécisionYse lance si nul trait ne l'a encoreatteintYb$ole littéralement au9de$ant du daner. !'opération présente les plus randsrisques; l'en?eu est une rencontre décisi$e @de line en line différée @sur l'une le soleilrepose, l'Oil sur la sui$ante, et le sanQ 158

T"# -ritin) is not #as to r#a, it is not a s#am%#ss *r#s#ntation o! t"#or or o! a !i&tiona%s*a&#( /ut a *ros# !ra)m#nt#, an, "#sitant a/out its o-n ,#ri$ation+ It &an /# *ro*os#,t"at t"# "#sitation an, ,i!!i&u%t is ,u# to a &on!%i&t( a %a&2 o! "armon( /#t-##n t"#oran, !i&tion( su&" t"at t"# on# &onstant% un,#rmin#s t"# ot"#r+ In So%%#rs Nom"res,ho5e$er, this conflict is more successfully harmoni:ed, since the theory relates essentiallyto the e3perience of sacrifice of the su"?ect, and deri$es from it. *heoretical fiction is achallene for the reader "oth in terms of its difficulty, its terrorism, and the sacrifice thatis implied 5ithin it.

Poetry: *arcelin Pleynet 3enis +oche ac/ueline +isset

*el +uel te3tuality 5as not limited to the no$el in this period. )ts influence in poetry, in the5or8 of Marcelin Pleynet, <enis #oche, and Dacqueline #isset, is equally stron, if not

stroner, in a conte3t less determined "y formal rules of enre and in some senses furtherfrom theory.









*he late -/0s sees the sta"ili:ation of currents in poetry. )f Char and Pone can "e seenas the e3emplary fiures of the t5o opposin currents of a lyricism of presence andnostalia and a certain faith in the namin po5er of 5ords, and a deformati$e,framentati$e approach to lanuae, other fiures remain distinct from this polarity. *he5ritins of !eiris, Michau3, Artaud, and =ataille remain po5erful and sinular e3amples,and the influence of non9French poetry, such as that emerin from the ISA, is an

important factor, as the description of the earlier conte3t suests. o5e$er, currents can"e identified, and it is

WWWWWWWWWWWWWWWWWWWW158+ H#nri&( Archées 6 Paris( 1989( 8?+

in t"is &ont#.t t"at t"# *o#tr issuin) !rom( or &%os# to( *el +uel &an /# %o&at#,+ For t"#most *art( t"#s# &urr#nts ar# asso&iat#, -it" r#$i#-s+ T"# r#$i#- !'Éphém(re, set up in-//, "ecame an important forum for poets 5hose 5or8 retained a faith in the po5er oflanuae to name. T$es =onnefoy, André du =ouchet, Dacques <upin, and Philippe Daccottet, poets 5hose first 5or8s 5ere pu"lished in the late -0s and early -/0s, founda $oice in this re$ie5. -G =onnefoy's pronouncement '!a poésie doit sau$er l'tre, luiensuite de nous sau$er' -1 seems to represent the approach to poetry of this re$ie5,5hich, ho5e$er, ne$er had the formal status of a roup. )mportant 5or8s 5ere pu"lishedin the late -/0s "y these poets; =onnefoy's Pierre écrite @ -/, <upin !'Em"rasure@ -/, du =ouchet &u le soleil @ -/1.

*he re$ie5 Action poétique, founded in -, "ecame, in the late -/0s, a $ital forum for poetry and theoretical or critical reflections on poetic lanuae. <irected "y enri <eluy, it5as associated, after -/G, 5ith the re$ie5 Chane, "ecause of the presence on "othcommittees of the poet Dacques #ou"aud. #ou"aud E, pu"lished in -/G, appeared notunli8e the no$elistic or poetic inno$ations of *el +uel in structurin the te3t, a mi3ture of prose and classically formed poems, on the Dapanese ame of Ho. o5e$er, #ou"aud'sin$ol$ement 5ith the &ulipo roup places this interest in a different conte3t from *el+uel's appeal to the non96estern. 6hile #ou"aud is one of the most prolific and successful poets of the last thirty years, Action poétique and Chane represented the current of a poetry 5hich souht to produce some 8ind of action in the 5orld, 5hence its title and the

pioneerin 5or8 the re$ie5 effected in pu"lishin translations of poetry from outsideFrance, particularly poetry of resistance to oppressi$e po5er9structures.

)f in the late -/0s these three currents can, quite ar"itrarily, "e identified @not forettinthe more traditional roles of the N#F and the re$ie5 Cahiers du sud, 5hich ceased pu"lication in -//, in the -G0s a proliferation of poetry re$ie5s, or re$ie5s pu"lishin poetry amon other te3ts, 5ere to sprin up. Some of them can "e lin8ed directly to theinfluence of these currents, such as the re$ie5 *V*, run "y Christian Prient, 5hose 5or8on <enis #oche lin8s him to *el +uel. -

WWWWWWWWWWWWWWWWWWWW15S## R+ + 'r##n#( Si3 French Poets of our *ime 6 Prin&#ton( N( 199( :?1( !or a

,is&ussion o! t"# o**osin) &urr#nts o! !'Éphém(re, plus its successor !'Arile, founded

in -G2, and *el +uel.157M+ onn#!o( 3!'Acte et le lieu de la poésie3( in i,+( <u mou$ement et de l'immo"ilité de

<ou$e 6 Paris( 195( 77+159S## C+ Pri)#nt( <enis #oche 6 Paris( 19( *artia%% *u/+ as 3!e Hroin et le menhir 3 in

Crit. 2B 6 un# 19;+ rit#rs asso&iat#, -it" t"# *V* )rou*( #an:Pau% #r"#))#n an,

T"# r#$i#- !'Arile /#&am# t"# !o&us o! t"# Éphém(re &urr#nt a!t#r t"# %att#r r#$i#- -as,isso%$#, in 19?+ PoUsie, run "y Michel <euy, cannot "e affiliated so easily, despite<euy's earlier in$ol$ement 5ith *el +uel. <euy's o5n poetry falls uneasily "et5een theeideerian current and the deformati$e approach. Dean #istat re$ie5 <iraphe is alsoless easily locata"le. -/0 &ther sites of pu"lication 5ould include the '&rane E3port'series, 5hich 5ould pu"lish poetry "y *el +uel fiures such as Pleynet, #otten"er, and#isset as 5ell as "y 5riters such as Faye and #ou"aud. -/- All of these re$ie5s pu"lish

e3perimental 5or8 "y poets influenced "y the theoretical currents of the -/0s, and, ofcourse, "y the e$ents of -/1. Poetry is at the same time more distant from the e$ents,as it can present itself as a more a"struse and hermetic enre than the no$el, and closer,


















since the su"?ect and his or her e3perience is present in a less mediated manner. *hedeformation of the poetry of *el +uel, #oche, and Pleynet, is accentuated after -/14 the pressure of political turmoil and of the sinifiers of desire that 5ere in$ested in thee$eryday after -/1 are influential factors.

*el +uel poetry, after the departure of <euy and Faye, is focused on three 5riters; <enis

#oche, Marcelin Pleynet, and Dacqueline #isset. !ess9pu"lished 5riters such as #otten"er,and 5riters 8no5n more as no$elists, such as enric, 5ould also pu"lish poetic te3ts in there$ie5. -/B

Pleynet Comme 5as pu"lished in -/, follo5ed "y a series of pu"lications in the re$ie5leadin up to Stan:e in -G2. -/2 <enis #oche, after !es )dées centésimales de MissElani:e, "rouht out Éros éerum(ne in -/1, follo5ed "y his 'last' "oo8 of poetry, !eMécrit in -GB. Dacqueline #isset 5ould pu"lish te3ts in the re$ie5 from -/G that 5oulde$entually appear in the "oo8 Deu in -G-. -/

WWWWWWWWWWWWWWWWWWWWa%Gr# No$arina( as -#%% as Pri)#nt( -ou%, *u/+ -or2 in *el +uel in t"# %at# 19@s 6s##C"+ ;+

18@

Dara*"# -ou%, !i%% t"# $a&uum %#!t / t"# %oss o! !es !ettres fran%aises, "ein affiliatedto the PCF and run "y the future editor of !es !etters fran%aises 5hen it 5as re"orn atthe end of the decade.

181S## E+ Ra<u#% Ho&<uar, 6#,s+( &rane E3port !td -/9-1/ 6 Paris( 1978+18?P+ Rott#n/#r)( 3<ialoque, fatiue et désOu$rement 3( *+ B 6 s*rin) 1988 i,+(

3!'Attraction uni$erselle3( *+ 20 6 summ#r 198 i,+( 3Ces paes que $ou: trou$ere:quand $ous sere: de retour 3( *+ 22 6 s*rin) 1987 i,+( 3#écapitulation3( *+ 2 6 summ#r 1987 i,+( 3Mots de tous les ?ours3( *+ 6 s*rin) 191 + H#nri&( 3 Afaire communiquer 3( *+ 20 6 summ#r 198+

18>+ P%#n#t( 3Poésie3( *+ 22 6 s*rin) 1987 i,+( 3)ncantation dite au "andeau d'or 3(*+ 0 6 -int#r 19@ i,+( 3<édicace3( *+ G 6 autumn 191 i,+( 3*ra$estilait 3( *+- 6 autumn 19?+

18;+ Riss#t( 3#écit 3( *+ BG 6 autumn 1988 #a,+( 3 Apr(s récit 3( *+ 20 6 summ#r 198#a,+( 3 Deu3( *+ 2/ 6 -int#r 1989 #a,+( 3Forme et é$énement ) 3( *+ 6 -int#r

191+

Ro&"# intro,u&tion to Éros énerum(ne, '!e%ons sur la $acance poétique', its title parodically echoin du =ouchet <ans la chaleur $acante @ -/-, immediately sets up anopposition "et5een #oche's o5n 5or8 and a current of lyricism; 'le "as lyfisme'. -/ *helatter is descri"ed as a 'nostalie de l'esp(ce de transcendence immédiate qu'on atui"uea$ec tant d'empressement la création poétique'. -// #ather than this superior imainati$elyricism, #oche proposes to 'défiurer la con$ention écrite'. -/G is poetry is a defiuration,or a destruction, that 5or8s on the material le$el of lanuae, phonetic and typoraphic,to displace the notion of lyrical effusion, and to demystify and deconstruct the edifice of poetry. *his operation is formally effected throuh the framented intersection of anum"er of narrati$es 5ithin the poem, each cuttin across the other, ma8in a linearreadin impossi"le. *he framents are often ta8en from the most typically unpoetic

sources such as A Social istory of E3tractin or Custom Maa:ine.-/1

Poetic rules orcon$entions are per$ersely imposed to fracture meanin and pre$ent any lyricalcontinuity, 5hile the con$entions are also deli"erately flouted to e3pose their ar"itrarynature. *he content of the poetry is often an 'enerumenic' eroticism, an eroticismdependin on pulsions, a 'mati(re con$ulsion', -/ 5hich #oche sees as antithetical tostructure and order, con$ention. *he pulsional $iolence of eroticism, disfiurin form, 5illlead on in !e Mécrit @ -GB to a more sustained attac8, 5hich #oche sinalled as a limit of poetry as such. !e Mécrit encounters limits of meanin in fiurality in a series of te3tsta8en from non96estern sources @Chinese and Etruscan, for e3ample. -G0 Hi$en that#oche's te3ts are dedicated initially to a destruction of poetry and then tend to articulate5ith other areas such as photoraphy, -G- this defiurati$e approach can "e seen as a cul9de9sac, "ut at the same time, its neati$ity has had a 5ide influence.

Pleynet's approach differs considera"ly from that of #oche, principally in that he is notconcerned 5ith an a"andonment of poetry. Pleynet's comments in inter$ie5s of the early-G0s a"out a se3ual

































WWWWWWWWWWWWWWWWWWWW185D+ Ro&"#( Éros énerum(ne 6 Paris( 1987(1?+188I/i,+18I/i,+ 1@ : 11+187I/i,+ 79+189I/i,+ 1?+1@

D+ Ro&"#( !e Mécrit, 09, -0, -B.11S## i,+( Notre antéfi3e 6 Paris( 197 an, <épJts de sa$oir et de technique 6 Paris(197@ an, a t#.t !rom t"# %att#r in *el +uel 0 3 Au del du principe de l'écriture3( *+ /G 6 autumn 198+

#.*%oitation o! t"# &or*s# o! *o#tr( a!t#r a r#si)nation !rom it( 1? s##m to *oint to a&riti<u# o! D#nis Ro&"#3s démission( t"# %att#r "a$in) %#!t t"# &ommitt## o! *el +uel a!t#r,isa)r##m#nts &on&#rnin) t"# *u/%i&ation o! "is int#r$#ntion at t"# Artau, &o%%o<uium in19?+

Ho-#$#r( t"# sam# ,#!i)urati$# a**roa&" to %an)ua)# &an /# s##n in P%#n#t3s !o&us ont"# %#tt#r as t"# $ita% #%#m#nt in *o#ti& %an)ua)#+ As o**os#, to t"# *o#ts o! !'Éphém(re,5ho locate in the 5ord a namin po5er, Pleynet dra5s attention to the letter as anelement of e3cess 5ithin the 5ord that fractures it and enerates the poem as a continualframentati$e readin of itself. *his poetry, to "e read ' la lettre' @'seul la lettre y faitsens' -G2 , has "een the principal aspect of Pleynet poetic 5or8 since Comme. *he te3ts ofStan:e, pu"lished in *el +uel, one dedicated to =arthes in the -G- special issue on him,another Pleynet's contri"ution to the =ataille conference, present the dé"ordement, thee3ceedin, of a structure, "y the effects of $iolence of the letter. *hat this structure is predicated on nine 'modes of production' suests it is the e3ceedin of theory asstructure and as economy that is at sta8e. -G

*hat the letter is an element of displacement, fracturin the 5ord throuh its e$identrepetition, and the eneration of sense throuh this displacement, suests a neati$e,deconstructi$e mo$ement. Meanin is ne$er presence, not anchored to the intention of athouht, "ut su"?ect to the material play of lanuae. &n the other hand, meanin, particularly erotic meanin, stands out in the 5ritin4 islands of meanin resist the

tendency to a pure permutati$e literality. *his tendency is reali:ed, "ut pro"lemati:ed inPleynet te3t '!itanies', pu"lished in *el +uel durin the -G0s, -G 5here the num"ers -to -,00B are 5ritten out, follo5ed "y 'mille et tre', a quotation from !eporello's cataloueof <on Hio$anni's conquests in Mo:art's opera. *he last line immediately recasts the pre$ious enumeration, transforms it from a purely formal punctuation into an eroticmeanin, ta8in to a limit the tension "et5een the letter and its sense. <enis #oche andMarcelin Pleynet's poetry ha$e in common that they set into motion a tension and adialectic "et5een the letter, lanuae's materiality, and its sense. o5e$er, 5hile <enis#oche lea$es *el +uel, and his poetry mo$es to5ards other areas, Pleynet's 5or8continues4 the te3ts that are

WWWWWWWWWWWWWWWWWWWW1?>+ P%#n#t( 3Norme et e3c(s3( in i,+( Art et littérature 6 Paris( 198( ?@+1

I,+( !'Amour 6 Paris( 197?( 1?+1;S## I,+( Stan:e 6 Paris( 19( 151:81+15I,+( 3!itanies3( *+ / 6 -int#r 195+

in&%u,#, in t"# &o%%#&tion #ime 6 1971( &onstitut# in t"# r#$i#- a *o-#r!u% stran, o!&r#ati$# -ritin) a%on)si,# So%%#rs Paradis. -G/

Dacqueline #isset 5ritin in Deu cannot so comforta"ly "e identified as poetry. Sections ofthe "oo8 5ere pu"lished under the titles 'Poésie et prose', '#écit', 'Apr(s récit', 'Deu', and'Forme et é$énement'. *he te3t as a 5hole is a tra$ersal of different orderins oflanuae; the hori:ontally determined @"ut framented continuity of the '#écit', the$ertical, poetic deformation of this in 'Apr(s récit', its theoretical readin in 'Deu' and'Méthode'.





























*he te3t @no$el or poem7 reads as a ?ourney across lanuae, in order to touch some8ind of reality or real, to hollo5 out the imainary and "e a"le to attain the real @le réel in!acan's terms. *he "oo8 can in fact "e read as a fictional in$estiation of !acan's loic ofthe phantasm. -GG *his touchin is attained throuh a 5ritin on 5ritin. As in Sollers's5or8, 5ritin is a dou"lin of itself, incessantly retracin or hesitatin o$er its o5n steps,attemptin to clear itself of illusion, or simply to purify itself. )t "ecomes a purifyin

e3ercise, tendin to5ards a $acant point9'l'acte $ide', as Sollers puts it.

-G1

*he emphasison lanuae is an attempt to et "eyond lanuae, not as transcendence "ut as a pointriht on, mme, its limit, ?ust on top of it, a point referred to in the theory as transfinite.Far from a linuistic play or a restricti$e formalism, this is a 5ritin of quasi9mysticalintentions, "ut 5ith an analytic approach.

#oche, Pleynet, and #isset share a deformati$e, in$estiati$e approach to poetic lanuae5here the tension "et5een form and sense is $ery e$ident. After -G2, poetry "ecomesmore sinular and su"?ecti$e. #oche ha$in left the committee, poetic acti$ity 5ithin theroup is centred on Pleynet and #isset. -G For poetry as for the no$el, after the moment oftheory, 5hich results in a tension "et5een poetic lanuae and its analysis 5ithin the te3t,leadin to the approach of limits of reada"ility and comple3ity and often to theframentation and hesitatin deferral of the 5ritin, *el +uel's te3tuality de$elops intoareas of

WWWWWWWWWWWWWWWWWWWW18S## I,+( 3 A la m(re3( *+ /B 6 summ#r 195 i,+( 3!itanies3( *+ / 6 -int#r 195

i,+( 3Do it3( *+ / 6 s*rin) 19 i,+( 3!A Hloire du ciel 3( *+ G-: 6 autumn 19i,+( 3Pane linua3( *+ GG 6 autumn 197 i,+( 3H#a$#n% )%or3( 6a trans+ into En)+(*+ GG 6 autumn 197+

1S## n+ 1?@+17P+ So%%#rs( 3!a Pratique formelle de l'a$ant9arde3( *+ / 6 summ#r 191+19+ Riss#t *u/%is"#s *o#tr in t"# r#$i#- a!t#r Deu t"at is r#%at#, to "#r !#minin#

su/4#&ti$it0 3!a Petite Marque sur l'estomac 3( *+ G0 6 summ#r 19 an, 3Sept passaes de la $ie d'une femme3( *+ G 6 -int#r 19+ H#r n#.t /oo2 o! *o#tr( Mors 6 Paris( 198( is *u/+ not / *el +uel /ut / F%ammarion+

*aro,( "#t#ro)#n#it( sin)u%arit( an, su/4#&ti$it+ T"# 19@s s##s t"# r#turn o! t"#sin)u%ar su/4#&t( a%t"ou)" it is not so mu&" a <u#stion o! a r#turn /ut a su/s#<u#nt sta)#in a 4ourn# t"rou)" t"# int#rna% "istor o! %an)ua)#+ T"is 4ourn# is *ara%%#%#, in t"#or int"# -or2 o! Krist#$a( -it" t"# in!ant3s transition into t"# su/4#&ti$it im*%i#, / %an)ua)#+

5%A "+T'FA7 GT"A!/"'T"# mom#nt o! t"#or( -"i%# r#su%tin) !rom t"# int#rs#&tions an, snt"#s#s o*#rat#, /*el +uel, also ta8es its impetus from the po5erful theory of Dulia >riste$a, a force 5ithinthe re$ie5. *his theoretical force is carried throuh across the ne3t decade, "ut 5ith atra?ectory that essentially "rea8s do5n the dynamic of theory into a more nuanced,oscillatory enquiry. *his su"$ersion of theory "y 5ritin and the heteroenous su"?ect9matters in question, is a ma?or aspect of the history of theory reali:ed in *el +uel.

Dulia >riste$a first arri$ed in France from =ularia in -/. -10 *hrouh her compatriot*odoro$ she 5ill attend =arthes's seminar at the École pratique des hautes études, and "eintroduced to Sollers "y Henette. Sollers a$e his paper on Mallarmé, '!ittérature ettotalité', at this seminar. *he ?uncture of *el +uel and >riste$a's interests ta8es place atthe intersection "et5een semioloy and linuistics and an a$ant9arde literary theory, afactor that 5ill define >riste$a's inter$ention in the re$ie5. >riste$a's marriae to Sollers in-/1 is an unpredicta"le "ut happy coincidence4 its effects, an intense and fruitfule3chane, are enormously important. Sollers no$el Nom"res is dedicated to >riste$a4 hiscritical 5or8 o5es much to "oth her semioloical and psychoanalytic 5or8, "ut the parallelof her femininity and her @questiona"le feminism i$es his 5ritin on this su"?ect acomple3ity that has not "een fully reconi:ed. Sollers's influence on >riste$a is equally

stron4 she is undou"tedly influenced "y his sacrificial $ie5 of the su"?ect and femininity"efore mo$in to5ards psychoanalysis, perhaps as a resistance to this influence. Sollers

















introduces her to =ataille's 5or8, pro"a"ly also to that of Artaud and to Chinese thouht.*he interchane remains producti$e and su"tle up to the present, 5hile the apparentthemes of enquiry may ha$e di$ered.

WWWWWWWWWWWWWWWWWWWW17@For a s#mi:auto/io)ra*"i&a% a&&ount o! Krist#$a3s int#%%#&tua% tra4#&tor( s## + Krist#$a(

3Mémoire3( !')nfini, - 6 -int#r 197 an, t"# no$#% !es Samoura]s 6 Paris( 199@+

Krist#$a initia%% -or2#, -it" Lu&i#n 'o%,mann on "#r t"#sis !e *e3te du roman, -1- "utthis influence is $ery s5iftly superseded in the reformulation of semioloy in the articlescollected in the "oo8 Séméioti8é, pu"lished "y *el +uel. -1B >riste$a's am"itious rethin8inof semioloy 5ill ha$e decisi$e effects in the conte3t. er force is lin8ed "y =arthes to hereccentric oriins and to her se3. -12 *his 5ould ha$e undou"tedly had a terroristic effect ina conte3t dominated "y male theory and theorists. =ut the force of her inter$ention insemioloy, initially in serious re$ie5s such as Communications, !anaes, )nformation surles sciences sociales, and Semiotica, is also due to the character and structure of thisreformulation itself.

Criti/ue o$ .eiologv)n the mid9 -/0s structuralist linuistics and semioloy 5ere already installed in theacademic 5orld, at the marinal "ut po5erful École pratique. *he ?ournal Communications,"rouht out "y the roup of researchers there, esta"lished linuistics and semioloy 5ithinthis conte3t. =arthes 'Éléments de sémioloie', pu"lished in this re$ie5, appears as asummation of this current. -1 Perhaps a summation of this 8ind already suests theimminence of a supersedin, or at least, a transformation of the main currents of the field.#oland =arthes, as the principal proponent of a semioloical approach, pu"lished hisSyst(me de la mode, an analysis of the 'fashion system', in -/G. )t 5ould pro$ide a ?umpin9off point for >riste$a in an article in Critique. -1 !inuistics, mean5hile, 5as alsoin a state of flu3 in the mid9-/0s. *he ascendant trend 5as structural linuistics, 5hich,mediated throuh the influence of the Praue School and 5riters such as Da8o"son,

deri$ed from Saussure. *he functionalism of linuists li8e Martinet and Da8o"son focusedon the phoneme as the unit of structure, and on communication as the essential functionof lanuae. *his current dominated the Communications roup99for e3ample, in the 5or8of Hreimas, 5hose

WWWWWWWWWWWWWWWWWWWW171#a,+( !e *e3te du roman 6 T"# Ha)u#( 1989 t"# t#.t o! t"is -or2 is ins#rt#, *artia%%

in Séméioti8é; #echerches pour une sémanalyse 6 Paris( 1989 an, in t"# arti&%# 3<usym"ole au sine3( *+ 2 6 summ#r 1987+

17?#a,+( Séméioti8é+ R#*u/+ in t"# 3Points3 &o%%#&tion( -it" a n#- *r#!a&# an, t"# mor#>ar.ist t#.ts ta2#n out( in t"# 197@s+

17R+ art"#s( 3!'Étran(re3( in i,+( !e =ruissement de la lanue 6 Paris( 197;( 19+17;I,+( 3Éléments de sémioloie3( Communications, 6 198;( an, in i,+( !'A$enture

structuraliste 6 Paris( 1975+175+ Krist#$a( 3!e Sens et la mode3( Crit. BG 6 D#&+ 198+

Sémantique structurale a**#ar#, in 1988+ Ho-#$#r( / t"# mi,:198@s a num/#r o!#m#r)in) ,is&ours#s *ro/%#mati=#, t"is as&#n,an&+ T"# USA &ont#.t o! %in)uisti&s "a,most% r#sist#, t"# Saussur#an &urr#nt its ,ominant t"in2#r -as %oom!i#%,( -"os#/#"a$iourist a**roa&" sou)"t to #.*%ain %in)uisti& /#"a$iour in,#*#n,#nt% o! an int#rna%!a&tors+ T"#r# -#r# &#rtain *ara%%#%s -it" Saussur#( /ut as man ,i!!#r#n&#s+ T"# *ro/%#mso! %oom!i#%,3s a**roa&" an, t"at o! Y#%i) Harris( in!%u#n&#, / it( -#r# t"# s*ur !or t"##%a/oration o! a n#- a**roa&" / Noam C"oms2+ His )#n#rati$# %in)uisti&s sou)"t toa&&ount !or t"# trans!ormationa% an, *ot#ntia%% in!init# &"ara&t#r o! %an)ua)#( #$a,in) t"#!au%ts in t"# *r#$ious %in)uisti&s o! &%osur# an, a &#rtain stasis+ T"# &riti<u# o! t"# stati&natur# o! stru&tur# an, t"# *ro*osition o! )#n#rati$#( trans!ormationa% m#&"anisms -#r#&%os# to Krist#$a3s &riti<u# o! stru&tura%ism in Fran&#( /ut ,i!!#r#, !rom it ra,i&a%%( in t"at

C"oms2 *ro*os#, an innat# %in)uisti& &om*#t#n&# in t"# su/4#&t+ Krist#$a &ou%, not o*t!or t"is #ss#ntia%ist *at"+ C"oms23s -or2 6trans%at#, into Fr#n&" ,urin) t"# 198@s 178





















-as n#$#rt"#%#ss a n#- ,#*artur# t"at "a, an #normous in!%u#n&#( not %#ast on t"#Chane )rou* run / +:P+ Fa#( -"o %#!t *el +uel soon a!t#r Krist#$a a**#ar#, on t"#s&#n#+

A%on)si,# t"# trans!ormation #!!#&t#, / C"oms23s in!%u#n&#( t"# -or2 o! Bmi%##n$#nist# -as a%so o! &ru&ia% im*ortan&# in its #!!#&t on t"# &ont#.t o! %in)uisti&s+ 17

#n$#nist# -ou%, arti&u%at# Saussur# -it" Fr#u,ian *s&"oana%sis( intro,u&in) as*#&tssu&" as a t"#or o! t"# su/4#&t( o! n#)ation( o! t"# nomina% *"ras# 6,#$iatin) !rom t"#Cart#sian su/4#&t:o/4#&t norm an, an #m*"asis on r"t"m+ 177 T"#s# t#n,#, toun,#rmin# an, nuan&# t"# stati& #,i!i&# o! stru&tur#+ In t"#s# !a&tors( an, in its #n<uirinto t"# *"i%o%o)i&a% roots o! &#rtain -or,s in In,o:Euro*#an an, Sans2rit( -"i&" -#r# o!int#r#st !or *el +uel 3s &riti<u# o! t"# #st#rn i,#o%o) o! %an)ua)#( #n$#nist#3s -or2 -asa &ru&ia% r#!#r#n&# !or t"# -rit#rs o! *el +uel, particularly >riste$a.

>riste$a's initial inter$ention in the intellectual conte3t is a critique of semioloy 5hichreformulates it alon different, non9structural lines. *his reformulation is also a critique oflinuistics, from the point of $ie5 of translinuistic practices99that is, practices that ta8e place across

WWWWWWWWWWWWWWWWWWWW178N+ C"oms2( Structures syntactiques 6 Paris( 1989 an, Aspects de la théorie dusynta3e 6 Paris( 191+ S## a%so N+ Ru-#t( )ntroduction la rammaire énérati$e 6 Paris( 198+

17S## E+ #n$#nist#( Pro"l(mes de linuistique énérale 6? $o%s+ Paris( 1988 an, 19;+177S## i/i,+ i !or t"#s# #ssas+

%an)ua)# /ut ar# not i,#nti!ia/%# -it" it+ 179 Lit#ratur#( as on# su&" *ra&ti&#( is o!!un,am#nta% im*ortan&#+ Krist#$a3s *ro4#&t is a &riti<u# o! s&i#n&# !rom t"# *#rs*#&ti$# o!its #.&#ss( o! %an)ua)# !rom t"# *#rs*#&ti$# o! %it#ratur#+

S#mio%o)( !or art"#s( us#s t"# m#t"o,o%o) o! %in)uisti&s( an, must a%so a**roa&" itso/4#&t t"rou)" %an)ua)#+ It is a%so( *ara,o.i&a%%( trans)r#ssi$# o! %in)uisti&s+ T"is *ara,o.

is #.*%ain#, / t"# !a&t t"at( -"i%# s#mio%o) us#s t"# m#t"o,s o! %in)uisti&s an, #noun&#sits#%! in %an)ua)#( it a,,r#ss#s its#%! to -"at t"# So$i#t s#mioti&ians o! Tartu( to -"omKrist#$a r#!#rs as an a%t#rnati$# to C"oms2( t#rm 3syst(mes modelants secondaires3 19@ t"#s# ar# -"at Krist#$a a%so &a%%s 3 pratiques sémiotiques3 or 3 pratiques translinuistiques3(-"i&"( -"i%# t"# ma "a$# a %in)uisti& /as#( a,, to t"is a &om*%#m#ntar sst#m -"i&",is%o&at#s an, su/$#rts t"# norms o! &ommuni&ation( #.&"an)# o! m#anin)( an,#.*r#ssion t"at %in)uisti&s assum#s as its o/4#&t o! stu,+ S#mio%o) is t"#n in a *ositionto r#turn its &riti&a% )a=# on to %in)uisti&s+

In 3!e Sens et la mode3( a r#$i#- o! art"#s Syst(me de la mode, >riste$a asserts thatstructuralism, 5hich "orro5s from linuistics its method and models, is efficient in itsdemystifyin effect, "ut reaches a point of saturation, a tautoloical limit, since thestructure of the e3chane of meanin $ia the sin that semioloy employs is analoous tothe e3chane system of commodities in the economy. Semioloy can "ecome, on theother hand, a science of sins that, throuh the study of sinifyin practices differentfrom, or complementary to, lanuae, can demystify the structuralist ideoloy. *hecondition of semioloy's capacity to effect this return on its linuistic oriins, ho5e$er, isthat it escapes from the closed circuit of e3chane that the sin assures, mo$es a5ay frome3chane, either linuistic or monetary. >riste$a is producin this analysis at the time of*el +uel's Mar3ism, anne3in her emerin science to Mar3ist theory. )t is also anepistemoloical critique. >riste$a sees the semioloy of Peirce and Saussure ascoe3tensi$e 5ith this e3chane mechanism. >riste$a's semioloy, con$ersely, 5ill studythe semiotic practices in question as a production of meanin. *o this end they arereferred to as practices or as te3ts. Structuralist semioloy, a reified e3pression ofsociety's system of e3chane, meets its

WWWWWWWWWWWWWWWWWWWW179S## Krist#$a( 3!e Sens et la mode3( Crit. BG 6 D#&+ 198( 1@@8+19@#a,+( 3!'E3pansion de la sémiotique3( in #a,+( + Ra:D#/o$#( an, R+ Umi2#r 6#,s+(

















Esais de sémiotiue 6 T"# Ha)u#( 191( ?+ S## a%so + Krist#$a( 3!a Sémioloieau?ourd'hui en I#SS3( *+ 2 6 autumn 1987+

o-n ima)# in -"at it stu,i#s an, &an #!!#&t a mo$# a-a !rom t"is on t"# &on,ition t"at its"i!ts its )a=# on to t"# *ro,u&tion o! m#anin)+

T"# stu, o! s#mioti& *ra&ti&#s as trans%in)uisti&( #!!#&t#, not in t"# units o! %an)ua)# /utin its r#%ations an, in its s*a&#s( an, not r#,u&i/%# to %an)ua)#( not t"# sum o! its #!!#&ts(ma2#s *ossi/%# s#mio%o) in its &riti&a% mo,#+ Syst(mes modelants secondaires3( t"#trans%in)uisti&( s#mioti& *ra&ti&#s( ar# t"# #.t#riorit o! %in)uisti&s t"at s#mio%o) tra$#rs#sto turn its )a=# on to %in)uisti&s+ For Krist#$a( *o#ti& %an)ua)# is t"# *ri$i%#)#, ar#a o! t"isr#s#ar&"+

T"is ,ia)ona%( trans$#rsa% a**roa&" -as a%r#a, *r#s#nt in *el +uel, and >riste$a isundou"tedly influenced "y such articles as Sollers '<ante et la tra$ersée de l'écriture'.*el @+uel's fiction had also focused on the production of meanin, or 5ritin, rather thanacceptin tel quel the meanins offered to it "y culture and history. Pre$ious and parallelto >riste$a's arri$al, the re$ie5 is also the foyer for semioloical or semi9semioloicalresearches precedin those of >riste$a or contemporary 5ith her 5or84 -- her acti$ity also

ma8es *el +uel into an important site for the reception of more marinal moments inlinuistics and semioloy. -B *he re$ie5 can "e seen as an incisi$e point 5here semioloy ?oins a radical practice of 5ritin4 it is the 'other' of the more so"er foyers of semioloysuch as Communications, !anaes, and, later, Poitique. -2 >riste$a, as 5ell as =arthes, pro$ides the lin8 "et5een the t5o

WWWWWWWWWWWWWWWWWWWW191S## '+ '#n#tt#( 3Ine poétique structurale3( *+ G 6 autumn 1981 i,+( 3Proust

pahmpseste3( *+ -B 6 -int#r 198 i,+( 3!e *ra$ail de Flau"ert 3( *+ - 6 summ#r198 i,+( 3!a #hétorique et l'espace du lanae3( *+ - 6 autumn 198; i,+( 3!alittérature comme telle3( *+ B2 6 autumn 1985+ S## a%so( / '#n#tt#( t"# t-o $o%s+ o!Fiures0 1 6 Paris( 1988 an, ii 6 Paris( 1989+ T+ To,oro$ -i%% &ontri/ut# to *+ BG 6 autumn 1988 an im*ortant arti&%#( 3Choderlos de !aclos et la du théorie du récit 3(intro,u&in) t"# %in)uisti&s o! + L+ Austin into Fran&#+ S## a%so R+ a2o/son3 3<uréalisme artistique3( *+ B 6 -int#r 1988 i,+( 3Hlossolalie3( *+ B/ 6 summ#r 19886an issu# su/tit%#, 3Lin)uisti<u#Ps&"ana%s#Littratur#3 i,+( 3Ine microsopie dudemier spleen dans les Fleurs du Mal 3( *+ B 6 s*rin) 198 i,+( 3In e3emple determes miratoires et de mod(les institutionnels3( *+ 21 6 summ#r 1989( r#*rint#, in*+ - 6 s*rin) 19@( ,u# to t*in) #rrors in t"# !irst *u/%i&ation+

19?S## "#r *r#s#ntation o! 3!a Sémioloie au?ourd'hui en I#SS3( *+ 2 6 autumn 1987(-it" arti&%#s / + + I$ano$( 3Structure d'un po(me de >hle"ni8o$ 3 an, a &o%%#&ti$#-or2 / I+ >+ Lotman( A+ I+ Sr2in#( + N+ To*oro$( + L+ O)ui/#nin#( + + I$ano$( an,E+ S+ S#m#2a( on 3!e Nom"re dans la culture3+ S"# a%so *r#!a&#s >%% 3Ine approche possi"le du sunya$ada' 5ith her o5n '<istance et anti9représentation3( in *+ 2B 6 -int#r 1987+ In *+ 2G Staro/ins2i 3!e *e3te dans le te3te3( on Saussur#3 Anarams3( is r#%at#, to Krist#$a3s -or2+ In t"# 19@s "#r -or2 an, t"at o! "#rasso&iat#s in %in)uisti&s an, *s&"oana%sis in uni$#rsit s#minars -i%% /# *u/+ in t"#

&o%%#&ti$# -or2s( !a *ra$ersée des sines 6 Paris( 195 an, Folle $érité 6 Paris( 199+19Poétique -i%% /# !oun,#, in 19@( *u/+ at S#ui%( an, run initia%% / t"# #,itoria% t#am o!'#n#tt#( To,oro$( Ci.ous( an, +:P+ Ri&"ar,+ It is r#sistant to t"# &ont#.t o! *el +uel (

ar#as( an, "#r -or2 s"ou%, /# s##n( not as an #.t#nsion o! s&i#nti!i& r#s#ar&" into t"#t#.tua%( *o%iti&i=#, ar#na o! *el +uel, "ut as a militant in$asion of the areas of semioloyand linuistics "y a representati$e of the re$ie5's radical te3tuality in theory.

>riste$a's appeal to an outside of linuistics also implies a consideration of the su"?ect.6hile structuralism foreclosed the question, una"le to account for its role in lanuae andfor the pre9linuistic in eneral, and appealed to innateness or 'interpellation' in the caseof Althusser, >riste$a articulates linuistics 5ith psychoanalysis in order to pro$ide atheory of the relation "et5een the linuistic and the pre9linuistic. )f >riste$a's thouht is

initially allied to Althusserian Mar3ism in its positin of the epistemoloical "rea8, thelimitations of this soon i$e 5ay in >riste$a's 5or8 to a sémanalyse that undermines theMar3ist epistemoloy. *his pattern is reflected in the eneral trends in thouht at the time.












*he scientific impetus of thouht runnin throuh the late -/0s, and throuh *el +uel,e$entually i$es 5ay to a psychoanalytically dominated approach, mediated throuh theanalysis of the place of the su"?ect, and throuh this to an ethics. Semioloy essentiallyelided the su"?ect in its insistence on models, and so, in a different mode, does <errida'sdifferance. *he pro?ect of sémanalyse, of the analysis of lanuae and meanin from aspace "efore or outside them, defines >riste$a's relation to psychoanalysis. She 5ill loo8

at the su"?ect, posed "y !acanian theory, from the perspecti$e of the archaic, pre9linuistic pulsions 5hich incessantly tra$erse it4 this tra$ersal is read "y >riste$a as "ein particularly pertinent to literature and poetic lanuae.

The Logics o$ Poetic Language*he reintroduction of the su"?ect is effected $ia >riste$a's ela"oration of a loic of poeticlanuae into a theory of literature, 5hich she ela"orates in her first "oo8, Séméioti8é@ -/. )t is a crucial and characteristic aspect of >riste$a's and *el +uel's articulation5ith science and 5ith psychoanalysis that it is effected $ia a theory and practice of poeticlanuae4 science is transformed throuh literature. -

WWWWWWWWWWWWWWWWWWWW*u/%is"in) not"in) / So%%#rs( Krist#$a( or ot"#r m#m/#rs o! t"# &ommitt##( /ut o*#n tot#.ts / D#rri,a an, asso&iat#s su&" as P+ La&ou#:La/art"# an, +:L+ Nan&+

19;From t"# *oint o! Krist#$a !irst arti&%# in t"# r#$i#-( 3Pour une sémioloie des pararammes3( in *+ B 6s*rin) 198( t"# r#$i#- -i%% /#ar t"# su/tit%#3ScienceY!ittérature3( -"i&" &an /# r#a,( s##in) t"# o/%i<u# stro2# as a /ar( assu))#stin) t"# su/$#rsion o! s&i#n&# / %it#ratur#+ T"is *ostu%ation is 4usti!i#, / a )%osson t"# n#.t su/tit%#( 3!ittératureYPhilosophieYScienceYPolitique3( -"i&" is sai, tor#*r#s#nt an 3#.*osition

R#!usin) t"# C"oms2an a$#nu#( an, o*tin) at on# mom#nt !or t"# a%t#rnati$#trans!ormationa% %in)uisti&s o! Saum4an an, So/o%#$a o! t"# Tartu s&"oo%( 195 an, at ot"#rmom#nts !or t"# num#ri&a% mo,#%s an, s#t t"#or o!!#r#, / mo,#rn mat"#mati&s(

Krist#$a o!!#rs a *ro%i!#ration o! a%t#rnati$#s to t"# stru&tura%ist a**roa&"+ T"# &om*%#.itan, s&o*# o! "#r r#!#r#n&#s to %in)uisti&( mat"#mati&a%( an, %o)i&a% mo,#%s t#n, to /%ur t"#!o&us o! "#r a**roa&" at tim#s+ Séméioti8é is ,istin)uis"#, / an #.u/#ran&# in t"#*ro%i!#ration o! t"#ori#s an, mo,#%s t"is ma /# a !un&tion o! t"# #*ist#mo%o)i&a% status o!"#r a**roa&" as &riti<u# o! s&i#n&# or o! t"# ,is*#rs#, ori)ins o! t"# arti&%#s t"at ma2# u*t"# /oo2+ Krist#$a ,o#s not *ro*os# an !i.#, s&i#nti!i& mo,#% /ut rat"#r a *%ura%it o!mo,#%s t"at ar# *ro)r#ssi$#% #!!a&#, in t"# *ro,u&tion o! t"#or+ T"is un,#r%in#s "o- "#rr#%ation to s&i#n&# is a%-as on# o! trans)r#ssion+ T"# /asi& )#stur#( t"# s"i!t to atrans$#rsa% *ro&#ss( r#mains &onstant+

T"is mo$# is *ossi/%# t"rou)" t"# stu, o! a sst#m &om*%#m#ntar to %an)ua)#+ Krist#$astu,i#s *o#ti& %an)ua)# "#r &ontri/ution to s#mio%o) or to t"# t"#or o! %in)uisti&s,#ri$#s !rom t"is ,#t#rminin) instan&#+ A ,#&isi$# *art o! t"is t"#or is t"# r#%ation o!*o#ti& %an)ua)# to t"# %an)ua)# o! &ommuni&ation an, ,#notation+

T"# Russian !orma%ists s#t out to ,#!in# t"# s*#&i!i&it o! %it#ratur# in r#%ation to %in)uisti&s(an, #m*"asi=#, t"# !a&t t"at %it#ratur# &ou%, not /# r#,u&#, to %an)ua)# 198 in Krist#$a3st#rms( it -as trans%in)uisti&+ Ho-#$#r( in s#ttin) out t"# i,#a t"at %it#ratur# -as a,#$iation !rom t"# norm( "o-#$#r su/$#rsi$# o! t"at norm( t"# !orma%ists #ss#ntia%%*ro$i,#, a $ariant o! t"# i,#a t"at %it#ratur# -as a su**%#m#ntar ,#&oration in r#%ation tot"# %an)ua)# o! &ommuni&ation( an as*#&t Krist#$a i,#nti!i#s an, &ri,&i=#s+ 19 a2o/son3sana%sis o! *o#ti& %an)ua)# as an #m*"asis on t"# m#ssa)# -as a%so r#stri&t#, in t"iss#ns#+ T"is $i#- "o%,s s-a in *el +uel !or a &#rtain tim#( /ut its %imitations /#)in toa**#ar -"#n !orma%ism is su*#rs#,#, / t"# D#rri,#an &riti<u# o! stru&tura%ism+ Im*%i&it%(i! %it#ratur# is &onsi,#r#, as a su**%#m#nt to norma% %an)ua)#( !or D#rri,a t"#&"ara&t#risti&s o! %it#ratur# must

19;analytique $ers sa cause3( 6 *+ 2 6autumn 19@( + In ot"#r -or,s( -"i%# *o%iti&s















r#sts on a s&i#n&# 6"istori&a% mat#ria%ism -"i&" r#sts on a *"i%oso*" 6,ia%#&ti&a%mat#ria%ism( %it#ratur# is t"# 3r#*r#ss#,3 as*#&t o! *"i%oso*"+ C!+ P+ So%%#rs( 3*h(sesénérales3( *+ 6-int#r 191+ T"# -or, 3Art3 -i%% /# a,,#, to t"# su/tit%# in 199(-"i&" r#mains in !')nfini.

195S## Krist#$a( !e *e3te du roman 6 T"# Ha)u#( 1989( ;@+198S## T+ To,oro$ 6#,+( *héorie de la littérature; *e3tes de formalistes russes 6 Paris(

1985( ?+19S## Krist#$a( 3Pour une sémioloie des pararammes3( *+ B 6s*rin) 198( 55+

a%r#a, /# in norma% %an)ua)#+ >or#o$#r( t"# $i#- t"at %it#ratur# is a ,#$iation %#a,s to a&#rtain stasis in t"# *o%iti&a% an, i,#o%o)i&a% *ra&ti&# o! %it#ratur#+ Krist#$a *ro$i,#s( in "#r!irst arti&%# in *el +uel, 'Pour une sémioloie des pararammes', a comple3 alternati$e$ie5 of the relation of poetic lanuae @5hich replaces the concept of 'literature' tolanuae, "ased on the notion of the infinite. *he aim to define a loic of poetic lanuae,and the scientific 5ay in 5hich this is presented, suest the forceful, terroristic nature of>riste$a's inter$ention, displacin any faith in the poetic effusion of a ifted su"?ect.

>riste$a's main point of departure in this te3t is Saussure 'Anarammes', 5hich 5ereoriinally pu"lished, edited, and commented "y Dean Staro"ins8i in the re$ie5 Mercure deFrance in -/. -1 Inpu"lished e3tracts appear in *el +uel in -/, indicatin a strateicdesire in the re$ie5 to interate the more radical moments of linuistics, the marins oflinuistics, into its pro?ect. Saussure had attempted in these te3ts to analyse certain !atin poems as dou"le, that is, as ha$in hidden 5ithin them the name of a chief or a od, ananaram 5hich 5as dispersed in the te3t4 this 5as ne$ertheless determined "y theintention of the author. Saussure's intention 5as not su"$ersi$e. )t is Staro"ins8i 5hoinitially poses the "asis of further enquiry; 'Pourquoi ne $errait9on pas dans l'anarammeun aspect du processus de la parole99processus ni purement fortuit ni pleinementconscient7' - )n the passae from Saussure's 5ritin to >riste$a's, Saussure's theory has"een considera"ly altered from its "asic premises. *his shift is not ac8no5leded e3plicitly,"ut >riste$a seems to suest that Saussure's oriinal intention is not complicit 5ith hers"y shiftin the terminoloy from 'anaram' to 'pararam'. *he shift from 'ana9', 5hichsinifies an anteriority or a su"structure that is under or "ehind the te3t at a remo$edle$el, to 'para9', 5hich captures the idea of dispersal or dissemination across or alonside

the te3t, results in a $ie5 of the pararammatic not as the intentional effect of an author"ut as an indication of the inescapa"ly dou"le nature of poetic lanuae.

*he pararammatic le$el of the te3t insists in the relations and spaces of the te3t, ha$inthe radical effect of openin up the linearity of communicati$e, denotati$e discourse,5hich >riste$a calls the pheno9te3t, the te3t as phenomenon, to a $olume of sinifiance,of meanin as a process. Sinifiance is infinite, "ecause not fi3ed "y denotation or thesin4

WWWWWWWWWWWWWWWWWWWW197+ Staro/ins2i( 3!es Mots sous les mots3( Mer3ure de France 6 198;+199I,+( 3!e *e3te dans le te3te3( *+ 2G 6s*rin) 1989( 1:?+

it is a $o%um# or s*a&# o! )#n#ration or #n)#n,#rm#nt( -"i&" Krist#$a &a%%s t"# eno9te3t +T"# ra,i&a%it o! Krist#$a3s t"#or "#r# is to /r#a2 t"# %in#arit o! ,#notati$# %an)ua)# /out%inin) t"is s*a&#( &om*%#m#ntar to &ommuni&ati$# %an)ua)#( as a )#n#rati$# $o%um#+In mor# *o#ti& t#rms( s"# intro,u&#s si%#n&# an, $o%um# into t"# %in#arit o! ,is&ours#+

A !au%t as s#rious as s##in) *o#ti& %an)ua)# as a ,#$iation !rom norma% %an)ua)# -ou%, /#to s## t"# eno9te3t as an in,#*#n,#nt %#$#% t"at &ou%, #.ist on its o-n( -it"out t"#m#,iation o! &ommuni&ati$# %an)ua)#( as in Surr#a%ist automati& -ritin)+ T"# pheno9te3t is t"# n#&#ssar su**ort an, r#%aun&"in) 6relance o! t"# eno9te3t + Krist#$a3s *oint is t"ati! ,#notati$#( &ommuni&ati$# %an)ua)# is !onna%i=a/%# a&&or,in) to a %o)i& t"at )o#s !rom3@:13( t"at is( a&&or,in) to a %o)i& o! i,#ntit( o! t"# si)n( -"#r# i,#ntit is a %imit an,n#)ati$it is its *ri$ati$# o**osit#( *o#ti& %an)ua)# o*#rat#s a&&or,in) to a %o)i& t"at )o#s!rom 3@:?3( -"#r# @ is si)ni!i&ant an, 1 is trans)r#ss#,+ ?@@ Krist#$a s#ts out in num#ri&a%

!ormu%as t"# trans)r#ssion o! i,#ntit an, unit in$o%$#, in t"# r#%ation o! t"# in!init# t#.to! *ro&#ss to t"# t#.t as *"#nom#non+ Trans)r#ssion o! i,#ntit( o! 313( &an /# s##n as amotor !or *el +uel 3s t"#or an, *ra&ti&# o! t"# t#.t+












A&&or,in) to t"# %o)i& o! trans)r#ssion( ,#notati$#( &ommuni&ati$# %an)ua)# is &ontain#,-it"in *o#ti& %an)ua)#+ T"# *o#ti& t#.t( Lautramont !or #.am*%#( is a ,#stru&ti$#(n#)ati$# tra$#rsa% o! t"# &u%tur# o! i,#ntit( /ut it is a%so its r#or,#rin)( its trans!ormation+T"is trans!ormation is !urt"#r s*#&i!i#, / Krist#$a / t"# notions o! t"# trans!init# an, o!int#rt#.tua%it+

The Transfinite& ntertetualityIn or,#r to s*#&i! t"# r#%ation o! *o#ti& %an)ua)# to &ommuni&ati$# ,is&ours# in 3Pourune sémioloie des pararammes3 Krist#$a intro,u&#s t"# mat"#mati&a% notion o! t"#in!init#( an, t"# trans!init#( a t#rm ta2#n !rom t"# mat"#mati&ian '#or) Cantor 6 17;5:1917( -"os# t#.ts -#r# *u/%is"#, in t"# r#$i#- Cahiers pour l'analyse an, -"os#*r#s#n&# in t"# %it#rar 4ourna% *el +uel -ou%, "a$# /##n *art o! t"# &urr#nt s&i#nti!i&!%a$our o! t"ou)"t+ Cantor3s /r#a2t"rou)" -as a n#- -a o! &on&#i$in) in!init+ I! -# t"in2o! t"# in!init# s#t o! num/#rs( an, tr to i,#nti! t"# %ast num/#r o! t"is s#t( -# &om# u*a)ainst a ,i!!i&u%t+ Cantor3s in$#ntion -as to t"in2 o! t"# %ast num/#r o! t"is s#t as t"#3n#.t3 num/#r

?@@S## Krist#$a( 3Pour une sémioloie des pararammes3( *+ B 6s*rin) 198( 59+

in t"# s#<u#n&#+ T"is num/#r is ,#!in#, as 3trans!init#3( n#it"#r -it"in t"# s#t nor outsi,#it+ T"# trans!init# num/#r is an #%#m#nt 3imm#,iat#% su*#rior3 to t"# s#<u#n&# o! norma%num/#rs in t"# in!init# s#t( or it is( in +:L+ Hou,#/in#3s t#rms( a %imit #.t#rior to( an, notint#rior to( t"# s#t &on&#rn#,+ ?@1 In ,i!!#r#nt t#rms( t"#r# is a %imit t"at is a%-as a%r#a,trans)r#ss#,+ # &an r#&o)ni=# t"# %o)i& o! atai%%#3s trans)r#ssion "#r#( t"# trans!init#/#in) attain#, t"rou)" a 4um* or a /r#a2 o! t"# int#rior %imit t"at trans)r#ss#s it+ "i%#t"# trans!init# is a&tua%( not trans&#n,#nt( it &annot /# 4u,)#, r#a% / t"# %o)i& o! i,#ntit(it is r#a% a&&or,in) to an #*ist#mo%o)i&a%% ,i!!#r#nt %o)i& o! t"# trans:su/4#&ti$# or t"#trans%in)uisti&+ T"# trans!init# *oint is 34ust outsi,#3 -"at is a%r#a, t"#r#( a *oint at t"#%imit( ri)"t on it( mme+ Lit#ratur#( an, %it#rar t"#or( is r#a, in *el +uel as a

trans!ormation o! t"# *"#nom#na%( o! %an)ua)#( !rom t"is *oint+ T"# tas2 o! s#mio%o) orana%sis is to ana%s# t"# !init# in r#%ation to t"# trans!init#+ T"rou)" its *r#!i. 3trans:3 it is&ar,ina% in t"# t"#or o! %it#ratur# o! *el +uel.

Poetic lanuae, for >riste$a, is a transformati$e mo$ement across discourse, that opensit out and reali:es the infinite potential of lanuae as such. *his is at the same time anaffirmation @an openin9out and a neation. !iterature is $ie5ed as a neati$ity that5or8s across lanuae. )n Séméioti8é loo8s at neation @particularly in the essay 'Poésieet néati$ité' B0B as the essential relation of literature to lanuae, and therefore to itself.

*he transfinite, neati$e perspecti$e informs much of *el +uel's approach to the te3t. Ate3t is often analysed accordin to its relation to the infinite. )s it open or closed,transressi$e or transcendent7 *he definition of literature, for *el +uel, may 5ell "e "ased

on its capacity to transform closed systems "y openin them to the infinite. From this perspecti$e, !')nfini is a more fittin title4 it suests the essential "asis of the theory of*el +uel.

*his loic is "ehind the notion of interte3tuality. )nterte3tuality refers to the fact that the5riter reads the anterior te3tual corpus as a re5ritin, a redistri"ution, of that corpus. *henotion is complicated "y the fact that the 'anterior te3tual corpus' comprises the su"?ect'sinsertion into the social te3t. Fe therefore re5rites himself or herself. *hrouh therereadinYre5ritin of the anterior te3tual corpus the 5riter inserts the te3t into history;

WWWWWWWWWWWWWWWWWWWW?@1+:L Hou,#/in#( 3!'E3périence de Cantor 3( !')nfini, 6autumn 197( 79+?@?+ Krist#$a( 3Poésie et néati$ité3( in #a,+( Séméioti8é+

!e te3te littéraire s'ins(re dans l'ensem"le des te3tes; il est une écriture9réplique @fonctionou néation d'un autre @des autres te3te@s. Par sa mani(re if fire en lisant le corpus









littéraire antérieur ou synchronique l'auteur $it dans l'histoire, et la société s'écrit dans lete3te+ ?@

ritin) is a *arti&i*ation in( an, an a))r#ssion to-ar,s( t"# ant#rior t#.tua% &or*usKrist#$a a%so r#!#rs to >a%%arm3s ,ia%#&ti& o! réminiscence an, sommation+ T"is -as#m*"asi=#, in *el +uel /#!or# Krist#$a::t"# *arti&i*ator natur# o! r#a,in) -as a%-as

str#ss#,+ "at t"# notion o! int#rt#.tua%it m#ans is not on% t"at an t#.t is r#%at#, tot"# tota%it o! ot"#r t#.ts( as to a n#t-or2 or s#ri#s( /ut t"at -ritin) r#or)ani=#s %it#ratur#as a -"o%# in tra$#rsin) an, trans)r#ssin) it( r#or)ani=#s a%so t"# t#.t o! i,#ntit 6t"#su/4#&t an, o! so&i#t 6"istor+ Int#rt#.tua%it *ro*os#s a $ision o! %it#ratur# astrans!ormati$# o! its#%! an, o! t"# -or%,+

+eni +.aeKrist#$a3s t"#or a%so *ro*os#s a ,i!!#r#nt( non:%in#ar &on&#*tion o! t#.tua% s*a&#( o! t"#inn#r s*a&# o! %it#ratur#+ T"# t#.t is a n#)ati$# s*a&#( arti&u%at#, -it" ot"#r t#.ts( an,trans!ormati$#+ It is a%so a $o%um#( it ru*tur#s t"# %in#arit o! r#*r#s#ntation( an, /#&om#s-"at -# &ou%, &a%% a s&#ni& s*a&#+ T"# t#.t /#&om#s a sc(ne( not a stati&( r#mo$#,

s*#&ta&%#( /ut a s*a&# o! a *ra&ti&# a&ross( -"#n&# t"# us# o! t"# t#rm transcénique+?@;

Sinifiance is not a sin)%# %in#ar #$#nt /ut a *ra&ti&# in s*a&#+ >#anin) s##n as a $o%um#s*atia%i=#s si)ni!i&ation it /#&om#s t"#atri&a% or )#stura%+ Its -ritin) is a scénoraphie( a-ritin) o! t"# )#stura%+ ?@5 T"# trans&#ni&( as *ro*os#, / Krist#$a( au,r( an, So%%#rs( ist"# *assa)#( 6tra$ersée o! si)ni!i&an&# in $o%um# a&ross t"# s*a&# o! t"# t#.t( /ut on%o/s#r$a/%# !rom t"# *oint o! $i#- o! a sc(ne( as a r#*r#s#ntation( su&" as t"#*"#nom#na%( *r#s#nt:t#ns# %#$#% o! So%%#rs Nom"res. *his e3plains the importance, "eyondthe theatre as spectacle, of Artaud's 5ritin, and Mallarmé's conception of 5ritin asesture in space, of his !e !i$re as a theatrical presentation of 5ritin. &ne may see anemphasis on the scenic space in *el +uel as another instance of the 'other scene' similar tothe cele"ration of the non96estern. =arthes's article on the Dapanese =unra8u puppettheatre, D.9!. Schefer "oo8 Scénoraphie d'un ta"leau, applyin the arument to pictorialspace, HuyScarpetta

WWWWWWWWWWWWWWWWWWWW?@#a,+( 3Pour une sémioloie des pararammes3( *+ B 6s*rin) 198( 57+?@;+:L au,r( 3!e *e3te de #im"aud )) 3( *+ 2/ 6-int#r 1989( 5@+?@5K#ris$a( 3!'Enendrement de la formule3( *+ 21 6summ#r 1989( 8+

S&ar*#tta3s no$#% Sc(ne, are ?ust a fe5 e3plicit instances of this. B0/ )t is an 'other scene' inthat it su"stitutes for the theatrical space of representation and spectacle, 5hich had "eencritici:ed in the 5or8 of the situationists, a scenic space as $olume and as eneration thatis lin8ed 5ith the 'other scene' of Eastern thouht in the Dapanese Noh plays, the Me3ican*arahumaras, and Chinese and )ndian theatrical practices, as >riste$a suests. B0G *heseother spaces "ecome increasinly important in French thouht4 *el +uel's focus on them isan important influence.

)n the no$els of *el +uel, linear plot9de$elopment is replaced "y a scenic space, 5hichoften relies on a structure such as the square or the cu"e, or a repetiti$e and re$ol$instructure such as the permutation of pronouns or the seasons of the year. Scenic spacealso implicates 'trans9scenic' practices such as dance @for e3ample, the 5or8 of MerceCunninham and *risha =ro5n and in some senses, music. )t has the po5erful effect oflin8in the pre$iously contemplati$e practice of literature to a more sensuous practice5here readin and 5ritin are seen as acti$ities implicatin the "ody in a passae across aspace. #eadin "ecomes a dance, in 5hich the $oice in the "ody tra$erses the space of the pae. )n -/2 Sollers had already 5ritten; 'le mou$ement que ?'é$oque tient de la danse,de la nae'. B01

To<ar&s the .u4=ect o$ Process: TheNon2.u4=ect






















)t is possi"le to see in >riste$a "oo8 Séméioti8é a proression from the earlier te3tsto5ards the last, '!'Enendrement de la formule'. Formali:ation and semioloy, repeatedin $arious modes across the "oo8, i$e 5ay in the last te3t to a more e3tensi$e approach,sinalled "y the shift from sémioloie to sémanalyse, and occasioned "y the radicality ofits o"?ect, Nom"res. Sollers's te3t can "e seen to effect a shift in >riste$a's theory4 it5idens and "ecomes more sensuous and corporeal. Sollers's no$el pro$ides the pi$ot on

5hich >riste$a's 5or8 s5ins into a ne5 period. 6e can detect in this te3t an increase inreferences outside 6estern culture. *here is also a ma?or ne5 departure in theintroduction of the pro"lematic of the su"?ect, the "ody and se3uality, not a"sent in otherte3ts, "ut not emphasi:ed.

WWWWWWWWWWWWWWWWWWWW?@8S## art"#s( 3!e%on d'écriture3( *+ 2 6summ#r 1987 S&"#!#r( Scénoraphie d'un

ta"leau, Huy Scarpetta, Sc(ne @ Paris, -GB. *he "lur" for Scarpetta's no$el includesthe follo5in phrase; 'Sc(ne; te3te écrit comme en retrait du théLtre et le tra$ersantcependant'.

?@S## + Krist#$a( 3!e Heste, pratique ou communication3( in #a,+( Séméioti8é( ?+?@7P+ So%%#rs( !oiques 6 Paris( 1987( ?@+

# not#, #ar%i#r t"# r#%#$an&# o! La&an3s su/$#rsion o! t"# su/4#&t !or *el +uel, and the potential opposition "et5een !acan's emphasis on the sym"olic and <erridean differance.*he <erridean perspecti$e, ela"orated "y Sollers in !oiques, informs >riste$a's theory ofthe place of the su"?ect as a mise mort and in the postulation of a pre9sym"olic processonly reada"le in the sym"olic. =ut >riste$a a$oids the failure of <erridean theory to pro$ide a coherent account of the su"?ect "y the insistence on the trans9su"?ecti$edimension. *his at the same time includes !acanian psychoanalysis. )mplicitly, !acaniantheory ceases to "e rele$ant @as a description of the su"?ect in the space of the te3t, as itapplies to the su"?ect of discourse and communication, and the te3t, in >riste$a's $ie5,transresses the realm of discourse. Althouh split, the su"?ect of discourse remains in the :one of identity4 in >riste$a's theory the su"?ect is thouht as coe3tensi$e 5ith the sin,and is therefore transressed "y the pararammatic le$el of the te3t, the le$el "efore or"eyond the sin. As such, the !acanian unconscious, 5hich is equated 5ith the sym"olic as&ther, is coe3tensi$e 5ith the realm of discourse;

cette :one se présente plutJt comme une assise solide de la parole que comme une sortie tra$ers la parole, puisque c'est d'un point de $ue pri$iléié de la parole loique @ici non9 poétique et de son su?et, que le concept d'inconscient est foré en rant que mod(leopératoire qui assume le rJle de residu o^ se ?ouent des opérations qui ne sont pas dansla parole. B0

*he su"?ect of discourse is a su"?ect complicit 5ith the loic of identity, and theunconscious is added as the :one of the other, anythin that loic cannot co$er, in orderto situate it 5ithin the domain of the su"?ect. >riste$a therefore demands a concept of thesu"?ect that escapes from the domain of loic and speech, and a correspondin concept ofthe unconscious. *he first is s8etched in this first phase, the second is not analysed untillater, 5ith the notion of the su?et en proc(s and the 'semiotic'.

*he notion >riste$a uses to refer to the transressi$e su"?ect is le su?et :éroloique, aterm "orro5ed from the linuist !innart MKll to refer to the =uddhist notion of sunya$ada,5hich sinifies :ero or le $ide. B-0 )t is interestin to note ho5 a notion sinificant to>riste$a's theory deri$es from an Eastern culture throuh the refracti$e lens of a So$iet5riter.

WWWWWWWWWWWWWWWWWWWW?@9Krist#$a( Séméioti8é(?1?+?1@S## >%%( 3Ine approche possi"le du sunya$ada3( *+ 2B 6-int#r 1987 an, Krist#$a3s

arti&%# on it( 3Distan&# #t anti:r#*r#s#ntation3( in t"# sam# issu#+

T"# !a&t t"at >%%3s t#.t a**#ars in *el +uel a)ain in,i&at#s to -"at #.t#nt t"# r#$i#-

int#)rat#s an 3ot"#r s&#n#3 in its *u/%is"in) *ra&ti&#+ T"# su?et :éroloique or le non9su?et









a**#ars -"#n t"# ,#notati$# %#$#% o! %an)ua)# is r#,u&#, to =#ro+ It is a su/4#&t /#on,t"# si)n0

Ce 'su?et' :éroloique est e3térieur l'espace ou$erné par le sine. . . . !e su?et :éroloique @on $oit quel point de concept de 'su?et' est déplacé ici ne dépend d'aucunsine meme si nous, i partir de notre espace rationnel, ne pou$ons le penser qu',i tra$ers

le sine+?11

T"# su/4#&t is &"ara&t#ri=#, / n#)ati$it( a n#)ati$it not i,#nti!ia/%# -it"in #st#rn&u%tur#+ Ho-#$#r( sin&# t"# su/4#&t:si)n is trans)r#ss#, / t"# t#.t( t"# t#.t &ontains t"#su/4#&t( t"# su4#t =ro%o)i<u# is on% a**roa&"a/%# t"rou)" t"# su/4#&t o! ,is&ours#( as t"#*ara)rammati& is im*ossi/%# -it"out t"# ,#notati$# an, &ommuni&ati$#( -"i&" itn#$#rt"#%#ss annu%s+ T"# t#.t is a &ontinua% os&i%%ation or trans)r#ssion( /#t-##n t"#su/4#&t an, t"# $ide0

Si cet espace '$ide' o^ se meut le su?et :éroloique est le pJle opposé de notre espaceloique, dominé par le su?et parlant, alors la pratique sémiotique poétique, a$ec ses particula3ités, de$ient le lieu off se ?oinent ces deu3 pJles dans un incessant mou$ementde l'un $ers )'autre+ ?1?

T"# t#.t annu%s t"# su/4#&t+ In t"is &on&#*tion( t"# su/4#&t is at t"# sam# tim# in&%u,#, int"# t#.t( &onstru&t#, / it an, annu%%#, / it+ It is not a <u#stion o! a t#.t -it"out asu/4#&t t"# su/4#&t is a n#&#ssar &on,ition o! t"# t#.t+ La&anian t"#or is r#%#$ant u* toa *oint( /ut /#on, it a n#- &on&#*tion o! su/4#&ti$it is n##,#,( -"i&" Krist#$a )o#s onto in$#sti)at# in "#r %at#r -or2+ E$i,#nt%( t"# s"i!t to-ar,s *s&"oana%sis is ,#t#rmin#,/ t"# %imitations o! %in)uisti&s an, t"# ,#man,s o! t"# t"#or t"at Krist#$a #%a/orat#s+

The allen +ubIetT"is t"#or o! t"# su/4#&t is !urt"#r ,#$#%o*#, in Krist#$a3s ana%sis o! So%%#rs Nom"res, a point 5here Sollers's te3tual 5or8 feeds into her theory and transforms it also in a

mo$ement to5ards psychoanalysis. Accordin to >riste$a's readin of Nom"res, thestructure of the te3t, the pheno9te3t, is a 'fall9out' of the process of eneration. *he eno9te3t is an infinite enenderin process that denies fi3ity, 5hile the pheno9te3t is an

WWWWWWWWWWWWWWWWWWWW?11Krist#$a( 3<istance et anti9représentation3( in #a,+( Séméioti8é( ?1+?1?I/i,+

a&&i,#nta% in&i,#n&#+ Sinifiance( 3in ot"#r -or,s( is0 3comme Zune[ operation dont lastructure n'est qu'une retom"ée decalée3+ ?1 T"# pheno9te3t is an o"?et chu or a déchet +T"# eno9te3t ,o#s not 2no- t"# su/4#&t0 3 il est son autre ou$rant en de%a et au9del delui. !ieu hors9su"?ectif et hors9temporel @le su?et et le temps n'apparaissent que commedes accidents de ce $aste fonctionnement qui les tra$erse+3 ?1;

T"# su/4#&t o! t"# t#.t( t"# ?e o! t"# t#.t is a%so an o"?et chu or a déchet + In Nom"res, ?eis a posited site, an infini9point in >riste$a's terms, of an other5ise unlimited process ofmeanin. *he su"?ect can therefore "e seen as the place of a sacrifice. B- *he eno9te3tsacrifices its enendrement for the fi3ity of the pheno9te3t, its $olume for the facialsurface of the ?e. Sacrificed and fallen, the su"?ect is also a lure @leurre. )n determininthe pheno9te3t and the ?e as dichet and sacrifice >riste$a is loo8in at the passae fromthe eno9te3t to the pheno9te3t, the mo$ement is from the process to its incidence. )n themo$ement in the opposite direction, 5hich is the mo$ement of readin, from phenomenonto eneration, incidence to process, the su"?ect is a lure. *his is meant not at all in thesense it has for !acan, 5hich is as an imainary mirror, an identification 5ith an eo orimao, "ut as a ruse to entrap the su"?ect, or the reader, in the infinite process ofermination, the sinifyin process. For, if the te3t is an o"?et chu, a déchet it is also a

relance, a point of relaunchin of the process. *his constant relaunchin of the su"?ect andthe structure "ac8 into the process of meanin is attri"uta"le to the surplus of meanino$er the su"?ect and identity. *he te3t as surplus of sinifiance o$er the le$el of



















denotation is fiured as a dépense, in 5hich the su"?ect is consumed, "urned, or annulled.)n other 5ords, the surface le$el of the te3t, 5ith its su"?ect ?e, lures the reader into the process of meanin throuh a surplus of meanin o$er identity; 'la sinifiance résor"ant lecorps du su?et'. B-/ *he =ataillean resonance here, 5or8in throuh Sollers's te3t, iso"$ious in >riste$a's formulations. Sinifiance is a process of e3penditure as an annullin,unfi3ed $olume of sense e3piatin itself.

*his surplus or dipense is articulated "y >riste$a 5ith ?ouissance. *he surplus of the eno9te3t in the pheno9te3t ma8es the 5or8 an o"?et de ?ouissance. *he readin of it is a passae, a leap @saut from déchet to ?ouissance. Douissance is a loss of the "ody, asacrifice of the "ody. )t annuls

WWWWWWWWWWWWWWWWWWWW?1Krist#$a( 3!'Enendrement de la formule3( *+ 2G91 6s*rin)::summ#r 1989( 0 5+?1; I/i,+ 7+?15 I/i,+ 59+?18 I/i,+ 5+

t"# su/4#&t( an, its a/s#n&# #na/%#s t"# *ositionin) o! i,#ntit+ Krist#$a -rit#s t"at

?ouissance is 3ce dont le manque pennet de dire corps3+?1

Krist#$a is /#)innin) in t"is arti&%# to s2#t&" out a &on&#*tion o! t#.tua%it( not %imit#, toNom"res /ut ins*ir#, / it( -"i&" s##s it as an a!!air -it" ,#at"( sa&ri!i&#( an, ?ouissance+T"# sa&ri!i&# o! t"# su/4#&t to t"# in!init# &orr#s*on,s to t"# #ar%i#r mat"#mati&a% notion o!t"# 4um* to t"# trans!init#+ Krist#$a is #.t#n,in) t"# mo,#%s o! *r#$ious ana%s#s intomor# &or*or#a% an, su/4#&ti$#% ori#nt#, ar#as( mar2in) a s"i!t !rom an #m*"asis on#*ist#mo%o) to an #t"i&s o! t"# /o,+ T"is "as r#*#r&ussions in t"# ar#a o! s#.ua%it+

The +ilent :omanT"#r# is a $i#- o! s#.ua% r#%ations in "#r ana%sis o! Nom"res t"at ma !or#s"a,o- %at#r

,#$#%o*m#nts in Krist#$a3s t"#or+ In Nom"res, ?e is dou"led "y elle, not as another person, "ut as a function of ?e. 'Elle est une fonction de ?e, une case de son ?eu.' B-1 *he pronoun elle, in the no$el, stands for the a"ility of the su"?ect to e3perience sacrifice$icariously, throuh the death of a female counterpart. Elle in the no$el may "e either ana"stract representation of femininity, or a part of the su"?ect 5hich emeres after thecastrations 5hich the 5ritin portrays. )n other 5ords, elle is the representation of thefemale death throuh 5hich the ?ouissance of the ?e is possi"le. >riste$a 5rites;

'Elle' ren$erse sa ?ouissance qu'il re%oit comme miroir de sa propre mort. Douissant de samort, 'elle' assure la représentation de sa ?ouissance lui, et lui donne cetterepresentation de ?ouir qui déracine de la su"?ecti$ité. B-

Sollers had already s8etched out this $icarious sacrifice of femininity in his essay on <ante

as 'la tra$ersée de la m(re'. BB0 >riste$a sees elle as 'une m(re folle'. BB- *he sacrifice offemininity, ena"lin the 5ritin of the infinite, in$ol$es a passae throuh the mother, atransression of the incest ta"oo, since the sacrifice in question is fundamentally se3ual.Paradimatic te3ts in this respect are <ante Qi$a Nuo$a; the death of =eatrice ena"linthe 5ritin su"?ect to accede to the poetic $oice, and =ataille Ma m(re, in$ol$in a morese3uali:ed

WWWWWWWWWWWWWWWWWWWW?1 I/i,+ 8+?17I/i,+?19 I/i,+ 89+??@So%%#rs( !oiques, /0.??1Krist#$a( 3!'Enendrement de la formule3( 89:@+




































trans)r#ssion+ In /ot" &as#s( !#mininit is sa&ri!i&#, to #na/%# t"# *assa)# /#on, a !i.#,i,#ntit o! t"# ma%# su/4#&t+ Krist#$a -rit#s0 3!a possession de la Mire99d' elle99est parconséquent la premi(re transression de l'unicité de ?e, le premier acte indispensa"le son e3centrement +3 ???

A%t"ou)" t"is ma !or#s"a,o- !urt"#r ,#$#%o*m#nts in Krist#$a3s -or2( it is -ort"-"i%# at

t"is *oint *osin) t"# <u#stion0 to -"at #.t#nt is t"is notion o! !#mininit s*#&i!i& toSo%%#rs3s t#.t an, to a mas&u%in# r#*r#s#ntation o! !#mininit( -or2in) t"rou)" Krist#$a3st#.t t"rou)" t"# int#rna% &orru*tion t"at t#.ts #!!#&t on on# anot"#rQ T"# Dant#s<u#(atai%%#an( an, So%%#rsian $i#- o! !#mininit *r#s#nt#, "#r# as an #s&a*#:*at" !rom t"#*"a%%o&#ntri&it o! mas&u%in# i,#ntit an, s#.ua%it( in ot"#r -or,s o! !#mininit as an#.t#nsion o! mas&u%init t"rou)" -"i&" t"# %att#r &an r#*r#s#nt its ,#at" an, ?ouissance(su))#sts t"at -om#n 3,o not #.ist3 #.&#*t as a n#)ati$it+ T"is is $#r simi%ar to La&an3s$i#- o! !#mininit as t"# 6non:%o&us o! non:%o&a%i=a/%#( uno/s#r$a/%# ?ouissance+ ?? T"is$i#- o! !#mininit( an, t"# !r#<u#n& -it" -"i&" it a**#ars in a$ant:)ar,# r#*r#s#ntationso! t"# !#minin#( is &#rtain% <u#stiona/%# in so !ar as t"# !#ma%# is a%-as t"# non:*#rson(t"# non:#.ist#nt( t"# si%#nt+ F#mininit "as no $oi&# in t"is to*o%o)+ T"is ma /#r#,r#ss#, / Krist#$a3s %at#r $a%ori=ation o! mat#rnit as a -a -om#n &an #nt#r so&ia%,is&ours#( /ut #ss#ntia%% t"# sam# notion o! !#mininit as #.&%u,#, !rom %an)ua)#,ominat#s+ A not n#)%i)i/%# as*#&t o! *el +uel 3s &on&#*tua% a&ti$it #.ists aroun, t"#

<u#stion o! s#.ua%it( tr#atin) t"# notion o! t"# *"a%%o&#ntri& an, r#*r#ss#, "omos#.ua%natur# o! so&i#t( -oman as o/4#&t o! #.&"an)# or su/%imat#, $#rsion o! t"# ma%# #)o(an, t"# r#*r#ssion o! an ori)inar matriar&" as as*#&ts o! t"is &on&#*tua%i=ation o!!#mininit+ T"# trans)r#ssi$# an, sa&ri!i&ia% $i#- o! %it#ratur#( "istori&a%% s*#a2in)( a%soim*%i&at#s a r#ass#ssm#nt( or at %#ast a *ro/%#mati=ation( o! t"# *%a&# an, ro%# o!!#mininit+ T"is is *r#s#nt in H%,#r%in( N#r$a%( au,#%air#( Proust( o&#( Ka!2a+ It is o!t#nt"# !i)ur# o! t"# mot"#r -"i&" is in <u#stion+ It ma /# o/4#&t#, t"at t"is is &on,ition#, /a %a&2 o! ass#ssm#nt o! t"# *%a&# o! -om#n in %it#ratur#( an, a %a&2 o! &ons&iousn#ss o!t"# &anon as an #.&%usi$#% ma%# *ant"#on( a %a&2 o! a-ar#n#ss o! %it#ratur# as im*%i&at#,in a mas&u%inist s#.ua%it+ In t"at t"is $ision s##2s to o*#n *"a%%i& i,#ntit to !#mininit( it*r#s#nts its#%! as a %i/#ration( /ut in

???Krist#$a( 3!'Enendrcment de la formula3( @+??S## + La&an( !e Séminaire, 33 0 Encore 6 Paris( 195( 89+

s*#&i!i&a%% mas&u%in# t#rms+ Écriture feminine s##ms a%so to /# /as#, on t"# sam#*r#miss#s( *#r"a*s /#&aus# o! t"# in!%u#n&# o! La&an+ "at mi)"t s##m n#&#ssar is ana&2no-%#,)#m#nt t"at t"#r# is a -ritin) / -om#n -"i&" is n#it"#r si%#nt nor*"a%%o&#ntri&+ A s*#&ia% issu# o! *el +uel in t"# 19@s )o#s som# -a to-ar,s t"is( ??; /utinno$ati$# -rit#rs su&" as ir)inia oo%!( '#rtru,# St#in( D4una arn#s( or in,##,>ar)#urit# Duras( to nam# on% t"# -rit#rs -"o &om# imm#,iat#% to min,( ar# not#.t#nsi$#% &onsi,#r#, in t"# r#$i#-+

Krist#$a 3!'Enendrement de la formule3 intro,u&#s som# notions o! su/4#&ti$it an, non:su/4#&ti$it t"at s##m to )o /#on, or outsi,# t"# La&anian su/4#&t o! ,is&ours#( to *osit a

6non:su/4#&t o! sa&ri!i&# an, ?ouissance+ Krist#$a3s notion o! t"# su/4#&t r#mains("o-#$#r( to an #.t#nt -it"in a Fr#u,ianLa&anian s*a&# in t"at it ,istin)uis"#s /#t-##n asu/4#&t an, non:su/4#&t t"# su/4#&t is t"# su/4#&t o! ,is&ours# or is not at a%% in La&aniant#rms( it is in t"# sm/o%i&( s*%it / ,#sir# an, %a&2( or is not a su/4#&t+ A %at#r st#*( a!t#rt"# *u/%i&ation o! D#%#u=# an, 'uattari Anti9&edipe 6 19?( an, *el +uel 3s !o&us onArtau, an, atai%%#( is t"# &onsi,#ration o! a *r#:$#r/a%( *r#:O#,i*a% su/4#&t( su/4#&t to*u%sions o! -"at Krist#$a t#rms t"# 3s#mioti&3+ H#r# it is a *r#:sm/o%i& ar#a( mor#r#%#$ant to t"# -or2 o! K%#in an, Fr#u, t"an to La&an( t"at is in$#sti)at#,+ Krist#$asimu%tanous% im*%i#s La&anian t"in2in) in t"# "istor o! *el +uel an, mo$#s /#on, it+

Krist#$a3s int#r$#ntion "as /##n int#r*r#t#, as &ontri/utin) an #ss#ntia% s&i#nti!i& im*#tusto t"# t"#or o! %it#ratur# ,#$#%o*#, in *el +uel. As stressed a"o$e, the limitations of thisapproach are soon "ypassed throuh her mo$ement to5ards a psychoanalytically oriented

approach, 5hich e$entually "ecomes an ethics. >riste$a effecti$ely creates a ne5 psychoanalytic topoloy and a ne5 5ay of loo8in at ethics throuh her analysis of theliterary te3t and the su"?ecti$ity of the 5riter. !iterature transforms science and the ethics












that it e$ol$es into. er in$ol$ement 5ith *el +uel, articles in the re$ie5, "oo8s in the'Collection', contri"utions to conferences and to the Hroupe d'études théoriques, isundou"tedly a ma?or catalysin element, to5ards theory and then psychoanalysis. She 5illofficially ?oin the committee in -G0. er presence associates the re$ie5 5ith an academicconte3t, i$in it a certain analytic force. *he team or partnership of Sollers and >riste$a,althouh al5ays implicit and ne$er referred to as a personal

WWWWWWWWWWWWWWWWWWWW??;S## 3#echerches féminines3( *+ G 6-int#r 19+ i$ian# Forr#st#r arti&%#( 3Féminin

pluriel 3 %oo2s s*#&i!i&a%% at %it#ratur#+

in$o%$#m#nt( is a *ara%%#% atta&2 on ,i!!#r#nt !ronts -"i&" is a ma4or !a&tor in t"# *assa)#so! *#rsons a&ross t"# tim# o! t"#or+

T"# tim# o! t"#or !or *el +uel, from a"out -/G and lastin into the ne3t decade, is atime of synthesis, the pullin toether of elements that had "een fermentin for a lontime, "ut 5hich only "ecame prominent in the mid9-/0s. *héorie d'ensem"le, and otherarticles such as Sollers 'Sur$olY#apports@=locsYConflit' attempted to 5eld the currents of Althusserian Mar3ism, !acanian psychoanalysis, >riste$a's semioloy, <erridean écriture

toether 5ith the theory of literature and the fictional and te3tual practice produced in there$ie5 itself. *his 5eldin has "een sho5n to "e unsta"le, su"?ect to su"$ersion "y its o5n principles. *he Mar3ism of *el +uel 5as pro?ecti$e and undermined "y a principle ofe3cess4 *el +uel's reference to !acan is only nominal and strateic, undermined "y<errida's influence 5hich is already on the 5ay to "ein displaced "y >riste$a's emerintheory. istorically, it is a synthesis that cannot last. As a theory that proposes atransformation of 8no5lede "y an untheori:a"le, resistant element, it undermines itself4in Paul de Man's terms, from a different "ut in many 5ays parallel conte3t, a 'theory of theimpossi"ility of theory'. BB *he e$ents of -/1 cause a tremendous shift, precipitatin thedispersal to e3tremes and e$entually the dissolution of the dominance of leftism inintellectual France. *hey also determine the emerence of a ne5 theoretical current ofreflection on a $ital, eneretic force seen as unsystematic and unstructured, in the 5or8 of<eleu:e and Huattari and !yotard. *he conflict "et5een desire, unmediated force, and the!acanian emphasis on the irreduci"ility of sym"olic representations, 5ill set the sta8es for

the theoretical de"ates of the ne3t decade, in 5hich the focus 5ill "e essentially on thesu"?ect.

*el +uel "oth precipitates this mo$ement and is cauht up in it. =oth >riste$a's andSollers's 5or8 are meditations on the place and nature of the su"?ect of literature,implicatin a ma?or enaement 5ith psychoanalysis. =roadly spea8in, if the -/0s is thetime of a theoretical Mar3ism, the -G0s sees the dissolution of theory throuh itsarticulation 5ith psychoanalysis and a theory of literature "ased on the e3ception. *hehistory of *el +uel in the -G0s ta8es place after the time of theory, in its 5a8e, "ut in asense this is also the time in 5hich the consequences and implications of *el +uel's theoryof literature are fully reali:ed.

WWWWWWWWWWWWWWWWWWWW??5P+ ,# >an( *he #esistance to *heory 6 >an&"#st#r( 1978( 18+






Theorys :a>eTH' $++#%T#! # A"D+Theory after Theory

T"# snt"#ti& t"#or *ro*os#, / *el +uel in *héorie d'ensem"le, "ased on an Althusserian epistemoloy that emphasi:ed that real o"?ects could only "e understoodafter 5or8in on a"stract o"?ects, 5as to some e3tent a closed system. *his closure is perhaps inherent to theory in eneral, "ut particularly to that premised on any 8ind ofradical "rea8 of shift a5ay from the usual structure of 8no5lede. )t is possi"le to pro?ectthis shift into history and to see it as a paradim shift, lin8ed to the e$olution of8no5lede, "ut this anchorin in historical time does not account for the distincttemporality of theory itself. )n effect, 5hile structuralism proposed closed structures,e3cludin dynamic aspects such as the su"?ecti$e and the notion of process, post9

structuralist theories, li8e those of >riste$a, proposed a different 8ind of closure, throuhthe emphasis on a leap outside 5hat 5as 8no5n to a position at the limit. *heory "ecomesterroristic in postulatin this position outside, transformin the discourse 5ithin the circle. After structure, theory "ecomes su"lime, throuh its analysis of 5hat is seen asunspea8a"le or unrepresenta"le, reintroducin a force outside discourse 5ithin discourse,5hich transforms it. Another 5ay of loo8in at the possi"ilities after theory, instead of thisdialectic of the discursi$e and the pre9discursi$e, miht "e to hesitate infinitely at thelimit, to oscillate around it, at its fracture or hiatus. )f the second option is present in the5or8 of a roup of 5riters around <errida, 5ho emered as prominent, to form a 8ind of philosophical heemony, in the late -G0s, - the first option seems to "e that of *el +ueland Sollers. *he theory after theory of *el +uel is premised on this su"lime dialectic of thetransformation of discourse from the perspecti$e of 5hat it has e3cluded, or 5hat appears

WWWWWWWWWWWWWWWWWWWW1 T"is "iatus ma /# r#&o)ni=#, t#.tua%%( as in + D#rri,a Hlas 6 19;( or ,is&ursi$#%(

as #+)+ in t"# &o%%#&ti$# -or2 / S+ A)a&ins2i( + D#rri,a( S+ Ko!man( P+ La&ou#:La/art"#( +:L+ Nan&( an, + Pautrat( Mimesis des articulations 6 Paris 195+

at its %imit+ I! in t"# #ar% 19@s t"is ,ia%#&ti& is sti%% %in2#, to so&ia% r#$o%ution( t"rou)" t"#r#$i#-3s >aoism( it #$#ntua%% /#&om#s mor# !o&us#, on sin)u%arit t"# *osition at t"#%imit( rat"#r t"an /#in) s##n as an a/stra&t !or&# t"at &ou%, /# *art o! a so&ia% ,ia%#&ti&(/#&om#s an #.&#*tion+ T"# "istor o! *el +uel in t"# 19@s tra&#s t"is mo$#m#nt+ T"#ora!t#r t"#or r#!#rs not on% to a "istori&a% t#m*ora%it( t"#n( /ut to a mom#nt a!t#r t"#&%osur# o! t"# t"#or#ti&a% sst#m( or to a mom#nt /#!or# it in t"# &as# o! Krist#$a3s !o&uson t"# *r#:sm/o%i&+ As -#%% as /#in) a -a2#( in t"# s#ns# o! a tim# a!t#r t"# ,#at" o!som#t"in) an, t"# r#*#r&ussions o! a tra$#rsa%( it is a r#naissan&#( an a-a2#nin) to t"#*ossi/i%iti#s o! t"is s*a&# a!t#r+ T"# r#sonan&#s o! t"# -a2# ar# #s*#&ia%% *#rtin#nt in t"at

t"# ,#&a,# s##s a &on&#ntration on t"# t#.ts o! o&# in *el +uel.






ma,#+ It -as( an, t"# )rou* sta#,( /ut t"# t#nsions /#t-##n t"# r#$i#- an, t"# PCF-#r# in&r#as#,+

; S## P+ So%%#rs( Sur le matérialisme 6 Paris( 19;( 1;@:1+5 u,it" >i%%#r( La&an3s ,au)"t#r( -ou%, /#&om# a !o&us o! t"is a&ti$it -"#n s"# -as

#.*#%%#, !rom t"# Uni$#rsit o! in&#nn#s !or o*#n% ,#&%arin) "#r int#ntion to su/$#rtt"# stru&tur#s o! t"# institution+

8

S## 'Cinéma, littérature, politique' ( *+ 6-int#r 191+

PCF+ At !irst t"is &riti<u# is r#/u2#, in *el +uel, 1 "ut later an editorial 5ill note; 'Cinéthique a eu raison de se ré$olter.' *he mem"ers of the poetry and theory periodicalPromesse, Dean9!ouis oude"ine and Huy Scarpetta, 5ould also ?oin 5ith the Maoist roupinternal to *el +uel, around Sollers. *heir inter$ie5 5ith <errida, pu"lished in the "oo8Positions, suests that the estranement from <errida results from his un5illinness tocommit himself to *el +uel's Maoism. -0 )n -G0, a periodical 5as created specificallyde$oted to the plastic arts, "ut also includin theoretical articles, entitled Peinture, cahiersthéoriques. )t 5as the oran of a roup of artists 8no5n as SupportsYSurfaces, includinMarc <e$ade, 5ho ?oined the committee of *el +uel in -G-, !ouis Cane, <aniel <e:eu:e,and Claude Qiallat. )t also reularly included, in the last paes, polemical inter$entions andMaoist sloans of an increasin e3tremism, aainst the PCF. *he committee of *el +uel,"ein still run alon democratic lines and therefore containin elements @#icardou and

*hi"audeau resistant to Maoism, the internal 8ernel around Sollers ma8es itself felt insatellite periodicals, 5hich reinforce the tendency to5ards the shift. *here is a certainsurplus or e3cess that o$erflo5s the re$ie5 and appears in related sites of pu"lication, andthis tendency is continued throuhout the decade.

*he e$ent 5hich most e3plicitly precipitated the crisis of -G- 5as the polemic o$er the"oo8 <e la Chine. -- )n -G- the )talian Communist and correspondent of Althusser, Maria9 Antonietta Macciocchi, after a trip to China pu"lished a "est9sellin "oo8 @5ith Seuil 5hich5as essentially a euloy of Maoism. *his 5as anathema to the )talian Communist Party@PC), and she 5as not renominated for the post of deputy in Naples 5hich she held. Apartfrom the polemic 5ithin the PC), this had repercussions in France, 5hen at the annual'Fte de !'umanité', a Communist speech9day, the sale of the "oo8 5as for"idden. Sollersmade an inter$ention and 5as critici:ed "y a party luminary, Étienne Fa?on, in the

presence of Araon. *he Macciocchi "oo8 "ecame a

WWWWWWWWWWWWWWWWWWWW1@ S## + D#rri,a( Positions 6 Paris( 19?( *u/+ / >inuit( not in t"# 'Collection *el +uel'

at S#ui%+ S## **+ 75:9@+ D#rri,a stat#s "is r#sistan&# to #%a/orat# a *osition on >ar.ism3tant <u# %#s &on,itions n3#n sont ri)our#us#m#nt %u&i,#s3 an, sas t"at t"is ana%sis(on "is *art( is 3#n&or# $#nir3+ His r#&#nt Spectres de Mar3 6 Paris( 199 ma /# t"#%on) a-ait#, r#s*ons#+

11 >+:A+ >a&&io&&"i( <e la Chine 6 Paris( 191+ S## '!es Pratiques artistiques dans le Mar3isme9!éninisme' ( Cinéthique, -- 6 191+7 'Ine analyse unilatérale' ( *+ +9 '<éclaration' ( *+ G 6autumn 191( 19+

!o&us( an, a &on$#ni#nt "in)# on -"i&" *el +uel 3s *o%iti&a% a%%#)ian&# -ou%, turn+1?

Aroun, t"# sam# tim#( in an arti&%# on 3Lautramont *o%iti<u#3( P%#n#t "a, *o%#mi&a%%int#r$#n#, o$#r t"# 3*ost"umous r#&on&i%iation3 o! r#ton an, Ara)on( -"i&" #arn#, a&riti&a% r#*% !rom !a Nou$elle Critique, since Araon 5as the most respected Communistintellectual 5ho, after all, had helped to launch Sollers's career. A certain amount ofresentment o$er this apparent "etrayal miht ha$e "een a factor in the split. )n a notefollo5in this critical response, *el +uel indicates its readiness to follo5 its o5n line,5hate$er the consequences.

*he result of all these polemics 5as the creation of the 'Mou$ement de Duin -G-', theMaoist 8ernel of *el +uel. &$er the summer, the offices of the re$ie5 5ere co$ered inMaoist da:i"ao or sloans, reminiscent of the raffiti of -/1. *he situation 5as such that

the ne3t issue, a special issue on =arthes, announces the formal split 5ith the PCF and thesuspension of the Hroupe d'études théoriques. -2 *he re$ie5 is declared to "e in crisis.Hi$en this situation, it 5as not surprisin that #icardou and *hi"audeau should resin, -



























and the first issue of the ne3t year is a dou"le issue fully de$oted to '!a Pensée chinoise',includin inter$entions "y Sollers, Macchiocchi, and left intellectuals Michelle !oi andCharles =ettelheim o$er the <e la Chine polemic. -

ysteria8%nalysisFrom this point, *el +uel 5ill "e o$ertly critical of the PCF and of socialism, of the allianceof domatism and re$isionism 5hich it neoloi:es as 'domatico9ré$isionnisme', seeinStalinism and riht95in

WWWWWWWWWWWWWWWWWWWW1? P+ So%%#rs -ou%, &ontri/ut# a %#tt#r o! *rot#st to !e Monde in S#*t+ T"# /oo2 is r#$i#-#,

&riti&a%% in !a Nou$elle Critique 6 No$+ 191 un,#r t"# tit%#( 3 <e la Chine ou %#s ra&in#s,# %a sino*"i%i# o&&i,#nta%#3+

1 'Positions du mou$ement de Duin -G-' ( *+ G 0 1:;1+1; S## + T"i/au,#au( )nter$entions; Socialism, a$ant9arde, littérature 6 Paris( 19?(

?@;+0 3ai <uitt %a r,a&tion ,# *el +uel #n ,&#m/r# 191( n3aant ,#n *u *u/%i#r,ans %a r#$u#+3 T"i/au,#au ,#&%ar#s in an int#r$i#- *u/+ in Nou$elle Clarté( in 191( "is

int#ntions to *u/%is" an ana%sis in *el +uel o! t"# r#$i#-3s turn to 3%3anti&ommunism#3+It -as not *u/+( "#n&# T"i/au,#au3s r#si)nation+15 S## *+ 19 6s*rin) 19?( '!a Pensée chinoise' + >+:A+ >a&&io&&"i( 3R*ons# !a

Nou$elle Critique. <e !a Nou$elle Critique ou des racines de la sinopho"ie occidentale'4C. =ettelheim, 'Note de lecture sur l'article <e la Chine et des racines de la sinophilieoccidentale'4 P. Sollers, '<e la Chine'4 M. !oi, '<e la collusion idéoloique dessinopho"es'.

r#$isionism as t-o si,#s o! t"# sam# &oin+ 18 Unti% 198( man arti&%#s -i%% a**#ar&on&#rnin) C"in#s# &u%tur#( t"ou)"t( or *o%iti&s+ T"# &u%mination o! t"is a&ti$it -as t"#tri* to C"ina in 19; o! So%%#rs( Krist#$a( art"#s( P%#n#t( an, FranJois a"%+ In t"#Fr#n&" &ont#.t *el +uel #nt#rs a *#rio, o! *o%iti&a% an, &u%tura% #.tr#mism( t"# a&ut#mom#nt o! -"i&" is t"# Artau, an, atai%%# &on!#r#n&# o! 19?+ T"is *osition #arn#, it a

r#*utation !or *o%iti&a% ra,i&a%ism o! a som#-"at "st#ri&a% natur#+ At t"# sam# tim#("o-#$#r( t"# t"#or#ti&a% an, !i&tiona% -or2 it &ontinu#s to *ro,u&# is not r#stri&t#, to t"is*o%iti&a% !ait"( an, t#n,s to *us" it !or-ar, to ,i!!#r#nt *ositions+ For #.am*%#( it -i%% !o&uson t"# t#.ts o! o&#( on t"# <u#stion o! s#.ua%it an, o! !#mininit+ T"# *o%iti&a% s"i!ts ar#a%-as ,#t#rmin#, / t"# int#rna% t"#or#ti&a% an, %it#rar ori#ntation o! t"# r#$i#-+ T"#,#*artur# o! Ri&ar,ou an, T"i/au,#au &an /# s##n as #<ua%% ,#t#rmin#, / ,i!!#r#n&#so$#r %it#rar *ra&ti&#( an a,"#r#n&# to t"# nou$eau roman on t"# *art o! Ri&ar,ou( ar#sistan&# to %#a$in) /#"in, a &#rtain !orma%isti& *#rs*#&ti$# on t"# *art o! T"i/au,#au+T"# &ommitt##( a!t#r t"#ir ,#*artur# an, t"# a,,ition o! Krist#$a an, >ar& D#$a,# in19@( is #ss#ntia%% as it -i%% r#main !or t"# r#st o! t"# ,#&a,#0 So%%#rs( P%#n#t( Krist#$a(au,r( Rott#n/#r)( Riss#t( D#$a,#( D#nis Ro&"#+ D#$a,#3s *r#s#n&# is #ss#ntia%% as a%in2 to P#intur#( -"i&" -i%% *u/%is" arti&%#s / So%%#rs( Krist#$a( P%#n#t( an, au,r ,urin)t"# ,#&a,#+ T"# r#$i#- a%so )ains a -i,#r &ir&%# o! &ontri/utors0 Hou,#/in# an, S&ar*#tta!rom Promesse r#)u%ar% *u/%is" -or2 in *el +uel. Dacques enric, 5ho 5ill "e in$ol$ed

from its creation in -GB 5ith the re$ie5 Art press, also friendly to *el +uel, is anotherreular contri"utor. =ernard Sich(re and Philippe Muray are nota"le amon those 5hosenames still appear in the contents paes of !')nfini. 6hile <errida "ecame estraned after-G-, =arthes is still a $alua"le ally and close friend. Pierre Huyotat and Maurice #oche5ill also "e in pro3imity. *he departures from the committee durin the decade are lessthe result of internal polemics than of the indi$iduals concerned follo5in their o5ninterests. <enis #oche, =audry, and #otten"er 5ill all lea$e the committee durin the-G0s @in -G2, -G, and -G respecti$ely, the three contri"utin little durin theyears "efore their departure, lea$in the 8ernel of the re$ie5,

WWWWWWWWWWWWWWWWWWWW18 C!+ 'Positions du mou$ement de Duin -G-' ( *+ G 0 10 '#ésumons; l'erreur est

d'a$oir pensé qu'il e3istait une contradiction antaoniste entre domatisme et

ré$isionnisme. &r, tout prou$e de plus en plus que cette contradiction secondaire est enfait non9antaoniste, que ses deu3 pJles, dans un espace homo(ne, con$erent $ersle mme "ut; dépolitisation des masses, sclérose idéoloique, restauration du









capitalisme.'

aroun, So%%#rs( Krist#$a( P%#n#t( an, Riss#t+ D#nis Ro&"# ta2#s u* a *osition at S#ui% as#,itor o! t"# 3Fi&tion #t &i#3 s#ri#s( "is *o#tr mo$in) to-ar,s an arti&u%ation -it"*"oto)ra*"+ au,r( -"i%# in$o%$#, -it" t"# r#$i#- <iraphe run / #an Ristat( ta2#s u*a uni$#rsit *osition outsi,# Paris+ Rott#n/#r) &ontinu#s to -rit# *o#tr( *u/%is"#, / t"#

inno$ati$# 3Oran)# E.*ort Lt,3 s#ri#s+ T"# ,is*#rsa% o! t"# *el +uel )rou* su))#sts t"#,isso%ution o! t"# snt"#si=in) t"#or#ti&a% t#n,#n& o! t"# %at# 198@s an, t"#in,i$i,ua%i=ation o! t"#or in t"# r#$i#-( an&"or#, in t"# sin)u%arit o! t"# *ra&ti&# o! t"#no$#% 6 So%%#rs( o! *o#tr 6 P%#n#t an, Riss#t( o! art &riti&ism 6 P%#n#t( o!*s&"oana%sis 6 Krist#$a( or o! trans%ation !rom t"# Ita%ian in t"# &as# o! Riss#t+ Krist#$aan, Riss#t3s !#mininit -i%% a%so %#a, to ,#$#%o*m#nts in t"# r#$i#-+ T"#or( in its -a2#(/#&om#s( in its ori)in an, its &on&#rns( #.&#*tiona%( sin)u%ar( a t"#or o! t"# #.&#*tion oro! %it#rar sin)u%arit( -"i&" is a *ost:t"#or or a t"#or:a!t#r:t"#or( #ss#ntia%% an,&ontinua%% mo$in) to-ar,s its o-n ,isso%ution+

T"# >aoist *#rio, o! *el +uel 3s *o%iti&a% a%%#)ian&# s##s t"# t"#or#ti&a% aust#rit o! t"# tim#o! t"# a%%ian&# -it" t"# PCF mutat# into a mor# s*ontan#ous( "#t#ro)#nous *ro,u&tion+"i%# t"# t"#or its#%! t#n,s to #m*"asi=# a "#t#ro)#nous !or&# o! n#)ati$it( at t"#Artau, an, atai%%# &on!#r#n&# *arti&u%ar%( rat"#r t"an t"# stru&tura% snt"#sis o! *héoried'ensem"le, the political inter$entions of the re$ie5 "ecome more lin8ed to real e$ents,such as the coup d'état in Chile and the assassination of Allende, stri8es at the !ip factoryin -G2, electoral ains for the #iht, the alliance "et5een the PCF and the PS @Partisocialiste, all condemned and analysed in short editorials. -G At the same time there is ahysterical tone to the e3treme radicalism of the Mou$ement de Duin -G-, 5hich itself pu"lished some short tracts, collections of inter$entions from Maoist and anarchist roupsaround France4 this tone appears, 5ith hindsiht, as a strateic radicalism, in order to'épater le "oureois' and to force the conte3t in certain 5ays. -1 *he editorial and political pronouncements of the re$ie5 are couched in a Maoist lanue de "ois4 5hile they 5ereforceful in the conte3t, they appear slihtly dated no5. *his often determines ho5 *el +uelis stereotyped in the French intellectual conte3t.

WWWWWWWWWWWWWWWWWWWW1 S## 'Éditorial' ( *+ 2 6s*rin) 19 'Editorial' ( *+ / 6-int#r 19 'Éditorial' (

*+ G 6s*rin) 19; 'Éditorial' ( *+ 1 6summ#r 19; 'Éditorial' ( *+ 6autumn19; *+ /- 6s*rin) 195+

17 C!+ 'Position du mou$ement de Duin -G-' ( *+ G 0 1;10 'A "as le domatisme,l'empirisme, l'opportunisme, le ré$isionnisme\ Qi$e la $érita"le a$ant9arde\ Qi$e la pensée9maotsetoun\'

T"# r#*#tition o! t"# s%o)an 3i$# %a *#ns#:maotstoun)3 6t"# &ontra&tion su))#stin)mor# *o*u%ar s*##&" in t"# r#$i#- an, its sat#%%it#s u* to 198 is a &ari&atur# t"at "i,#st"# mor# !un,am#nta% trans)r#ssion o! t"# >ar.ist sst#m+ In som# s#ns#s t"#s# ar##m*t si)ni!i#rs( *#r!ormati$# énoncés( &onnotin) a turn to a mor# s*ontan#ous r#%ationto %an)ua)# an, its *u%siona% /as#+ T"#ir "st#ria is a&&om*ani#,( "o-#$#r( / anana%ti&a% *osition( -"i&" t"# #,itoria%s ,o not &#as# to a!!irm( t"at -i%% #$#ntua%% %#a, to

t"# a/an,onm#nt o! t"#s# si)ni!i#rs( t"# /o, o! >aoism( or o! >ao( as a r#!#r#nt or anu*"o%st#rin) *oint o! *el +uel 3s t"ou)"t+ T"# s*#&ia% issu# on art"#s o! autumn 191ins&ri/#s an ironi&a% &riti<u# o! t"is r#$o%utionar *o%iti&a% "st#ria at t"# outs#t o! t"#>aoist *#rio,+ art"#s -rit#s t"at0 3%# %an)a)# *o%iti<u# #st %ui:mm# !ait ,# strot*#s3an, t"at 3%# strot*# #st trist#( &ar i% #st &onstitut *ar un# n&ros# ,u %an)a)#( un#*rot"Gs# <ui $i#nt /ou&"#r un trou ,3&ritur#3+ 19 ritin)( t"# *%#asur# o! t"# t#.t inart"#s3s t#rms( a%-as runs t"rou)" or a&ross t"is stasis( %#a$in) t"# #m*t si)ni!i#rs/#"in,+ art"#s3s *#rs*#&ti$#( in!%u#n&#, / La&an( is t"at an *osition in %an)ua)# is a*osition -it"in t"# %a- as soon as on# s*#a2s( on# is on t"# si,# o! t"# %a-+ Po%iti&a%"st#ria on% r#a!!irms t"# %a-( an, ot"#r m#t"o,s "a$# to /# a,o*t#,0 3un# autr#int#%%i)i/i%it3+ ?@ T"is ot"#r rationa%it( art"#s su))#sts( is t"at o! -ritin)( -"i&" isatopique( it &annot /# assi)n#, a *%a&#+ ?1 T"# "istor o! *el +uel 3s >aoism is t"# stor o!t"# ,#t#rritoria%i=ation o! t"# to*os o! >ar.ism( o! C"ina( / t"# déri$e o! -ritin)+

T"# ana%ti& tra$#rsa% o! >aoism( t"# #.t#nt to -"i&" it is not !i.#,( is a%so su))#st#, /its ins#rtion in t"# !i&tiona% *ra&ti&# o! t"# -rit#rs o! t"# r#$i#-+ So%%#rs3s Lois( *ro,u&#,


















aroun, t"# tim# o! t"# s*%it -it" t"# PCF( s"o-s "im &r#atin) a -or2 -"i&" a%r#a, *utst"# >ar.ist sst#m -it"in t"# *aro,i& #n$#%o*# o! a #u*"ori& -ritin)+ An #n&ount#r -it"t"# t#.t o! o&# is si)ni!i&ant% &it#, / So%%#rs as on# o! t"# ,#t#rminin) moti!s o! t"isno$#%+ ?? T"# >aoist lanue de "ois is "#r# *aro,i#, an, trans!orm#, into a "#t#ro)#noustissu#+ For #.am*%#0 3A-aZ Pro%tair#s ,# tous %#s *as( uniss#= $ous+ N# $ous %aiss#= *as!air# moumou+ Pas ,# !%#urs #n mots( ,# *#tits &a,#au.+ 'ar# au r$iso+ ous tous ,#s

nations Pi%%#s + + + 3

?

19 R+ art"#s( 'Écri$ains, intellectuels, professeurs' ( *+ G + 7+ C!+ a%so P+ So%%#rs( 3R++3(

i/i,+ ?@0 '!'hystérique est l'anti9#.=.' +?@ art"#s( 'Écri$ains, intellectuels, professeurs' ( *+ G 0 ;+?1 I/i,+ 1+?? P+ So%%#rs( Qision Ne5 Tor8 6 Paris( 1971( 11?:1+? I,+( !ois 6 Paris( 191( 70

T"# -ritin) o! ( in -"i&" t"# si)ni!i#r o! >aoism in its !orm o! C"in#s# i,#o)rams is,ro**#,( an, Paradis -i%% s"o- t"# un!i.in) o! an *o%iti&a% si)ni!i#r an, a mo$#m#ntto-ar,s ot"#r si)ni!i#rs( s*#&i!i&a%% to-ar,s t"# r#%i)ious si)ni!i#r as t"# *ro*"#ti& matri.o! si)ni!i&ation+ P%#n#t3s Stan:e a%so tra$#rs#s t"# sst#m o! >ar.ism( in t"at its stru&tur#is /as#, in t"# >ar.ist or >aoist s&"#ma o! t"# nin# mo,#s o! *ro,u&tion( -"i&" t"# *o#trt#n,s to #.&##,+ A!t#r Stan:e( P%#n#t3s *o#tr( -ritt#n in t"# mar)ins o! t"# &ontinuationo! Stan:e( is a mor# !ra)m#nt#, t#.t in -"i&" t"# $io%#n&# o! 3%3#.*ri#n&# sin)u%iGr#3 ?; ma2#s its#%! !#%t( *arti&u%ar% in t"# t#.t 3A %a mGr#3( *u/%is"#, in t"# r#$i#- in 195+ ?5 T"#*o%iti&a% a%%#)ian&# to >aoism( in t"is *#rio,( is *ara%%#%#,( an, -i%% #$#ntua%% /# ,is*%a&#,(/ t"# #.&#ss o! a 34o#us# *rati<u# &riti<u# ,3ana%s#3( as P%#n#t *uts it( in t"# !i&tion+ ?8 T"is !a&t is !or)ott#n i! t"# s"i!t a-a !rom >aoism in 198 is s##n as an a/ru*t r#$#rsa%&on,ition#, / #.t#rna% #$#nts+

Chinese Thou,ht an 4olitis

Imm#,iat#% !o%%o-in) t"# s*#&ia% issu# on art"#s is a ,ou/%# issu# !o&usin) on 3%a P#ns#&"inois#3( -"i&"( a*art !rom its *o%iti&a% ,#t#rminations( is im*ortant in ana%sin) t"# %in2s/#t-##n t"# t"#or o! -ritin) o! *el +uel an, C"in#s# *"i%oso*"i&a% t"ou)"t( a%r#a,su))#st#, in So%%#rs3s !oiques. *he interest in China presents a comple3 interplay of political and cultural factors. &n the one hand the re$ie5 5ishes to round its politicalalleiance to Maoism in aesthetic and philosophical concerns. *he Chinese conception ofespace9temps is related to *el +uel's spatiali:ation of narrati$e temporality, in such no$elsas <rame or Nom"res. Chinese 'raphic lanuae' is lin8ed to the te3tual practice of there$ie5, 5hich pro"lemati:es representation and pri$ilees inscription, and often structuresthe te3t around spatial motifs. BG Fran%ois Chen and Dulia >riste$a s8etch out a $ie5 ofthe Chinese lanuae and Chinese poetry that relates them to the re$olution of poeticlanuae >riste$a sees in Mallarmé and !autréamont. B1 *he 6estern

WWWWWWWWWWWWWWWWWWWW?; >+ P%#n#t( '!'E3périence sinuli(re' ( *r#!a&# to i,+( #ime 6 Paris( 1971+?5 I,+( 'A la m(re' ( *+ /B 6summ#r 195+?8 I,+( Stan:e 6 Paris( 19( 155+? S## + N##,"am( '!e *emps et l'homme oriental' Ion anu( 'Philosophie sociale,

maie et lanae raphique dans le on9fan' ( *+ 19+?7 C"#n):C"i:Hsi#n 6FranJois C"#n)( 'Analyse du lanae poétique dans la poésie

chinoise classique' an, + Krist#$a( 'Compte rendu' ( *+ 19+

*"i%oso*"i&a% episteme o! su/4#&t:o/4#&t is annu%%#, in C"in#s# *o#tr( a&&or,in) toFranJois C"#n)( in !a$our o! an int#riori=ation o! t"# #.t#rna% -or%,+ Krist#$a ar)u#s t"at int"is *o#ti& *ra&ti&# t"# su/4#&t is tra$#rs#, an, #.&##,#, / t"# "#t#ro)#nous !or&# o!si)ni!ian&# t"at is /rou)"t into *%a( a ,ia%#&ti&a% o*#ration -"i&" is %in2#, to t"# t#.tua%*ra&ti&# o! *el +uel.


























6hile the similarities "et5een the more radical moments of literature and Chinesesinifyin practices are stri8in, "ecause "oth present an outside of 6estern culture, thelin8s "et5een the aesthetic and the political are tenuous. *here is a mar8ed o$er9in$estment in the ideoloical at the e3pense of political analysis, so that there is a certainamount of 5ishful thin8in in *el +uel's Maoism4 it pro?ects an ideoloical ?ustification onto a political reality that di$erts from it. *he Chinese culture in$estiated "y the re$ie5 is,

for e3ample, almost 5ithout e3ception "ased on ancient modes of thouht and ta8es noaccount of the modern cultural reality of China. &n the other hand, if 5e accept that *el+uel's Maoism is a transression of Mar3ism, then the misappropriation of political realityis not as rele$ant as the massi$e introduction, effected "y the re$ie5, of a 5ealth oferudite 8no5lede a"out China into the arena of intellectual de"ate in France.

)t is also true that the Maoist period sees a reater emphasis in the re$ie5 on politicalquestions. A lare num"er of articles appear from sinoloists 5ho offer fa$oura"le reportsof the political reforms since the Cultural #e$olution. B 6hile the pro?ecti$e 5ishfulthin8in of *el +uel has much to do 5ith its disastrous misreadin of the political reality inChina, it also has a lot to do 5ith the disinformation supplied "y these erudite sinoloists, Dean <au"ier, Dean Chesneau3, Macciocchi, and others. *heir insihts 5ere at the e3penseof a considera"le "lindness. #eports of a less positi$e tone 5ere also emerin, such asSimon !eys's !es a"its neufs du Président Mao, pu"lished "y Champ !i"re, 5hich also

pu"lished the situationists, in -G-, and Dean Pasqualini Prisonnier de Mao in -G2.China's entry into the Inited Nations in -G- and Ni3on's $isit to China in -GB intimatedthat China's forein policy 5as more

WWWWWWWWWWWWWWWWWWWW?9 S## + Dau/i#r( '!a Chine au?ourd'hui' ( *+ 0 6summ#r 19? an, ')déoloie, pou$oir

et auchisme en Chine populaire' ( *+ 6summ#r 19+ Dau/i#r is t"# aut"or o! ana&&ount o! t"# Cu%tura% R#$o%ution an, #,itor o! t"# im*ortant *#rio,i&a% !a Nou$elleChine. See also Dean Chesnau3, 'Tanan', *+ /- @sprin -G. A more phantasmaticand su"$ersi$e approach is present in Susan Sonta article, 'Pro?et d'un $oyae enChine', *+ . )f Maoist China is reconi:ed as a fantasy, the political hysteria resultinfrom it could then ha$e "een analysed as such.

&on&i%iator to t"# #st t"an t"# i,#o%o) o! >aoism su))#st#,+ @ So !or a %on) tim#( !rom191 to 198( *el +uel 3s *o%iti&a% *ronoun&#m#nts ar# ,#t#rmin#, / a ,isastrousmisint#r*r#tation o! #$#nts in C"ina on to -"i&" ar# *ro4#&t#, an i,#o%o) s*#&i!i& toFran&#+

CritiBue of arism*el +uel 3s >aoism is a &riti<u# o! t"# >ar.ist sst#m+ T"is #.*%ains to an #.t#nt t"##$#ntua% &ommuni&ation /#t-##n *el +uel an, t"# nou$eau3 philosophes( man o! -"om-#r# #.:>aoists an, -"os# &riti<u# o! >ar.ism #m#r)#s !rom t"at )roun,+ T"#r# is a%so amar2#, &ontinuit /#t-##n *el +uel 3s >aoist &riti<u# o! >ar.ism( -"i&"( "o-#$#r( r#tainst"# r#!#r#n&# to t"# &%ass stru))%#( an, t"# -or2 o! a -rit#r %i2# #an:>ari# #noist( -"os#Mar3 est mort &am# out in 19@( #%a/oratin) a &riti<u# o! >ar.ism !rom t"# *#rs*#&ti$# o!a atai%%#an #m*"asis on "#t#ro)#n#it( /ut -it"out t"# $#sti)#s o! a nomina% >ar.ism:L#ninism+ T"# -or2s o! D#%#u=# an, 'uattari( o! Lotar,( an, to an #.t#nt Fou&au%t( -"i&"-#r# *u/%is"#, in t"# #ar% 19@S -#r# a%so ,#$#%o*in) a &riti<u# o! t"# >ar.ist sst#m asr#*r#ssi$# o! ,#sir#+ T"# La&anian #m*"asis on t"# %a-( in *el +uel ( r#sists t"is *ostu%ationo! t"# s*ontan#ous #.*r#ssion o! r#$o%utionar ,#sir#( -"i&" is &riti&i=#, in t"# r#$i#-+ T"##ar% 19@s -ou%, a%so s## t"# #%a/oration o! a &riti<u# o! A%t"uss#r( / a&<u#s Ran&iGr#in *arti&u%ar( in !a !e%on d'Althusser 6 19; an, / A%t"uss#r "ims#%! in #éponse Dohn!e5is 6 19 an, Éléments d'autocritique 6 19?+ T"# *ositions t"#s# /oo2s *r#s#nt#,ar# s#$#r#% &riti&i=#, in t"# #,itoria% s#&tions o! *el +uel + T"# r#$i#- -ou%, *u/%is"arti&%#s &riti&a% o! t"# >ar.ist sst#m( /ut !rom -it"in( !rom t"# *#rs*#&ti$# o! t"# &u%tura%r#$o%ution o! >aoism+ T"# *#rio, s##s a !o&us on Hramsci / >a&&io&&"i( arti&%#s onso&ia%ism an, -om#n / Domini<u# D#santi( on t"# #ar% so&ia%ism o! Fouri#r( an, ana%sis

/ N+ Pou%ant=as o! Fas&ism+1

T"#r# ar# a num/#r o! arti&%#s &on&#rnin) >ar.ism in itsr#%ation to C"ina+












mom#nt( /ut a%-as -it"in t"# !ram#-or2 o! t"# trans!ormati$# #!!#&t o! %it#ratur# an,im*%i&it% &riti&i=#, in Krist#$a3s -or2+

Artau=ataille7 The +ubIet as not

On% "a%! a #ar a!t#r t"# strat#)i& /r#a2 -it" t"# PCF( *el +uel or)ani=#, a &o%%o<uium(t"# s#&on, s*#&i!i& to t"# r#$i#- its#%!( at Cris:%a:Sa%%#( un,#r t"# tit%# 3Qers uneré$olution culturere; ArtaudY=ataille3+ T"# *ro&##,in)s o! t"# &on!#r#n&#( -"i&" too2 *%a&#in u% 19?( -#r# *art% *u/%is"#, in *el +uel its#%!( in Peinture, cahiers théoriques, andthen completely in t5o $olumes pu"lished "y the 'I.H.E -0Y-1' series 5hich normally"rouht out the Cérisy conference te3ts. &ne nota"le omission 5as <enis #oche's tape9recorded contri"ution on Artaud, ' Artaud refait', 5hich #oche 5ould include as part of his-G/ 'no$el', !ou$e "asse. <isareements o$er this pu"lication led to <enis #oche'sdeparture from the committee in -G2. As the t5o separate $olumes, on Artaud and=ataille, 5ere and are amon the fe5 critical te3ts to focus on these authors, they ha$e"ecome a pri$ileed site of the encounter of *el +uel )n fact, the conference can "e seenas a crucial moment, 5hen *el +uel ma8es its presence felt in the conte3t, and a momentof definition of the approach of the re$ie5 in that period.

WWWWWWWWWWWWWWWWWWWW P+ So%%#rs( '!'Acte =ataille', in id + 6#,+( =ataile 6 Paris( 19( 1+ T"# arti&%# is a%so *u/+

in *+ B+

T"# tit%# 3Qers une ré$olution culturelle3 in,i&at#s t"# >aoist ori#ntation+ In !a&t( a%t"ou)"t"#r# is a &#rtain *ro4#&tion o! t"# &u%tura% r#$o%ution o! Artau, an, atai%%#3s -ritin) on tot"# r#a%it o! C"in#s# *o%iti&s 6*arti&u%ar% in t"# &ontri/ution 3 Artaud tra$aillé par laChine3( / H#nri&( -"o( "a$in) %#!t t"# *art( o$#rt% situat#s r#$o%utionar !ait" inC"ina( t"# &on!#r#n&# !or t"# most *art !o&us#s on %#ss #.*%i&it% *o%iti&a% t#rrain( su&" ass#.ua%it( t"# !ami%( -ritin)+ In "is *r#%iminar a,,r#ss So%%#rs %o&at#s t"# #ss#ntia% 2noto! t"# &on!#r#n&#( an, t"# t"#or#ti&a% -or2 to &om#( as t"# <u#stion o! t"# su/4#&t(#ntai%in) an ana%sis o! s#.ua%it( t"# !ami%( le sa$oir in its r#%ation to t"# su/4#&t( o!

ma,n#ss an, -ritin)+7

T"is -i,#ns t"# !o&us o! *el +uel an, /rin)s it into &%os#r &onta&t-it"( or on to t"# )roun, o! *s&"oana%sis+ At t"# sam# tim#( #.*%i&it% situatin) t"#&on!#r#n&# a!t#r 1987( t"# *ro/%#m o! t"#or an, its a**ro*riati$# &a*a&iti#s is *os#,+So%%#rs stat#s t"at t"#or n##,s to /#)in -it" t"#s# <u#stions( -it" t"# <u#stion o! t"#su/4#&t *os#, / Artau, an, atai%%#( /ut t"at it a%so t#n,s to t"in out or -at#r ,o-n t"#s#<u#stions+ 9 H# a%so a!!irms t"at 3il faut penser l'impensé de Mar3 et Freud apr(s eu3' + ;@ Itis t"is a!t#r-ar,s 6apr(s t"at ,#!in#s t"# &on!#r#n&#+ T"#or is o*#n#, u* / t"# <u#stiono! t"# su/4#&t( an, t"is <u#stion( 'l'en?eu mme de la dialectique' ( ;1 a%so o*#ns u* an,*ro/%#mati=#s >ar.ist an, Fr#u,ian t"#or( 3a!t#r t"#or3+ Krist#$a /#)ins / *ro*osin) "#r%on) t"#or#ti&a% arti&%# on 3!e Su?et en proc(s3( its#%! o*#nin) u* t"# La&anian an,H#)#%ian su?et unaire to t"# n#)ati$it o! t"# *u%siona% *r#:$#r/a% su/4#&t( as 3une in$asionde la neutralité théorique positi$iste par l'e3périence mme du su?et de la théorie 3+ ;? T"#&on!#r#n&# a**#ars as a sit# o! $ita% &ontra,i&tions( /#t-##n s&i#n&# or t"#or an, t"#su/4#&ti$#( a t"#or o! t"# su/4#&t trou( "o%#, or o*#n#, / #.*#ri#n&#+ T"# t#rrain o!

#n<uir o! t"# su/4#&t an, s#.ua%it is su*#rim*os#, on to( or &on,#ns#, -it"( t"#*"i%oso*"i&a% an, *o%iti&a%( an, t"# &ontra,i&tions t"at r#su%t -i%% !or&# t"rou)",#$#%o*m#nts in t"# r#$i#-3s "istor in t"# n#.t "a%!:,#&a,#+ So%%#rs3s ans-#r to t"#<u#stion 'Pourquoi Artaud, pourquoi =ataille7' is( &"ara&t#risti&a%% an, a*t%( 'Pour faire"ouer des contradictions' + ;

7 P+ So%%#rs( 3Pourquoi Artaud, pourquoi =atailleQ3( in i,+ 6#,+( Artaud ( 9:1?+9 I/i,+ 1@0 3 !a théorie elle9mme ne peut plus se faire sans partir d'eu3 @Artaud et

=ataille, faute d'tre frappée d'insinifiance, le plus sou$ent nous dirons mme qu'elles'éla"ore surtout en les délayant+3

;@ I/i,+ 11+;1 I/i,+;?

Krist#$a( 3!e Su?et en proc(s3( in So%%#rs 6#,+( Artaud ( ;+; So%%#rs( 3Pourquoi Artaud, pourquoi =ataille3( 9+
































"i%# Krist#$a3s &ontri/ution( as un,#r%in#,( t"#or#ti&a%% tr#ats t"# <u#stion o! t"# su/4#&t/#!or# t"#or( /#!or# 8 sa$oir ( So%%#rs 3!'état Artaud 3 *ro/%#mati=#s an #n$#%o*m#nt o!t"# su/4#&t in 8 sa$oir / *ro,u&in) a ,is&ours# !rom t"# %a- o! t"# si)ni!i#r::t"at is( inan&"orin) t"# *ro,u&tion o! énoncés in t"# ,is*%a&#m#nt o! %#tt#rs( !or #.am*%#( !rom 3%#*%i3 to 3%# )%i3 to 3%# &ri3+ 3L# )%i3( So%%#rs3s &riti&a% tar)#t( a**#ars to /# t"# r#*r#ssi$#(a**ro*riati$# <ua%iti#s o! &omm#ntar0

+ui intronise le li, l'émet, l'émane, le diffuse et le reproduit7 +ui se fait en lui, le prend, le pro?ette7 +ui l'a décidé, qui l'a dit7 +ui reste l pour en assurer le redit7 C'est le li qui se prend pour cri. +ui $oudrait etre li dans le cri pour pou$oir commenter le cri. Et parconséquent en faire de l'écrit + ;;

T"#or#ti&a% *ro,u&tion is "#%, to t"# mat#ria%it o! %an)ua)#+ In P%#n#t3s &ontri/ution onArtau, t"# &ontra,i&tions /#t-##n #.*#ri#n&# an, 'le code du sa$oir' ar# mor# #$i,#nt(sin&# P%#n#t /#)ins / sain) t"at #ss#ntia%% "# "as 3not"in) to sa3 a/out Artau,(r#su%tin) in a t#.t -"i&" *u%%s &omm#ntar to-ar,s r#a,in) "is &omm#ntar on t"#3t"#atr#3 o! Artau, #$#ntua%% !a%%s into a r#a,in)( or a -ritin) t"at &annot /# int#)rat#,-it" a ,is&ours# o! 2no-%#,)# or t"#or+ For #.am*%#0 3démontrer une sorte d'affinitémystérieuse entre la $iande de pourceau3 et la nature de la peste malaise physique tacheroue toumant au noir tte poids fatiue aspiration manétique3+ ;5

>or#o$#r( t"# r#a% #ru*ts in t"# t#.t in &a*ita%s( as P%#n#t not#s t"at -"i%# "# -as -ritin)(a riot #ru*t#, in a str##t n#ar "im+ ;8 ust as So%%#rs3s &ontri/ution som#tim#s "as t"#sam# st%isti& !orm as "is no$#% !ois( so P%#n#t3s t#.t( t"is *o%iti&a% irru*tion 3in *arti&u%ar(r#&a%%s "is /oo2 Stan:e( -"i&" a**#ar#, in t"# !o%%o-in) #ar+ His &ontri/ution on ata%%%#-as in !a&t a &anto o! Stan:e( r#tit%#, '!'&restie' a!t#r a atai%%# t#.t+ ; Pi#rr# 'uotat3st#.t on Artau,( 3!anae du corps3( ,#s&ri/#s "is *ra&ti&# o! -ritin) -"i%# mastur/atin)-it" t"# ot"#r "an,( 3%3autr# main /ran%#3+ art"#s3s t#.t on atai%%# is stru&tur#, as as#ri#s o! !ra)m#nts -it" tit%#s in a%*"a/#ti&a% or,#r( to assur# 3un deré :éro de l'ordre3(*r#!i)urin) "is #oland =arthes par #oland =arthes+ ;7 T"#r# is an in!i%tration o! t"#or /t"# &r#ati$# *ra&ti&# o! -ritin)( an, $i&# $#rsa( -"i&" t#n,s to un,#rmin# t"# *r#t#nsion o!t"#or to &%osur# an, to t"# *ositi$ist n#utra%it Krist#$a r#!#rs to+ In t"# &ont#.t t"#&on!#r#n&#

;; I,+( '!'État Artaud' ( in i,+ 6#,+( Artaud ( 1;+;5 >+ P%#n#t( 3!a Mati(re pense3( in So%%#rs 6#,+( Artaud ( 1;9+;8 I/i,+ 17+; >+ P%#n#t( 3!'&restie3( in So%%#rs 6#,+( =ataille( 1@8:119+;7 R+ art"#s( 3!es Sorties du te3te3( i/i,+ 9+

a**#ars as a mom#nt -"#n *el +uel ,#!in#s its s*#&i!i&it( -it"out t"# n#&#ssit o!r#!#r#n&# to D#rri,a( La&an( or A%t"uss#r+ Krist#$a3s -or2 /#&om#s t"# *rin&i*a% t"#or#ti&a%r#!#r#n&#( ,is*%a&in) t"#s# t"r## !i)ur#s a%% at on&#+ It is a%so 3*ost 3873 in t"# !o&us on t"#su/4#&t( on s#.ua%it an, t"# !ami% 6t"#r# ar# r#!#r#n&#s to anti:*s&"iatr an, Da$i,Coo*#r( t"# En)%is" anar&"isti& an,:*s&"iatrist ;9 + A n#- r#!#r#n&#( /ut on#

a&&om*ani#, / &riti&ism( is to D#%#u=# an, 'uattari Anti9&edipe( to a mor# !%ui,( anti:stru&tura% *s&"oana%sis+ 5@ In t"# 19@s( *el +uel ,#$#%o*s its t"#or an, its !i&tionin,#*#n,#nt%( an, to-ar,s t"# ,isso%ution o! t"# sst#m o! >ar.ism an, Fr#u,ianana%sis( #%a/oratin)( as So%%#rs stat#s o! atai%%#( 'un syst(me du non9syst(me' + 51 T"#&on!#r#n&# is a *oint o! ,#*artur# an, o! ,#!inition( o! a t"#or a!t#r t"#or+

Hetero,enous itionT"# no$#% in t"# 19@S is a mi.tur# o! t"# &ontinuation o! a%r#a, #sta/%is"#, tr#n,s( su&"as t"# nou$eau roman( t"# -or2 o! Duras( P#r#&( or Tourni#r( an, t"# #m#r)#n&# o! n#-tr#n,s( su&" as écriture feminine or t"# 3*ostmo,#rn3 no$#%+ T"# %att#r( in Fran&#( in t"#-or2 o! -rit#rs %i2# Ra*"a#% Pi$i,a%( #an:Lu& #no=i)%io( Pas&a% ru&2n#r( or R#nau,Camus( #n)a)#, in a art"#sian *%a!u%n#ss( #nt#rtainin) a *aro,i& r#%ation to t"# &risis o!mo,#rnit+ *el +uel 3s !i&tion( a!t#r t"# anonmous !orma%ism o! t"# %at# 198@s( /#&om#s































mor# in,i$i,ua%i=#,( mor# r#%at#, to t"# itin#rar o! #a&" -rit#r( /ut a%% t"# sam# a )#n#ra%t#n,#n& &an /# i,#nti!i#, to-ar,s a mor# "#t#ro)#nous( $io%#nt( an, "umorous !orm o!-ritin)+ "i%# a&<u#s H#nri& an, 'u S&ar*#tta *ro,u&# no$#%s 6 Chasses( 195 an,Sc(ne( 19? mor# in %in# -it" t"# t"#or#ti&a% a,$an&#s o! *el +uel ( an, mor# #ss#ntia%%-it"in t"# !orma%ist t#n,#n&( t"# main !i)ur# o! t"is *#rio, is So%%#rs( -"os# !ois an, &om# out in <ui&2 su&&#ssion in 191 an, 19( an, -"os# -or2 s"o-s a r#mar2a/%#

,#$#%o*m#nt+ A%so o! in,ir#&t im*ortan&# ar# t"# no$#%ists >auri&# Ro&"# an, S#$#roSar,u( *arti&u%ar% t"# %att#r( -"os# -or2 Co"ra 6 19? &o:trans%at#, / t"# aut"or an,So%%#rs( &an /# &it#, as an in!%u#n&# on t"# -or2 o! t"# %att#r+

Sar,u Co"ra is simi%ar to !ois in its *aro,i& a**roa&" to int#%%#&tua% s#riousn#ss+ T"#or istr#at#, *aro,i&ar an, 4o!u%%( in t#rms o!

;9 S## So%%#rs( 3!'État Artaud 3( in i,+ 6#,+( Artaud ( 15+5@ S## Krist#$a( 3!e Su?et en proc(s3( i/i,+ ;;+51 So%%#rs( 3!'Acte =ataille3( in i,+ 6#,+( =ataille( 11+

r#!#r#n&#s an, st%#+ 5? It is a%so *ostmo,#rn( in on# s#ns#( in its r#!ramin) o! mo,#rnist

t"#or as &ont#nt( -it"in a narrati$# !ram#+ It is a *ost:3 87 no$#% in its a**#a% to *o*u%ar&u%tur#( 4a== an, ro&2 musi&( ,ru) &u%tur#+ 5 >auri&# Ro&"# CodeV 6 19; is t"# !ina% *arto! t"# tri%o) o! no$#%s /#)un -it" Compact 6 1988 an, Circus 6 191 in -"i&" anarrati$# is ,#!orm#, / a "#t#ro)#nous an, *o%*"oni& t*o)ra*"+ Co,#X /#)ins -it"t"# <u#stion0 3&omm#nt &r#$#r *ro*r#m#nt3+ 5; T"# -ritin) o! t"# /oo2 is r#%at#, to t"#<u#stion o! ,#at" an, morta%it+ In %at#r t#.ts( t"# t"#m# o! ,#at" an, t"# ma&a/r#*r#,ominat#s+ 55 ritin) /#&om#s a m#,itation on( an, a )#stur# a)ainst( t"# ,#at" o! t"#-rit#r( /ut in a s*irit o! /%a&2 "umour( not un%i2# t"at o! D#nis Ro&"# in "is 198 t#.t!ou$e "asse+

T"# -or2 o! So%%#rs( Ro&"#( an, Sar,u( as -#%% as !e Micrit / D#nis Ro&"# an, So%%#rs*r#!a&# !or it( 58 mar2 a ,#!init# turn to-ar,s "#t#ro)#n#it+ T*o)ra*"i&a%%( a"#t#ro)#nous $isua% t#.t is a&&#ntuat#, in >auri&# Ro&"# -or2( -"i%# !ois is a mor#!ra)m#nt#,( *#r&ussi$#( an, *un&tur#, t#.t+ T"# ,i!!#r#n&# is not on% $isua%( "o-#$#r itis a%so aura%+ !ois intro,u&#s as a ma4or #%#m#nt t"# #.&%amation mar2 as t"# instan&# o! a*#r&ussi$# r"t"m( %i2# a s"ar* ta* on t"# tm*anum+ it" !ois( So%%#rs "a, intro,u&#, a!i&tion t"at -or2s as mu&" on t"# %#$#% o! soun, an, o! r"t"m as on a &on&#*tua% %#$#%+ritt#n most% in ,#&as%%a/i& *"ras#s( t"# t#.t o! !ois is "umorous% s&ann#, / ar#*#tition o! soun,s( *rin&i*a%% t"# *ast *arti&i*%# #n,in) in é, alliteration, and rhym+ 5 T"is -ritin) !or&#s &ontra&tions an, n#o%o)isms( a mor# *o*u%ar !orm o! Fr#n&"( itsant#&#,#nts /#in) Ra/#%ais or i%%on rat"#r t"an >a%%arm or %an&"ot+ 57 T"#r# ar#$#sti)#s o! a stru&tur# /as#, on t"# &u/#( /ut t"# ar# r#%at#, to a !irst

5? S## S+ Sar,u( Co"ra 6 Paris( 19?( 80 '&ui, car par un phénom(ne d'). p. s,

@)ndefinitely proceedin sequences, of course qu'il n'est pas scilicet d'analyser, Co"ran'était pas dé? sortie de son premier sho5 de la nuit' ( an, *+ 70 'elles s'étaient

arraché les cils postiches et les onles, elles a$aient roulé sur le sol, elles étaientrestées telquelisées' +

5 I/i,+ 1@:?@( 'Eat Flo5ers' +5; >+ Ro&"#( Code3 6 Paris( 19;( 1155 For a &onsi,#ration o! t"# t#.ts o! >+ Ro&"#( s## + Paris( Maurice #oche 6 Paris( 1979+58 P+ So%%#rs 3!'Aréopaite3( in D+ Ro&"#( !e Mécrit 6 Paris( 19?+ So%%#rs3s t#.t is -ritt#n

in t"# sam# 3Ra/#%aisian3 st%# as "is no$#% !ois( *aro,in) 3le coup du po(te3( 6*+ 1;(an atta&2 on t"# i,#o%o) o! *o#tr an, its i,#a%ism+

5 S## So%%#rs( !ois( 8 0 3lui donc détaché li"re mais encore ramassé crispé3+57 T"# n#o%o)i=in) t#n,#n& *ro,u&#s an aura%% an, ora%% ,#%i&ious *o#tr s## So%%#rs(

i/i,+ 1;0 'Propulsé pulsif depuis les mimines\ <é$ié des accouches emmlimétau3\Échomance\ =é"te fon%ant sous feuillae\ umouisseu3 "a$eu3 "r`lant tous les feu3\' It is a t#.t in -"i&" onomato*o#ia /#&om#s a su/$#rsi$# *rin&i*%# -it"in m#anin)( as

r#&o)ni=a/%# in t"# !o%%o-in)0 3"roum schnourf scrontch clon pof pif clonc8 3 6*+ 1@ +
































T"# *un&turin) or -oun,in) o! t"# su/4#&t o! t"# -ritin) in Lois( *#r"a*s #n)a)#, -it" t"#,#at" o! t"# !at"#r an, t"# atta&2 on t"# mat#rna% tissu# o! &u%tur#( #na/%#s t"# r#:#m#r)#n&# o! an auto/io)ra*"i&a% su/4#&t in . is a n#- ,#*artur# in So%%#rs3s -ritin)an, in t"# !i&tion o! *el +uel in t"# intro,u&tion o! an auto/io)ra*"i&a% mo,#+ It is !o%%o-#,or *ara%%#%#, in t"# *o#tr o! P%#n#t a!t#r Stan:e( an, o! Riss#t a!t#r Feu an, in t"# no$#%so! >auri&# Ro&"# an, a&<u#s H#nri& 6 Carrousels( 1971+ It *r#!i)ur#s t"# #m#r)#n&# o!

an auto/io)ra*"i&a% &ont#nt in Fr#n&" !i&tion o! t"# 197@s /ut -"i%# t"# auto/io)ra*"i#so! Ro//#:'ri%%#t( Sarraut#( an, ot"#rs 8 -#r# *#r&#i$#, as a /r#a2 -it" t"# *r#$ious#.*#rim#nta% -or2( So%%#rs3s auto/io)ra*" is *ro,u&#, !rom an, t"rou)" t"# tissu# o!-ritin)+ Para%%#%s to So%%#rs3s t#.tua%

85 T"# #.&%amation mar2 a%so *ro$i,#s a %in2 /#t-##n t"# *aro,i& t#.t an, t"# *o%iti&a%

*ronoun&#m#nts o! t"# r#$i#-( t"# o!t:r#*#at#, *"ras# 3Qi$e la pensée9maotsetoun\3#n,in) -it" t"# sam# mar2 an, !#aturin) a simi%ar &ontra&tion to t"os# of !ois+

88 For a &onsi,#ration o! t"# r#%ation /#t-##n !ois an, 6 Paris( 19+ S## P+ So%%#rs3s,is&ussion -it" >+ P%#n#t an, +:L+ Hou,#/in#( '!ittérature et ré$olution; Qérité del'a$ant9arde' ( in P%#n#t( Art et littérature( 111 :1?+

8 S## n+7( C"+ ? +

auto/io)ra*" &an( "o-#$#r( /# r#&o)ni=#, in t"# -or2 o! P#r#& an, Ro)#r La*ort#+

A!t#r t"# !orma%ist mom#nt an, its %imit in !ois( /#)ins a tra$#rsa% o! /io)ra*"( ar#int#r*r#tation o! %i!# !rom t"# *#rs*#&ti$# o! -ritin)( #na/%in) t"# -rit#r to o&&u* t"#*osition o! t"# -rit#r /#!or# or a!t#r #.*#ri#n&# as su&"+ Auto/io)ra*" is not *r#s#nt int"# s#ns# o! a r#%ation to #$#nts in a %i!#( /ut is an #.*#ri#n&in) o! %i!# t"rou)" t"##.*#ri#n&# o! %it#ratur#+ T"is *ro,u&tion o! an auto/io)ra*"i&a% tissu# in %an)ua)# n##,s asi)ni!i#r( or a s#ri#s o! si)ni!i#rs( to )#n#rat# its#%! or to 2not its#%! aroun,+ T"is t#n,s to/# a nam# or a !i)ur# r#%at#, to t"# nam# o! t"# -rit#r+ !ois a%r#a, ,#!orm#, t"# *ro*#rnam# in or,#r to *ro,u&# s#ns#( an imm#rsion o! t"# nam# in t"# )#n#rati$# tissu# o!m#anin) -"i&" is &ru&ia% to So%%#rs3s a#st"#ti&+ T"# ,#!ormation o! t"# nam# in !ois( in (/#&om#s a tra&in) o! its "istor( or o! t"# *ossi/i%iti#s o! its si)ni!i&ation( -"i&" )#n#rat#ss#ns#( an, s*#&i!i&a%% auto/io)ra*"i&a% s#ns#+ For #.am*%#( in t"# !irst !#- *a)#s o! ( t"#

-ritin) *ro,u&#s a m#,itation on t"# nam# o! t"# -rit#r+ #)innin) -it" a s#&tion in -"i&"t"# -rit#r a,,r#ss#s t"# <u#stion o! t"# /#)innin) o! a n#- no$#%( its in$o&ation to -ritin)(as it -#r#( t"# int#ntion is #.*r#ss#, to0 3transformer le filtre se $erser le philtre3+ 87 T"#su/4#&t as -rit#r -i%% /# trans!orm#,+ 3Philtre' leads on, throuh a repetition of sylla"les, to'?'ai ce phi flottant sur les l($res3+ 89 T"# -rit#r3s 6tru# !irst nam#::P"i%i**#::is )#n#rat#, int"# t#.t( %#a,in) to 'l'autre infans3( to in!an& 6$ia a r#!#r#n&# to Fr#u,3s #ssa onL#onar,o( an, t"#n( %o)i&a%%( to t"# !at"#r+ T"# !at"#r 63o&ta$#3 *ro,u&#s t"# !i)ur##i)"t0 3si le huit re$ient sans fin quand ?e marche si ?e pense facilement la liturie si unson m'appara_t tou?ours accompané surmonté %a $ient du prénom impossi"le en mmetemps latin de mon p(re non tu ne trou$eras pas ?e l'écris octa$e e3actement comme inocta$o3+ @ T"# !i)ur# #i)"t *ro$i,#s a 4un&tur# -it" a ,#s&ri*tion o! t"# si)natur# 6anot"#r$ita% #%#m#nt amon) So%%#rs3s &on&#rns o! t"# !at"#r( in&%u,in) t"# !ami% nam# '?oyau3' (-"i&" %#a,s to a m#mor o! a s&"oo%mast#r3s *aro,in) t"at nam#0 3ce ?oyau3 que $oule:9

$ous ce ?oyau3 n'est pas une perle3+1

T"# nam# 34oau.3 is a%so imm#rs#, in t"# int#rna%si)ni!in) *u%sion o! %an)ua)#0 3on y entend la fois ?cu ?oie ?uif ?ouissance3+ ? 3 P"i%i**#3 ist"#n su/4#&t#, to a simi%ar ana%sis( *ro,u&in) a "istori&a% s#ri#s( !rom 3*"i%i**in#s36nam#, a!t#r P"i%i**# >a)#%%an( t"# 'r##2 !at"#r o! A%#.an,#r( 'r##2 *%a&#:nam#s(&a%%in) t"is a 3 passeport dans le monde

87 So%%#rs( ( 9+89 I/i,+@ I/i,+ 1@+1 I/i,+? I/i,+

rec 3+

T"# 'r##2 *ass*ort #na/%#s a&&#ss to t"# nam# 3So%%#rs3( 3surnom d'ulysse desollus tout entier intact ars inénieu3 3+ ; T"# r#a,in) o! is an imm#rsion in a str#am o!m#anin) *ro,u&#, / t"# 3%a- o! t"# si)ni!i#r3 an, / a r"t"m o! s#ns# int#rna% an,
































in"#r#nt to %an)ua)#( -"i&" P%#n#t r#!#rs to as 3le "attement du sens3+ In t"is &ont#.t( t"#su/4#&t o! auto/io)ra*" &an /# sai, to /# imm#rs#, in( or su/4#&t#, to( t"# -ritin)(rat"#r t"an /#in) in a *osition o! aut"oria% &ontro% o$#r t"# #$#nts o! a %i!#+

As t"# %a- o! t"# si)ni!i#r *ro,u&#s s#ns# !rom t"# ra- mat#ria% o! %an)ua)#( as it -#r#(an, r#int#r*r#ts /io)ra*"( it a%so /rin)s on to t"# s&#n#( or #n)a)#s in its m#&"anism(

ot"#r t#.ts+ T"# #!!#&t o! int#rt#.tua%it( -"#r# runs *ara%%#% to ot"#r t#.ts( at tim#s&itin) t"#m or &omm#ntin) on t"#m( "as /##n mar2#, / Krist#$a in "#r arti&%#3Po%%o)u#3( 5 an, / #an:Louis Hou,#/in#( *arti&u%ar% a s#&tion -"#r# H%,#r%in is*r#s#nt( in "is arti&%# 3!e Chant @ou sens $i$ant des lanues3+ 8 P#r"a*s t"# mostnota/%# t#.t /rin)s into !o&us is t"# i/%#( or t"at o! r#%i)ion( /ut in a %#ss #.*%i&it -at"an in Paradis+ In t"# o*#nin) s#&tion( So%%#rs r#%at#s t"# m#mor o! "is !at"#r to t"#Cat"o%i& %itur)+ A *a)# !urt"#r on( r#m#m/#rin) "is na2#,n#ss on a /#a&"( t"# -ritin)*r#s#nts0 3aussi dans la "i"le on a le mme mot hé"reu pour nu rusé é$eillé3+ Furt"#r on-# r#a, 3 ?e suis précisément sur le point de me faire catholique3+ 7 T"# r#%i)ious si)ni!i#rint#r$#n#s at r#)u%ar int#r$a%s in t"# t#.t( -it"out /#in) int#)rat#, into a sst#m( as inParadis+ a**#ars( as So%%#rs su))#sts( as t"# "rouillon or s2#t&":/oo2 o! t"# n#.t no$#%(9 *rin&i*a%% in t"at t"# r#%i)ious t#.t is /rou)"t into !o&us( /ut is not int#)rat#, into t"#m#&"anism o! t"# -ritin)( *#r"a*s sti!! in &on!%i&t -it" t"# >aoist t#n,#n&( -"i&" a%so#m#r)#s at int#r$a%s+

T"# r#%i)ious si)ni!i#r is #n)a)#, not ar/itrari%( /ut t"rou)" t"# %o)i& o! t"# -ritin)+ A!t#rt"# ,#msti!i&ation o! !ois( a**#ars as t"# ,#s*#rat# m#,itation o! an aso&ia%i=#,su/4#&t( *#r"a*s a *aranoi, su/4#&t( -ritin) !rom a *osition /#on, so&ia% ,is&ours# an,ana%sin)

I/i,+; I/i,+ 11+5 + Krist#$a( 3Po%%o)u#3( *+ G 6s*rin) 19;( an, in #a,+( Polyloue+8 +:L+ Hou,#/in#( 3!e Chant @ou sens $i$ant des lanues3( *+ G ( an, in i,+( E3c(s de

lanaes 6 Paris( 197+ Krist#$a an, Hou,#/in#3s #ssas ar# *u/+ in a s*#&ia% issu# onSo%%#rs( in&%u,in) a%so arti&%#s on So%%#rs3s no$#%s / art"#s( P%#n#t( an, St#*"#n

H#at"( an, t"# !irst #.&#r*t o! Paradis+ So%%#rs( ( 11+7 I/i,+ 18+9 S## P+ So%%#rs( 3!a Coupole3( in i,+( *héorie des e3cetions 6 Paris( 1978( ?@1+

it+ <rame an, Nom"res a**#ar tan)#ntia% to ,is&ours# as t"# r#a%m o! t"# s*#&ta&%#( -"i%#!ois is a !ronta% atta&2+ T"# su/4#&t o! *aranoia( outsi,# t"# &o"#sion o! %an)ua)# as so&ia%%in2( "a$in) ,#!orm#, %an)ua)#( its )uarant##( /#&om#s an #m*t su/4#&t( on% a filtre !ort"# -ritin)( -"os# /io)ra*" is a%so #$a&uat#, / t"# -ritin)+ T"# t#.t in&%u,#s t"#énoncé, '?'écris pour faire le $ide' + 7@ A!t#r t"is $ide( -"i&" So%%#rs "a, #m*"asi=#, in anarti&%# on Riss#t3s t#.t Deu( 71 t"# on% *ossi/i%it( a*art !rom si%#n&# or *s&"osis( isas&#n,an&#( r#a%i=#, t"#mati&a%% in Paradis( #n)a)in) t"# *osition o! a su/4#&t /#!or# ora!t#r so&ia% ,is&ours#( as So%%#rs stat#s( /#!or# t"# Fa%% or a!t#r r#,#m*tion+ 7? T"is *osition

is %o)i&a%% on# o! *ro*"#&( su))#st#, in an, mor# ,#$#%o*#, in Paradis+ Pro*"#&( a$oi&# 6 #n,s -it" t"# -or, 3$oi.3( Paradis /#)ins -it" it( /#!or# ,is&ours# /ut*ro)rammin) it( natura%% #n)a)#s t"# r#%i)ious si)ni!i#r+

It is #$i,#nt t"at s#r$#s as an #.*#rim#nt !rom -"i&" #m#r)# a num/#r o! #%#m#ntsmor# su&&#ss!u%% -or2#, t"rou)" or sta)#, in Paradis+ T"# !un,am#nta% as*#&t is t"#*ro,u&tion o! t"ou)"t or m#anin) !rom t"# in"#r#nt %o)i& o! t"# si)ni!i#r+ "at #m#r)#st"#n is a *ro*"#ti& an, so&ia%% *aranoi, $oi&#( *ro,u&in) an ana%ti& tra$#rsa% o! so&ia%,is&ours#+ T"is "as #!!#&ts in So%%#rs3s t"#or( -"i&" a!t#r /#&om# mor# &%os#% -#%,#,to t"# *ro,u&tion o! !i&tion+ a%so /rin)s r#%i)ion into !o&us !or t"# r#$i#-( not as ar#a&tion a)ainst t"# L#!t( /ut as t"# )roun, o! so&ia% an, *o%iti&a% ,is&ours#( -"i&" it r#stson -it"out a&2no-%#,)in) t"# !a&t+

In t"# &ont#.t( ( a%t"ou)" an im*ortant sta)#( a**#ars o$#rs"a,o-#, / Paradis+ As*#&ia% issu# on So%%#rs o! 19;( -"i%# in&%u,in) arti&%#s / art"#s( Krist#$a( P%#n#t(Hou,#/in#( an, St#*"#n H#at" on an, !ois( a%so in&%u,#s t"# !irst #.&#r*t o! Paradis(


































-"i&" -i%% /# *u/%is"#, s#ria%% in #a&" issu# o! *el +uel, 5ith the sinificant e3ception ofthe '#echerches féminines' issue of -G1, up to its pu"lication as a "oo8 in -1-. ) 5illloo8 at Paradis retrospecti$ely in a final section on fiction, "ut it is important to note ho5the no$el and its serial pu"lication alters the status of the re$ie5. )t is no5 more firmlylin8ed to a sinular literary production, 5hile also pu"lishin the poetry of Pleynet atreular inter$als. )t is producin one of the ma?or fictional

WWWWWWWWWWWWWWWWWWWW7@ P. Sollers( ( 1;+71 I,+( 3!a Pratique formelle de l'a$ant9arde3( *+ /+7? S## i,+( 3!a Coupole3( in i,+( *héorie des e3ceptions. !istin the questions that

conditioned Paradis, Sollers 5rites @p. B00 ; 'Pourquoi le fran%ais n'a9t9il pas traité del'entrée clans le monde d'a$ant la chute et la faute, ou dans celui d'apr(s la chute et lafaute99de la #édemption7'

-or2s o! t"# *#rio,( t#m*ora%% s*annin) a%most t"# -"o%# ,#&a,#( r#&or,in)( in a &#rtains#ns#( t"# #$o%ution o! t"ou)"t( !i&tion( an, t"#or in t"at *#rio,+ Fi&tion *ara%%#%s an,a&&om*ani#s t"#or( )#n#ratin) it an, a%so *ro,u&in) n#- int#r#sts in t"# t#.ts an,ima)#s *u/%is"#, a%on)si,# it+ 7 Far !rom runnin) into a &u%:,#:sa&( *el +uel 3s !i&tion( int"# -or2 o! So%%#rs( ,#$#%o*s n#- an, inno$ati$# !orms -"i&" t"#ms#%$#s %#a, to -"at "as/##n s##n as t"# u%timat# #.*#rim#nta% no$#% o! t"# *#rio,+

Contraitions7 4olitis an the+ubIet*el +uel 3s t"#or o! t"# #ar% 19@s a**#ars as a &om*a&tin) o! &ontra,i&tor ,is&ours#s(!or&#, to)#t"#r in or,#r to *r#&i*itat# ,#$#%o*m#nts in t"# &ont#.t an, in t"# r#$i#- its#%!(in or,#r to trans!orm t"#or its#%!+ T"# &ontra,i&tion /#t-##n sst#m an, su/4#&t is t"#most #.*%i&it sm*tom o! t"is *#rio,+ Ho-#$#r( t"# sst#m an, t"# su/4#&t ar# not*ro*os#, as t-o s#*arat# si,#s o! a ,ia%#&ti&( /ut !or&#, on to on# anot"#r t"# r#$i#-

att#m*ts to -or2 out a *o%iti&s /as#, on t"# su/4#&t o! #.&#ss So%%#rs &it#s as*ro)rammati& atai%%#3s dictum; ')l faut le syst(me et il faut l'e3c(s.' 7; T"#r# ar# t-oo**osin) ,#$#%o*m#nts t"at #m#r)# !rom t"is su*#rim*osition0 t"# #%a/oration o! an#t"i&s /as#, on t"# su/4#&t o! #.&#ss( an, t"# *ro4#&tion o! a uto*ian *o%iti&s o! t"#su/4#&t on to t"# *o%iti&a% r#a%it o! C"ina( r#<uirin) a &#rtain %#a* o! !ait" t"at >aoism-ou%, not !a%% /a&2 into t"# >ar.ist stru&tur#+

T"# *o%iti&s Krist#$a *uts !or-ar,( !or #.am*%#( is a uto*ian anar&"ism t"at s##ms toa,mit !rom t"# start t"# im*ossi/i%it o! its r#so%ution+ A&&or,in) to t"is *"i%oso*"( t"#n#)ati$it at -or2 in t"# su/4#&t in *ro&#ss is a%so in so&i#t( an, /#&om#s a r#$o%utionar!or&# -"#n %i/#rat#, !rom stasis in su&" atomi& institutions as t"# !ami% or t"# stat#+ utas t"# *s&"oana%ti& r#!#r#n&# /#&om#s mor# su/t%#( mor# /as#, on t"# notion o! &ur#(t"is uto*ian *o%iti&s -i%% )i$# -a to an #t"i&s in Krist#$a3s -or2+ From t"# *#rs*#&ti$# o!&ur#( t"# n#)ati$# #.&#ss o! t"# su/4#&t "as to /# int#)rat#, -it"in t"# sm/o%i&( -it"int"#

7 Durin) t"# 19@s *el +uel 3s a**#aran&# &"an)#, som#-"at( -it" t"# intro,u&tion o!

num#rous ima)#s a&&om*anin) t"# t#.ts( *arti&u%ar% Paradis+ T"#s# in&%u,# *i&tur#so! So%%#rs "ims#%!( o! "is #ar 6su))#stin) t"# im*ortan&# o! t"# aura% r#&#*tion o! t"#t#.t( an, o! r#%i)ious i&ons mor# o!t#n t"an not !rom non:#st#rn &ont#.ts 6C"in#s#(In,ian( or Is%ami&+

7; P+ So%%#rrs( 3Int#r$#ntion3( in i,+ 6#,+( atai%%#( 1@+

%a-( rat"#r t"an t"# %a- /#in) su/$#rt#, / it+ T"is t#n,#n& is a%r#a, *r#s#nt inKrist#$a3s -or2( as is su))#st#, / "#r 191 #ssa on art"#s( -"#r# s"# -rit#s0

!'o"?ecti$ation du désir pour l'écriture e3ie du su?et @de la métalanue le dou"lemou$ement d'adhésion et de distance dans lequel il "ride son désir de sinifiant par la











sanction d'un code elle9mme dictée par une ethique @utopique7; insérer clans la sociétéune pratique qu'eue censure, hui communiquer ce qu'elle ne peut pas entendre,reconstituer ainsi la cohésion et l'harmonie du discours social par nature "risé+ 75

T"# r#!#r#n&# to so&ia% &o"#sion an, "armon a**#ars as %#ss ra,i&a% t"an t"# >aoist*o%iti&s asso&iat#, -it" *el +uel, "ut if 5e also read >riste$a's $ie5 that society is

essentially paranoiac, essentially oppressi$e in the imposition of a common discourse, thenthis emphasis on cohesion, the interation of elements of $iolence outside it, appearsmore comple3. )t poses the necessity of an ethics of the transformation of the la5 toaccount for its e3cess. *he question of femininity also enters into this de"ate, since5omen appear as the silent uarantors of the common discourse that in reality oppressesthem. >riste$a's reference to Maoism then appears as in conflict 5ith the emerin ethicsof her 5or8, proposin literature as in some 5ay curati$e, rather than as a su"$ersi$ea$ant9arde.

Le oyage en Chine: Phantasy an&,ragentationHi$en the theoretical redundancy of the system of Mar3ism, undermined "y the neati$ityof the su"?ect of process, it appears that *el +uel's continued alleiance to Maoism inChina is "ased on the premise that Maoism itself is a transression of Mar3ism, 5hileremainin at the same time the truth of Mar3's thouht. Such is the $ie5 proposed "y thenumerous articles on China and on Maoism that appear in the re$ie5. As 5e suesteda"o$e, this is a phantasmic pro?ection conditioned "y disinformation and an o$er9in$estment in the ideoloical le$el. *he irruption of the reality of the Chinese situation, partly in the trip to China in -G and completely 5ith the death of Mao and the arrest ofthe Han of Four in -G/, ruptures the mem"rane of this phantasy. *he trip is not a trueencounter 5ith the reality or real of China, since this is an opaque reality4 as =arthes points out, it is not

WWWWWWWWWWWWWWWWWWWW75 + Krist#$a( 3Comment parler la littérature3( *+ G 0 ?7+

su/4#&t to a "#rm#n#uti&s+ 78 Sti%%( it ma "a$# "a, an #!!#&t in !ra)m#ntin) t"# &o"#siono! t"# )rou* *"antas o! r#$o%utionar >aoist C"ina+ Ea&" in,i$i,ua% r#a&ts to t"##.*#ri#n&# ,i!!#r#nt%( as P%#n#t3s 4ourna% o! t"# tri*( !e Qoyae en Chine, pu"lished in-10, confirms. 1G 6e can identify this as a symptomatic moment 5hen *el +uel ceases tofunction as a roup and "ecomes a community of indi$iduals.

Fran%ois 6ahl's critical article in !e Monde, entitled 'la Chine sans utopie', forces there$ie5 to reali:e the phantasmatic, pro?ecti$e effect China has4 they fault 6ahl for ?ustthis, aruin that the criticism of Maoism as utopian pre$ents an analysis of the real inChina. 11 Sollers in$ests further hope in the 'Critici:e ConfuciusY!in Piao' campain,

seein it as an anti9metaphysical 5idenin of the scope of Maoism and a mo$e to5ards thee3tinction of the state. 1 *his 5as far from "ein the case4 the campain ena"led areinforcement of the po5er of the state to counter !in Piao @e3treme left radicalism. *his5as disastrous "ecause of the e$ents that follo5ed4 the death of the moderatin houEnlai, Mao's increasin retirement from politics, and the rise of the Han of Four on thee3treme left. o5e$er, despite the continued ideoloical pro?ection, Sollers also insists onquestions of aesthetics and se3uality that dissociate his interests from the system of politics. Aesthetics and se3uality are emphases that slide underneath the shift in strateyof *el +uel a5ay from Maoism. Sollers descri"es, of his encounter 5ith China; 'undynamisme du este, de la transformation', 'une autre fa%on d'tre dans l'espace, dans leeste, la lanue, le sens'. 0 )n effect, 5hat remains of the adherence to Maoism is anattachment to the s8eletal "ody of Maoism, of Mao himself, @suested "y the fascination5ith the Chairman's s5im across the ri$er Tant:e, the final term of 5hich 5ill "e hisdeath, and the assumption or cada$eri:ation of this "ody. )n

WWWWWWWWWWWWWWWWWWWW





















78 S## R+ art"#s( Alors la Chine7 6 Paris( 19;+ T"is *am*"%#t -as s##n as a 3no&omm#nt3 / art"#s on "is tri* to C"ina( #m*"asi=in)( inst#a, o! t"# *o%iti&a% an)%#( anass#ntim#nt 6ass#nt to #.*#ri#n&#+

7 P%#n#t r#*orts 6int#r$i#- -it" aut"or( Paris( 199@ t"at( ,u# to t"# su/4#&ti$#%ori#nt#,( a**ar#nt% a*o%iti&a%( natur# o! t"# /oo2( no *u/%is"#r a&&#*t#, it at t"# tim#(an, its *u/%i&ation -as ,#%a#,+ P%#n#t an, Krist#$a /ot" r#*ort t"at art"#s -ou%,

sta in t"# /us t"# tra$#%%#, in( ta2in) *"oto)ra*"s t"rou)" t"# -in,o-( rat"#r t"an!o%%o- t"# ot"#rs to $isit t"# *%a&#s t"# -#r# ta2#n to+77 3 A propos de !a Chine sans utopie3( *+ 6autumn 19;+ For an in!ormati$# a&&ount

o! *el +uel 3s >aoism an, tri* to C"ina un&onn#&t#, to its t"#or or its &r#ati$# *ra&ti&#(s## I#m# $an ,#r Po#%( Ine ré$olution de la pensée; Maoisme et féminisme tra$ers*el +uel !es *emps moderne set Esprit 6 Amst#r,am( 199?+

79 P+ So!%#rs( 3+uelques th(ses3( 3!a Chine contre Confucius3( an, 3Mao contreConfucius3( *+ 6autumn 19;+

9@ So%%#rs( 3+uelques th(ses3( i/i,+ 17+

ot"#r -or,s( t"# #n, t#rm o! *el +uel 3s >aoism -i%% /# t"# ,#at" o! >ao an, t"#a,"#r#n&# to t"at &or*s# as a si)ni!i#r( as o**os#, to t"# *ossi/%#( /ut uto*ian(trans&#n,#n&# o! t"# sst#m( o! >ar.ism an, >aoism a%i2#+

So%%#rs a%so *ro)ramm#s t"# ,#mis# o! t"# >aoist &urr#nt in *el +uel / arti&u%atin) its!at# -it" t"# <u#stion o! -om#n an, o! s#.ua%it+ H# as2s t"# <u#stion0 ,o -om#n #.istot"#r t"an as o/4#&ts o! #.&"an)# in C"inaQ 91 Krist#$a /oo2 <es Chinoises 6 19; on%)i$#s a *artia% ans-#r( /ut t"# )#stur# o! s"i!tin) t"# -"o%# <u#stion into t"# ar#na o!s#.ua%it is #!!#&ti$# in -it",ra-in) t"# *o%iti&a% an, *"i%oso*"i&a% in$#stm#nt o! *el +uel !rom >aoist C"ina+

T"# tri* to C"ina -as a ru*tur# o! *"antas an, t"# #m#r)#n&# o! t"# r#a%( o! itsot"#rn#ss( ti#, into t"# <u#stion o! its ot"#r t"#atr# o! )#stur#+ T"is r#a%it a%so im*%i&at#st"# status o! -om#n+ P#r"a*s not &oin&i,#nta%%( Krist#$a3s r#s*ons# to t"# tri* to C"ina isarti&u%at#, -it" t"# t#rms o! "#r #n)a)#m#nt -it" t"# !#minist mo$#m#nt Ps&" #t *o( ara,i&a% s*%int#r:)rou* o! t"# M!F @Mou$ement de li"ération des femmes+ T"is #n)a)#m#ntis a !ai%ur# in &ommuni&ation !or /ot" *arti#s Krist#$a3s a**roa&"( -"i&" r#&o)ni=#s t"#

u/i<uit o! *o-#r in si)ni!in) *ra&ti&#( &on!%i&ts -it" t"at o! t"# mi%itant Ps&" #t *o)rou*+ Krist#$a3s *#rs*#&ti$# is non:!#minist in "#r ,isa)r##m#nt -it" t"# notion o! a!#minin# #ss#n&# or an a))r#ssi$# a!!irmation o! !#mininit as r#$o%utionar in its#%!+ Tot"is #.t#nt( Krist#$a /oo2 <es Chinoises, pu"lished "y <es femmes, the pu"lishin houserun "y Antoinette Fouque and Psych et po, is hihly contradictory and not necessarilyrepresentati$e. )t is partly determined "y the utopian anarchism 5e identified earlier, partly "y the radual emerence of her psychoanalytical and ethical concerns. Since ) proposed these to "e already present in >riste$a's 5or8, <es Chinoises seems li8e a returnto an old pro"lematic.

>riste$a's essential thesis in the "oo8 is that feminism and Maoism ali8e are a critique of phauocentric patriarchy. She "ases this on the thesis that non9Confucian @i.e. *aoist and=uddhist se3uality 5as "ased on a true enitality 5hich 5as not restricted to the

dominance of the phallus. *rue reciprocal enitality also short9circuits the &edipuscomple34 it is a 'tra$ersée d'&edipe'. *he "oo8 itself runs historically throuh the earlymatriarchy, the repression of 5omen in Confucianism, the la5s of the Dian3i So$iet,fa$oura"le to 5omen's rihts, and their emerence in the Cultural #e$olution andespecially in the

WWWWWWWWWWWWWWWWWWWW91 P:So%%#rs( 3+uelques th(ses3( 1@+

3Criti&i=# Con!u&ius3 &am*ai)n+ T"# "istori&a% *art o! t"# /oo2 is *r#&#,#, / a t"#or#ti&a%&riti<u# o! 3monot"#ism3( t"# r#%i)ious &on&#*tion o! -om#n( an, an ana%sis o! t"#*s&"oana%ti&a% ,is&ours# on !#ma%# s#.ua%it+ Ho-#$#r( Krist#$a s#*arat#s t"#*s&"oana%ti&a% *art o! t"# /oo2 !rom t"# "istori&a% *art( statin) t"at t"is is in or,#r to

)uar, a)ainst a uto*ian *ro4#&tion o! on# on to t"# ot"#r+ T"is ,isso&iation in$it#s a,#&onstru&ti$# r#a,in) t"at -ou%, s## t"# *s&"oana%ti&a% *art o! t"# /oo2 as a &riti<u# o!t"# "istori&a% *art+ In,##,( -"i%# Krist#$a *as %i*:s#r$i&# to >aoism in t"# "istori&a%









s#&tion( t"# *s&"oana%ti&a% s#&tion &riti&i=#s *atriar&"a% &u%tur#+ T"# #.t#nt to -"i&">aoism is *atriar&"a%( to -"i&" >ao is or isn3t a !at"#r( is anot"#r sm*tomati& *oint in t"#r#$i#-3s >aoism+ It ,#!%#&ts t"# <u#stion o! >aoism on to t"at o! s#.ua%it an, t"#Fr#u,ian an, La&anian *s&"oana%ti&a% t#rms o! t"# Nam# o! t"# Fat"#r( an, *ro)ramm#st"# a/an,onm#nt o! >aoism a!t#r t"# ,#at" o! t"# !at"#r+ Furt"#rmor#( it s#ts u* >aoism!or a &riti<u# o! its a**roa&" to s#.ua%it+ "i%# Taoism ma im*% a non:n#uroti&

s#.ua%it( t"# sam# is not n#&#ssari% tru# o! >aoism+

P%#n#t3s arti&%#s on t"# tri* to C"ina %oo2( t*i&a%%( at t"# !orm o! a ,is&ours# on C"inaan, "is su/4#&ti$# r#s*ons#+ 9? P%#n#t3s #m*"asis on t"# su/4#&ti$# r#s*ons# &an /#attri/ut#, to t"# ,#)r## o! mo,#ration an, s#%!:,#nia% n#&#ssar !or t"# ro%# o! t"#s#&r#tar o! t"# r#$i#-+ T"# 3tra$#rs## ,3a/or, su/4#&ti$#3 9 o! "is a&&ount s"i!ts t"##m*"asis on to t"# sin)u%arit o! t"# -rit#r( a-a !rom i,#o%o)+ For P%#n#t( C"ina is anoutopos( a uto*ia to t"# #.t#nt o! its a/so%ut# ot"#rn#ss t"at &annot /# r#&u*#rat#, in an*%a&# or to*os+ As -# su))#st#, #ar%i#r( t"# ot"#rn#ss o! C"ina as an #.*#ri#n&# a%%o-st"# in$asion o! t"is %a&2 o! m#anin)( an im*ossi/i%it o! "#rm#n#uti&s( / t"# i,#o%o) o!>aoism+ So *el +uel 3s tri* to C"ina a**#ars as an os&i%%ation /#t-##n a r#&o)nition o! itsot"#m#ss an, o! t"# im*ossi/i%it o! int#r*r#tation( an, t"# /%an2#tin) o! t"is ot"#rn#ss /i,#o%o)+ T"# a/i%it to ana%s# t"# #.*#ri#n&# o! t"is ot"#rn#ss on% #m#r)#s *ain!u%%an, s%o-%( an, on% a!t#r t"# *"antas "as -an#,+ T"is )o#s som# -a to #.*%ain -"

P%#n#t3s 4ourna% !e Qoyae en Chine -as on% *u/%is"#, si. #ars %at#r( in 197@( an, on%a!t#r t"# sin)u%ar #.*#ri#n&# o! t"# -rit#r "a, /#&om# a r#&o)ni=#, *oint o! int#r#st in t"#&ont#.t+

9? >+ P%#n#t( 3Pourquoi la Chine populaire3( *+ 6autumn 19; an, 3<u discours sur

la Chine3( *+ /0 6-int#r 19;+9 P%#n#t( 3<u discours sur la Chine3( *+ /00 1+

The $eath of the ather& The'e.tionT"# -"o%# #n<uir o! *el +uel 3s >aoism !rom t"# tri* to C"ina r#$o%$#s aroun, t"#<u#stions o! -"#t"#r t"# C"in#s# su/4#&t is n#uroti& or /#on, n#urosis( an, -"#t"#r ornot >ao a**#ars as a !at"#r+ T"# !irst <u#stion is *os#, /ut is not ana%s#, in *el +uel. Althouh certain articles do approach the question of psychoanalysis in China, reconi:inits complete a"sence, the tools of a psychoanalytical treatment of the Chinese su"?ectare not a$aila"le. *his "loc8ae seems to ha$e "een displaced on to, and su"limated in,the e3perience of the 6estern su"?ect of China4 the accounts of Pleynet and =arthesreconi:e this anti9hysteria "ut can only analyse their o5n e3perience, 5hich, in that theyare su"?ect to the 6estern neurosis, "ecomes a paradise pro?ected on to an opaquereality.

Sollers addresses the question of Mao as father at the moment of Mao's death in -G/. Anearlier article, "y Éliane Escou"as, had reconi:ed the importance for Maoism of the

question of Mao's status as father or re$olutionary su"?ect. Soller's thesis follo5s this inaffirmin that constructin a mausoleum for Mao, as 5as done for !enin, meant the "ody"ecomin a corpse 5hich elicits an e3ploitation, 'une ?ouissance du cada$re'. / =y the actof mummifyin Mao, his thouht is turned into 'une lettre morte', G e3hi"itin ho5Mar3ism remains determined "y 6estern reliion, the dominance of the father. ere theideoloical is determined "y the 5ritin of Paradis, 5hich necessarily "rouht into focus aninterest in reliion. 6ith the death of Mao, therefore, Maoism is turned into an oppressi$e,"ureaucratic system 5hich is supported "y the e3ploitation of the corpse of the deadfather, as !eninism turned into Stalinism "y the same process.

At the same time, Sollers de$elops a critique of Mar3ism from the perspecti$e of thesu"?ecti$ity of the e3ception, that of the 5riter. 1 *his is foreshado5ed "y the continualinsistence on the su"?ecti$ity of the 5riter as transformati$e of the system, for e3ample in

the -GB article on =ataille. *he indi$idual thouht of Mar3 and Freud is affirmed "ySollers aainst its erection into a system. *he terms are still those, ho5e$er, of thedialectic4 for Sollers the catastrophe of Mar3ism is that
























WWWWWWWWWWWWWWWWWWWW9; C"i:Hsi Hu( 3Mao9tse9toun, la ré$olution et la question se3uelle3( *+ 0 87+95 E+ Es&ou/as( 3!'École chinoise3( *+ /- 6s*rin) 195+98 P+ So%%#rs an, >+ C%a$#%( <éli$erance 6 Paris( 19( 1;1+9 I/i,+ 19+97 T"is is *r#s#nt#, in t"# ,is&ussions -it" >+ C%a$#%( t"# 3nou$eau philosophe a$ant la

lettre3( i/i,+

it ,#ni#s t"# n#)ati$it o! t"# ,ia%#&ti&+ 1987( !or #.am*%#( is t"# r#turn o! t"is n#)ati$itt"at sur$i$#, in t"# artisti& mar)ins+ T"is "istori&a% ,ia%#&ti& s##ms to /# at o,,s -it" t"##m*"asis on t"# #.&#*tion o! t"# -rit#r+ T"# #m*"asis !or t"# mom#nt( "o-#$#r( is on t"#su/4#&t as #.&#*tion+ Ha$in) *ass#, t"rou)" t"# Fr#u,ianLa&anian ,isso%ution o! t"#su/4#&t as aut"orit( t"# su/4#&t is no- $i#-#, / So%%#rs as t"# %o&us o! a *ra&ti&#( o!%an)ua)# or s#.( -"i&" su**orts an in,i$i,ua%it or an #.&#*tion+ T"# $a%ori=ation o! t"##.&#*tion a)ainst t"# sst#mati&( t"# situationist s*#&ta&%#( -"i&" /#&om#s a r#!#r#n&# !orSo%%#rs at t"is *oint( is a mor# ra,i&a% turn t"an t"# turn a)ainst >ar.ism or #$#n a)ainst>ar.( -"i&" is !air% in#$ita/%# )i$#n t"# situation( as it #m*"asi=#s sin)u%ar( in,i$i,ua%*ra&ti&# as a)ainst t"#or( t"# )rou*( t"# *o%iti&a% *ro4#&t+ *el +uel t"#r#!or# /#&om#s int"is $i#- no %on)#r a )rou* -it" a *ro4#&t( a 3)rou*:in:!usion3 in Sartr#3s s#ns#( /ut( inSo%%#rs3s $i#-( a &o%%#&tion o! sin)u%ariti#s #a&" o! -"i&" !orms an #.&#*tion+

T"# ,isso%ution o! *el +uel 3s >ar.ism is ,#t#rmin#, as mu&" / t"# int#rna% %o)i& o! t"#t"ou)"t an, *ra&ti&# o! t"# r#$i#- as / t"# )#n#ra% ,isi%%usionm#nt -it" t"# L#!t in Fran&#at t"is tim#+ Cont#.tua% !a&tors( su&" as t"# *u/%i&ation o! So%="#nitsn *he Hula Archipelao 6 19; an, t"# K"m#r Rou)# in$asion o! Cam/o,ia 6%at# 195( t"# ris# o!t"# nou$eau3 philosophes( t"# ,#%a#, a!t#r:#!!#&ts o! 1987( &#rtain% *%a a ma4or *art int"is *ro&#ss( /ut *el +uel 3s s"i!tin) a%%#)ian&#s ar# not -"o%% at t"# m#r& o! t"#s#!a&tors+ T"# #m#r)#n&# o! t"# #m*"asis on t"# #.&#*tion an, o! t"# Fr#u,ian or La&aniant"#sis o! t"# 34ouissan&# ,u *ar# mort3( to)#t"#r -it" t"# ana%sis o! s#.ua%it( #!!#&ti$#%,is*%a&# t"# *o%iti&a% r#!#r#n&#( a%%o-in) a -i,#nin) o! *#rs*#&ti$#( /ot" )%o/a%% an, in t"#r#$i#-3s %it#rar int#r#sts+

'THC+7 TH' A: A!$ T+ 'DC'++As t"# >ar.ist an, >aoist t#rms o! *el +uel 3s *o%iti&a% #n)a)#m#nt ar# un,#rmin#, / anin$#sti)ation o! t"#ir *"i%oso*"i&a% /asis( t"# ar# a%so *ara%%#%#, / a *o-#r!u%*s&"oana%ti&a%% /as#, t"#or in t"# -or2 o! Krist#$a( -"i&" t#n,s to mo$# to-ar,s an#t"i&a% *#rs*#&ti$# not i,#nti!ia/%# -it" #it"#r sst#m( a%t"ou)" at &#rtain mom#nts it is*ro4#&t#, on to >aoism+ Krist#$a3s t"#or is ,#ta&"a/%# !rom t"# *o%iti&a% #m*"asis( !romt"# a!!irmation o! >aoism( ,u# to t"# $#r /asis t"at ma2#s su&" an #m*"asis *ossi/%#(t"# as*#&t o! *ra&ti&# t"at Krist#$a un,#r%in#s+ Pra&ti&# is %at#r ,#$#%o*#, into an #t"i&s o!%it#ratur# t"at s##ms to &ontra,i&t an *o%iti&a%( tota%i=in) #!!#&t( / intro,u&in) into t"#so&ia% t"# ?ouissance -"i&" is #.*%oit#, in o**r#ssion+ In ot"#r -or,s( %it#ratur# is on t"#-a to a ,#nia% o! *o%iti&s an, a &onstitution o! an #t"i&s o! -"i&" >aoism -as t"#or#ti&a%%t"# *ro4#&t /ut o! -"i&"( *ra&ti&a%%( it -as a !ai%ur#+ T"at su&" a *o%iti&a% a**roa&" -ou%,

a%-as !ai% s##ms mar2#, !rom t"# start in Krist#$a3s -ritin)+

T"# #t"i&s t"at ,#ri$#s !rom Krist#$a3s $i#- o! t"# su/4#&t an, t"# $io%#n&# o! t"# *r#:$#r/a% is a &urr#nt as im*ortant in t"is *#rio, o! t"# r#$i#-3s "istor as t"# %it#rar t"#oro! So%%#rs( -it" -"i&" it a%so #nt#rtains a *ro,u&ti$# *ara%%#%+ To un,#rstan, t"# mutationso! *el +uel a&ross t"# ,#&a,#( an, t"# s"i!t to-ar,s t"# *r#s#nt stat# o! !')nfini, it isnecessary to follo5 the de$elopment of >riste$a's initially linuistics"ased theory to5ards psychoanalysis and an ethics "ased on the notion of the cure, "efore loo8in at itsinteraction 5ith the conte3t in *el +uel.

%rtau&8;ataille The .eiotic After the transformati$e moment of her te3t on Sollers Nom"res, 5hich seemed tosuest a mo$ement to5ards a more dynamic approach to literature, >riste$a's articles,










for e3ample 'Mati(re, sens, dialectique' -00 and '&"?et, complement, dialectique' -0- presented a critical analysis of linuistics and of psychoanalysis from a perspecti$e thatemphasi:ed heteroeneity as a neati$ity underlyin discourse, 5hich came to transform itin literature and art. >riste$a's contri"utions to the ArtaudY=ataille colloquium reframe thisdynamic in psychoanalytical terms, renamin this neati$ity in terms of the pre9&edipal,'semiotic' pulsions affectin the su"?ect "efore insertion into lanuae and identity. *he

su"?ecti$ity analysed 5as also sinificantly referred to as "efore the split su"?ectinauurated "y !acan's mirror phase, 5hich his theory focused on. 6hile emphasi:in this pre9sym"olic, affecti$e pulsional "ase, >riste$a also stresses the necessity of the sym"olic,the impossi"ility of simply escapin it or transcendin it. 6ritin is descri"ed as a comple3dynamic "et5een lanuae and its la5, the sym"olic, and the pre9$er"al forces thattra$erse it, the semiotic.

)n >riste$a's theory, the sym"olic, 5hich is coe3tensi$e 5ith !acan's field of the samename, is identified as lanuae, inauurated "y a

WWWWWWWWWWWWWWWWWWWW1@@#a,+( 3Mati(re, sens, dialectique3( *+ ( a%so in #a,+( Polyloue+1@1#a,+( 3&"?et, complément, dialectique3( Crit. B1 6 F#/+ 191( a%so in #a,+( Polyloue+99 + Krist#$a( 3!'Enendrement de la formule3 *+ 2G91+

s*#&i!i& mom#nt+ T"is is a t"#ti& mom#nt ant#rior to an ,is&ours#( a notion im*ort#, !romHuss#r%3s *"#nom#no%o)+ 1@? T"# t"#ti& is a mom#nt o! a!!irmation( -it"in -"i&"o*#rations o! n#)ation or ,#n#)ation ar# &arri#, out 6"#r# Krist#$a r#!#rs to Fr#)# an, toFr#u,+ Ant#rior to t"is t"#ti& mom#nt( t"# s#mioti&( %a/#%%#, a&&or,in) to Krist#$a3s o/4#&to! &riti&ism t"# "#t#ro)#nous 6 atai%%#( t"# #.*u%si$# or le re?et 6 Artau,( n#)ati$it6 H#)#%( is at t"# sam# tim# !or#&%os#, / t"# sm/o%i& an, is its &on,ition( as it is t"#*u%siona% #n#r) t"at t"# sm/o%i& ,i$#rts to &onstitut# its#%!( t"# n#)ati$it its a!!irmation#.&%u,#s+ Ho-#$#r( #.t#n,in) t"is ,#$#%o*m#nta% mo,#% /#on, t"# tim# o! t"# in!ant( t"#s#mioti& &om#s to *ro,u&# #!!#&ts or a!!#&ts in %an)ua)#+ I! snta. is *art o! t"# sm/o%i&(it is a%r#a, ,#ri$#, !rom t"# s#mioti&( -"i&" is a%r#a, snta&ti&a%% or)ani=#,( in a s#ns#(/ t"# r"t"m o! *u%sions a&ross t"# /o,+ T"is mo/i%it is %o&at#,( t"#or#ti&a%%( in t"#chora( P%ato3s -or, !or a natur# *r#&#,in) 'o,+ 1@ Krist#$a a%so r#!#rs in *assin) to

D#mo&ritus3 rhythmos( -"i&" D#rri,a "a, *oint#, out as *rior to t"# H#)#%ian sst#m+

Fo%%o-in) Krist#$a( t"is ,nami& &an /# !ram#, *s&"oana%ti&a%%+ It s*#&i!i&a%% im*%i&at#sLa&anian *s&"oana%ti&a% t"#or as a &%osur#+ T"# s#mioti& is *r#s#nt in t"# ana% an, ora%sta)#s( in a sa,ism or a))r#ssion s##n as t"# $io%#n&# o! le re?et ( mo$#m#nts o! #.*u%sionor in)#stion !or -"i&" t"# -or2 o! >#%ani# K%#in is r#%#$ant+ T"# sm/o%i&( -it" t"# &ut:o!!*oint o! t"# t"#ti& mom#nt( is a%so t"in2a/%# as a &astration t"at inau)urat#s t"# *"a%%us asa %a&2( an o"?ect manqué( t"#n t"# m#tonmi& %a- o! ,#sir# an, t"# O#,i*a% !ami%ia%trian)%#+ In t"# t#.t( Krist#$a #.*%ains( t"#r# is a ,nami& /#t-##n t"# sm/o%i& an, t"#s#mioti& t"at ta2#s $arious !orms /ut -"i&" in$o%$#s a tra$#rsa%( tra$ersée( o! t"# !irst /t"# s#&on,( a 3 proc(s du su?et 3+ 1@; T"# t#.t is ,#t#rmin#, / t"# int#r*%a o! t"# ,nami&/#t-##n t"# t-o or,#rs Krist#$a *ro*os#s+ T"# su/4#&t o! %it#ratur# tra$#rs#s or #.&##,st"# sm/o%i& / intro,u&in) t"# $io%#n&# o! t"# s#mioti&( su/$#rtin) t"# !orm#r an,

&r#atin) a n#- sm/o%i& or)ani=ation an, a 3nou$#au ,is*ositi! r#%3 t"at Krist#$a i,#nti!i#sas inno$ation+ 1@5 T"# m#&"anisms o! t"is su/$#rsion an, inno$ation ,i!!#r !or #a&" aut"or+

1@?#a,+( 3!'E3périence et la pratique3( in So%%#rs 6#,+( =ataille( an, in Krist#$a( Polyloue(

1@7:9+1@Krist#$a( Polyloue( 5+1@; I/i,+ 58+1@5 I/i,+ 87+

Ha$in) s#t out t"# t-o si,#s o! t"is ,nami&( Krist#$a3s -ritin) os&i%%at#s /#t-##n t"#m+ In3L# Su4#t #n *ro&Gs3 6 Artau, Krist#$a is &on!rontin) t-o t"#ori#s o! t"# su/4#&t( t"at o!La&an an, t"at o! D#%#u=# an, 'uattari in Anti9Odipe+ T"# #.t#nt to -"i&" t"# t"#or o!

t"# su/4#&t o! %it#ratur# "in)#s on t"# *s&"oana%ti&a% t"#or o! t"# *s&"os#s is a!!irm#,/ Krist#$a3s ass#rtion t"at -"i%# La&an3s su/4#&t is *aranoi,( a unitar su/4#&t( su?etunaire( 1@8 ,#t#rmin#, / r#4#&tion o! t"# Ot"#r( ,#sir# o! t"# Ot"#r( trian)u%at#, into t"#






























!ami%ia% O#,i*us &om*%#.( t"#r# is a s&"i=oi, su/4#&t( t"at o! D#%#u=# an, 'uattari(a%t"ou)" not i,#nti!i#, as su&"( -"i&" is a!ami%ia%( *rior to t"# r#a%m o! ,#sir#( mo$#, not/ ,#sir# !or a %a&2 /ut / le re?et ( a *u%siona% mo$#m#nt i,#nti!i#, *rimari% -it" ana%it+In t"# #ssa on Artau,( Krist#$a s#ts out a trans)r#ssion o! La&an3s sm/o%i& or,#r $ia t"#!%ui,it o! D#%#u=# an, 'uattari( an, t"# su/4#&t o! %it#ratur# is t"# sit# o! t"is &ontra,i&tionor *ra&ti&#+

S"# t#n,s to-ar,s D#%#u=# an, 'uattari3s *osition t"at ,#sir# is -it"in t"# *aranoia&r#a%m o! &a*ita%ist &u%tur#( an, s"# a!!irms( !or #.am*%#( Artau,3s !o&us on non:$#r/a%)#stura%it as a %imit o! t"# a$ant:)ar,# su/$#rsion o! t"# sm/o%i&+ In t"# #ssa onatai%%#( "o-#$#r( Krist#$a #m*"asi=#s t"at an a$ant:)ar,# t"at *ri$i%#)#s n#)ati$it an,miss#s t"# t"#ti& mom#nt !a%%s into a &#%#/ration o! n#)ati$it t"at is 4ust t"# in$#rs# o! itso-n r#*r#ssion+ It is 3l'en$ers solidaire de l'instance monothéiste3( 1@ a n#)ati$# t"#o%o)t"at !#tis"i=#s a !ra)m#nt#, /o,( 3le corps morcelé3( 1@7 inst#a, o! t"# *"a%%i&( unitar/o,+ Anti9&edipe( -it" its r#!#r#n&#s to K%osso-s2i( su))#sts t"# 2in, o! #roti&!#tis"i=ation in <u#stion+ In t"# #ssa on atai%%#( Krist#$a *ro*os#s t"# o**osin) si,# o!t"# ,nami&( str#ssin) atai%%#3s !o&us on ,#sir# in #roti&ism+ T"is r#mains( "o-#$#r( a*osition t"at is tra$ersée( #.&##,#, or trans)r#ss#,+ atai%%# is transOdipe rat"#r t"ananti9Odipe+ 1@9 T"# %o)i& o! ana%sis( la méditation( a&&om*ani#s t"is trans)r#ssion o! t"#,is&ursi$#+ 11@ atai%%#3s #.*#ri#n&# is o! a &onstant r#&o$#rin) o! t"# t"#ti& mom#nt in its

&ontinuous trans)r#ssion / t"# s#mioti&+ T"# *"ras# &it#, / So%%#rs 3I% !aut %# sstGm##t i% !aut %3#.&Gs3 "as a ,#!init# *#rtin#n&# "#r#+

1@8Krist#$a( Polyloue( 55+1@ I/i,+ 1@+1@7 I/i,+ 1@7+1@9 I/i,+ 1?+11@ I/i,+ 11+

Artau, an, atai%%# ar# t"# t-o a**roa&"#s to a &ontra,i&tion /#t-##n t"# t-o or,#rsout%in#, / Krist#$a+ I! t"# !irst a**roa&"#s t"# %imit o! t"# a$ant:)ar,# in ,an&#()#stura%it( an, a non:$#r/a%( "i#ro)%*"i& -ritin) an, in *s&"osis( t"# s#&on, *ri$i%#)#s

t"# %o)i& o! trans)r#ssion in -or2s o! t"#or t"at m#,itat# on dépense( -"i%# a%so %imitin)t"# trans)r#ssion in %it#ratur# to t"#m#s in a récit +

T"# su/4#&t o! %it#ratur#( t"#r#!or#( is a su/4#&t tra$#rs#, / a!!#&ti$# *u%sions r#%atin) to as*a&# or tim# /#!or# %an)ua)#+ Lit#ratur# a**roa&"#s t"# #.*#ri#n&# o! *s&"osis( it isintimat#% %in2#, to t"# su/4#&t o! *s&"oana%sis /ut it is on t"# si,# o! *s&"osis( rat"#rt"an n#urosis an, ,#sir#+ In t"# s#ns# t"at *s&"osis a**#ars as a %imit o! t"#*s&"oana%ti& &ur#( t"# *s&"oana%sis t"at %it#ratur# mo/i%i=#s is its#%! a *s&"oana%sis<u#stionin) its o-n !oun,ations+ Krist#$a a**roa&"#s *s&"oana%sis t"rou)" t"# su/4#&to! %it#ratur# an, intro,u&#s a &ont#station o! t"# *s&"oana%sis o! t"# su/4#&t o!,is&ours#+ T"# su/4#&t o! %it#ratur# is *s&"oana%s#,( /ut a%so *uts t"# t"#or#ti&a% -rit#r(t"# ana%st( in ana%sis( t"r#at#nin) t"# ,is&ours# o! t"# %att#r -it" its #.&#ss+ 111 T"is ist"# trans!#r#n&# o*#rat#, / t"# t#.t+ T"is trans!#r#ntia% r#%ation &an /# s##n &ont#.tua%%(

in t"# *#rio, in <u#stion( /#t-##n *el +uel an, t"# -or2 o! Krist#$a( an, t"# t"#or o!La&an+

=efore an after aanKrist#$a *ro*os#s an #.t#nsion an, a *ara%%#% o! La&anian t"#or+ 11? Krist#$a3s ana%sisr#&o)ni=#s La&an3s sm/o%i& or,#r #sta/%is"#, / &astration an, i,#nti!i&ation( insta%%in),#sir#( /ut *os#s a tra$#rsa% o! t"is or,#r / t"# ,nami& t"at *r#&#,#s it+ 11 Krist#$ar#turns to t"# in!ant /#!or# t"# O#,i*a% trauma( s*#&i!i&a%% /#!or# t"# !at"#r or t"# Nam#o! t"# Fat"#r( -"#r# it is mor# a <u#stion o! t"# *ain!u% s#*aration !rom t"# !usiona% ,a,o! mot"#r an, in!ant+ In t"is r#turn s"# r#!#rs to t"# *s&"oana%ti&a% -or2 o! >#%ani#K%#in on in!ant *s&"osis( 11; !rom -"i&" La&an "a, ,istan&#, "ims#%! in str#ssin) t"#








































111S## Krist#$a( in 3Po%%o)u#3 on So%%#rs3s -ritin)0 3 $ous met en analyse(3( in #a,+(Polyloue( 1;+

11?For an int#%%i)#nt ,is&ussion o! Krist#$a3s *s&"oana%ti& t"#or( s## + Ros#( Se3ualityin the Field of Qision 6 Lon,on( 1978( &"+ 8+

11S## + Krist#$a( !a #é$olution du lanae poétique 6 Paris( 19;( ;+11;S## #a,+( 3L# Su4#t #n *ro&Gs3( in #a,+( Polyloue( 5+ In t"# %at#r arti&%# 3Noms ,#

%i#u3( *+ /1 6-int#r 198( s"# a%so r#!#rs to t"# -or2 o! D+ + inni&ott+

int#r$#ntion o! t"# !at"#r+ 115 T"#r# is a *arti&u%ar ,nami& in *%a "#r#( /#t-##n t"#mot"#r:&"i%, r#%ation as t"# ar&"ai& s&#n# /#!or# t"# !at"#r3s int#r$#ntion an, t"#,omination o! t"# !at"#r or "is m#ta*"or( or /#t-##n an ana%sis ,ominat#, / m#anin)an, on# ,ominat#, / t"# a!!#&t( r#%at#, to &o%our( r"t"m( an, ima)#+ Ho-#$#r( t"is isnot a r#turn to t"# mot"#r( !or Krist#$a a%so str#ss#s t"# n#&#ssit o! m#,iation t"rou)"t"# sm/o%i& !i#%, o! "uman r#%ations+ Krist#$a3s t"#or o&&u*i#s a ,i!!i&u%t *osition it is at"#or -"i&" att#m*ts to a&&ount !or t"# t#rror *rior to %an)ua)#( -it"in %an)ua)#+ It "as/##n ana%s#, as *ara%%#%in) t"# m#&"anism o! t"# su/%im# in t"is t"#or#ti&a%r#*r#s#ntation o! -"at is *ro*#r% uns*#a2a/%#+ 118 T"is t#rror an, su/%imit "as *ro!oun,im*%i&ations !or t"# r#%ation o! *s&"oana%sis to %it#ratur#+

For La&an( 3l')nconscient, c'est la parole de l'Autre3( 3!e su?et, c'est le sinifiant pour unautre sinifiant 3 t"# su/4#&t o! *s&"oana%sis !or La&an is t"# su/4#&t o! s*##&"( o!%an)ua)# as ,is&ours#+ T"# su/4#&t is a su/4#&t inasmu&" as "# is im*%i#, / s*##&"+ T"#su/4#&t o! %it#ratur#( ana%s#, / Krist#$a( is tra$#rs#, / t"# #.&#ss t"at t"# r#%ation o!%it#ratur# to %an)ua)# in,u&#s+ In ot"#r -or,s( t"# ,i!!#r#n&# /#t-##n %it#ratur# an,%an)ua)# is *ro*ortiona% to t"# su/$#rsion o! t"# La&anian su/4#&t im*%i#, / Krist#$a( an,t"# su/$#rsion o! t"# )roun, o! *s&"oana%sis / %it#ratur#+

Krist#$a ,o#s not( "o-#$#r( *ro*os# a su/$#rsion o! *s&"oana%sis / su))#stin) t"at t"#,i!!#r#n&# /#t-##n %it#ratur# an, %an)ua)# is sim*% t"# su/$#rsion o! t"# sm/o%i& / t"#*u%siona%+ T"# r#%ation is mor# nuan&#,( mor# o! a trans!ormation an, an int#)ration t"ana su/$#rsion+ Lit#ratur# is a su&&#ss!u% tra$#rsa% o! t"# %imit /#t-##n sm/o%i& an,s#mioti& an, a r#or)ani=ation o! t"# sm/o%i&( its #.t#nsion or trans!ormation on a n#-/asis+ For i! t"# r#%ation /#t-##n t"# %a- an, -"at is 3/#!or# t"# %a-3 -#r# on# o!

su/$#rsion( t"# su/4#&t -ou%, r#main /%o&2#, in *s&"osis( in an ina/i%it to s*#a2+Lit#ratur# is not #<ui$a%#nt to *s&"osis as So%%#rs su))#sts( t"# -rit#r is a

115In an arti&%# in t"# Écrits 6 ii 6 Paris( 191( @( 3<u traitement possi"le de la

psychose3( La&an "a, *ro*os#, t"# *r#:O#,i*a% sta)#s to /# *ro*#r% unana%sa/%#(r#!#rrin) to K%#in3s -or2 in t"is ar#a0 3Ce schéma Vt"# ,ia)rammati& r#*r#s#ntation o!t"# stru&tur# o! t"# Ima)inarW en effet permet de démontrer les relations qui serapportent non pas au3 stades préOdipiens qui ne sont pas "ien entendu ine3istants,mais analytiquement impensa"les 6comme l'Ou$re tré"uchante mais uidée de >m#>%ani# K%#inle met suffisament en é$idence( mais au3 stades préénitau3 en tantqu'Is s'ordonnent dans la rétroaction de l'Odipe.3 T"# r#%ation /#t-##n Krist#$a3st"#or o! *r#:sm/o%i& an, s#mioti&( an, La&an3s *ostu%ation o! a r#troa&ti$# #!!#&t o!

t"# ora% an, ana% sta)#s( "as #t to /# *ro*#r% -or2#, out+118S+ 'u#r%a&( T"# Su/%im# in T"#or3( Modern !anuae Notes, -0/ 6 1991+

3Schre"er heureu3 3( 11 a su/4#&t -"o "as *ass#, /#on, *s&"osis / r#int#)ratin) in%an)ua)# t"# #.*#ri#n&# o! t"# trans)r#ssion o! t"# sm/o%i&+ Krist#$a3s #ssas on%it#ratur# s##m to *ro*os# 4u,)#m#nts a&&or,in) to t"is #t"i&s o! trans!ormation+ A&#%#/ration o! t"# *r#$#r/a% %#a,s to a 2in, o! 3*o#ti& !#mininit3 in atai%%#3s t#rmino%o)(an, to !#tis"ism( 117 -"i%# a -ritin) -"o%% -it"in t"# sm/o%i& is a!!#&t#, / t"# $io%#ntr#turn o! t"# *u%sions it "as r#*r#ss#,+

autr?amontallarm?

A!t#r t"# Artau, an, atai%%# #ssas( an, *ro,u&#, a%on)si,# Krist#$a3s mor# *o%iti&a%%ori#nt#, -or2( -"i&" -# -i%% %oo2 at s#*arat#%( t"# n#.t ma4or /oo2 is t"# monum#nta% !a















#é$olution du lanae poétique 6 19;+ It a**#ars as a r#stat#m#nt o! t"# /asi& *r#mis#so! Krist#$a3s t"#or( in t"# !irst *art( 3Préliminaires théoriques3( t"# s#&on, s#&tiona**%in) t"# t"#or to t"# t#.ts o! >a%%arm an, Lautramont+ I! Artau, an, atai%%#r#!%#&t #a&" ot"#r / a**roa&"in) t"# sm/o%i&s#mioti& ,i$i,# !rom ,i!!#r#nt ,ir#&tions( int"# ,i!!#r#nt or)ani=ations o! t"# sm/o%i& t"# *ro*os#( t"# sam# &an /# sai, o!Lautramont an, >a%%arm( a%t"ou)" in a mor# &om*%#. -a+ Krist#$a *ro*os#s t"at( i!

>a%%arm un,#rta2#s a trans!ormation o! t"# snta&ti& )uarant## o! t"# sm/o%i&( so t"at-"at s"# &a%%s t"# s#mioti& dispositif is ,#t#&ta/%# at t"is %#$#%( -it" Lautramont it is mor#a <u#stion o! a r#or)ani=ation o! t"# *osition o! t"# su/4#&t o! -ritin) an, t"# r#%ation tot"# ant#rior t#.tua% &or*us( or int#rt#.tua%it+ 119 >a%%arm3s trans!ormation is #ss#ntia%% att"# sur!a&# %#$#% o! %an)ua)# t"at o! Lautramont !o&us#s on t"# %o)i& o! %an)ua)# an,r"#tori&+ I! >a%%arm3s trans!ormation is mor# !orma% in t"at "is t#.t a**roa&"#s %imits o!&o"#r#n&#( Lautramont3s is n#$#r in&o"#r#nt /ut r#!ormu%at#s t"# %o)i& im*%i#, /%an)ua)#+ T"# "istori&a% *att#rn *r#s#nt in *el +uel !rom So%%#rs 3Pro)ramm#3 is ar#!#r#n&# "#r# t"# *ositionin) o! >a%%arm an, Lautramont as a r#$o%ution situat#, in"istor is sti%% #noun&#, as a "istor o! t"# a$ant:)ar,#+ Furt"#rmor#( t"# ,ia%#&ti& o! t"#t#.t( /#t-##n sm/o%i& an, s#mioti&( is sti%% r#%at#, to ,ia%#&ti&a% mat#ria%ism as &on&#i$#,/ L#nin an, >ao+ 1?@ Lat#r in Krist#$a3s -or2 t"is ,ia%#&ti&a% stru&tur# -i%% #$o%$# into a%#ss sta/%#(

11P+ So%%#rs( &it#, / + Krist#$a( in istoires d'amour 6 Paris( 197 ?9+117S## + Krist#$a( 3<'une identité l'autre3( *+ /B 6summ#r 195 an, in #a,+( Polyloue(

185+119S## #a,( !a #é$olution du lanae poétique, B0G.1?@ I/i,+ 19:7?+

mor# *ain!u% ,nami& or stru))%# aroun, t"# /or,#r o! i,#ntit+ Krist#$a3s t"#or !orArtau, atai%%# an, >a%%arm Lautramont is #noun&#, *art% -it" a $i#- to t"#&o%%#&ti$# *ro4#&t o! *el +uel, a theory of dialectical materialism, 5hile it also underminesthe foundations of Mar3ism as system. *he focus on the e3cess or dépense tends todisplace the Mar3ist emphasis on production. Moreo$er, as the collecti$ity of *el +uel"rea8s up, and >riste$a is more and more enaed 5ith psychoanalytic practice,

necessarily more sinular, the dynamic in question "ecomes less identifia"le as a dialectic.

C7line the Non2er4al %4=ection After the theoretical manum opus of !a #é$olution du lanae poétique, >riste$a 5or8"ecomes more $aried and less structured as theory. )t is no loner a theory of poeticlanuae that determines the approach to the topic4 the e3perience of the su"?ect inquestion "ecomes more sinular, differentiatin the analysis and ma8in the identificationof a theory pro"lematic. *his coincides rouhly 5ith >riste$a's turn to the $ocation of psychoanalysis, also mar8in a ne5 turn in the character of her 5or8. For >riste$a, it is'sans doute hypersymptomatique' -B- that this turn should introduce Céline as an o"?ect ofenquiry, a 5riter 5ho, associated 5ith anti9Semitism, is less easily inserta"le into a left

a$antarde pro?ect. )t is precisely as an e3ception that Céline is introduced. o5e$er, it isnot only Céline 5ho e3emplifies the turn of >riste$a's concerns, "ut articles on $ariedsu"?ects such as film, paintin @ =ellini and Hiotto, dissidence, lo$e. -BB *his accelerates,radually, a li"eration of su"?ect9matter that achie$es fuller fruition 5ith the later "oo8s,arraned thematically, on a"?ection, lo$e, depression, alienation. o5e$er, all of thesesu"?ects are approached 5ith reference to the common round of psychoanalysis. )t is>riste$a's profession of psychoanalyst after -GY/ that most affects the e3ceptionalquality of her 5or8, i$en that a mo$e from politics to psychoanalysis implies oin fromthe roup to the indi$idual, 5ho is in need of a cure, "y 5ay of a

WWWWWWWWWWWWWWWWWWWW1?1+ Krist#$a( Pou$oirs de l'horreur. Essai sur l'o"?ection 6 Paris( 1971( /a&2:&o$#r ru/ri&+1??#a,+( 3Ellipse sur la frayeur et la séduction spéculaire3( Communications, B2 6 195( a

s*#&ia% issu# on !i%m( an, in #a,+( Polyloue( #a,+( 3!a Doie de Hiotto3( Peinture,cahiers théoriques, B92 6 an+ 19? an, in #a,+( Polyloue( #a,+( 3!a Maternité selonHio$anni =ellini 3( i/i,+ 1@:11 6 D#&+ 195 an, in #a,+( Polyloue( #a,+( 3In nou$eau


















of; 'la $iolence qui me rone . . . dissout l'identité et les cellules', -B ' silence $iolent, pulsion, $ide heurté et ce re"ours parcours de la ?ouissance', -20 ' aieté déchirée de ladoulcur'. -2- *error, as the unspea8a"le pro3imity to the mother and the $iolence of stimuli5ithout a lanuae throuh 5hich to filter them, displaces a philosophical concept of theunrepresenta"le. )n 'Ellipse sur la frayeur' >riste$a refers to Sollers phrase in Paradis,Écrire rel($e de la terreur'. -2B 6ritin 'comes from' terror as 5ell as sa$in the su"?ect

from it. *his deri$ation and release are also applica"le to >riste$a's theory, and to herselfas su"?ect of theory, so that >riste$a's 5or8 can "e seen as su"lime in its attempt tomediate and represent, 5ithin theory, 5hat is properly outside it. *error also enaes amore psychoanalytic series of references. *error as aression is related to Freud'sdescription of the auto9erotic sadistic pulsion that ta8es the eo of the su"?ect as itso"?ect. *he comple3 and

WWWWWWWWWWWWWWWWWWWW1?83!a Maternité selon =ellini 3( i/i,+ ;18+1?3!a Doie de Hiotto3( i/i,+ 99:;@@+1?7P+ So%%#rs( + Krist#$a( >+ P%#n#t( 3Pourquoi les États9Inis7 3( *+ G-92+1?9Krist#$a( 3Polyloue3( in #a,+( Polyloue( 15+1@ I/i,+ 19+11 I/i,+ 197+1?Krist#$a( i/i,+ 5+

,#tai%#, Fr#u,ian $#rsions o! t"# transition into &"i%,"oo, *ro/%#mati=# t"# ,ia%#&ti& o!s#mioti& an, sm/o%i&( so t"at !rom a &#rtain *oint Krist#$a3s t"#or /#&om#s mor#"#sitant aroun, t"# /or,#r /#t-##n t"# t-o+ "#n Krist#$a -rit#s o! a/4#&tion a *ro*os o!C%in#( t"is is *r#!a&#, / an ana%sis o! in!anti%# *"o/ia( %itt%# Hans( an, /or,#r%in# &as#so! *s&"osis+ 1 A/4#&tion is r#%at#, / Krist#$a to a 3nar&issism# *rimair#3 -"#r# t"#r# is a!un,am#nta% am/i)uit /#t-##n t"# su/4#&t an, t"# o/4#&t( an am/i)uit t"at r#su%ts in$io%#nt a!!#&ts o! r#*u%sion+ 1; T"# 3narcissisme primaire3 an, t"# %at#r ,#s&ri*tion o! a*rimar i,#nti!i&ation -it" t"# !at"#r( 3un p(re de la préhistoire indi$iduelleQ3( 15 *os#,i!!#r#nt sta)#s -it"in t"# #ar%i#r ,nami& 4ust as So%%#rs3s ana%sis o! &ontra,i&tion*ro/%#mati=#, an, u%timat#% unti#, t"# /asis o! >ar.ism( Krist#$a3s *%ura%i=ation o! "#ro-n t"#or ma2#s it %#ss r#%#$ant in t"# %at#r -or2s+ T"is in$o%$#s a &#rtain %i/#ration o!

t"# &anon( -"i&" is r#&ast to in&%u,#( in t"# /oo2 on a/4#&tion( Dosto#$s2( or)#s(Artau,( Proust( o&#( Ka!2a( atai%%#( Sartr#( C%in#( an,( most im*ortant%( t"# t#.ts o!r#%i)ion+ T"# non:H#)#%ian t#rms o! Krist#$a3s ,#s&ri*tion o! a/4#&tion ar# su))#st#, /"#r intro,u&tion to t"# /oo2( -"#r# s"# summari=#s0

C'est dire qu'il y a des e3istences qui ne se soutiennent pas d'un désir, le désir étanttou?ours d'o"?ects. Ces e3istences l se fondent sur l'e3clusion. Elles se distinuentnettement de celles entendues comme né$roses ou psychoses, qu'articulent la néation etses modalités, la transression, la dénéation, et la forclusion. !eur dynamique met enquestion la théorie de l'inconscient, d(s lors que celle9ci est tri"utaire d'une dialectique dela néati$ité+ 18

T"# a/4#&t is not a *r#:sm/o%i& a/stra&t !or&# t"at is #!!#&ti$# in an anamn#sis in t"#

sm/o%i&( /ut an os&i%%ator am/i)uit in t"# su/4#&t( a &risis o! su/4#&ti$it( t"at r#turns!rom a s*a&# /#!or# t"# &onstitution o! t"# sm/o%i& an, t"# un&ons&ious+ Krist#$a#ss#ntia%% o*#ns u* an ar#a /#!or# t"# sm/o%i& in -"i&" t"#r# is a%r#a, a 2in, o!su/4#&ti$it( /ut -"i&" is t"r#at#n#, / t"# *u%siona% -it"in it+ H#r t"#or is ,is&or,ant-it" t"at o! La&an( -"i&" #.ists -it"in t"# t"#ti& mom#nt o! t"# sm/o%i& an, *ro*os#st"is as irr#,u&i/%#( as s"# i,#nti!i#s a su/4#&ti$it /#!or# t"# sm/o%i&+ In t"# /oo2 ona/4#&tion( t"#r#!or#( Krist#$a s#*arat#s "#r ana%sis o! %# r#4#t t"at "a, #m#r)#, in t"#arti&%# on Artau, !rom t"# H#)#%ian notion o! n#)ati$it( an, t"is s#*aration

1S## Krist#$a( Pou$oirs de l'horreur.1; I/i,+ 5;+15S## Krist#$a( istoires d'amour, 21.18

#a,+( Pou$oirs de l'horreur, -.






































affirmati$e $ie5 of Hérard Miller "oo8 !es Pousses9au9?ouir du Maréchal Pétain @ -G is particularly mar8ed "y it.

As 5ell as the distinct psychoanalytic current emerin in the 5or8 of <eleu:e andHuattari, proposin a closer articulation of the political and the psychoanalytic throuh thenotion of a enerali:ed schi:ophrenia, and the deconstructi$e readins of <errida and his

associates,-B

WWWWWWWWWWWWWWWWWWWW19>+ >ontr#%a( '#echerches sur la fémininité' ( Crit+ ?7 6 u% 19@+1;@S## + La&an( !e Séminaire, 3$ii; !'En$ers de la psychanalyse 6 Paris( 1991( **+ 1:99+1;1S## *arti&u%a.%( art"#s( 'Écri$ains, intellectuels, professeurs' ( *+ G ( -"#r# art"#s

ta2#s u* an, #n%ar)#s La&an3s su))#stions+1;?'+ D#%#u=# an, F+ 'uattari( Anti9Rdipe; Capitalisme et schi:ophrénie 6 Paris( 19? an,

>af8a; Pour une littérature mineure 6 Paris( 195 + D#rri,a( !a Carte postale deSocrate Freud et an del 6 Paris( 198 +:L+ Nan& an, P+ La&ou#:La/art"#( !e *itrede la lettre 6 Paris( 19+

La&an -as &riti&i=#, in %#ss &om*%#. -as in /oo2s / FranJois Roustan) 6 In destin si

funeste, -G/ and Fran%ois Heore @ !'Effet 'yua de pole, -G. =ut the ma?or crisis5as internal, due to the conflicts arisin from the dominance of the 'a"solute master' andthe rise of a youner eneration. At the end of the decade, the EFP 5ould "e dissol$ed "y!acan, 5ho created a ne5 mo$ement for those loyal to him, '!A Cause freudienne', only todie at the ae of 10, almost a year later. <espite the internal conflicts and the e3ternaldifferences, !acanian psychoanalysis larely replaced the earlier conte3t of the PCF as themost $ital institutional area of intellectual acti$ity of the time. At the same time, ho5e$er,!acan's theoretical tanents, 8nots and "ottles, 5ere ruinous for the theoreticalrespecta"ility of his 5ord. !acanian theory also dissol$es, "ut in a different 5ay from thatof *el +uel. Aain, there is no real meetin "et5een the t5o4 !acan 5as supposed toaccompany the roup to China, "ut "o5ed out at the last minute. 6ithin the conte3t of!acan's empire, *el +uel's psychoanalytic enaements 5ill "e dissident.

The -talian Connection!acanian psychoanalysis 5as oriinally o$ershado5ed in *el +uel "y a <erridean critique,"y <errida himself, =audry, and later !uce )riaray. -2 )n the -G0s the necessity ofdisenain from "oth Althusser and <errida isolated !acanian psychoanalysis as the most promisin area in the conte3t for *el +uel. Furthermore, >riste$a's emerin concentrationon the su"?ect, a su"?ect "eyond that of !acan, implicated !acanian psychoanalysis. )t 5asaccepted as rele$ant, "ut transressed "y the e3cess of poetic lanuae. *he early to mid9-G0s sees an increasin enaement 5ith !acanian analysis in *el +uel, "ut also anincreasin interest in Freud's later 5or8, for e3ample on reliion. - o5e$er, the !acanianconnection is pursued o"liquely, as so many of *el +uel's strateic mo$ements. *el +uel isconnected 5ith the )talian conte3t in a num"er of 5ays, not only throuh lin8s 5ith theneoa$anuardia and the Feltrinelli pu"lishin house around 5riters Sanuineti and=alestrini, "ut also throuh M.9A. Macciocchi. So it is not altoether surprisin

WWWWWWWWWWWWWWWWWWWW1;Lu&# Iri)ara( '!e Q@iol de la lettre' ( *+ 2 6autumn 1989+1;;An arti&%# / Hu/#rt Damis&"( '!e Hardien de l'interprétation' ( *+ 9 6-int#rs*rin)

191 %oo2s at Fr#u, Moses and Monotheism+ Dani#% Si/on 3 Premier meurtre3( *+ / 6-int#r 195 an, 88 6summ#r 198( a%so ana%s#s Fr#u,3s %at#r -or2+

t"at *art o! *el +uel 3s in$#sti)ation o! *s&"oana%sis in t"# 19@s Pass#s / -a o! t"#n#- Ita%ian La&anian s&"oo% s#t u* /( amon) ot"#rs( Arman,o #r,i)%ion#+ An as*#&t o!*el +uel 3s s"i!t a-a !rom >ar.ism im*%i&at#, Ita% t"rou)" >a&&io&&"i an, "#r "#ro'rams&i+ So( i! *el +uel 3s >ar.ism at on# *oint *ass#s !rom Fran&# 6t"# PCF( A%t"uss#r toIta%( t"# sam# m#&"anism o! ,is*%a&#m#nt is ,#t#&ta/%# -it" *s&"oana%sis+ A%t"ou)"t"# %in2s an, !ri#n,s"i* /#t-##n *el +uel an, t"# B&o%# !r#u,i#nn# ,# Paris an, ot"#r)rou*s 6su&" as t"# So&i#t *s&"ana%ti<u# ,# Paris ar# a&ti$# an, stron)( t"is n#$#r












&riti<u# o! monot"#ism "is #m*"asis on Cat"o%i&ism #m*"asi=#s its s"ort:&ir&uitin) o! t"#%o)i& o! monot"#ism t"rou)" t"# Trinit+

1;8S## #r,i)%ion# 6#,+( Psychanalyse et politique.1;So%%#rs( 3 A propos de la dialectique3( in #r,i)%ion#( Psychanalyse et politique, B+1;7

Krist#$a( 3 Su?et dans la lanue et pratique politique3( *+ 1 6summ#r 19; an, in#r,i)%ion#( Psychanalyse et politique, /-+1;9 I/i,+ 88+15@I/i,+

Fiolene an Cure7 +oial llusion anTruthLit#ratur#3s 3#t"i&a% !un&tion3 is a 2in, o! &ur#( ana%o)ous to t"at o! *s&"oana%sis(#n)a)in) t"# su/4#&t in a trans!#r#n&#0 Krist#$a arti&%# on So%%#rs no$#% r#!%#&ts t"is*ro/%#mati&+ A!t#r t"# !orma%isti& #m*"as#s o! "#r arti&%# on Nom"res( 3Po%%o)u#3 is !armor# &on&#rn#, -it" t"# <u#stion o! t"# su/4#&t( /ut t"# -ritin) on So%%#rs *ro,u&#s a

*o%iti&a% &onsi,#ration in Krist#$a3s arti&%#+ S"# insists on t"# !a&t t"at t"# $io%#n&# t"at isr#*r#ss#, / 3 Ma%ta3( / t"# &onstitution o! t"# 3!r## -or%,3( r#turns as !as&ism+ 151 In !a&tt"# 19@s sa- a -orrin) #m#r)#n&# o! !as&ism in ,#$#%o*in) &ountri#s su&" as C"i%# an,Portu)a%( /ut a%so -it"in Euro*#( s*#&i!i&a%% in Ita%( so t"at Krist#$a is r#s*on,in) to#$#nts an, %in2in) t"#m to t"# #t"i&s s2#t&"#, out a/o$#+ To t"# #.t#nt t"at t"# -or%, o!Ma%ta r#*r#ss#s t"# $io%#n&# n#&#ssari% in"#r#nt in t"# &ommunit( 3L3#u*"ori#&ommunautoir# m#nt3+ 15? A ,is&ours# on t"# &ommunit( /as#, on a *s&"oana%ti&*ro/%#mati&( t"at s##s it as in$o%$in) a !un,am#nta% $io%#n&#( an, as an i%%usion -"#n it#.&%u,#s t"is $io%#n&# 6a !o&us o! R#n 'irar,3s -or2( %at#r a!!irm#, in t"# r#$i#- -i%% /#an im*ortant #%#m#nt o! *el +uel 3s *o%iti&s !rom t"is mom#nt( 19( to t"# *r#s#nt+

Krist#$a3s *#rs*#&ti$# is in man -as simi%ar to t"at o! So%%#rs+ T"# so&ia% is $i#-#, !romt"# *oint o! $i#- o! an #.&#*tion an, t"#r#/ s##n as an i%%usor s*#&ta&%# *o%iti&s is t"#,is&ours# o! t"# i%%usion( o! %a ra%it( )i$#n t"at *"#nom#na% r#a%it as su&" is i%%usor an,s*#&ta&u%ar( -"i%# %it#ratur#( or t"# ma,n#ss o! su/4#&ts 3on t"# /or,#r%in#3 /#&om#s %#r#%( or in Krist#$a3s %at#r t#rms le $réel. -2 A transcendent, $ertical truth is proposed asconflictin 5ith the phenomenal, hori:ontal sem"lance of social discourse. !iterature is thetruth of a society "ased on a communal lie. *he $alue of art lies implicitly, for *el +uel, inits a"ility to tell the truth, and this notion is a constant from the openin '<éclaration' of-/0 to !')nfini no5.

o5e$er, this fundamental approach is differentiated in the practices of the 5ritersin$ol$ed. >riste$a's psychoanalytical approach tends to5ards the cure of an indi$idual inanalysis and therefore reconi:es the difficulty and pain of the transformation in$ol$ed ona su"?ecti$e le$el, 5hile Sollers has a more radical, paranoid $ision of the social asspectacle and illusion, and of literature as Messianic truth. Since it is

WWWWWWWWWWWWWWWWWWWW151Krist#$a( 3 Po%%o)u#3( in #a,+( Polyloue( 15+15? I/i,+ 15+15+ Krist#$a( 3 !e Qréel 3( in #a,+ 6#,+( Folle $érité 6 Paris( 199+

So%%#rs -"o ,ominat#s t"# r#$i#-( it is t"# %att#r *#rs*#&ti$# t"at ,ominat#s *el +uel in its%ast #ars( im*%i&atin) an int#r#st in r#%i)ion( *arti&u%ar% Cat"o%i&ism( a%on)si,# P%#n#t3s$ast an, &ontinua% ana%sis o! *aintin)+ Krist#$a3s ana%ti& *ra&ti&# r#mains a &onstant *o%#o! int#r#st in t"# r#$i#-( as a %at# s*#&ia% issu# on 3 Actualité de la psychanalyse3 att#sts+ 15;

'lements of 'ess7 Trans,ressive or

Transenental




















In t"# mi,: 19@s( *u/%i&ations in t"# &ont#.t /#)in to out%in# t"# sam# ,nami& o! ar#turn o! #.&#ss on ,is&ours#+ T"# -or2s o! t"# nou$#au. philosophes &riti&i=# t"#ma_tres9penseurs >ar. an, Fr#u,( an,( in t"# &as# o! C%a$#%( turn to ,i$in# )ra&#Lar,r#au an, am/#t /oo2 !'Ane 6 198 s#ts out a simi%ar trans)r#ssion o! >aoism+Ho-#$#r( *el +uel ,o#s not imm#,iat#% a!!irm t"is *osition( /ut r#&o)ni=#s a mo$#m#nt-it"in La&anian &ir&%#s+ '+ >i%%#r /oo2 !es Pousses9au9?ouir du Marichal Pitain is an ana%sis

o! !as&ism as an in!%i&t#, ?ouissance t"at is &riti&a%% &#%#/rat#, in *el +uel +

155

T"# /oo2*%as t"# ro%# o! a *i$ot /#t-##n *el +uel 3s >aoism an, its n#.t *"as# o! ,issi,#n&# an, a!o&us on t"# #.&#*tion+ T"# #ar% -or2s o! t"# nou$eau3 philosophes ,o not( on t"# ot"#r"an,( m##t -it" su&" a**ro$a% C%a$#%( '%u&2smann( Lar,r#au( an, am/#t ar# &riti&i=#,!or &"ara&t#ri=in) t"# r#turn o! t"# #.&#ss on t"# sst#m as a r#turn o! t"# trans&#n,#nta%+158 A r#&urr#nt )#stur# r#sur!a&#s "#r#0 *el +uel &riti&i=#s t"# trans&#n,#nta% -"i%#a!!irmin) t"# trans)r#ssi$#+ T"# #%#m#nts o! #.&#ss ar# not *osit#, as /#on, t"# %imits o!t"# sm/o%i&( /ut in a trans)r#ssi$#( trans!ormationa% r#%ation -it" t"#m( su&" t"at t"##.&#ss is to /# r#int#)rat#, in rationa%ism rat"#r t"an s#*arat#, !rom it as a deus e3machina+ Lat#r( r#%i)ion -i%% /# ana%s#, !rom t"is *#rs*#&ti$#( an, t"# Nou$eau3 philosophes mo$#m#nt #$o%$#s as ot"#r t#.ts a**#ar+ T"#r# is a &ontinuit /#t-##n t"#r"#tori& o! *el +uel an, t"at o! t"# Nou$#au. *"i%oso*"#s( o! trans)r#ssion an,

15;3 Actualité de la psychanalyse3( *+ - 6s*rin) 197?( in&%u,in) t-o arti&%#s / Krist#$a( 3

A"?et d'amour' and 'Ne dis rien 3+155S## +:L+ Hou,#/in# r#$i#- o! t"# /oo2( 3 Au3 couleurs de la France3( *+ /2 6autumn

195 an, an int#r$i#-( '+ >i%%#r( 3 A propos du fascisme fran%ais3( *+ / 6-int#r 195+158S## A+ Com*a)non an, P+ Ro)#r( 3 !'Ane de Huy !ardreau et Christian Dam"et 3( *+ /G

6autumn 198+ T"# r#s*ons# to '%u&2smann is s%i)"t% mor# *ositi$#+ S## >+:A+>a&&io&&"i ( 3 Mar3, la cuisini(re et la canni"ale3( an, A+ '%u&2smann( 3 #éponses3( *+/ 6-int#r 195+

trans&#n,#n&#( a!t#r rationa%ism( t"at mi)"t #.*%ain t"# !ri#n,%in#ss /#t-##n t"# t-o)rou*s+

Crisis in "ationalismTo-ar,s 198( -"#n t"# !ina% ,is#n)a)#m#nt !rom >aoism o&&urs( *el +uel arti&u%at#s t"#&risis in its o-n strat#)( /rou)"t on / t"# &on!%i&ts /#t-##n ,i!!#r#nt #m*"as#s( as a3&ris# ,u rationa%ism#3+ 15 Rationa%ism is in &risis to t"# #.t#nt t"at it &annot a&&ount !or#.&#ss t"at r#turns on it as $io%#n&# or trans&#n,#nta%ism+ T"is $io%#n&# a**#ars in t"#*o%iti&a% &ont#.t o! Ita%( !or #.am*%#( -it" &%as"#s /#t-##n t"# anar&"ist 3>o$#m#nt3 an,t"# aut"oriti#s+ 157 It a%so a**#ars( as a r#turn o! t"# r#*r#ss#,( in t"# ris# o! t"# !#ministmo$#m#nt( an, o! a *ost:1987 su/&u%tur# in )#n#ra%+ 159 T"is r#&o)nition o! a r#turn o! t"#r#*r#ss#, an, -"at is !un,am#nta%% a &risis in t"#or %#a,s to a r#!ormu%ation o!*#rs*#&ti$#s+ T"# >aoist r#!#r#n&# is a/out to /# ,ro**#,( an, t"# r#$i#- o*ts !or anana%ti& *osition( -"i&" in !a&t it "a, a%r#a, str#ss#,( an, a -i,#nin) o! !o&us( in t#rms o!)#o)ra*"( -#st-ar,s rat"#r t"an #ast-ar,s( an, t"#mati&a%%( to ta2# in r#%i)ion an, art+

In an #,itoria% s#&tion( t"# strat#)i#s to /# a,o*t#, ar# ,#tai%#,+ First( t"# t"in2in) o!3anot"#r %imit3 t"an t"at o! rationa%it( -"i&" -ou%, /# 3 perméa"le une ?ouissance3 n##,sto /# #%a/orat#,+ 18@ T"is *osition r#&o)ni=#s t"# n#&#ssit o! a %imit( a sm/o%i& %a--it"out -"i&" !as&ism r#turns in t"# r#a%( /ut &a%%s !or its #n%ar)#m#nt to ta2# in t"#irrationa% or 4ouissan&#+ A 3n#- *s&"oana%ti&a% rationa%it3 an, a#st"#ti& *ra&ti&# ar#m#ans to t"is #n,+ S#&on,%( t"# ana%sis o! tota%itarianism( -"i&" is #.*%i&it in a num/#ro! arti&%#s in t"# r#$i#-( must /# &ontinu#,+ 181 T"ir,%( t"# "istor o! r#%i)ions( un,#rta2#n-it" t"# ai, o! *s&"oana%sis( is a

153 Crise du rationalisme3( *+ / 6s*rin) 198+157T"is -as t"# !o&us o! a /oo2 / >+:A+ >a&&io&&"i( Apr(s Mar3, a$ril 6 Paris( 197( *u/+

/ t"# 3 Co%%#&tion T#% u#%3+159

T"# t#.ts in t"# r#$i#- / t"# a,o%#s&#nt So*"i# Po,o%s2i( $io%#nt( s&ata%o)i&a%s&ri//%in)s -it" r#!#r#n&#s to ,ru)s an, ro&2 musi&( ar# a t#.tua% r#*r#s#ntation o! t"is 4ouissan&#+ S## S+ Po,o%s2i+ 3 !e Pays o^ tout est permis3( *+ 2 6s*rin) 19 3+ + +
























#t tou4ours3( *+ 6autumn 19 3 )nédits3( *+ G 6-int#r 19+18@3 Crise du rationalisme3( *+ / 0 7+181Ana%s#s o! !as&ism u* to t"is *oint in&%u,#0 Pou%ant=as( 3 Note propos du

totalitairisme3( *+ 2 a r#$i#- o! 3 !es Staliniens3 / D+ D#santi( *+ /2 +:LHou,#/in# r#$i#- o! >i&"G%# >att#%art( 3 !e Coup d'état au féminin3 6on A%%#n,#3sassassination in C"i%# *+ /2 S+ Sonta)( 3 Féminisme et fascisme3( *+ /2 >i%%#r( 3 A

propos du fascisme fran%ais3( *+ / >+:A+ >a&&io&&"i( 3 Se3ualité féminine dansl'idéoloie fasciste3( *+ // 6summ#r 198+ 6T"# %att#r is an #.&#r*t !rom a *u/%i&ationr#su%tin) !rom a s#minar )rou* at in&#nn#s( -"#r# >a&&io&&"i "a, a t#a&"in)*osition+

n#&#ssit( as r#%i)ion a**#ars as -"at is r#*r#ss#, / rationa%ism+ It is t"# %ast as*#&t-"i&" s##ms to "a$# /##n most su&&#ss!u%% &arri#, out in t"# r#$i#- in t"# %at# 19@s+

In )#n#ra% t"# r#$i#- s"i!ts its !o&us a-a !rom su/$#rsion an, ra,i&a% strat#)i#s inr#s*ons# to *o-#r( an, to-ar,s ana%sin) t"# !orms o! t"# %a- on -"i&" so&ia% ,is&ours#r#sts+ T"# so&ia% is in&r#asin)% r#&o)ni=#, as /as#, on a !un,am#nta% $io%#n&#( 3%# ma%ra,i&a%3 "#r#( not on% t"# -or2 o! Fr#u, an, La&an /#&om# r#%#$ant( /ut a%so t"at o!R#n 'irar,( an, t"# %at#r nou$eau3 philosophes+ R#%i)ion an, *s&"oana%sis ar#!un,am#nta% to t"is #n<uir+ An in&r#asin) #m*"asis is t"# irr#,u&i/i%it o! t"# sm/o%i&an, t"# im*ossi/i%it o! an unm#,iat#, r#%ation to ,#sir#( s#.ua%it( su/4#&ti$it+ La&an isa!!irm#,( in ot"#r -or,s( a)ainst D#%#u=# an, 'uattari( or t"# i,#a o! a %i/i,ina% su/stan&#un,#r%in) t"# so&ia% -"i&" o**r#ss#s it+ 18? T"#s# #m*"as#s *ro)ramm# t"# int#r#sts o!*el +uel !rom t"# mi,:19@s( /ut on a ,##*#r %#$#% t"# 3&risis o! rationa%ism3 #,itoria% issim*% t"# #m#r)#n&# on to an #.*%i&it strat#)i& %#$#% o! t#n,#n&i#s t"at "a, /##n *r#s#ntsin&# t"# /#)innin) o! t"# ,#&a,# an, im*%i&it% a%% t"rou)" *el +uel 3s "istor( in t"at%it#ratur# is s##n as trut"( t"# so&ia% as i%%usion+ "#n >aoism is ,ro**#, as a strat#)i&#m*"asis 18 t"# #t"i&s ,#ri$#, !rom t"#s# &on&#rns /#&om#s #.*%i&it an, m#r)#s into a*o%iti&s+ As I -i%% su))#st( a *o%iti&s on t"is /asis is a *o%iti&s o! ,issi,#n&#+ T"# s"i!t to t"#USA is not so mu&" a turnaroun, in *o%iti&a% a%%#)ian&#s as t"# #m#r)#n&# o! an a%r#a,*r#s#nt t"#or into its a**%i&ation in a -i,#r ar#na+

TH' 4#TC+ # $++$'!C'T"# ,isso%ution o! >ar.ism !or *el +uel *ro,u&#s a *o%iti&a% $a&uum( /ut an insist#n&# ont"# #t"i&s o! t"# r#%ation o! t"# %a- to #.&#ss *ro$i,#s a %in2 /#t-##n *el +uel 3s #.&#ssi$#>ar.ism( *us"#, to its %imit( an, a *o%iti&s /as#, on t"# #.&#*tion( #%a/orat#, !rom t"#*oint o! $i#- o! t"# sin)u%ar su/4#&t o! %it#ratur#+ T"is *o%iti&s is in its#%! an im*ossi/i%it(sin&# *o%iti&s is t"# ,is&ours# o! t"# &ommuna%( not o! t"# #.&#*tion( /ut a *o%iti&s or #t"i&so! t"# #.&#*tion is arti&u%at#, in *el

18?T"is *#rs*#&ti$# is a!!irm#, in S&ar*#tta 3 >af8a de <eleu:e et Huattari 3( *+ /2 an, "is

r#$i#- arti&%# o! D+ Coo*#r Ine rammaire l'usae des $i$ants 6a trans%ation o! *heHrammar of !i$in 6Harmon,s-ort"( 19;( *+ /G 6autumn 198+

18T"# s"i!t is si)na%%#, in So%%#rs3s ,is&ussions -it" >+ C%a$#% in <éli$rance an, in a 3 Note propos du Maoisme3( *+ /1 6-int#r 198+

u#%+ un,#r t"# nam# o! ,issi,#n&#+ Dissi,#n&# &an /# s##n as an #t"i&s t"at ,#ri$#s !romt"# insist#n&# on t"# ra,i&a% /ut trans!ormati$# r#%ation o! #.&#ss to t"# %a-( an, on t"##.&#*tion( *arti&u%ar% in %it#ratur#+ T"# *o%iti&s o! ,issi,#n&# &om#s a!t#r t"#a/an,onm#nt o! t"# >ar.ist sst#m as a r#!#r#n&#( an, o&&u*i#s a *r#&is# "istori&a%*#rio,( !rom t"# issu# on t"# USA in 19 u* to its mutation into an #.*%i&it #m*"asis ont"# #.&#*tion+ T"# t#m*ora% mo$#m#nt o! t"#or( a!t#r t"# sst#mi& an, stru&tura%mom#nt( *ass#s t"rou)" ,issi,#n&# to r#a&" t"# sin)u%ar+

The $issient ntelletual









3Dissi,#n&#3 in Fr#n&"( )i$#n t"at t"is si)ni!i#r its#%! *ro$#s to /# an int#rs#&tion in t"#t#.ts( &om#s !rom t"# Latin $#r/ 3,issi,#o3( to /# a*art+ T"is s#*aration !rom t"#&ommunit is #$i,#nt in *el +uel on a num/#r o! %#$#%s( *o%iti&a%%( *s&"oana%ti&a%%(*"i%oso*"i&a%%( an, in t#rms o! t"# int#rna% or)ani=ation o! t"# &ommitt##+ Dissi,#n&# a%sor#!#rs to t"# *arti&u%ar *"#nom#non o! t"# ,issi,#nt -rit#rs o! t"# So$i#t /%o& -"o ar# t"#su/4#&t o! a &onsi,#ration in *el +uel an, a s*#&ia% issu#+ 18; T"# a**#aran&# o!

So%="#nitsn *he Hula Archipelao in 19; an, t"# r#s*ons# to it *ro,u&#, a )#n#ra%a!!#&ti$# s"i!t in t"# &ont#.t( a-a !rom t"# tota%i=in) sst#m o! >ar.ism *el +uel 3s*osition is ana%ti&( str#ssin) t"# %it#rar as*#&ts o! t"# *"#nom#non o! ,issi,#nt%it#ratur#( rat"#r t"an its *o%iti&a% !un&tion( a%t"ou)" t"# t-o ar# &%os#% %in2#,+ 185

T"# issu# on t"# USA mar2s a *oint o! ,#*artur# !or t"# ,issi,#nt mo$#m#nt o! *el +uel +188 #!or# 19 t"#r# ar# intimations o! t"is int#r#st( in$#rs#% &om*ara/%# to t"# )ra,ua%-it",ra-a% o! su**ort !rom >aoism+ Ho-#$#r( t"# 3n#- rationa%it3 #m*"asis( t"# arti&%#son '%u&2smann( >i%%#r( D#santi( t"# r#$i#- o! a So%="#nit=n t#.t ,o not #.*%i&it% #noun&#a *o%iti&s o! ,issi,#n&#( *#r"a*s sin&# t"# ,#t#rminin) instan&# at t"at *oint is t"#,isso%ution o! t"# >ar.ist sst#m+ A s#ri#s o! &riti&a% arti&%#s on >ar.ism a**#ars( in&%u,in)t"os# / Hou,#/in#

18;3 Sur la dissidence3( *+ G/ 6summ#r 197+ A *r#$ious issu# "a, in&%u,#, a s#ri#s o!

t#.ts / C=#&"os%o$a2 -rit#rs( *r#s#nt#, / Pi#rr# Dai.( ar)uin) !or !r##,om o!#.*r#ssion+ S## *+ 1 6summ#r 19;0 'nt#r 'rass( 3!a !i"erté d'opinion de l'artistedans notre société3 Antonin Li#"m( 3 !e Nou$eau Contrat social et les intellectuels3Pa$#% Ka"out ( 3 !ettre au Ministre de la Culture tchéque3 Pi#rr# Dai.( 3 Présentation3+

185*el +uel "a, *u/+ a r#$i#- o! a s"ort t#.t / So%="#nitsn( 3 !e Chne et le $Ou3( in$o%um# 85+

1883 Pourquoi États9Inis7 3( *+ G-92 6autumn 19+

on >ar.ist $i#-s o! %an)ua)#+ 18 Ho-#$#r( ,issi,#n&#( a%t"ou)" a s*#&i!i& *"#nom#non*ro,u&#, in t"# So$i#t /%o& ,urin) t"# r#)im#s o! Sta%in an, Krus"&"#$( "as a -i,#rm#anin) an, is r#%#$ant /#on, t"# ,#mis# o! >ar.ism+ T"# ,is#n)a)#m#nt !rom t"# L#!to! *el +uel initia%% *#rmits an #n%ar)#m#nt o! *#rs*#&ti$#( !i)ur#, / an a#ria% *i&tur# o!

t"# -or%, in t"# !irst *a)#s o! t"# USA issu#+ T"is im*%i&at#s not on% a s"i!t a-a !rom t"#tra,itiona% Fr#n&" ,ir#&tion o! t"# )a=# #ast-ar,s( /ut a%so a -i,#nin) o! su/4#&t:matt#r toin&%u,#( nota/%( r#%i)ion an, non:$#r/a% art+ T"# turn to t"# USA is not( as som# "a$#su))#st#,( a ra,i&a% turn to t"# Ri)"t( /ut is &on,ition#, / a#st"#ti& int#r#sts a%r#a,*r#s#nt+ >ar&#%in P%#n#t "a, *ion##r#, in Fran&# an int#r#st in US a/stra&t #.*r#ssionisman, a/stra&tion+ ot" So%%#rs an, Krist#$a "a, a%r#a, $isit#, t"# Stat#s /#!or# t"# tim# o!t"# s*#&ia% issu# o! 19+ 187

T"is s"i!t a%so im*%i#s a !air% ra,i&a% &"an)# in t"# !un&tion o! t"# int#%%#&tua%( #n)a)#, inan im*ossi/%# r#%ation -it" t"# USSR or C"ina+ T"# !un&tion o! t"# Fr#n&" int#%%#&tua% &an/# s##n to "a$# un,#r)on# a &"an)# a!t#r 1987 to /#&om#( !or #.am*%# in t"# &as# o!Fou&au%t( mor# *un&tua%+ For *el +uel t"is is r#!%#&t#, in t"# s"i!t !rom a *o%iti&s o!o**osition to an #t"i&s o! t"# trans!ormation o! ,is&ours#+ T"# *%a&# o! t"# int#%%#&tua% in

&u%tur# /#&om#s a s*#&i!i& !o&us *r#&is#% /#&aus# o! t"# s"i!t to t"# USA( a ,i!!#r#nt&ont#.t+ 189 T"# #n%ar)#m#nt o! *#rs*#&ti$# *#rmits a &riti&a% &ons&iousn#ss o! t"# *%a&# o!t"# int#%%#&tua% an, o! t"# ,is&ours# o! t"#or+

T"# *osition o! t"# int#%%#&tua%( as ,issi,#nt in )#n#ra%( an, mor# s*#&i!i&a%% !rom Fr#n&"&u%tur#( is a%so a !o&us o! t"# int#r#stin) ,is&ussion /#t-##n So%%#rs( Krist#$a( an, P%#n#t(3Pourquoi les ÉtatsInis7 3 A%t"ou)" t"is is on# o! t"# !#- o&&asions -"#n t"# t"r## -rit#rsa**#ar to)#t"#r in *rint( t"# ,is&ussion s"o-s t"# ,is*#rsa% o! t"# )rou*+ T"# t"r## s*#a2!rom *ositions r#%ati$# to t"# sin)u%ar *ra&ti&# #a&" is #n)a)#, in+ Ea&" "as a ,i!!#r#nta**roa&" to t"# o/4#&t o! #n<uir( t"# USA+ Krist#$a "a, a%r#a, -ritt#n in 3 <')thaca Ne5 Tor8 3 6 19; 1@

18

+:L+ Hou,#/in#( 3 !')mpasse du lanae dans le Mar3isme3( *+ /19( 6-int#r 198:s*rin) 19+187So%%#rs an, Krist#$a /ot" &ontri/ut# arti&%#s to *+ / on t"# Stat#s0 P+ So%%#rs( 3 <eu3
























inter$entions au3 I.S.A3 + Krist#$a( 3 <es Chinoises Manhattan3+189T"is is t"# su/4#&t o! arti&%s in t"# USA issu#0 'r#)or Corso( 3 Entretien3 N+

irn/aum ( 3 Politique étran(re et lutte sociale3 S+ Ho!!man( 3 !es Américains et lesFran%ais3+ S## a%so( +:P+ >at"( E3trme9&ccident; French )ntellectuals and America 6 C"i&a)o( 199 !or a ,is&ussion o! Fr#n&" int#%%#&tua% r#s*ons#s to t"# Stat#s+

1@+ Krist#$a( 3 D3It"a&a N#- Mor23( Promesse, 2/9G 6s*rin) 19;( a%so in #a,+(

Polyloue+

a/out t"# #.*#ri#n&# o! "#r tri* to t"# USA in t#rms -"i&" in,i&at# t"at !or "#r at %#ast(,issi,#n&# -as a%r#a, ,#sira/%#+ In t#rms -"i&" r#&a%% art"#s3s arti&%# on "#r(3!'Étran(re3( s"# #.*%ains "o- t"# #.*#ri#n&# o! la $oyaeuse is not to "a$# a !i.#,Ot"#r( a 3&"#=:soi3+ 11 T"is %a&2 o! sta/i%it is t"r#at#nin) a t#rror o! a %a&2 o! i,#ntit(6atopie+ T"# su/4#&t( t"r#at#n#, / t"is $ide( must ma2# a *a&t -it" t"# %a-( must ,#sir#t"# %a- in or,#r to #nsur# t"# &ontinuit o! i,#ntit t"at a%%o-s "#r to sa De( to assum#t"# *%a&# o! t"# su/4#&t o! t"#or+ Krist#$a not#s t"at -"i%# in Fran&# t"# status o!int#%%#&tua% ,is&ours# is antit"#ti&a% to t"# %a-( in t"# Stat#s t"# %a- is som#"o- r#mo$#,!rom ,is&ours#( not *os#, as a %imit o! %an)ua)#+ As a r#su%t o! t"is s#*aration o! %a- an,%an)ua)#( trans)r#ssi$# ,is&ours# in t"# USA is s*%it into a mu%ti*%i&it o! ar#as t"at ar#*r#,ominant% a$ant:)ar,# an, non:$#r/a%( an, "a$# no #!!#&t on ,is&ours#( -"i%# t"#int#%%#&tua% /#&om#s a 2in, o! s*#&ia%ist+ T"is %a&2 o! trans)r#ssion in %an)ua)# o! t"# %a-(

o! ,is&ours#( is *ara%%#%#, / a %a&2 o! ro%# !or int#%%#&tua%s &om*ara/%# to t"# situation inEuro*#0 3tout #st %i/r# mais ri#n n3#st *ossi/%#3+ 1? T"# r#$o%utionar ro%# o! t"# int#%%#&tua%is non:#.ist#nt an, it is *ossi/%# on% to !i%% in t"# $oi, %#!t / t"# mu%ti*%i&it o! non:$#r/a%art+ T"# antit"#ti&a% ro%# o! t"# int#%%#&tua%( "o-#$#r( &an on% %#a, to a ,#a,%o&2 -"i&"!a$ours t"# !or&#, im*osition o! t"# %a- in !as&ism+ "i%# t"# *%ura%it o! non:$#r/a% art int"# USA an, its ana%sis #na/%#s a m#,iation o! ?ouissance( !or t"# antit"#ti&a% sst#m it is#it"#r im*os#, or r#*r#ss#,+ As a r#su%t t"# USA is $a%ori=#, *ositi$#% as a sit# o!*%ura%it+ T"# turn a-a !rom t"# antit"#ti&a% *osition o! t"# int#%%#&tua% a%so in$o%$#s a,#*artur# !rom a &ommunit( to o&&u* a mor# mo/i%# an, o*#n sit#( 3 %3&out# ,#s,is&ours ,# %3autr#3+ 1 T"is ,is&ours# o! t"# ,issi,#nt int#%%#&tua% is im*ortant in its &ont#.tin a Fr#n&" *#rio,i&a%( sin&# it a%so a&"i#$#s a *#r!ormati$# status o! a 2in,( -"i%# its,issi,#nt r#%ation to t"# &ommunit o! *el +uel is su))#st#, / its *u/%i&ation in Promesse+A%r#a, in 19;( Krist#$a *ro,u&#s a &onsi,#ration t"at *r#!i)ur#s t"# %at#r !o&us on t"#

USA( -"i&" %ar)#% r#*ro,u&#s t"# ana%sis o! t"# #ar%i#r arti&%#+ T"at t"is ,issi,#n&# isa&&om*ani#, / a s#%!:&ons&iousn#ss o! t"# *%a&# o! t"# int#%%#&tua% is !urt"#r 4usti!i#, inKrist#$a3s im*ortant arti&%# o! *el +uel G 6an issu# #ntir#% ,#,i&at#, to 3R#&"#r&"#s!minin#s3 #ntit%#, 3In nou$eau type d'intellectuel; !e <issident 3+ Dissi,#n&# im*%i#s amo$#m#nt a-a !rom( a s#*aration( a s#%!:&ons&iousn#ss t"at

11Krist#$a( Polyloue( ;95+1? I/i,+ 5@7+1 I/i,+ 51+

a%t#rs t"# *%a&# an, !un&tion o! t"# int#%%#&tua%( an,( im*%i&it%( t"# r#$i#-+

For Krist#$a t"# 'rams&ian an, Sartr#an &on&#*ts o! t"# int#%%#&tua% ,#ri$#, !rom ano**osition /#t-##n in,i$i,ua% an, mass t"at -as #ss#ntia%% ,#t#rmin#, / t"# H#)#%ianmast#rs%a$# ,ia%#&ti&+ T"is im*%i&at#, a%so a /#%i#! in 3%# mt"# ,3un# so&it russi#3+ 1; T"is uto*ian( >ani&"#an sta%#mat# r#su%t#, in a %a&2 o! mo/i%it( *%ura%it( an, int#%%#&tua%!r##,om+ T"# -"o%# <u#stion o! ,issi,#n&# &an t"#n /# s##n as a mo$#m#nt a-a !romt"# H#)#%ian /asis o! Fr#n&" int#%%#&tua% ,is&ours#( a !ar mor# *ro!oun, s"i!t t"an t"at!rom L#!t to Ri)"t or $i&# $#rsa+ T"# *osition o! t"# ,issi,#nt int#%%#&tua% in r#%ation to t"#%a- &an a%so /# s##n to /#&om# #roti&i=#,( mor# su/t%# an, nuan&#,( su))#st#, /Krist#$a3s &on!#ssion 3 De désire la !oi +3 15 "i%# P%#n#t a%r#a, o&&u*i#, a simi%ar *ositionin "is art &riti&ism( im*%in) a &#rtain !r##,om o! ana%sis /#!or# t"# si%#nt &ont#m*%ationo! *aintin)( So%%#rs3s *osition &an /# ,#s&ri/#, as #ss#ntia%% *aro,i&+ Paro, is a -a o!,ou/%in) t"# %a- -it"out !a%%in) into an ato*i& $oi,+ It a%so im*%i#s a &#rtain !r##,om an,in,i!!#r#n&# to t"# %a-( #$i,#nt in So%%#rs3s !i&tiona% an, t"#or#ti&a% -or2+ So%%#rs3s -or2a**#ars in a s#ns# 3/#on, t"# %a-3( su))#stin) its *aranoia+
























T"# 3fonction dissidente3 o! t"# int#%%#&tua% as ,#s&ri/#, / Krist#$a a%so im*%i#s a ,i!!#r#ntr#%ation to t"# &ommunit+ T"# int#%%#&tua% /#&om#s 3communautaire mais sinuli(re3( 18 a,,r#ssin) a%%( /ut "#ar, / t"# in,i$i,ua%+ T"# str#ss on t"# in,i$i,ua% is a&&om*ani#, /a $i#- o! so&ia%it as im*ossi/%#( or in"#r#nt% &orru*t+ T"# mu%ti*%i&it o! sin)u%ariti#sm#ans t"at so&i#t is in"#r#nt% im*ossi/%# a $ision o! Zles[ ensem"les sociau3 commeimpossi"les3+ 1 A)ain( so&i#t is s##n as an i%%usion an, an im*ossi/i%it( &on,ition#, / a

$io%#n&# t"at -i%% in *el +uel /#&om# in&r#asin)% r#n,#r#, in r#%i)ious t#rms as 3ra,i&a%#$i%3+ T"# sa&r#,( as t"# /asis o! so&ia%it not on% in "istori&a% /ut a%so t"#or#ti&a% t#rms( ist"# )roun, on -"i&" t"is 3ra,i&a% #$i%3 is ana%sa/%#+

T"# ,issi,#nt !un&tion o! t"# int#%%#&tua% !or Krist#$a is t"#r#!or# an o*#nn#ss to /ot" si,#so! t"# %a- an, to t"# mu%ti*%i&it o! sin)u%ariti#s+ S"# *ro*os#s t"at t"# r#/#% an, t"#*s&"oana%st ,o not !u%!i% t"is !un&tion( stan,in) on o**osit# si,#s o! t"# %a-+ On% t"#-rit#r &an #.*#ri#n&# /ot" as*#&ts( as t"# trans)r#ssi$# ,nami& o! -ritin) is an

1;Krist#$a( 3In nou$eau type d'intellectuel 3( *+ G 6-int#r 19( +15#a,+( 'éréthique de l'amour' ( *+ G0 ;1+188#a,+( 3In nou$eau type d'intellectuel 3( *+ G0 ;+1 I/i,+

#.*#ri#n&# o! /ot" si,#s+ # &an r#&o)ni=# t"# r#a!!irmation o! t"# &ommon ,#nominatoro! %it#rar &r#ation an, t"# trans)r#ssi$# *att#rn0 t"# -rit#r #.*#ri#n&#s t"# %imits o!i,#ntit an, t"# su/$#rsion o! t"# %a- in %an)ua)# t"at %#a,s to0 3 l'em"rasement de l'trede la loi dans un $ide9détente, pai3, néant 3+ 17 T"# !o&us on ,issi,#n&# turns out#$#ntua%% to /# anot"#r -a o! !ramin) t"# ,nami& o! -ritin) an, $a%ori=in) %it#rar&r#ation as trut" in r#%ation to t"# so&ia%+

aternity an $issieneKrist#$a3s o-n sin)u%arit is intro,u&#, in "#r &onsi,#ration in t"is 2# arti&%# o! t"#

,issi,#nt as*#&ts o! !#mininit+ S"# *ro*os#s t"at -om#n ar# to som# #.t#nt ,issi,#nt(3,#moni&3( as t"# ar# outsi,# ,is&ours#+ T"# mot"#r is t"# )uarant## o! a ,is&ours# t"at/as#s its#%! on a ,#sir# !or t"# *"a%%us( on t"# r#*r#ssion o! &astration+ So%%#rs3s $ision o!t"# r#*r#ss#, matriar&" as )uar,ian o! t"# %a- *ara%%#%s t"is &onsi,#ration+ Ho-#$#r(Krist#$a r#$a%ori=#s mat#rnit in a *ositi$# s#ns#+ >at#rnit its#%! is an #.*#ri#n&# -it"*s&"osis( 3identité qui se scinde, se replie3( 19 -"i&" *ass#s t"rou)" a ,i!!i&u%ttrans!#r#n&#( to %o$#+ It is a *assa)# !rom s#mioti& to sm/o%i& -"i&" #na/%#s t"#o&&u*ation o! a *osition -it"in ,is&ours# an, an #.*#ri#n&# o! its tra$#rsa%( in a simi%ars#ns# to t"# %o)i& o! %it#ratur#+ >at#rnit a%%o-s 3une chance d'accéder ce rapport, sidifficide pour une femme, l'Autre, au sym"olique et l'éthique3+ 17@ It a%%o-s a ,i!!usion o!t"# $io%#n&# o! t"# s#mioti& -it"in 3le corps social 3+ >at#rnit #!!#&ts a *assa)# !rom t"##.&%u,#, sin)u%arit o! t"# -oman to t"# #t"i&s o! t"# &ommunit0 3!a maternité est un pont entre sinularité et éthique+3 171 >at#rnit /#&om#s a 2in, o! m#ta*"or or a%%#)or !or!#minin# &r#ati$it+

T"is arti&%# is im*ortant !or a num/#r o! r#asons+ First( it &r#at#s t"# *ossi/i%it o! a,is&ours# on !#mininit t"at -ou%, not $i#- it as 3mas<u#ra,#3 or as an i,#nti!i&ation -it"t"# *"a%%i&( ,#!inin) t"# *osition o! *el +uel -it" r#)ar, to !#minism+ S#&on,%( it&onstitut#s a !air% ra,i&a% an, &ontro$#rsia% /r#a2 -it" !#minism t"at *ro*os#s mat#rnit(usua%% ta2#n as a si)n o! -om#n3s su/4#&tion( as a startin)*oint+ *el +uel /#&om#s,istan&#, !rom !#minism as su&" an, i,#nti!i#, -it" a ,issi,#nt !#minism( a !#minism,issi,#nt !rom !#minism an, a ,issi,#nt !#minism inasmu&" as s#*arat# !rom ma%#:,ominat#, ,is&ours#+ T"ir,%( t"# mo$# %o&at#s Krist#$a3s t"#or#ti&a% -ritin) !irm% in

17 I/i,+ 5+19Krist#$a( i/i,+ 8+17@ I/i,+171 I/i,+


































"#r o-n #.*#ri#n&# o! mat#rnit( an, t"# arti&%# 3éréthique de l'amour 3 6r#tit%#, 3Sta/atmat#r3 in t"# /oo2 istoires d'amour ( a t#.t on r#*r#s#ntations o! mat#rnitt*o)ra*"i&a%% r#!ra&t#, an, int#rru*t#, / an a&&ount o! &"i%,/irt"( ru*tur#s t"#s&i#nti!i&it o! t"#or / t"# ,i!!usion o! mat#rnit Krist#$a announ&#s+ Ho-#$#r( t"is#m*"asis ,o#s not #ss#ntia%% &on!%i&t -it" So%%#rs3s &riti<u# o! matriar&"( as it is t"#mot"#r as #.&%u,#,( si%#nt )uarantor o! t"# %a- t"at is "is tar)#t( -"i%# Krist#$a3s -ritin)

t"rou)" t"# #.*#ri#n&# o! mot"#r"oo, is its trans)r#ssion+ It is si)ni!i&ant( t"#r#!or#( t"atKrist#$a r#!#rs to ,# Koonin)3s s#ri#s o! *aintin)s 3om#n3 as t"# most trut"!u%r#*r#s#ntation o! &r#ati$it( $ia mat#rnit( an, r#*ro,u&#s a ,# Koonin) *aintin) a%on)si,#on# / Pi#ro ,#%%a Fran&#s&a in t"# mi,,%# o! 3éréthique de l'amour 3( sin&# t"# n#.t issu#&ontains So%%#rs3s #ssa on ,# Koonin)3s 3om#n3 *aintin)s in -"i&" "# -rit#s0 3Elles sont"tes et irréfuta"les comme l'idée mme de societé+3 17? Pat#rnit( as a !o&us in So%%#rs3s-ritin)( ,o#s not &om# unti% mu&" %at#r( in "is r#&#nt no$#% !e Secret + 17

>ot"#r"oo,( t"#r#!or#( is ,issi,#n&#( /ut it is a%so a *ossi/i%it o! #t"i&s -"i&" is &arri#,o$#r / Krist#$a into !')nfini an, "#r %at#r /oo2s on %o$#( ,#*r#ssion( 3#tran)#t3+Krist#$a3s a/s#n&# !rom *el +uel ,urin) t"is %ast *#rio, 6s"# *u/%is"#s !ar !#-#r arti&%#st"an So%%#rs or P%#n#t an, s*#n,s mu&" tim# %#&turin) in t"# Stat#s is sm*tomati& o!"#r s#%!:&on!#ss#, int#%%#&tua% #.i%# 6 De parle une lanue d'e3il', '!'e3il est de?, en soi9mme, une dissidence3 17; + Dissi,#n&# &an /# s##n as t"# &on,ition o! man Fr#n&"

int#%%#&tua%s sin&# t"# 19@s 6 D#rri,a( au,ri%%ar,( Lotar, -"os# sit# o! #nun&iation iso!t#n *r#,ominant% outsi,# t"# "#.a)on( in t"# USA+

The iterature of $issieneT"# #.t#n,#, or m#ta*"ori&a% us# o! t"# t#rm ,issi,#n&# &oin&i,#s -it" a )#n#ra%#m#r)#n&# o! ,issi,#nt %it#ratur# in t"# Fr#n&" &ont#.t( an, -it" a s*#&i!i& !o&us on it in as*#&ia% issu# o! *el +uel + T"# issu# a%so a**%i#s t"# notion o! ,issi,#n&# to ar#as su&" as%it#ratur# an, *s&"oana%sis+ T"# !a&t t"at t"# !irst t"r## arti&%#s ,#ri$# !rom a 197 Paris

17?

P+ So%%#rs( 3Pour de >oonin3( *+ G 6s*rin) 197( an, in i,+( *héorie des e3ceptions(187+17S## i,+( !e Secret 6 Paris( 199? t"# narrator3s r#%ations -it" "is son 3#!!3+17;Krist#$a( 3In nou$eau type d'intellectuel 3( *+ G0 + From t"# US issu# to *el +uel 3s

,isso%ution( So%%#rs &ontri/ut#s aroun, t"irt arti&%#s( not in&%u,in) Para,is( &om*ar#, toP%#n#t3s t-#%$# an, Krist#$a3s !our+

&on!#r#n&# on 3<issidence de l'inconscient et pou$oirs3 or)ani=#, / #r,i)%ion# 4usti!i#st"# us# o! t"# *"ras# 3,issi,#n&# o! *s&"oana%sis3( )i$#n #r,i)%ion#3s #.&#ntri& status(an, sin&# So%%#rs3s arti&%# *os#s t"# %imitations o! Fr#u,ian t"#or -it" r#)ar, to %it#ratur#(ta2in) as an #.am*%# Fr#u,3s s"ort arti&%# on Dosto#$s2+ For So%%#rs( %it#ratur#6 Dosto#$s2 un,#rmin#s *s&"oana%sis( it is a n#)ation t"at )o#s !urt"#r t"an Fr#u,(3une dépense au9del de la dépense3+ 175 T"# O#,i*a% %imitations o! *s&"oana%sis( 3aunom du p(re9pour9la9m(re3 178 ar# a%so *oint#, out( -"i%# *s&"oana%sis is su))#st#, to/# /%in, to a nonanta)onisti& !i%iation( 3le fils incluant son p(re3+ 17 6T"is *"ras# su))#stst"# r#%#$an&# o! t"# Cat"o%i& Trinit an, t"# In&arnation !or So%%#rs3s t"ou)"t+ Lit#ratur#/#&om#s a sm*tom o! t"# %imitations o! *s&"oana%sis+ Dosto#$s2 is a ,issi,#nt in t"iss#ns#( /ut a%so in t"# stron) t"#mati&s in "is -or2 o! a ra,i&a% #$i%( 3le fond du Mal 3+ 177 T"#sam# *"i%oso*" o! t"# im*ossi/i%it o! t"# so&ia% %in2 is *r#s#nt in So%%#rs3s a**roa&"(*%a#, a)ainst t"# 3so&ia/i%it3 o! Fr#u,+ Dissi,#n&# is %in2#, to t"is im*ossi/i%it an, to t"#,isa**#aran&# o! t"# -rit#r !rom so&ia%it+ T"# #*i)ra*" !or t"# arti&%#( !rom atai%%#!')mpossi"le proposes t"# -rit#r as 3a&&#*tant %a ,is*arition3+ 179 So%%#rs3s !o&us on %arou%#tt# a *ro*os o! Dosto#$s2( *r#!i)urin) a %at#r #m*"asis on Pas&a%3s pari ( 19@ su))#stst"at t"# ,isa**#aran&# in <u#stion is a !orm o! sa&ri!i&ia% as&#n,an&#( -it"in %an)ua)#+ Insom# s#ns# t"# ,isa**#aran&# &an a%so /# r#a, as t"# ,isso%ution o! *el +uel +

P%#n#t3s t#.t( 3<e l'inéalité se3uelle3 a%so !o&us#s on t"# im*ossi/i%it o! &ommunit+ I!

%it#ratur# is a sm*tom o! t"# si&2n#ss o! so&i#t( as ,issi,#nt %it#ratur# !un,am#nta%%-as( 3)l ne saurait y a$oir de communauté de symptJme+3 191 Lit#ratur# is an #.*#ri#n&# o!


































sin)u%arit( at o,,s -it" so&ia% ,is&ours#+ T"# str#ss on t"# sin)u%ar #.*#ri#n&# o! t"#-rit#r is an #%#m#nt o! P%#n#t3s -ritin) t"at &ontinu#s t"rou)"out "is -or2( so t"at t"#!o&us "#r# on ,issi,#n&# as 3,issi,#r#3( s#*aration an, sin)u%arit( is *#r"a*s a 3r#turn o!t"# r#*r#ss#,3 o! t"# #ar%i#r !orma%ist an, i,#o%o)i&a%% &on,ition#, *#rio, an, o! P%#n#t3smo,#ratin) ro%#

175So%%#rs( 3<osto]e$s8], Freud, la roulette3( *+ G/ 6summ#r 197 an, in i,+( *héorie dese3ceptions( @+ T"# #ssa is a%so *u/+ in #r,i)%ion#( <issidence de l'inconscient et pou$oirs, under the title 'Etat de la reliion et reliion de l'Etat'.

178So%%#rs( 3<osto]e$s8i, Freud, la roulette3( in i,+( *héorie des e3ceptions, /.17 I/i,+177 I/i,+ 8+179 I/i,+ 5+19@S## So%%#rs( *héorie des e3ceptions, B0B92, B//, B12, and '!'Analyse infinie', !')nfini,

- @sprin -12.191>+ P%#n#t( 3<e l'inéalité se3uelle3( *+ G/0 19+

as s#&r#tar( r#<uirin) a &#rtain &ommitm#nt to &ommunit+ ut "#r# P%#n#t str#ss#s t"#i%%usion o! &ommunit( s*#&i!i&a%% as &on&#rns %it#ratur#+ ot" *s&"oana%sis an,%it#ratur# s"att#r t"is i%%usion+

In t"# sam# -a >a&&io&&"i( in an arti&%# on Paso%ini( mur,#r#, in stran)# &ir&umstan&#sin 195( str#ss#s "is status as a -rit#r an, as ,issi,#nt !rom t"# PCI+ S#.ua%it a%so #nt#rsinto t"# !ram# "#r# Paso%ini -as 3le dissident des dissidents3 in "is "omos#.ua%it(/#&aus# o! t"# 3natur# intrinsG<u#m#nt "omos#.u#%%#3 o! t"# &ommunit+ 19? I! so&i#t is/as#, on a !un,am#nta% r#*r#ssion o! !#mininit( its stru&tur# is intrinsi&a%% "omos#.ua%(an, #.*%i&it "omos#.ua%it a**#ars as an un/#ara/%# sm*tom o! its una&2no-%#,)#,r#a%it( *ot#ntia%% su/$#rsi$#+ T"is is a !a&i%# *ro*osition( %imit#, to t"# %#$#% o! t"#or *el+uel -as not in$o%$#, -it" t"# "omos#.ua% ri)"ts mo$#m#nt in t"# 19@s+ In Femmes(So%%#rs3s a))r#ssi$# "#t#ros#.ua%it is anta)onisti& to-ar,s !i)ur#s su&" as art"#s an,Fou&au%t( or i%%iam urrou)"s+ Homos#.ua%it( %i2# !#minin# ?ouissance( is an #%#m#nt ont"# sm/o%i& %#$#%( rat"#r t"an a r#a% or *o%iti&a% &"oi&#+

>a&&io&&"i r#a,s Paso%ini3s -or2 as a m#,itation on t"# )#n#ra%i=#, $io%#n&# o! *o-#r6most #.*%i&it in t"# !i%m Salo an, a r#&o)nition t"at t"# %a- im*%i#s a ra,i&a% #$i%+ T"#t"#sis o! ra,i&a% #$i% ins*ir#s an #.*%oration in t"# r#$i#- o! t"# status o! t"# %a- inr#%i)ion( u,aism( C"ristianit( an, Is%am( /ut a%so in %it#ratur# So%="#nitsn is %in2#, toSa,# t"rou)" t"is ra,i&a% n#)ation+ Si)ni!i&ant%( Krist#$a "a, a%r#a,( in 3Noms ,# %i#u3(%in2#, t"# nam#s o! Sa,# an, So%="#nitsn( *ro*osin) t"at t"# ra,i&a%it o! t"#ir -ritin)-as t"# %in2 /#t-##n ?ouissance an, "orror+ 19 As su&" it is not a n#- #m*"asis(,#t#rmin#, / t"# int#r#sts o! Nou$eau3 philosophes su&" as P"i%i**# N#mo( 19; /ut anas*#&t a%r#a, str#ss#, in t"# -or2 o! atai%%# an, !i&tiona%% *r#s#nt in Sa,#+

In t"# arti&%#s / So%%#rs( P%#n#t( an, >a&&io&&"i( t"# notion o! ,issi,#n&# a&ts as a 2nott"at /in,s to)#t"#r a num/#r o! #m*"as#s t"at ar# #!!#&ti$# in ,#!inin) t"# &"ara&t#r o!

t"# r#$i#- !rom t"at *oint+ In a s#ns# t"# /in,in) is a t#m*orar m#asur# to /rin) a/outt"is #!!#&t ,issi,#n&# is a s#%!:&ontra,i&tin) notion t"at a%%o-s a su/s#<u#nt ,is*#rsion+T"# t#rm is a%so #.t#n,#, !rom its us# to r#!#r to -rit#rs o! t"# East#rn /%o&( an, "as a)#n#ra% r#%#$an&# as a ,#s&ri*tion o! t"# *#rio,+

19?>+:A+ >a&&io&&"i( 3Paso%ini( assassinat ,3un ,issi,#nt3( *+ G/0 ?7+ >a&&io&&"i a%so

or)ani=#, a s#minar s#ri#s at in&#nn#s on Paso%ini to -"i&" So%%#rs an, P%#n#t /ot"&ontri/ut#,+ S## >+:A+ >a&&io&&"i( Pasolini 6Paris( 1971+

19Krist#$a( Polyloue( ;8+19;S## P+ N#mo( 3o/ #t %# ma% ra,i&a%3( *+ G09G- 6summ#r:autumn 19+

T"# s*#&ia% issu# on t"# su/4#&t ,o#s( "o-#$#r( !o&us on t"# s*#&i!i& *"#nom#non( -it"

arti&%#s / Krist#$a an, S&ar*#tta( an, t#.ts / ,issi,#nt -rit#rs I+ ro,s2i( A+ Sinia$s2i('+ Konra,+ 195 For Krist#$a( ,issi,#nt %it#ratur# is a r#!utation o! 3le discours de auche3+ 198



























T"# %att#r( !or Krist#$a( is /as#, on a Rouss#au#s<u# $i#- o! t"# *#o*%# as polis( an, o!so&i#t as a &ontra&t( t"at #.&%u,#s t"# in,i$i,ua% an, t"# irrationa%+ T"# t"#sis o! 3%# >a%ra,i&a%3 is r#it#rat#,( "#r# in t#rms o! #t"i&s0 an #t"i&s /#&om#s tota%itarian i! not /as#,on t"# r#&o)nition o! t"# im*ossi/i%it( t"# !un,am#nta% $io%#n&# or #$i%( o! so&ia% r#%ations+R#%i)ion !u%!i%%#, t"is !un&tion( /ut in t"# *r#s#nt &%imat# o! t"# %a&2 o! r#%i)iosit(a#st"#ti&s &ontaminat#s t"# *o%iti&a% as t"# r#turn o! t"# r#*r#ss#,+ So%="#nitsn( t"#

#.*%i&it !o&us o! Krist#$a3s arti&%#( -rit#s a *o%*"oni&( &arni$a%#s<u# %an)ua)# -it" amu%ti*%i&it o! su/4#&ts t"at r#!%#&ts t"# r#a%i=#, *aranoia o! t"# tota%itarian stat#( or anuni!i#, sst#m+ For Krist#$a( t"# #ss#n&# o! so&i#t is *aranoia&( /as#, on a uni$#rsa%a))r#ssi$it+ 6T"is is &%os# to t"# t"#or o! 'irar,( -"o -i%% /# a su/4#&t o! int#r#st !or t"#r#$i#-+ So not on% is t"# 'u%a) t"# trut" o! >ar.ism( /ut >ar.ism as tota%itarianism ist"# trut" o! 3%# %i#n so&ia% *aranoia<u#3+ 19 T"# *o%iti&a% *#ssimism o! t"is *osition is&ount#r#, / Krist#$a3s insist#n&# on #t"i&s ,#s*it# t"# im*ossi/i%it o! an so&ia% %in2+Dissi,#n&# is %in2#, to t"# sam# aso&ia%( o*#n( an, mo/i%# *osition o! t"# int#%%#&tua%(s*#a2in) !rom 3un lieu hors la contrainte sociale3+ 197

Po%iti&a%%( t"is s##ms to a!!irm t"# &arni$a%#s<u# r#$o%t o! t"# Ita%ian >o$#m#nt( 3refusantla loi ?usqu'au crime3( 199 -"i&" is t"# su/4#&t o! a /oo2 / >a&&"io&"i+ ?@@ For *o%iti&a%,is&ours#( ,issi,#n&# is &atastro*"i&+ T"# ,issi,#nt mo$#m#nt in a s#ns# &r#at#s a *o%iti&a%$a&uum( sin&# t"# *ossi/i%it o! t"# *o%iti&a%( t"# polis is *ro/%#mati=#,+ Im*%i&it%( t"is

su))#sts t"# !un,am#nta% r#%#$an&# !or *el +uel o! r#%i)ion( as an #t"i&s /as#, on ori)ina%sin( an, %it#ratur# as #.&#*tiona% an, as t"# #.&##,in) o! 3%# %i#n so&ia%3+

Dissi,#n&# im*%i#s !or *el +uel t"# r#4#&tion o! t"# $#r i,#a o! a *ro4#&t an, o! t"# i,#a o!a &o%%#&ti$# )rou* &a%%#, *el +uel + *el +uel as

195S## '+ S&ar*#tta( 3<issidence et littérature3 I+ ro,s2i( 3Poésie et dissidence3 A+

Sinia$s2i ( 3!'Art est supérieur la réalité3 '+ Konra,( 3!'Autre littérature3 a%% in *+G/ 6summ#r 197+

198Krist#$a( 3!a !ittérature dissidente comme réfutation du discours de auche3( *+ G/+19 I/i,+ ;+197 I/i,+199 I/i,+?@@>a&&io&&"i( Apr(s Mar3, a$ril.

a )rou* &#as#s to #.ist in a *ro*#r s#ns# -it" t"# #m*"asis on ,issi,#n&#( i! it -as nota%r#a, !ra&tur#, / t"# s"o&2 o! t"# tri* to C"ina an, t"# USA !o&us+ Dissi,#n&# a%soim*%i#s ,is*#rsion( an, t"is ,is*#rsion is t"at o! t"# r#$i#- its#%!+ In som# s#ns#s t"#r#$i#-3s a&tua% ,#mis# *ost:,at#s its ,isso%ution( /ut it is t"is post -"i&" &"ara&t#ri=#s t"#*#rio, as in t"# -a2# o! t"#or+ A!t#r ,issi,#n&#( a!t#r t"#or( an, a!t#r t"# ,is*#rsion o!t"# r#$i#- &om#s a t"#or o! t"# #.&#*tion+ T"# #.&#*tion &om#s a!t#r ,issi,#n&# in t"#s#ns# t"at ,issi,#n&# is a s#*aration !rom( an, t"# #.&#*tion is a *oint ra,i&a%% ,i!!#r#nt!rom( t"# /o, -"i&" is !ra)m#nt#,+

TH' 'DC'4T#! ! T'"AT%"'Theory of 'e.tions

So%%#rs3s t"#or#ti&a% -or2 o! t"# 19@s *ro)ramm#s man o! t"# #n<uiri#s an,&ontri/utions *u/%is"#, in *el +uel ( an, runs *ara%%#% to t"# -or2 o! Krist#$a an, P%#n#t+?@1 From t"# mi,:19@s So%%#rs3s t"#or#ti&a% arti&%#s ,ominat# t"# r#$i#-( a&&om*anin)t"# &ontinuous *u/%i&ation o! t"# no$#% Paradis+ A%t"ou)" t"# !orm o! t"# &ontri/utionst#n,s to un,#rmin# t"# &%osur# o! t"#or( /#in) -ritt#n in an a*"oristi&( #n&&%o*a#,i&st%# *ro,u&#, !rom t"# *ossi/i%iti#s #m#r)in) !rom %an)ua)#( !rom t"# *#rmutation o!si)ni!i#rs( it ,o#s *r#s#nt a sst#m( a 3sst#m o! t"# non:sst#mi&3( as So%%#rs a!!irms+ ?@? T"# arti&%#s( !or t"# most *art &o%%#&t#, in t"# 1978 *u/%i&ation *héorie des e3ceptions, present 5hat can "e called a theory of e3ceptions, a $ie5 of literature "ased on the

e3ception and on sinularity, analysin se3uality, reliion, and psychoanalysis from this perspecti$e. )t is necessary to analyse the 5hole stretch of this theory, pointin also to itscontinuation in !')nfini in a






























WWWWWWWWWWWWWWWWWWWW?@1T"# t"#or#ti&a% arti&%#s o! >+ P%#n#t o&&u* a su/stantia% *art o! t"# r#$i#-+ >an o!

"is &riti&a% arti&%#s &on&#rn *aintin)( ass#ss#, !urt"#r on( /ut t"# arti&%#s 3La Fo%i#t"ti<u#3( *+ / 6s*rin) 198 an, 3La Com*romission *oti<u#3( *+ G0 6summ#r19 ar# a no %#ss inno$ati$# an, int#r#stin) as*#&t o! *el +uel 3s t"#or#ti&a% a&ti$it,urin) t"# 19@s+ P%#n#t3s main &on&#rn in t"# arti&%#s( an, in "is art &riti&ism an,

*o#tr( &an /# summ#, u* as t"# r#%ation o! t"# su/4#&t to -"at#$#r ,is&ours# "# is#n)a)#, in( 3la question du proc(s constituant le rapport du su?et la loi 3 6 P%#n#t( 3!aFolie thétique3( in i,+( Art et littérature( ?@+

?@?So%%#rs( int#r$i#- -it" aut"or( Paris( 199?0 3$otre formulation d'un syst(me du non9syst(me me para_t intéressante, parce que ?e pense que ce su?et de la littérature telleque ?e la pratique n'est pas un su?et du discours philosophique. )l se met en position de pou$oir l'intérer 3+

s#ri#s o! im*ortant ,is&ussions -it" Fran= ,# Ha#s( ?@ t"#mati&a%%( to )ras* its "istori&a%,#$#%o*m#nt an, r#%ation to t"# "istor o! *el +uel an, t"# -a it *ro)ramm#s&ontri/utions / ot"#r -rit#rs+ It is a%so n#&#ssar to un,#r%in# t"at it runs a%on)si,# t"#&ontinua% *ro,u&tion o! Paradis t"at is a ma4or !a&tor in t"# r#$i#-3s "istor an, st%#+

e $ire .ensant"i%# t"# t"#or#ti&a% -ritin) o! Krist#$a starts !rom a s&i#nti!i& !orma%i=ation an,in&r#asin)% im*%i&at#s t"# su/4#&t o! t"#or in its -ritin)( So%%#rs starts !rom -ritin) to*ro,u&# a t"#or+ T"#or is t"# t"ou)"t t"at t"# *ra&ti&# o! -ritin) "as &r#at#,+ "i%# t"#-ritin) o! Dram# an, Nom/r#s *ro,u&#s t"# t"#or o! !oiques( an, t"# -ritin) o! !ois *ro,u&#s Sur le materialisme, the 5ritin of and Paradis produces the $arious articlesthat appear in *el +uel, some of 5hich are collected in *héorie des e3ceptions. *he articlesapply a loic deri$ed from the practice of 5ritin to the su"?ects in consideration. *hisloic is that of le dire pensant, B0 a theory in the course of "ein produced in lanuaethrouh the effects of the sinifier, of the $oice upon the letter. Sollers's non9fictional5ritin is al5ays anchored, 5ith a sometimes impenetra"le amount of comple3ity, in theform of his 5ritin, in his style. *he production of theory throuh the lanuae of a su"?ectimmersed in the space of lanuae, of the $oice, is fundamental to Sollers's 5or8, and tohis 5ritin in Paradis. *his theory, althouh framentary, is "ased on a loic, or system,5hich is coherent and communica"le. )t is not restricted to *el +uel "ut is a lon9termstratey on the part of Sollers, so the loic of dissolution that it sets in place is partly thecause of the dissolution and dispersion of *el +uel and its e$entual passae to !')nfini.

3'o? viennent les en$ants@

Sollers's articles confront psychoanalysis 5ith literature. *hey e3amine, for e3ample, a propos of the 5riters Doyce and <ostoe$s8y, B0 the e3tent

WWWWWWWWWWWWWWWWWWWW?@T"#s# arti&%#s ar# &o%%#&t#, in t"# r#&#nt *u/%i&ation P+ So%%#rs( !e #ire de #ome 6 Paris(

199?+?@;So%%#rs( int#r$i#- -it" aut"or( Paris( 19910 3)l s'ait de formuler un discours du dire

pensant qui se montre capa"le de tra$erser tous les discours, et de les ré9écrire3+?@5P+ So%%#rs( 3o&# #t &i#3( *+ / an, 3<osto]e$s8], Freud, la roulette3( *+ G/ 6summ#r

197( /ot" in *héorie des e3ceptions.

to -"i&" *s&"oana%sis is /%o&2#, in its att#m*t to ana%s# t"# su/4#&t o! %it#ratur#+Lit#ratur# &an its#%! turn a &riti&a% )a=# on to *s&"oana%sis an, ana%s# it( as it ,o#s inKrist#$a3s t"#or+ S#.ua%it is t"# sm*tomati& ar#a o! t"is ,#/at#( so t"at So%%#rs3sint#r#st in t"#s# matt#rs is &on,ition#, sti%% / a -i%% to *ro*os# %it#ratur# as a sst#mt"#or#ti&a%% in a,$an&# o! t"#or+ T"# ,#/at# is 2nott#, aroun, t"# <u#stion0 3<'o^$iennent les enfantsQ3( t"# tit%# o! on# o! So%%#rs3s arti&%#s+ ?@8 T"# o/$ious ans-#r( 3le corps

de la m(re3( ?@ situat#s t"# mot"#r as t"# s&r##n or /%o&2a)#( t"# %imit( o! t"# *"#nom#na%-or%,+ A%r#a, *r#s#nt in t"# #ar%i#r #ssa on Dant# is t"# notion o! t"# tra$#rsa% o! t"#mot"#r( -"i&" So%%#rs a%so m#ta*"ori=#s as 3sortir d'Éypte3( %in2in) t"# <u#stion to t"#


















%o)i& o! t"# In&arnation an, sa&ri!i&# o! C"rist is ,ir#&t% r#%#$ant to t"# in&arnation in t"#/o, o! %an)ua)#( an, t"# sa&ri!i&# o! t"# /o, to -ritin)+ From t"is *#rs*#&ti$#( t"# /o,(an, t"# *"#nom#na% in )#n#ra%( /#&om#s som#t"in) t"at "as !a%%#n out o! an in!init#*ro&#ss( a déchet + T"# -or%, is &on,ition#, / n#)ati$it 6 So%%#rs *oints to t"#"omo*"on /#t-##n 3n'tre3 an, 3na_tre3 ??5 ( an,( i! t"is in!init# *ro&#ss i! !or#&%os#,( / a!#tis"i=ation o! le déchet + ??8

So%%#rs3s t"#or is &onsist#nt in man -as -it" t"# -ritin) o! t"#o%o)ians su&" as Pas&a%(E&2"art( ossu#t( an, -it" #suiti&a% t"ou)"t+ So%%#rs3s #,u&ation / #suits is *#r"a*s not-it"out &ons#<u#n&#+ In an #ssa #ntit%#, 3 Éloe de la casuistique3 o! 197( So%%#rs*rais#s t"# Portu)u#s# t"#o%o)ian 'ra&ian !or "a$in) r#&o)ni=#, t"at0 3 le lanae, en cemonde, est en trop, est la fiure mme d'un e3c(s qui

???P+ So%%#rs( 3!e Mar3isme sodomisée par la psychanalyse elle9mme $iolée par on ne

sait quoi . . .3( *+ G 6s*rin) 197( a%so in i,+( *héorie des e3ceptions.??A 2# t#st in t"is r#s*#&t is Dant# Paradiso, particularly the last canto; the lines

'$erine madre filia del tuo filioY*ermine fisso d'eterno consilio'. Sollers 5rites ofthese lines in 'De sais pourquoi ?e ?ouis', in id., *héorie des e3ceptions, B190; '!adéli"ération humaine tourne ainsi autour d'un terme fi3e qui est celui d'une $ierem(re fille de son fils.'

??;S## So%%#rs( *héorie des e3ceptions, BB.??5S## i,+( 3!a *rinité de Doyce3( *+ 120 7+??8Paradis &an /# s##n as an ana%ti& an, *aro,i& tra$#rsa% o! a *ro%i!#ration o! !#tis"#s

an, !#tis"i=ations+

indique, comme l'en$ers, le trop9plein di$in qui $ide et onfle en mme temps les phenom(nes3+ ??

Lan)ua)# is i,#nti!i#, as a !i)uration o! t"# ,i$in# -"i&" is a *rin&i*%# o! #.&#ss -it"in*"#nom#na( su&" t"at0 3%# $#r/# *#ut ,on& nous a&&om*a)n#r au:,#% ,#s !ins ,# tout &#<ui a t !ait #t s# !#ra 4amais3+ ??7 So%%#rs3s sst#m is &%os# to t"at o! atai%%# in i,#nti!in)a uni$#rsa% *rin&i*%# o! #.&#ss( /ut ,istin&ti$# in its !ait"( in t"# r#%i)ious an, ot"#r s#ns#so! t"# -or,( *%a&#, in t"# *ossi/i%iti#s a!!or,#, / -ritin)+

So%%#rs3s t"#or( a%t"ou)" it &an /# mor# a&&urat#% &a%%#, a t"#ora!t#r:t"#or in t"at it*%a&#s its#%! /#on, t"# &%osur# o! a sst#m( is in man s#ns#s a r#mar2a/%# $ision noton% o! %it#ratur# /ut a%so o! art in )#n#ra%( as o!!#rin) *ossi/i%iti#s o! $#rti&a%it an,trans&#n,#n&# -it"in t"# r#a%( an, as a trans!ormation o! t"# usua% *att#rns o! t"ou)"t+Its &onsist#n& an, &o"#r#n&# ar# o!t#n o$#r%oo2#, -"#n So%%#rs is s##n as an ar&"#t*a%int#%%#&tua% o/s#ss#, -it" strat#) an, ima)#+ T"#s# as*#&ts ar# su/s#r$i#nt to t"#*uttin):!or-ar, o! t"# %o)i& ,#s&ri/#, a/o$#+ I! >aoism is s##n as a ra,i&a% n#)ation o! t"#&%osur# o! t"# >ar.ist sst#m( So%%#rs3s int#r#st in Cat"o%i&ism is #ntir#% &onsist#nt -it" itat t"# %#$#% o! t"is %o)i&+ "i%# Krist#$a3s t"ou)"t s"o-s a ,#$#%o*m#nt t"rou)"out t"#19@s( So%%#rs3s non:!i&tiona% -ritin) a**#ars as a r#it#ration o! a /asi& %o)i& an, itsa**%i&ation to ,i!!#r#nt ar#as+ R#*#tition( in *el +uel o! t"# #.&#r*ts o! Paradis, 5ithin

that te3t of sounds and rhythm, and of a "asic theory, is a particular aspect of Sollers's5ritin. *his repetition punctures the closed time of theory and the linear time of history.#epetition is a pro"lem for history, as Sollers suests in an article entitled '!e *ri';

=ien entendu, si on pose la question du temps, de cette soi9disant e3istence du tempsentra_nant un dé$eloppement quelconque, on $a tre amené se poser immédiatement ce pro"l(me de la répétition. !a question, c'est en effet la répétition. De me rép(te. BB

For the proof of this, one has only to read in Sollers's most recent no$el; ' <e la répétitionrépétée dans la répétition des répétitions. Qous inno$e:, para_t9il, moi ?e me rép(te.' B20 *his temporality of repetition

WWWWWWWWWWWWWWWWWWWW??P+ So%%#rs( 3Éloe de la casuistique3( *+ GG 6autumn 197 an, in i,+( *héorie des

e3ceptions, 2.























??7i,+( *héoorie des e3ceptions, 2G.??9S## i,+( 3!e *ri 3( ori)+ in Peinture, cahiers théoriques, repu". in id., )mpro$isations

@ Paris, --, -/.?@I,+( !e Secret 6 Paris( 199?( 51+ T"# narrator is -ritin) a/out t"# Po*#+

ta2#s a -"i%# to #m#r)#( "o-#$#r( "a$in) to ,is#n)a)# its#%! !rom t"# a$ant:)ar,# *ro4#&t

t"at %in2#, %it#ratur# to *o%iti&a% an, t"#or#ti&a% uto*ias+ "#n it ,o#s( in So%%#rs3s -or2( int"# 19@s( it s"#,s a r#tros*#&ti$# %i)"t on t"# *r#$ious -or2( su&" as !oiques. *hearticles that appear in *el +uel in the -G0s, and much of the 5or8 pu"lished in *el +uel"y associates such as oude"ine, Scarpetta, Sich(re, and Muray, are applicationsof this repetiti$e loic of the e3ceptional. *his implies a 5idenin of the canon, to includenot only 5riters associated 5ith the a$ant9arde, "ut also 5riters such as Céline, Malrau3,uo, and later in !')nfini a proliferation that seems to relate to no particular criteria,specifically re$alori:in classical 5riters such as =ossuet, SaintSimon, !a #ochefoucauld.#eliious te3ts, particularly those at the marins of monotheistic reliions, includinCatholicism as 5hat Sollers calls a 'monotrinisme', B2- "ecome o"?ects of interest.=ioraphy, as the study of the 5ay the 5riter occupies the 5ritin, also "ecomes rele$ant. An intersection of these interests, reacti$atin an emphasis already present, ma8es the5or8 of Doyce a focus throuhout the decade.

The Nae o$ the )xce#tion)n '!e Mar3isme sodomisé' Sollers proposes a ne5 $ision of the e3ception other than asthat 5hich confirms the rule. *his is centred on the the question of the name, a pre$iousemphasis in '!a Science de !autréamont'. Sollers 5rites else5here that; 'le sem"lant estla te3ture de l'étant . . . qui permet penser que les noms sont équi$alents'. B2B *hename, as the mar8 of sinularity, cannot "e equi$alent. )ts reproduction, the handin9do5n of the name of the father, has to "e interrupted to constitute sinularity. *his 'coupdans le lanae' is effected "y !autréamont, Doyce, Sade, <ante, Sollers himself, 5ho'pass throuh the name' or the name of the father "y an insertion of their name in thetissue of lanuae, a redou"lement. B22 a$in e$acuated the possi"le equi$alences of thename, the 5riter can occupy the name as the mar8 of an e3ception, so that 'le nom,$ocalement, sort du sem"lant'. B2 )n '!ettre de Sade' Sollers condemns the mutation ofthe name of Sade into an ad?ecti$e, and the resultant repression of the fact that Sadeli$ed and

WWWWWWWWWWWWWWWWWWWW?1I,+( 3Pourquoi ?e suis si peu reliieu3 3( *+ 1- 6autumn 199( an, in i,+(

)mpro$isations, --G.??I,+( 3istoire de femme3( *+ 110 8+?S## i,+( 3!'Auuste Comte3( *+ G 6s*rin) 199 an, in i,+( *héorie des e3ceptions.?;I,+( 3istoire de femme3( *+ 110 +

,i#,( t"at "# #.ist#, as an #.&#*tion+ ?5 T"# %i!# o! t"# -rit#r is im*ortant as t"# #$#nt o!t"is sin)u%arit in t"# r#a%+ In t#rms o! t"# su/4#&t o! %it#ratur#( t"# *assa)# t"rou)" t"#nam# in$o%$#s a r#a%i=ation t"at( as Ni#t=s&"# -rot#0 3I am a%% t"# nam#s o! "istor+3 Inot"#r -or,s( t"# %it#rar #.&#*tion &an on% /# &onstru&t#, t"rou)" int#rt#.tua%it(t"rou)" a tra$#rsa% o! a%% t"# *ossi/i%iti#s o! ot"#r t#.ts in t"# t#.t+

T"# %it#rar #.&#*tion is an&"or#, in t"# sin)u%arit o! a nam#+ T"is -ou%, s##m to*ro*os# a ,#*artur# !rom t"# anonmit o! t"# t#.tua% ma&"in# o! *el +uel 3s #ar%i#r#m*"as#s( /ut it is in !a&t its #.t#nsion /#on, t"# %imits o! an a$ant:)ar,# !orma%ism(-"i&" -as a sta)# on t"# -a to t"# #.&#*tion+ T"# #m*"asis on t"# nam# is *r#&is#%,u# to t"# ,isso%ution o! t"# i,#ntit o! t"# aut"or+ So%%#rs #.*%ains t"is m#&"anism in t"#arti&%# 3!'Auuste Comte30 t"# -rit#r *ass#s t"rou)" t"# a%t#rit o! t"# *s#u,onm6Lautramont an, 3a%% t"# nam#s o! "istor3 to /# a/%# !ina%% to si)n "is o-n nam#(Isi,or# Du&ass#+ ?8 ritin) a**#ars as a tri*artit# *assa)# !rom t"# sa&ri!i&# o! aut"oria%i,#ntit t"rou)" a r#int#)ration o! t"# mu%ti*%i&it o! ,is&ours#s( t"#ir r#r#a,in) an,

r#-ritin)( to t"# su/4#&ti$it o! t"# -rit#r+























T"# in$#sti)ation o! t"# #.&#*tion a%so %#a,s to a &onsi,#ration o! &ommunit+ So%%#rs saso! t"# %i$#s o! t"# -rit#rs Lautramont( >a%%arm( o&#0 3c'est parce que toutes cese3périences sont tr(s différentes les unes des autres que c'est la mme3+ ? T"#r# is a 2in,o! &ommunit o! t"# #.&#*tion in t"is s#ns#( /ut 3c'est un espace qui ne fait pascommunauté d'une facon éalisante3+ ?7 T"# nam#s( So%%#rs( P%#n#t( Riss#t( an, so on( ,onot ,#!in# a &ommunit in -"i&" t"# nam#s ar# annu%%#, un,#r t"# -#i)"t o! a &ommon

*ro4#&t( 4ust as atai%%#( L#iris( an, Cai%%ois r#tain#, t"#ir ,i!!#r#n&# an, t"#ir,isa)r##m#nts in t"# Coll(e de socioloie+ T"is 2in, o! &ommunit( a &ommunit o! t"#nam# as #.&#*tion( ,#!in#s t"# &"ara&t#r o! t"# %at#r *el +uel an, !')nfini.

*he sinularity of the name, 5hat 5e could call the use $alue of the name, to re$i$e anearlier analoy, is opposed to the capacity of e3chane of lanuae in eneral, or socialdiscourse. *he name of the social su"?ect is a sin of an identity, as Sollers proposed, 'lamise en carte de l'identité sociale', B2 5hile the literary name is an e3ception. )n

WWWWWWWWWWWWWWWWWWWW?5S## i,+( 3!ettre de Sade3( *+ /- 6s*rin) 195+?8S## i,+( 3!'Auuste Comte3( in i,+( *héorie des e3ceptions, --G9-1.? I/i,+ 1?1+?7 I/i,+?9P+ So%%#rs( !oiques 6 Paris( 1987( 8@+

3!'Assomption3 So%%#rs &riti&i=#s t"# mutation o! t"# nam# into a *art o! a so&ia% s#t(,#&onstru&tin) t"# %o)i& t"at *ass#s !rom 3*ous les hommes sont mortels3 to 3Socrateest un homme3 an, 3Socrate est morel 3+ Ps&"oana%sis is a%so im*%i&at#, "#r#( sin&# itma2#s o! t"# #.&#*tion a &as#( as is #$i,#nt in t"# us# o! t"# t#rms 3o#,i*a%3( 3sa,isti&3(3maso&"isti&3+ Im*%i&it%( *el +uel a!!irms sin)u%arit in o**osition to t"# #.&"an)# o!m#anin) or #.#m*%i!i&ation+ T"# su/4#&t o! %it#ratur# t"#r#!or# /#&om#s an #.&#*tion / a*assa)# t"rou)" %an)ua)#( to t"# *oint -"#r# "# &an o&&u* "is nam#+ T"is o&&u*ationr#!#rs not on% to t"# !a&t t"at -"#n -# us# t"# -or, 3 S"a2#s*#ar#3 -# t"in2 as mu&" o!a t#.t( a /o, o! %an)ua)#( as a "istori&a% in,i$i,ua%( /ut a%so to t"# *"si&a% o&&u*ation o!t"# /o, / %an)ua)#+ ritin) is not a D#rri,#an im*#rsona% *ro&#ss /ut a *ro!oun,%s#nsuous in$asion o! t"# /o, / %an)ua)#( an in"a/itation o! t"# /o, / t"# $oi&#( to

t"# *oint -"#r# t"# /o, /#&om#s a nam#( an #.&#*tion at t"# trans!init# *oint o!%an)ua)#+ T"# %o)i& o! t"# #.&#*tion is not on% t"#or#ti&a%( it is a%so a *"si&a% #.*#ri#n&#+

The =oy of the 'e.tionT"# /o, o! t"# #.&#*tion is an #.&#*tiona% /o,( an, it is ana%s#, in *el +uel as su&"(!or #.am*%# / P"i%i**# >ura in t"# a*t% tit%#, 3!e Corps lorieu3 de l'écriture3+ ?;@ Ot"#rana%s#s o! t"is <u#stion ar# un,#rta2#n / S&ar*#tta( on Artau,( an, / >ura a)ain( onC%in#+ ?;1 Lit#ratur#( >ura *ro*os#s( o*#ns u* t"# *ossi/i%it o! a 3résurrection dans lemultiple3+ ?;? # &an r#&o)ni=# "#r# t"# sin)u%arit t"at #m#r)#s t"rou)" t"# ,#at" o!in,i$i,ua%it an, *assa)# to mu%ti*%i&it an, in!init+ T"# t"#m# o! r#surr#&tion #n)a)#st"# <u#stion o! t"# /o, o! C"rist( *r#&is#% /#&aus# it is a <u#stion o! t"# r#surr#&tionan, ,isa**#aran&# o! t"# /o,+ Fo&usin) on t"# Turin s"rou, as a !i)ur# o! t"is*ro/%#mati&( >ura *ro*os#s t"at t"# /o, o! t"# -rit#r is #n)a)#, in a simi%ar,isso%ution0 3!e $er"e se faisant chair dissout ?usqu' la chair, le corps ne tient plus le coupdans l'incarnation+3 ?; T"# /o, /#&om#s 3un corps lorieu3 3( an, is %i$#, as an3unsu**orta/%# r#a%it3 6or So%%#rs3s t#rm déchet ( t"# #.*#ri#n&# o! Artau, a**#arin)*arti&u%ar% r#%#$ant(

?;@P+ >ura( 3!e Corps lorieu3 de l'écriture3( *+ 10 6summ#r 199+?;1S## '+ S&ar*#tta( 3 Artaud écrit ou la canne de St. Patric8 3( *+ 1- 6autumn 199 P+

>ura( 3Céline et la reliion ré$élée3( *+ 11 6summ#r 1971+?;?>ura( '!e Corps lorieu3 de l'écriture' ( *+ 100 81+?; I/i,+ 87+






































/#&aus# its r#a%it &annot su**ort t"# ,i$in#+ T"is r#&a%%s -"at -# "a$# a%r#a, si)na%%#, a*ro*os o! So%%#rs as t"# sa&ri!i&# o! t"# /o, in t"# -ritin) in a 2in, o! Pas&a%ian -a)#r(/#t-##n not"in) an, in!init+ In 3Socrate en passant 3 So%%#rs a%so #m*"asi=#s "o-( !ort"# -rit#r( t"# /o, is a %imitation to /# trans)r#ss#,+ ritin) *ass#s /#on, t"# /o, as&or*s( as &or*s#( an, /#&om#s %a &"air t"rou)" t"# in&arnation o! %an)ua)#+ >o$in) a-a!rom t"# !#tis"i=ation o! -ritin) #$i,#nt in D#rri,a 19; t#.t Hlas, the incarnation of

lanuae in the "ody is proposed "y Sollers, Muray, and others, as acti$ated "y the $oice.

*his is the case in Paradis, from 5hich Sollers a$e readins 5hich physically e3haustedhim. )t is a 5ritin that coincides 5ith the $oice, that reaches a point at the end of the phrase9unit that coincides 5ith the stillness in the interstices of "reathin, ena"lin acoincidence, incarnation, or occupation, of the "ody "y the 5ritin. A $ide is the still pointat 5hich the circulation of sins and fetishes can "e interrupted and ena"le a $erticality.Sollers himself terms the passae "eyond the circulation of le déchet, 'le trou noir' or 'letransph(re', suestin that the e3perience in question is also transressi$e of the psychoanalytic e3chane of le transfert or transference. B *he "ody of the e3ceptionescapes from the circulation of le transfert, or e3tends it, to "ecome transcendent, "eyondthe sphere, in 5ritin. *he metaphor of the "lac8 hole suests ho5 it is a question ofe3itin from the circulation of the phenomenal uni$erse, 5hence Sollers's interest in thene5 physics in Paradis and in later 5or8s.

The .ignature o$ the )xce#tion: -ntertextuality

*he sinature of the e3ception can only ta8e place after the tra$ersal of the infinity ofte3ts, after interte3tuality. )n oude"ine article '!a Sinature de Doyce' the question ofthe passae to the sinularity of the name is articulated as from the particular throuh theuni$ersal to the sinular. B *he sinature is a 'transname', characteristically prefi3ed 5ith'trans9' to suest the diaonal, neither purely $ertical nor hori:ontal process, 5ith 5hich*el +uel is concerned. Sollers had stated in 'Socrate en passant'; 'De suis ce su?etsinulier qui s'interesse la loique de l'uni$ersel.' B/ Doyce's '5a8e', oude"ine e3plains,e3presses the idea

WWWWWWWWWWWWWWWWWWWW?;;P+ So%%#rs( 3Socraté en passant 3( *+ 12 6s*rin) 197@( a%so in i,+( *héorie des

e3ceptions, BG.?;5+:L Hou,#/in#( 3!a Sinature de Doyce3( *+ 1- 6autumn 199+?;8So%%#rs( *héorie des e3ceptions, B10.

o! t"# *ost:uni$#rsa% sin)u%arit t"at #.ists in a t#m*ora%it o! t"# pressant ( t"# in!init o!t#.ts *r#ssin) /#"in, t"# mom#nt o! -ritin)( a t#m*ora%it o! t"# dépense o! t"# ant#riort#.ts+ T"# sin)u%arit o! t"# #.&#*tion( in ot"#r -or,s( is a *ost:int#rt#.tua% sin)u%arit+Im*%i&it%( t#.ts -"i&" ar# &ons&ious o! t"#ir int#rt#.tua% r#%ations -it" ot"#r t#.ts an,o*#n to t"#m( %i2# o&#( o&#( Lautramont( or or)#s( ar# o! int#r#st as $#rsions o! t"is%o)i&+

Hou,#/in# ,is&uss#s t"# si)natur# o! o&# as an in!init# *oint &omin) a!t#r t"# mu%ti*%i&ito! ,is&ours#s( %ain) out a stru&tur# !or t"is tra$ersée /as#, on a -or, in Finneans 6a8e 3m#an,#rta%#3( r#a,in) t"# t"r## *arts as !o%%o-s0 i 3le récit de moi comme autre3 ii 3lerécit de l'autre comme moi 3 iii 3l'Autre en moi, moi en l'Autre comme dit 3+ ?; First(a%i#nation or sa&ri!i&#( t"#n t"# int#riori=ation o! ot"#r t#.ts( t"#n t"# s*#a2in)( %# ,it( o!/ot" in t"# t#.t+ T"is &oin&i,#s -it" -"at So%%#rs &a%%s 3le passae du su?et sa trinité3( ?;7 "#n&# t"# r#%#$an&# o! t"# Cat"o%i& ,o)ma o! t"# Trinit+ T"is tra$#rsa% is n#it"#rm#ta*"ori& nor r#a%+ It is not a <u#stion o! a ,is&ours# t"at is &ons&ious% a-ar# o! &o*in)a%% ot"#r %an)ua)#s::t"# tra$ersée( mor#o$#r( #.ists -it"in on# %an)ua)#( a%t"ou)" t"#r#ar# #.&#*tions( o! -"i&" o&# is t"# o/$ious on#::/ut o! a -ritin) t"at "as no&ons&iousn#ss o! its#%! as *ur# ori)in an, ,o#s not &%os# its#%! o!! !rom ot"#r t#.ts( or an

-ritin) t"at &an /# r#a, in t"#s# t#rms+ It r#$#a%s its#%! as -it"in t"# sam# )#n#ra% &or*us6%an)ua)# as t"# in!init# t#.tur# o! "uman int#ra&tion+ Int#rt#.tua%it is not %imit#, to



















trans%ation o! a *art o! Finneans 6a8e / So%%#rs an, H#at"+ T"# !o%%o-in) issu#in&%u,#s arti&%#s / Um/#rto E&o an, + Riss#t on o&#+

?5;+:L+ Hou,#/in#( 3o&# t#% <u#%3( *+ 6-int#r 197?+?55S## '+ L#rnout( *he French Doyce 6 >i&"i)an( 199@ !or a ,is&ussion o! t"# $arious

*#rs*#&ti$#s( in&%u,in) t"at o! *el +uel, on Doyce.?583o&# in Pro)r#ss( Intro,u&tion3( *+ 6summ#r 19( +?5

S## +:L Hou,#/in#( 3,ano$ ou o&#Q3( *+ / 6s*rin) 19+?57So%%#rs( *héorie des e3ceptions, 0( ,#!in#, as 3l'écriture comme multiplication deslanues3( *+ 81+

,istin&t !rom La&an tota%i=in) lalanue, promotin the multiplicity of lanuaes that DoyceFinneans 6a8e cele"rates. Doyce "ecomes almost synonymous 5ith the capacity ofliterature to undermine politically totali:in systems, and to this e3tent the emphasis on Doyce is a political choice. *his has effects in the re$ie5's interaction 5ith the conte3t. )ndiscussin <eleu:e and Hauttari's "oo8 on >af8a, Scarpetta plays Doyce aainst theauthors' philosophical intentions. !i8e5ise, discussin !u8a%s, Doyce is used as a stic8 to"eat not only the representati$e of socialist realism, "ut also =recht, 5ho failed toreconi:e the $alue of the Doycean te3t. B *he emerence of a critical discourse on Doyceappears as a continuation of the emphasis on the sinular su"?ecti$ity of the 5riter thattransresses the political structures in 5hich *el +uel's Maoism is implicated. Doyce

appears implicitly as the e3ception that returns on the rule to su"$ert and transform itssystem.

oyce the .y#to Doyce appears as a symptom for psychoanalysis and history, 5hich points to 5hat isrepressed. *his immediately poses the question of the e3tent to 5hich the symptom isequi$alent to the e3ception, ena"lin a comparison "et5een the approach to literature of*el +uel and of !acan4 particularly pertinent since the principal interaction "et5een *el+uel and !acan o$er literature concerns Doyce. For !acan, in an article of -G, Doyce 5as'the symptom' or le sinthome, the saint outside normal human relations. B/0 *he relation"et5een lanuae and literature is 8notted around the question of the symptom "y !acan.)f the su"?ect of lanuae, the su"?ect as such, e3periences a lac8, manque tre,throuh his su"?ection to the other, that somethin is missin in his relations 5ith the5orld or 5ith the other, the symptom is 5hat the su"?ect 5ants to use to stop up this lac8.)f the su"?ect in lanuae is al5ays prey to metonymic su"stitution, is al5ays fadin in the$ort8 &a play of the sinifier9su"?ect9sinifier $ector or shuttle, the symptom is a "it, athin that resists this mo$ement and "loc8s up the hole 5here the su"?ect disappears orfades. Moreo$er, if the su"stitution of meanin is a la5, if e$ery su"?ect is prey to theunconscious, the symptom is 5hat constitutes sinularity, 5hat ma8es the e3ception. For!acan, the

WWWWWWWWWWWWWWWWWWWW?59S&ar*#tta( 3>af8a de <eleu:e et Huattari 3( *+ /2 6autumn 195( an, 3Pro"l(mes du

réalisme de H. !u8acs3( a%so *+ /2+ S&ar*#tta /oo2 =recht et le soldat mort 6 Paris(

199 -as a simi%ar ,#/un2in) o! t"# %#!tist *#rs*#&ti$# on %it#ratur# !rom t"is *osition+?8@+ La&an( Doyce le symptJme3( in + Au/#rt 6#,+( Doyce a$ec !acan 6 Paris( 197+

r#%ation o! %it#ratur# to %an)ua)# is t"at t"# !orm#r #<ui$o&at#s /#t-##n m#anin) an,sm*tom( /#t-##n t"# instan&# o! t"# %#tt#r as m#tonm an, as 3,#a, %#tt#r3( t"# %#tt#ras sm*tom( or 3%itt#r3 an, 3%#tt#r3 o&# is t"# sm*tom in t"at "# intro,u&#s#<ui$o&ation into %an)ua)#( t"at "# insta%% an o/stinat#( unr#a,a/%# %#tt#r -it"in %an)ua)#+

T"# sm*tom or #.&#*tion !or *el +uel is not a /%o&2a)# o! %an)ua)# /ut its o*#nin) toin!init+ La&an3s a**roa&" i,#nti!i#s a /%o&2a)# /#&aus# it ,o#s not #nt#rtain t"# *ossi/i%ito! an in!init# #nun&iation+ E.&#ss or ?ouissance !or La&an is si%#nt( -"#r#as !or *el +uel it isr#int#)rat#, into %an)ua)# to /#&om# an in!init# #nun&iation+ Su*#rim*osin) La&an3sorrom#an 2not o! sm/o%i&( ima)inar( an, r#a% on So%%#rs3s Trinit( it is #$i,#nt t"at

-"i%# !or La&an t"# r#a% is a si%#nt( t#rri/%# s"o&2( !or So%%#rs is is a "#t#ro)#nous tissu# o!m#anin)+ T"# sm*tom /#&om#s r#!orm#, as an in!init -it"in %an)ua)#( a dé"ordement









or a sur*%us( a musi&+ T"is is ma,# #.*%i&it in So%%#rs3s ,#!ormation o! t"# t#rm ?ouissance as ?ouissens+ ?81 T"# sm*tom is an #.&#*tion t"at &annot 6#t s*#a2+

5oye an Trans.henomenality

o&# a%so sm*tomati&a%% *oints to *el +uel 3s -i,#nin) o! !o&us to ta2# in r#%i)ion in t"#%at#r "a%! o! t"# 19@s( *arti&u%ar% in t"# s*#&ia% issu# 3&"scénité et théoloie3+ ?8? T"isr#it#rat#s t"# $ision o! r#a%it or *"#nom#na%it as i%%usion( #noun&#, !rom t"# *oint o! t"##.&#*tion+ o&#3s t"ou)"t on Cat"o%i&ism( ana%s#, in a ,is&ussion #ntit%#, 3!a *rinité de Doyce3( is an instan&# -"#r# So%%#rs3s t"#o%o)i&a% int#r#sts ar# a**%i#, to a *arti&u%ar t#.t+T"# /#)innin) o! U%ss#s is ana%s#, as a &on!%i&t /#t-##n 'r##2 *a)anism an, #suitCat"o%i&ism+ In t"# !orm#r 6!or t"# &"ara&t#r >u%%i)an t"# mot"#r is a su/stan&#( a3mot"#r natur#3( t"at s"ou%, /# $#n#rat#,+ St#*"#n D#,a%us3s r#!usa% to 2n##% in !ront o!"is mot"#r3s ,#at"/#, is in,i&ati$#( !or So%%#rs( o! "is -i%% to attain a ,istan&# !rom t"#matriar&"+ o&#3s Cat"o%i&ism is a r#!usa% o! t"# -ors"i* o! a *a)an( mat#rna% su/stan&#(-"i&" So%%#rs Paradis su))#sts is t"# &on,ition o! so&i#t+ T"# %in2in) o! mot"#r to natur#su))#sts( mor#o$#r( t"# 3trans*"#nom#na%3 as*#&t o! *el +uel 3s t"#or in t"# s#ns# t"att"# mat#rna% is %in2#, to t"# *"#nom#na%+ Lan)ua)# an, -ritin)( as a *assa)# to in!init(

*ass /#on, or trans)r#ss t"# or,#r o!

?81S## S+ H#at"3s trans%ation o! So%%#rs( 3o&# #t &i#3( *+ / 6-int#r 195( 5+?8?3am#s o&#( o"scénité et théoloie3( *+ 12 6s*rin) 197@+

t"# *"#nom#na%+ "at -ritin) #na/%#s is a&&#ss to t"# in$isi/%#( to som#t"in) outsi,# t"#or,#r o! t"# *"#nom#na%+ For o&#( t"# &riti&a% #.*#ri#n&# o! Cat"o%ism( s*#&i!i&a%% o! t"#Trinit( a%%o-s t"is *assa)# in %an)ua)# t"rou)" t"# s&r##n o! t"# *"#nom#na%+ T"is is&onsist#nt -it" t"# &onstant &riti<u# in *el +uel o! t"# $isua% an, t"# r#*r#s#ntationa%( t"#s*#&ta&%#( in !a$our o! %an)ua)# an, -ritin)+

A)ain( t"# /o, is %#!t /#"in,( as déchet ( in t"is *assa)# a&ross an, /#on, t"#

*"#nom#na%+ T"# notion o! 3le Qer"e fait chair 3 is at t"# sam# tim# &om*%#t#% &onsist#nt-it" Krist#$a3s *s&"oana%ti&a% t"#or( -"#r# t"# su/4#&t ,is#n)a)#s !rom t"# mat#rna%!usiona% ,a, t"rou)" an #.*#ri#n&# o! a/4#&tion 6in Ilysses( St#*"#n3s ,is)ust -it" t"#su/stan&# o! "is mot"#r3s /o, an, an i,#nti!i&ation -it" an ima)inar !at"#r+Si)ni!i&ant%( t"is i,#nti!i&ation is mo/i%i=#,( !or Krist#$a( / t"# $oi&#0 3Cette identificationidéale au Sym"olique soutenu par l'Autre, mo"ilise donc da$antae la parole que l'imae+3?8 T"# $oi&# or le souffle int#r$#n#s in t"# /o, to trans!orm it into an in&arnation o! t"#,i$in# *ossi/i%iti#s o! %an)ua)#+ T"# str#ss on t"# $oi&# at t"# #.*#ns# o! t"# ima)#r#$#a%s t"at t"# &riti<u# o! t"# $isua% in *el +uel is t"# n#)ati$# si,# o! an a!!irmation o!%an)ua)#( n#$#rt"#%#ss /a%an&#, out / P%#n#t3s ana%s#s o! $isua% art+ T"# mat#ria%ism o!*el +uel is not a !#tis"i=ation o! -ritin) /ut an a!!irmation o! t"# irr#*r#ssi/%# ro%# o! t"#$oi&# in "uman r#%ations+

T"# <u#stion o! trans&#n,#n&# an, t"# t"#o%o) t"at *#rmits it ar# t"# #ss#ntia% su/4#&tso! t"# 3*rinité de Doyce3 ,is&ussions -"i&" !o&us on t"# %att#r3s ins&ri*tion o! t"# Trinit in"is -ritin)s an, t"# 3"#r#si#s3 t"at ,#n t"# $arious ,o)mas o! Cat"o%i&ism+ o&# a&ts"#r# as a sm*tom( in t"# s#ns# t"at "is -ritin) is t"# *%at!orm !or a ,is&ussion o! -i,#rissu#s t"at -# "a$# #.tra&t#, as a t"#or o! -ritin)+ So%%#rs3s an, Hou,#/in#3s ,is&ussiono! o&# is a *ro,u&ti$# r#a,in) o! t"# t#.t t"at *ro,u&#s an #.t#nsion or a r#it#ration o! at"#or+ T"#or is not a s#t o! ,o)mati& *rin&i*%#s( a &%osur# t"at *ostu%at#s its on%*ossi/%# o*#nin) as a /%o&2a)#( /ut a mo/i%# *ro,u&tion( a trans!#r#n&# t"at o*#rat#s !romon# t#.t to anot"#r+

rom 5oye to 5aJJ

T"is t"#or#ti&a% trans!#r#n&# o*#rat#s a%so !or musi&( anot"#r -i,#nin) o! int#r#sts in *el+uel in its !ina% #ars+ "i%# o&# a&ts as a n#.us !or













?8+ Krist#$a( 3Freud et l'amour. !e Malaise dans la cure3( in #a,+( istoires d'amour, -.

a mo/i%# t"#or o! %it#rar &r#ation( t"is a%so *ro)ramm#s a s#ri#s o! ot"#r int#r#sts+ T"#trans*"#nom#na% #m*"asis s"i!ts !rom t"# !o&us on o&# to t"at on 4a== in a ,is&ussion o!199+ So%%#rs *ro*os#s t"at -ritin) is in a,$an&# o! 4a== an, musi& sin&# t"# %att#r is sti%%

ti#, to t"# or,#r o! t"# *"#nom#na% in an instrum#nt( #$#n t"ou)" it strains to #s&a*#!rom it+ T"# $oi&#( a musi& not ti#, to an instrum#nt /ut in&arnat#, in t"# /o,( &an )i$#a&&#ss( So%%#rs a!!irms( to t"# in$isi/%#+ ?8; Hou,#/in#( in a !urt"#r arti&%# on o&#(in&%u,#, in "is im*ortant /oo2 E3c(s de lanaes 6 197 r#it#rat#s t"# ,nami& o! t"#*"#nom#na% an, t"# trans&#n,#nt in t#rms o! $isi"ilia an, in$isi"ilia( -"i%# ass#rtin) t"att"# sm/o%i& is a/%# to &o,i! t"# in$isi/%#( trans!orm le $ide into t"# s*a&# o! m#anin)+ ?85

In t"# 3a==3 ,is&ussion( So%%#rs "a, #m*"asi=#, t"at -ritin) &an !or&# a "o%# in t"#s&r##n o! t"# *"#nom#na%+ T"is %#a,s to a &onsi,#ration o! t"# r#%ation /#t-##n t"# $isua%an, t"# aura%( im*ortant in t"# &ont#.t sin&# t"# ,#&a,# sa- a r#ass#ssm#nt o! t"# $isua%(in t"# -or2 o! Lotar,( amon) ot"#rs( a!t#r t"# str#ss on %an)ua)# o! stru&tura%ism+ !etrou &an /# s##n as an #.it !rom t"# $isi/%# to t"# in$isi/%# t"rou)" t"# m#,ium o! t"#$oi&# an, its musi&( t"rou)" t"# #ar+ So%%#rs "a, str#ss#, t"# im*ortan&# o! t"# #ar aso**os#, to t"# ## !or Paradis, and of the ear as the openin throuh 5hich le $er"eenters the "ody of the Qirin. B// ')n his 'mytho"ioraphy', Sollers also emphasi:es theimportance of ha$in a ruptured tympanum for his 5ritin career. B/G 6hile the rele$anceof the latter t5o points may "e limited, it can "e arued that Paradis also presents asradical a challene to the eye, in readin, as it does to the ear. *he $isual impression ofa"solute unpunctuated continuity contrasts 5ith the necessity for pauses in the auralappreciation of the te3t. Furthermore, much of the radicality of *el +uel's te3tuality pertains to typoraphic inno$ation4 the te3ts of <enis #oche, and e$en more of Maurice#oche, are an important strand of *el +uel's te3tuality. 6hile the affirmation of lanuaeas such pri$ilees the ear, the materiality of lanuae "ein affirmed throuh music andthe $oice,

WWWWWWWWWWWWWWWWWWWW?8;P+ So%%#rs( a==3( *+ 10 6summ#r 199+ Ot"#r &ontri/utions to t"# r#$i#- on musi&

in&%u,# a ,is&ussion -it" o"n Ca)#( *+ 0 6-int#r 1971( an, an int#r$i#- -it"Sto&2"aus#n( *+ G 6s*rin) 197+

?85+:L+ Hou,#/in#( 3o&#0 !ittérature et reliion3( *+ 1 6autumn 1971+?88S## P+ So%%#rs( 3Qers la notion de Paradis(3 in i,+( *héorie des e3ceptions, -/; ')ci l'Oil

s'éfface dans ce dont se sou$ient l'orielle.' Cf. also 'Comment aller au Paradis', Art press, @ Dan. -1-.

?8S## I,+( Qision Ne5 Tor8 ( ;0 3 ?e me suis donné tout ce mal dans les oreilles pouraffirmer ma propre conception du monde par l'oreille3+

t"is a%so in$o%$#s a r#int#r*r#tation o! t"# $isua% as*#&t o! t"# t#.t+ T"# t#.t is no- %#ss ar#*r#s#ntation( /ut a**#ars mor# as a musi&a% s&or#+

:ritin, an +eT"# t"#or o! t"# #.&#*tion in *el +uel is -or2#, a&ross a s#ri#s o! t#.ts( Lautramont(o&#( C%in#( Sa,#( Artau,( a%=a&( Hu)o( >a%rau.( &ontinuin) in !')nfini, and constitutinan encyclopaedic approach to literature as a 5hole rather than a focus on a specific canonof 5riters. *he dispersion of *el +uel is also that of its su"?ect9matter. =ut there is aconstant theory at 5or8, less in the sense of a unified "ody than a procession, anothersense of the 5ord theory 5hich Sollers suests in *héorie des e3ceptions B/1 @see)ntroduction. *he analyses are supported in the re$ie5 "y the pu"lication of numerousdocuments rele$ant to the te3ts. )n some instances these documents relate to theo"scene, as 5ith Doyce's. letters and the pu"lication of documents on Sade and theircommentary "y, amon others, the $enerated Sade scholar Hil"ert !ely. B/ Sade'#écapitulations', for e3ample, is a cataloue of mastur"ations 5hich implicates se3uality

and o"scenity in the sinularity of the 5riter. )t suests that se3 is open to the sameinfinite permutations as 5ritin. A 'compta"ilité de la ?ouissance', as Pleynet terms it in





















an accompanyin article, is 5hat discourse cannot accept, 5hat appears as o"scene. BG0 Doyce's letters to Nora are not a simple demand for ratification "ut a self9consciousfilterin of se3uality throuh 5ritin. Sollers aptly named article 'De sais pourquoi ?e ?ouis' proposes that the o"scene is se3uality as the o"?ect of a sa$oir. 6hat Sollers proposes is scandalous is that ?ouissance, and se3uality in eneral, is not a mystery "utsu"?ect to a riorous loic and analysis, to an aesthetic control. *he o"scene is 5hat

cannot "e recuperated "y a natural form of se3uality, as 5ithin the limits of reproduction,therefore puttin in dou"t the sem"lance of se3uality as natural and leadin to the postulation that se3uality is an effect of lanuae. *his is the sense

WWWWWWWWWWWWWWWWWWWW?87I,+( *héorie des e3ceptions, -B; '+uant au sinification du mot théorie, on sait qu'il

s'ait aussi d'une am"assade, d'une procession, d'une fte. In défilé, ou plutJt unedanse d'e3ceptions7'

?89S## + o&#( '!ettres Nora' an, '!ettres Martha Fleischmann' ( *+ 12 6s*rin) 197@D+ A+ F ,# Sa,#( 3R&a*itu%ations3( an, '+ L#%( 3!'Almanach illusoire de M. de Sade3(*+ 7 6-int#r 197 D+ A+ F+ ,# Sa,#( 3D3A%#m/#rt( Trou/a,ours( au,ois3 an, '+L#%( 3In cahier inédit de <. A. F. de Sade3( *+ 1- 6autumn 199+

?@>+ P%#n#t( 3Sade, des chiffres, des lettres3( *+ G1 6-int#r 197( 8+

in -"i&" o/s&#nit is %in2#, to t"#o%o)( as /ot" im*% t"at -"at -as &onsi,#r#, to /#outsi,# %an)ua)#( #it"#r natura% or /#on, it( is in !a&t %o)i&a%% -it"in it( i! it is o*#n#, u*to its in!init# *ot#ntia%+

arelin 4leynet an 4aintin,Durin) t"# 19@s an im*ortant &urr#nt o! -or2 is r#*r#s#nt#, / -ritin) on t"# $isua% arts(*rin&i*a%% *aintin)+ ?1 A%on)si,# So%%#rs Paradis an, a*"oristi& arti&%#s( an, Krist#$a3s*s&"oana%ti& in$#sti)ations( P%#n#t3s &riti&a% arti&%#s on *aintin) !orm a trinit o!*#rs*#&ti$#s -it"in t"# r#$i#-+ In t"# 198@s P%#n#t3s #ssas on t"# US a/stra&t#.*r#ssionists( in *el +uel an, !es !ettres fran%aises "a, $irtua%% intro,u&#, t"is &urr#nt

in *aintin) into t"# Fr#n&" &ont#.t+ ut a*art !rom t"is 4ourna%isti& a&ti$it( %in2#, to#."i/itions in Paris( P%#n#t t"#or#ti&a% -or2 on *aintin) is !irst r#*r#s#nt#, in!'Enseinement de la peinture 6 191+ Li2# So%%#rs!oiques( t"is -as int#n,#, as anana%ti&( rationa% a**roa&" to mo,#rn *aintin)( a 3syst(me producteur 3( ,#t#rmin#, / t"#>ar.ist !ram# o! r#!#r#n&# -"i&" -as t"at o! t"# r#$i#- at t"# tim#+ ?? A!t#r t"issst#mati&( t"#or#ti&a% mom#nt( P%#n#t arti&%#s ar# ,is*#rs#, in $arious r#$i#-s( *el +uel an, Peinture, cahiers théoriques amon) t"#m( an, in su/4#&t:matt#r a&ross t"# "istoro! art+ "i%# t"# #ar%i#r t"#or -as &#ntr#, on >atiss#( t"# %at#r arti&%#s( &o%%#&t#, in Art etlittérature 6 19 %ar)#% &on&#rn t"# Am#ri&an artists a)ain( t"is tim# !rom a mor#t"#or#ti&a%% in!orm#, *#rs*#&ti$#+ T"# %att#r /oo2 a%so in&%u,#s arti&%#s on t"# *aint#rs o!t"# Su**orts Sur!a&#s )rou*( a &urr#nt -it"in Fran&#+ In t"# %at# 19@S t"# su/4#&t:matt#r /#&om#s mor# %in2#, to t"# a&ti$it o! art "istor 6a%t"ou)" P%#n#t is not( *ro*#r%s*#a2in)( an art "istorian( -it" #ssas on 'ior)ion# an, Pi&asso+ T"is a&ti$it is &ontinu#,in !')nfini, and since then Pleynet has ta8en up the Chair of Aesthetics at the École

normale supérieure des =eau39Arts in Paris. is acti$ity is one of an art historian, or 5riterin aesthetics, 5hile the determinin instance of this acti$ity, his status as a poet, liesoutside it.

*his apparent separation "elies the fact that Pleynet's e3perience of poetic lanuae fuelsand determines the 5ritin on paintin. *his

WWWWWWWWWWWWWWWWWWWW?1Arti&%#s on s&u%*tur# in&%u,# P+ So%%#rs( 3Qia di le$are3 6on t"# s&u%*tor A%ain Kiri%i( *+

G 6s*rin) 199 an, P%#n#t arti&%#( 3!e Su?et in$isi"le d'Al"erto Hiacometti 3( *+ 2 6autumn 197?+ So%%#rs "as a%so !o&us#, mor# r#&#nt% on Ro,in an, >ai%%o%+

??S## >+ P%#n#t( !'Enseinement de la peinture 6 Paris( 191( an, t"# arti&%# 6a%so int"# /oo2( 3Contradiction principale, contradiction spécifique3( *+ 2 6autumn 19@+

T"# /oo2 -as %at#r r#*u/+( in t"# S#ui% 3Points3 &o%%#&tion un,#r t"# tit%# Syst(me de la peinture 6 Paris( 19( -it" t"# >ar.ist #m*"asis r#mo$#,+












r#%ation !o%%o-s a s*#&i!i& #$o%ution+ "i%# in t"# 198@s *o#tr "a, /##n initia%% s#*arat#,!rom t"# a&ti$it o! art &riti&ism( r#a&"in) a %imit in t"# sst#mati&it o! !'Enseinment dela peinture, it 5as in fact al5ays under5ritten "y it. )n the essay on Matisse in the latter"oo8, Pleynet played on the sylla"les of the name 'Matisse', 'Ma' and 'tisse', to emphasi:ethe aressi$e, castratin acti$ity of Matisse's 'system' of paintin and its rele$ance to thelater papiers collés. BG2 *his destructurin of the name and focus on the function of the

letter, displacin meanin, deri$es from the e3perience of poetry.

BG

o5e$er, after themoment of theory, the t5o "ecome more closely lin8ed. )n #ime, Pleynet includes theinscription 'Col tempo' from a Hiorione paintin he had commented on in his essay onHiorione, pu"lished around the same time. *he essays on paintin lose the emphasis onsystematicity and enerate themsel$es from the e3perience of the su"?ect "efore the paintin.

Pleynet's critical acti$ity can "e said to "e "ased in the relation of the 5riter to thediscourse he adopts. 6hile the e3perience of poetic lanuae is of a su"?ection to the$iolent effects of the letter, the e3perience of 5ritin on paintin is one of a placeimpossi"le to occupy. )n '!a Folie thétique', an article on the position of the su"?ectrelati$e to the la5, commentin Freud's later 5or8s, Pleynet "eins; 'De dirai "ien $oici la place que ?e n'occupe pas, ou encore ?'occupe la place que ?e n'occupe pas', and ends thearticle 5ith a phrase he has cited as descri"in his position as critic; '?'y suis de ne pas y

tre et d'y tre ?e n'y suis pas'. BG *he acti$ity of art historian or art critic is one 5hichPleynet occupies 5ith a neati$e consciousness of the impossi"ility of occupyin that place, of occupyin any su"?ect position in lanuae. Paintin is rele$ant to this place precisely "ecause it is an e3tra9linuistic phenomenon 5hich demands to "e analysed inlanuae. So Pleynet true su"?ect9matter in the articles on paintin in Art et littirature ishis o5n su"?ecti$e position in relation to the discourse he is adoptin, and "y e3tensionthe su"?ecti$e relation of the paintin su"?ect to lanuae. *his can "e read e3plicitly inthe essays on paintin. )n an essay on Mother5ell, Pleynet 5rites; '+u'est9ce qui se dit del'art, sous quelque forme que ce soit, si ce n'est du type de rapport que le porteur dediscours entretient a$ec sa propre lanue7' BG/ &n Cy *5om"ly, Pleynet

WWWWWWWWWWWWWWWWWWWW?P%#n#t( !'Enseinement de la peinture, 0.?;Pro$isoires amants des n(res 6 198? &an /# r#a, as a m#,itation on t"# #.*#ri#n&# o!t"# #$a&uation an, %oss o! t"# nam#+ In #ime 6 1971( "o-#$#r( t"# nam# *ro,u&#s

m#anin)0 3d'ou $ient ce nom et sa semence pla_t néY"ien tre de mon nom3 6*+ 71+?5I,+( 3!a Folie thétique3( in i,+( Art et litterature, -, 20.?8 I/i,+ ?7?+

-rit#s0 3<u corps l'écrit et de l'écrit par le corps il y $a de cette ?ouissance et dans cette partie du corps o^ s'é$eille la "eauté+3 ? T"# stu, o! *aintin) n#&#ssari% in$o%$#s a&onsi,#ration o! t"# /o, in its #roti& r#%ation to -ritin)( !or#)roun,#, in t"# -or2 o!T-om/%+ Sin&# *aintin) is in its !orm *r#:%in)uisti&( t"is r#%ation -i%% n#&#ssari% in$o%$#t"# mor# ar&"ai& *u%sions( ora% an, ana%( -"i&" &onstitut# a $io%#n&# to-ar,s t"# su/4#&tan, to-ar,s %an)ua)#( to-ar,s t"# -ritin) su/4#&t in %an)ua)#+ P%#n#t3s -ritin) on art("is *o#ti& %an)ua)# on art( -"i%# it ma /orro- t"# &o,# o! art &riti&ism( /orro-s it

&ons&ious o! t"# irr#,u&i/i%it o! t"is $io%#n&#+ It is a -ritin) -"i&" is ,#t#rmin#, / t"##.*#ri#n&# o! t"# 3t"#ti&3 ma,n#ss o! %an)ua)#( t"# n#&#ssit o! "a$in) to o&&u* a *%a&#im*ossi/%# to o&&u*+ T"is #.*#ri#n&# is o! *o#ti& %an)ua)#+

P%#n#t -ritin) on art( mor# *r#s#nt in *el +uel in t"# 19@s( turns t"# r#$i#- into a mor#-i,#% !o&us#, !orum o! #n<uir+ T"is -i,#nin)( an, t"# &%os#r %in2 in P%#n#t3s -or2/#t-##n &riti&ism an, *o#tr( r#!%#&t t"# ,#$#%o*m#nt o! t"# r#$i#- a!t#r t"#or as a!ra&turin) o! sst#m an, #m#r)#n&# o! t"# sin)u%ar su/4#&t( -it" "is or "#r #.*#ri#n&#( ast"# ,#t#rminin) instan&#+

Tetual +in,ularities

A%on)si,# t"# t"#or#ti&a% an, &riti&a% ana%s#s o! t"# %it#rar #.&#*tion( *el +uel &ontinu#sto *u/%is" &r#ati$# -ritin) o! $arin) 2in,s+ Paradis, the poetry of Pleynet and #isset, te3ts






















"y Huyotat, enric, Maurice #oche, <enis #oche, and Se$ero Sarduy represent thede$elopment of 5riters already associated 5ith the re$ie5. BG1 =arthes can "e associated5ith these te3tual sinularities to the e3tent that his 5or8 is present less as a contri"utionto theory or to a pro?ect, than as 5ritin, a fact suested "y the more su"?ecti$elyoriented themes that =arthes 5rites on. 6hile also continuin to produce unpu"lishedte3ts of the past, "y 5riters such as Pound, lderlin, and Sade, the re$ie5 also includes

e3cerpts from current 5or8s "y esta"lished 5riters such as Hoytisolo and =urrouhs.

BG

)nterms of literary creation, the re$ie5 attains a much more heteroenous status durin thelate -G0s. )t pu"lishes

WWWWWWWWWWWWWWWWWWWW?>+ P%#n#t( 3!a Folie thétique3( in i,+( Art et littérature, 20.?7S## i/%io)+ !or t"# 3Co%%#&tion T#% u#%3+?9E+ Poun,( 3Cantos LXXXI an, LXXXIII3 an, F+ H%,#r%in( 3Framents inédits3( *+ /1

6-int#r 198 s## n+ ?@ !or Sa,# + 'otiso%o( 3Qariations sur un th(me Fessi 3( *+/ 6s*rin) 198 + urrou)"s( 3Citi#s o! t"# R#, Ni)"t3( *+ // 6summ#r 198+

%it#ratur# as %it#ratur#( rat"#r t"an as a$ant:)ar,# *ro4#&t( r#4oinin) in t"is %at#r *#rio, itsinitia% #m*"as#s on 3la qualité littéraire3( /ut ,i!!#r#nt%( "a$in) tra$#rs#, t"# mom#nt o!t"#or+ T"# r#$i#- a%so a&ts as a s"o-&as# !or n#- -ritin) !rom outsi,#+ T"#r# is a mutua%#.&"an)# -it" t"# *V* )rou*( t"# r#$i#- *u/%is"in) t#.ts / t"# -rit#rs C"ristian Pri)#nt(a%Gr# No$arina( an, #an:Pau% #r"#))#n+ ?7@ In t"# *#nu%timat# issu# 6 9 t"#r# is an#.&#r*t( 3i&#3( !rom an #ar% t#.t / H#r$ 'ui/#rt( su))#stin) "o- t"# r#$i#- a&t#,)#n#rous% in *romotin) u*:an,:&omin) -rit#rs+ T"#r# is a &onsi,#ra/%# int#r#st in -om#n-rit#rs( a%t"ou)" not asso&iat#, -it" écriture feminine or Antoin#tt# Fou<u#3s D#s !#mm#s*u/%is"in) "ous#( -"i&" -as in&r#asin)% im*ortant+ T"# t#.ts / i$ian# Forr#st#r an,So*"i# Po,o%is2i r#%at# to t"is int#r#st+ ?71 T"# 3Co%%#&tion T#% u#%3 &ontinu#s to /rin)no$#%s or *o#tr out into t"# mar2#t -or2s / i$ian# Forr#st#r( Sar,u( H#nri&( an,>auri&# Ro&"# ar# *u/%is"#, in t"# 19@s( as -#%% as t"# -or2 o! So%%#rs an, P%#n#t+

T"#s# t#.ts a**#ar as sin)u%ariti#s( #a&" /#arin) a s*#&i!i& !or&# r#%at#, to t"# su/4#&ti$#st%# o! t"# -rit#r+ It is not *ossi/%# to %oo2 at t"#m in t#rms o! a &ommon a**roa&" to-ritin)( a%t"ou)" a *#r$#rs# *%a -it" s#.ua%it is a r#&urr#nt t"#m#+ 'i$#n t"at t"is is t"#

&as#( it s##ms *#rtin#nt to !o&us on t"# most im*ortant( in t#rms o! t"#ir #.&#*tiona% an,sin)u%ar <ua%iti#s+

T"# 3Co%%#&tion T#% u#%3 &ontinu#s to *u/%is" t"# t#.ts o! art"#s( a%t"ou)" t"# %ast on#(!a Cham"re claire -i%% /# *u/%is"#, / S2ira in 197@+ A!t#r Framents d'un discoursamoureu3 6 19( !'&"$ie et l'o"tus 6 197?( a s#ri#s o! t#.ts on *aintin) an, musi& is*u/%is"#, *ost"umous%+ In t"# r#$i#-( a!t#r #.&#r*ts !rom #oland =arthes par #oland=arthes in 195( art"#s3s &ontri/utions s##m to r#%at# #.&%usi$#% to t"# su/4#&ti$#ori#ntation o! t"# &riti& to-ar,s t"# t#.t "# is !o&us#, on( an, mor# to t"# a&ti$it o!-ritin) its#%!( in a mo$# to-ar,s !i&tion -"i&" n#$#r arri$#s at its ,#stination+ 3&n échouetou?ours parler de ce qu'on aime3( *u/%is"#, *ost"umous%( &on&#rns St#n,"a% r#%ationto Ita% it is an #.t#nsion( in a s#ns#( o! Framents d'un discours amoureu3, formin animportant current of the analysis of lo$e in the re$ie5, 5ith >riste$a

WWWWWWWWWWWWWWWWWWWW?7@+:P+ #r"#))#n( 3Qie et mort pornoraphique de Mme Mao3( *+ 1 6summ#r 197@ +

No$arina( 3Naissance de l'homme de Q +3( *+ 19/ 6autumn 197@:-int#r 197@ C+Pri)#nt( 3Qoil les se3es3( *+ 1/ 6-int#r 197@+

?71For S+ Po,o%s2i( s## n+ 159+ + Forr#st#r( Qesties 6 Paris( 1976in 3Co%%#&tion T#%u#%3 an, 3#sti)#s3( *+, // 6summ#r 198+

istoires d'amour an, P%#n#t #ime ?7?+ ot" art"#s3s an, P%#n#t3s -or2 r#%at# in,i!!#r#nt -as to t"# <u#stion o! t"# %o$# o! t"# mot"#r+ art"#s3s !o&us in t"# arti&%# onSt#n,"a%( 3la sorte d'aphasie qui na_t de l'e3c(s d'amour 3 ?7 4oins -it" Krist#$a arti&%#3Ne dis rien3 in its t"#m#( i! not in its a**roa&"+ art"#s3s -ritin) "as /#&om# mor#*#rsona% an, sin)u%ar St#n,"a% is not *r#s#nt as *art o! a &anon o! -rit#rs /ut as a -rit#r

%o$#, / t"# &riti&+ In t"# arti&%# 3D%i/ration3( t"# %ast *u/%is"#, ,urin) art"#s3s%i!#tim#( on t"# -ritin) o! t"# ,iar( t"# r#%ation /#t-##n -ritin) an, sin)u%arit( an, mor##.*%i&it% /#t-##n sin)u%arit an, t"# )#n#ra%i=in) t#n,#n& o! &riti&ism( is t"# !o&us+ ?7; It


























is *ain!u%% ironi& t"at t"# !ina% non:*ost"umous t#.t tr#ats t"# -a t"# sin)u%arit o! t"#-rit#r is ins&ri/#, in t"# -ritin)( a %ast m#asur# /#!or# t"# ,isa**#aran&# o! t"# -rit#r asa /o,+ ut a%r#a,( i,#ntit is in <u#stion( t"# -ritin) o! t"# ,iar rais#s t"# <u#stion3Suis9?eQ3 ?75 To turn t"# ,iar into a -ritin)( rat"#r t"an a nar&issisti&( s#%!:a!!irmin)r#!%#&tion( t"# su/4#&t must ,isa**#ar in t"# -ritin)+ T"# %ast %in#s o! t"# arti&%# ar#*oi)nant0 3 ?e puis sau$er le Dournal la seule condition de le tra$ailler mort, ?usqu'au

"out de l'e3trme fatiue, comme un *e3te peu pr(s impossi"le3+

?78

I! art"#s3s t#.ts s##m to %#a, to-ar,s ,#at" as t"# ,isa**#aran&# o! t"# -rit#r( So%%#rsParadis o*ts !or a mor# r#surr#&tionar *osition( an as&#n,an&#+ Paradis is( as su))#st#,(a *ro*"#ti& t#.t+ T"is is #$i,#nt in a num/#r o! -as+ First o! a%% /#&aus# it is -ritt#n !roma su/4#&t *osition outsi,# so&ia% ,is&ours#( &omm#ntin) on it an, tra$#rsin) it+ Ho- is t"is*ossi/%#Q Ess#ntia%% /#&aus# t"# ?e o! t"# t#.t is not an i,#nti!ia/%# narrator or aut"or( /uta ,is&ursi$# s"i!t#r a%-as *%a&in) its#%! at t"# )#n#ti& *oint o! %an)ua)#+ T"# ?e is not%imit#, to on# *osition /ut o&&u*i#s a%% *ossi/%# *ositions in %an)ua)#+ T"is is #$i,#nt in t"#*#rmutati$# &on4u)ations t"at r#&ur t"rou)"out0 3 ?'y fus ?'y étais ?'y est ?e m'y fus ?'y serai ?'irai "ien a$ant a"raham lui9mme' B1G , '?e suis ?'ttaisuis ?e suitais ?e suirai sui?rai sui?errai 3(?77 3moi ?e dis ce que ?'ai été che: ?e suis si ?e suis était $otre cause $ous m'aimerie: carc'est de ?e

?7?R+ art"#s( 3&n échoue tou?ours parler de ce qu'on aime3( *+ 1 6autumn 197@ an,

in i,+( !e =ruissement de la lanue 6 Paris( 197;+?7art"#s( !e =ruisserment de la !anue, 20.?7;I,+( 3D%i/ration3( *+ 1B 6-int#r 199 an, in i,+( !e =ruissement de la lanue.?75art"#s( !e =ruissement de la lanue, -B.?78 I/i,+ ;1+?7So%%#rs( Paradis, G.?77 I/i,+ 1+

suis que ?e suis sorti 3+ ?79 E)o&#ntri& i,#ntit as su&"( on t"# ot"#r "an,( is n#)at#,0 3 ?esuis la néation du moi nous3+ ?9@ I,#ntit /#&om#s su/4#&t to t"# *#rmutations o!%an)ua)#( so t"at t"# s*#&i!i& i,#ntit o! 4# is #$a&uat#,( sa&ri!i&#, to %an)ua)#( an, ?e

/#&om#s a )#n#ra%i=#, su/4#&t *osition -it"in %an)ua)#+ As su&"( it is ,is*%a&#, !rom t"#%o&us o! i,#ntit to t"at o! %an)ua)# at its *oint o! #nun&iation( 3 ?e dis3+ T"is *osition is*r#&is#% t"at o! *ro*"#& it is( as So%%#rs *ro*os#s( an in&arnation o! t"# $oi&# in t"#su/4#&t( at t"# *oint -"#r#( 3%a parla disant parle3+ ?91 Pro*"#& is #na/%#, / anin&arnation o! t"# $oi&#+ T"# %a&2 o! $isi/%# *un&tuation( t"# &ontinua% sus*#nsion o! t"#*"ras# at its #n,( an, its encha_nement -it" t"# n#.t m#ans t"at t"# r"t"m o! t"# t#.t"as to &oin&i,# -it" t"# r"t"m o! t"# /o,( its /r#at"in)+ Paradis ,#man,s to /# r#a,a%ou,( sin&# t"# un/ro2#n str#am o! t"# -ritin) im*os#s too )r#at a &"a%%#n)# !or t"# ##a%on#+ T"# $isua% t#rrorism o! t"# t#.t( a%%o-in) no s*a&# !or t"# r#a,#r( n#&#ssitat#s an#ntr into its $o&a%i=ation( its aura% s&ansion( -"i&" its#%! #!!#&ts t"# in&arnation o! t"#-ritin) in t"# /o,+ T"# r#a,in) o! Paradis is a &om*%#. ,ia%#&ti& /#t-##n l'écrit ( -ritin) asa $isua% !#tis" an, a *"#nom#na% déchet ( an, its as&#nsion t"rou)" t"# $oi&# an, t"# /o,to in$isi/i%it an, in!init+ T"# stru&tur# o! Paradis, rather than the eometry of Nom"res,

is the trinity of 5ritinY"odyY$oice. *he title sinifies not only the ?oyous euphoria of the5ritin and its ascendant qualities, "ut also its tra$ersal, throuh or across lanuae orspeech; 'para'99across, 'dis'99speech, or the spea8in.

Paradis is also parody, an en$elopment of discourse in a parenthetic irony. *he propheticte3t details the fetishistic limitations of social discourse from a parodic position; 'il s'aitd'e3poser une fois pour toutes la merde uni$erselle mise en toute la mort merde rénantsur sa cro`te de lui déchirer son $oile animé'. BB An important aspect of this is thediscourse on se3, su"?ected to a riorous and o"scene aression in the te3t; 'et elle le prit tendrement pendant qu'il se ca"rait chaudement et elle haleta fai"lement pendantqu'il suffoquait ardemment et ils se touch(rent s'enlac(rent se mordirent et seconfondirent et elles se parcourirent l'enluminure se suc(rent les commissuress'encrém(rent se hurl(rent'. B2 *he family structure is also a taret, as for Sollers'sarticles

WWWWWWWWWWWWWWWWWWWW



































?79 I/i,+ ;8+?9@ I/i,+ 1?8+?91So%%#rs( )mpro$isations( 1?1+?9?So%%#rs( Paradis, -/.?9 I/i,+ 1?+

in *el +uel 0 3$ouloir une queue soi pour une femme sinifie pour l'homme $ouloir trefemme papa or pour tre femme papa il faudrait la perdre en impasse3+ ?9;

T"is *aro,i&( *ara,isia&a% t#.t is a%so *aranoi,+ It is a *aranoia ins#rt#, in %an)ua)# /utnot stu&2 on its a!!#&ti$# %#$#%+ T"# *aranoia is a%so on% a ,ou/%in) o! t"# )#n#ra%i=#,*aranoia o! %an)ua)# an, so&ia% ,is&ours# as su&"( *oint#, out / Krist#$a+ ut t"# t#.t isnot on% an in&#ssant ,#tai%in) o! so&ia% !#tis"#s( it os&i%%at#s /#t-##n s#&tions o! *aro,i&int#nt an, #*i*"ani& mom#nts o! as&#n,an&#( -"#r# t"# -ritin) su/4#&t is 3emporté3(&arri#, a-a / t"# t#.t+ T"# t#.t /#)ins -it" su&" a sa&ri!i&ia% $ision0 3$oi3 fleur écho deslumi(res cascade ?étée dans le noir chan$re écorcé filet d(s le dé"ut c'est perdu plus "as ?e serrais les mains fermées de sommeil et le courant s'enorea rede$int starter lefleu$e3+ ?95 T"# t#.t is a%so r#a,a/%# as a ,ia%#&ti& /#t-##n a t#m*ora%it o! "istor( o! t"#simu%ations o! so&ia% ,is&ours#( an, a $#rti&a% tim# o! as&#n,an&#( !i)ur#, a%so / t"#,i!!#r#n&# /#t-##n t"# "ori=onta%it o! t"# -ritin) an, t"# *"si&a% an, musi&a% $#rti&a%ito! t"# $oi&#+

Paradis "as man *oints o! &onta&t -it" So%%#rs3s t"#or#ti&a% arti&%#s an, int#r$#ntions(*arti&u%ar% on r#%i)ion an, s#.ua%it( *#r"a*s t"# t-o ar#as o! *rin&i*a% int#r#st( in t"atso&i#t( !or So%%#rs( is in"#r#nt% an, s#&r#t% r#%i)ious( an, o/s#ss#, -it" s#. to t"# *ointo! ma2in) it a &ommo,it+ Ho-#$#r( t"#or( in Paradis, is enounced not in the lanuae ofsystem and analysis, discursi$ely, "ut in popular speech. *he critique of e3chane, thecirculation of su"?ects in the inferno of social discourse is phrased, for e3ample; 'plus ?esuis con plus ?e tourne en rond'. B/ *his suests somethin a"out the shift in Sollers5ritin from Paradis to Femmes, 5hich essentially determines the shift from *el +uel to!')nfini. )t is a mo$e a5ay from the separation of theory and creati$e 5ritin, so that inFemmes 5e can read criticisms of te3t, theoloical meditations, and so on. Femmes 5as percei$ed as a radical shift in Sollers's 5ritin, from e3perimentation "ac8 to tradition, a

renunciation of formal inno$ation. )n many 5ays this is accurate. Femmes is a no$el 5ithcharacters, a sem"lance of plot structure, punctuation, description. o5e$er, there is acontinuity at a deeper

WWWWWWWWWWWWWWWWWWWW?9;So%%#rs( Paradis, 1.?95 I/i,+ +?98 I/i,+ 9+?9 I/i,+ ?51+?97 I/i,+ ?5@+?99 I/i,+

%#$#% t"# sam# *aro,i& $ision o! t"# so&ia% insists( *un&tuat#, / mom#nts o! #*i*"ani&

$ision+ T"# -ritin) in Femmes is a%so int#rs*#rs#, -it" 3t"#or#ti&a%3( &riti&a% s#&tions -"i&"r#a, in a simi%ar -a to *héorie des e3ceptions. *he suspension of the phrase in Paradis iscarried o$er into Femmes in the Célinesque technique of three dots at the end of thesentence. 6hat has chaned is that the $ision of Paradis has simply "een transposed intoa narrati$e frame. a$in "een enounced in a euphoric, e3treme form it is reinserted intoa frame 5here it has a more internally su"$ersi$e effect. )t is the ')nferno' to Paradis, or perhaps the ' Purgatorio '.

*he shift is, moreo$er, prepared for in Paradis. )n the final paes the narrator, 'il' 5al8sthrouh a city @ Paris7 to the cathedral, 5here he i$es to a priest 'un li$re récemmentimprimé'.BG *he "oo8 is put into a hole in the 5all of the cathedral and cemented in. *heshift from ?e to il, the deposition of the "oo8, as o"?ect, in a sacred place, the pre$ioustransformation of the "oo8 "y computer into 'une petite annonce "ien chiffrée',B1 an

arument 5ith a pu"lisher @'comment %a encore sans ponctuation oh non' B

, prefiureand prepare for Femmes, 5here the narrator is payin a 5riter, S., 5ho has 5ritten a "oo85ithout punctuation, to 5rite his "oo8 a"out '5omen'. #ather than seein the shift from





































Paradis to Femmes as a renunciation, it is more pertinent to see it as a shift in the modeof presentation. 6ritten form, 5hich in any case 5as increasinly $ie5ed as a fetishisticlimitation, is no loner the $ehicle of the $ision4 form itself, as radicality, "ecomesrepresented in a narrati$e frame, or as o"?ect. )t is a shift to a postmodern te3t in that itsformal radicality is no5 represented at the le$el of content, or representation. =y turninthe a$ant9arde te3t into a 'lettre $olée', or 'petite annonce "ien chiffrée', a simple

messae 5hich no one can see, the fi3ation of the a$ant9arde is out5itted. *el +uel,almost carried "y Sollers Paradis, is implicated here. #ather than "ecomin in itself, as ito"$iously has for many people ?udin it, the epitome of the e3treme a$ant9arde of the-/0s or of the political shifts of the conte3t, either in a positi$e or neati$e 5ay, itstransformation into !')nfini is part of its permanent dissolution of itself.

< $issolutionT"# int#%%#&tua% &ont#.t o! t"# %at# 19@s in Fran&# is to a %ar)# #.t#nt ,#t#rmin#, / t"#-anin) o! %#!t:-in) ra,i&a%ism+ T"is 3a)on o! t"# Fr#n&" L#!t3 r#su%ts /ot" in a %assitu,#,u# to t"# %oss o! a !i.#, sst#m o! $a%u#s( an, an o*#nin):u* o! n#- an, int#r#stin)ar#as o! stu,+ T"# nou$eau3 philosophes( as t"# -#r# 2no-n( *ro,u&#, a ,is&ours#&riti&a% o! t"# >ar.ist an, Fr#u,ian sst#ms( t"at "in)#, into r#%i)ion+ *el +uel #n)a)#, in,ia%o)u# -it" som# -rit#rs o! t"is %oos# )rou*in)+ Ot"#r -rit#rs too2 mor# sin)u%ar an,tan)#ntia% *at"s+ Fou&au%t( !or #.am*%#( a!t#r Sur$eiller et punir 6 195( -"i&" &an /#

situat#, as an #ar% 3,issi,#nt3 t#.t in its &riti<u# o! *#na% sst#ms( /#)an t"# monum#nta%istoire de la se3ualité( ti#, into t"# mor# *#rsona% &on&#rn o! "omos#.ua%it( in t"# %at#19@s+ A%t"ou)" t"#r# ar# no ,ir#&t %in2s -it" Fou&au%t at t"is sta)#( *el +uel ,o#s *u/%is"a #u%o)isti& a&&ount o! Fou&au%t( -ritt#n / #rnar, Si&"Gr#( in 1971+ 1 A -i%% not toa/an,on t"# L#!t as a r#!#r#n&# *oint s##ms a%so to "a$# /##n a !a&tor in!%u#n&in) a&riti&a% turn on t"# int#%%#&tua% #sta/%is"m#nt its#%!( !rom a so&io%o)i&a% *#rs*#&ti$#( in t"#-or2 o! D#/ra an, our,i#u+ ? Lotar, !a Condition postmodern 6 197@ si)na%s t"# %osso! 3)r#at narrati$#s3 an, a *#ssimisti& attitu,# to t"# *r#s#nt &%imat#( *r#s#nt a%so in t"#-or2 o! au,ri%%ar,+ it"in *"i%oso*"( t"#r# is on t"# on# "an, t"# &ontinuation o! t"#-or2 o! D#rri,a an, D#%#u=# an, 'uattari( an, t"# ris# o! an int#r#st in a mor# r#stri&t#,!orm o! *"i%oso*"i&a% #n<uir( &#ntr#, on t"# r#$i#- Critique, particularly the 5or8 of Dacques =ou$eresse on analytic philosophy. 2

)ntellectually, the time is one of restriction and pessimism, the tailin9off of the theoreticaleuphoria of the pre$ious years. *his traic tone is "rouht into sharp focus at the end ofthe decade 5hen a series

WWWWWWWWWWWWWWWWWWWW1 + Si&"Gr#( 3A *artir ,# >i&"#% Fou&au%t3( *+ 1/ 6-int#r 197@+? S## R+ D#/ra( !e Pou$oir intellectuel en France 6 Paris( 199 P+ our,i#u( !a

<istinction 6 Paris( 199+ our,i#u an, &o%%#a)u#s &r#at#, t"# r#$i#- Actes de larecherche en sciences sociales in 198+

+ D#rri,a( Éperons 6 Paris( 197 an, !a Qérité en peinture 6 Paris( 197 '+ D#%#u=#an, F+ 'uattari( Mille plateau3; Capitalisme et Schi:ophrénie 6 Paris( 197@ +ou$#r#ss#( !e Mythe de l'intériorité 6 Paris( 198 #ationalité et cynisme 6 Paris(197? !e Philosophe che: les autophaes 6 Paris( 197;+ S## a%so a s*#&ia% issu# o!Critique on An)%o:Sa.on *"i%oso*"0 Crit.99:;@@ 6 Au)+:S#*t+ 197@+












o! #$#nts s##m to mar2 a s#ns# o! #n,in)+ art"#s3s ,#at" in 197@ a!t#r a &ar a&&i,#nts##ms to "a$# /##n *art% -i%%#, a!t#r t"# %oss o! "is mot"#r+ In t"# sam# #ar La&an,isso%$#, t"# École freudienne de Paris( *r#&i*itatin) anot"#r institutiona% &risis an,mar2in) t"# #n, o! a *s&"oana%ti&a% #m*ir#+ Sti%% in t"# sam# #ar( Louis A%t"uss#r(su!!#rin) !rom t"# m#nta% ,#*r#ssion t"at "a, "aunt#, "im !or #ars( stran)%#, "is -i!#H%Gn# in t"#ir a*artm#nt in t"# École nonnale supérieure+ In S#*t#m/#r o! t"# n#.t #ar

&am# t"# ,#at" o! La&an+ Ot"#r #n,in)s -#r# mor# *rotra&t#, Fou&au%t ,i#, o! t"# Ai,s$irus in 1975( "is "istor o! s#.ua%it in&om*%#t#+ T"is s#ns# o! a )#n#ra% ,isso%ution o!Fr#n&" int#%%#&tua% %i!#( in!%u#n&#, a%so / t"# *artia% #mi)ration o! man !i)ur#s to t"#Stat#s( is ,ou/%#:#,)#,( "o-#$#r( t"#r# is a%so a s#ns# t"at t"#or#ti&a% ,is&ours#s(*"i%oso*" in *arti&u%ar( &an &ontinu# 3as i! not"in) "a, "a**#n#,3+ >#an-"i%#( t"# 3*ost3or t"# 3a!t#r3 is *ursu#, in ,i!!#r#nt -as+ In *el +uel, there is a 5ill to enae thedissolution completely, passin into the infinite after it, 5hile parado3ically affirmin at thesame time a repetition and an inno$ati$e position. *he title of a late article "y Sollers, '&nn'a encore rien $u' is suesti$e of this optimism 5ith reard to the future. *his parado3is e3plained "y the curious temporality of 5hich *el +uel is the $ehicle. <issolution"ecomes the focus of a discourse and a stratey in the re$ie5, so that it in a sensedissol$es itself throuh a critical consciousness of its place in the conte3t. *he etymoloicalsense of dissolution as analysis implies a critical attitude to the intellectual heemonies ofthe time in philosophy and psychoanalysis particularly, still from the point of $ie5 of

literature as e3ceptional truth.

3-..(LAT-(N %. %N%LB.-.<espite the critique of the rele$ance of the theory of psychoanalysis for the study ofliterature, it is still affirmed as a pri$ileed site of the sinularity of the su"?ect and for itssu"$ersion of the discourse of rationalism, "y Sollers, for e3ample, in '!e Cours deFreud'. !acanian analysis is praised for its continuation of Freud's essential disco$eries,aainst pro?ects of political community and aainst philosophy; <errida,

WWWWWWWWWWWWWWWWWWWW; P+ So%%#rs( 3&n n'a encore :ien ru3( *+ 1 6autumn 197@ an, i,+( )mpro$isations

6 Paris( 1991+5 I,+( 3!e Cours du Freud 3( *+ G 6s*rin) 199 an, in i,+( *héorie des e3ceptions

6 Paris( 1978+

D#%#u=# an, 'uattari( Sartr#( >#r%#au:Pont( Camus+ A *s&"oana%ti&a% &on!#r#n&# atT/i%issi( att#n,#, / $arious La&anian an, ot"#r ana%sts( is *#r&#i$#, as t"# $i&tor o!*s&"oana%sis o$#r Communism( !ina%% ,is&o$#rin) it+ T"# r#%ation o! *s&"oana%sis toart( "o-#$#r( is *ro*os#, as !un,am#nta%% *ro/%#mati&+

It is mor#o$#r a ,issi,#nt *s&"oana%sis t"at *el +uel a!!irms t"rou)" its *u/%i&ations+#r,i)%ion# &ontinu#s to /# im*ortant as t"# or)ani=#r o! a num/#r o! &on!#r#n&#ss#*arat# !rom t"# institutiona% s*a&# o! La&anian ana%sis+ A,,r#ssin) t"# <u#stion o!*s&"oana%sis &riti&a%% ar# arti&%#s su&" as S#r)# Ha4%/%um3s on *s&"osis( #an:a&<u#sA/ra"ams3s on t"# 3ta*#:r#&or,#r man3 a!!air *u/%i&i=#, / Sartr# in !es *emps modernes,5here a su"?ect re"elled aainst his analyst, Ma3 Hraf '#éminiscences sur le ProfesseurFreud'. / *he relation of psychoanalysis to art is a specific interest of Sollers, particularlyconcernin Sade and Doyce, 5hile inspirin other pu"lications in the re$ie5. Sollers'sdiscussions 5ith Shoshana Felman on the su"?ect of 'la chose litteraire' e3emplity thisinterest. G Felman and Sollers emphasi:e ho5 psychoanalysis is dependent on literature. )tta8es the &edipus comple3 from Sophocies4 'la chose litteraire' informs and undermines psychoanalytical theory. !iterature can analyse psychoanalysis, and this is an operation!acan effects in the seminar on '*he Purloined !etter', accordin to Felman. Similarly, if Doyce is a symptom, it is "ecause 'la chose litteraire' @the e3pression suestin theun"eara"le, repressed status of literature for the discourse of analysis is a symptom of psychoanalysis. Stuart Schneidermann , in '!acan et la littérature', also notes that 'lalecture lacanienne de Freud est un détournement de te3tes'. 1 !acan's readin of literary

te3ts is in a sense affirmed 5ithin his theory as a su"$ersion of theory, a hole in theory, presentin the possi"ility of a readin of !acan's readin of literature aainst his theory,an operation conducted in Felman "oo8 !a Folie et la chose litteraire @ -10. *here is at


















It is not on% Cat"o%i&ism t"at is t"# !o&us o! *el +uel 3s int#r#st in r#%i)ion( /ut t"# ot"#rr#%i)ions0 u,,"ism( Is%am( an, u,aism+ >onot"#ism( "o-#$#r( is &riti&i=#,( *arti&u%ar%/ So%%#rs in t"# 2# t#.t 3Pourquoi ?e suis si peu rehieu3 3+ "#r# r#%i)ion is a !o&us it ist"# mor# mar)ina% mom#nts t"at &om# to t"# !or#( !rom an ana%ti& *osition+ >artin#Li#/o$i&i( !or #.am*%#( *u/%is"#s a %on) stu, on 3!a. Position féminine dans la =i"le3 1; Sar,u no$#% Maitreya 6 197@ t"#mati&a%% a,,r#ss#s In,ian msti&ism t"#r# ar# arti&%#s

on 'nosti&ism( u,aism( Y#n u,,"ism( an, &onsi,#rations on Is%ami& msti&ism / #an:>ari# #noist+ 15 T"# *osition r#mains ana%ti& an, non:*artisan( an, !or t"# most *art#n)a)in) -it" r#%i)ion as t#.t an, in its r#%ation to art+

ntelletual +elf-onsiousness an$issolutionAs -it" t"# s"i!t to >aoism in 191 an, t"# s"i!t a-a !rom >aoism in 198( t"# #n, o!*el +uel is %o)i&a%% a%r#a, *ro)ramm#, into its ,is&ours#+ T"# o/4#&ti$# r#ason !or t"is,isso%ution is So%%#rs3s -ritin) o! t"# no$#% Femmes( -"i&" -as r#!us#, / S#ui%+ Its*u/%i&ation / 'a%%imar, 4usti!i#s t"# s"i!t o! t"# r#$i#-( un,#r a ,i!!#r#nt nam#( to

11 P+ N#mo( 3 Do" et le mal radical 3( *+ G09G- ( 6summ#r:autumn 19+1? S## R+ 'irar,( 3+uand les choses commenceront 3( *+ G1:9 6-int#r 197:s*rin) 199+1 S## So%%#rs( 3Pourquoi ?e suis si peu reliieu3 3( in i,+( )mpro$isations( 1?1+1; >+ Li#/o$i&i( !a Position féminine dans la =i"le3( *+ G:8 6-int#r 19:summ#r

6 197+15 'nosti&ism0 s## >+ O%#n,#r( 3!e Syst(me nostique de Dustin3( *+ 1B 6-int#r 199

>+ Tar,i#u( Épiphanie contre les nostiques3 *+ 11 6summ#r 1971+ u,aism0 >+Ha%t#r( 3Entretien3( *+ 1B 3Sepher Tetsira, traduction de =. <u"our3 + Du/our)(3!'é"reu du Nou$eau *estament 3( *+ - 6s*rin) 197?+ Y#n u,,"ism0 D)#n( 3!aFonction9lune3( *+ 6-int#r 197?+ +:>+ #noist( 3!a Normalisation3( *+ 1 6summ#r 197@+

'a%%imar,3s su/si,iar D#no\% an, %at#r to 'a%%imar, its#%!+ S#ui% /#in) &o:*ro*ri#tors o! t"#nam# *el +uel, the name of the re$ie5 is chaned to the fittin !')nfini. <espite a chanein the internal structure of the re$ie5, 5ith Sollers named as 'directeur' alone, there islittle difference "et5een !')nfini and *el +uel in its last period. *he su"title'!ittératureYPhilosophieYArtYScienceYPolitique' remains the same4 so do the rane ofarticles and some of the contri"utors. *el +uel does not so much end as chane its name4its dissolution is not so much an e$ent as a permanent state. =ut the closure of the re$ie5is prepared for "y a consideration of its place in the conte3t. Sollers articles '&n n'aencore rien $u' and '!e HS)' constitute an e3plicit self9consciousness that ma8es adistinction "et5een '*el +uel' as an a$ant9arde, theoretical ?ournal, and '*el +uel' as amechanism of permanent analysis and dissolution. -/ &n one side there is the a$ant9arde periodical that, for Sollers, 5as cauht in the illusion of a "elief in a social re$olution, that5as the illusion of all the a$ant9ardes of the t5entieth century; Surrealism, Futurism,

that the crisis of the 6est could "e turned into a state of non9crisis. *el +uel had tra$ersedthe ad$enture of the a$ant9arde in this sense. *he a$ant9arde, and the roup, arealready a limitation on the possi"ilities of the e3ception. *he lin8 "et5een social re$olutionand artistic re$olution is illusory "ecause it postulates a continuity "et5een the loic of thee3ception and that of society, of the polis, 5hich the analyses of *el +uel propose asrepressi$e; 'Mais il s'ait de re$enir sans cesse sur des e3ceptions. Nous $oulons éclairerl'histoiredu cJté de l'e3ception et pas du cJté de la r(le ou de la communaut.' -G

*here is a self9conscious critique of a *el +uel as a$ant9arde and re$olutionary roup that pro?ects the 'ne5' *el +uel into a different space. At the same time, ho5e$er, Sollersemphasi:es a continuity, an insistence, in *el +uel, on the e3perience of literature. *el+uel at the same time re$ol$es and repeats, insists. *he parado3 of chane and insistenceis e3plained "y a different 5ay of loo8in at temporality. *el +uel cannot "e interpreted

throuh the temporality of the "oo8, of the te3t, as it is a periodical that e3ists in ahistorical dimension4 it is al5ays non9closed, open to its ne3t issue. )t distur"s an















approach that identifies it as a closure. Neither, ho5e$er, can it "e read e3clusi$elythrouh a historical temporality in terms of e$ents, 5ith re$olutionary and

WWWWWWWWWWWWWWWWWWWW18 So%%#rs( 3&n n'a encore rien $u3( *+ 1 6autumn 197@ an, in i,+( )mpro$isations( i,+(

3!e HS) 3( *+ 1/ 6-int#r 197@+1

I,+( )mpro$isations( 171+

strat#)i& turns( /#&aus# t"# r#*#tition an, insist#n&# o! -ritin)( #it"#r o! Paradis or t"##.*#ri#n&# o! Artau,( atai%%#( Sa,#( or Dant#( r#mains &onstant an, un,#rmin#s t"#%in#arit o! t"is #$#ntua% "istor+ T"# t#m*ora%it o! t"# /oo2 is un,#rmin#, / t"at o!"istor( -"i&" is un,#rmin#, / t"# t#m*ora%it o! %it#rar &r#ation+ T"# *u/%i&ation o!Paradis in s#ria% !orm in t"# r#$i#- sin&# 19; ma2#s t"is *ara,o.i&a% t#m*ora%it #.*%i&it+

In t"# arti&%# 3!e HS) 3 So%%#rs a**roa&"#s a mor# ,#$#%o*#, *#rs*#&ti$# on *el +uel 3s*%a&# in t"# &ont#.t( in ,is&ours#+ So%%#rs3s *ro*osition in 3!e HS) 3 is t"at *el +uel,Paradis, 'Sollers' constitute a space outside the predicta"le circulation of discourses, that prorammed "y the oranism, in$ented "y Sollers, called the HS), the 'Hestion dessurfaces imprimées' or 'Hiration du sem"lant llimité'. -1 *he fictional 'HS)' that may seem

to fall 5ithin the predicta"le conte3t of conspiracy theory, is in fact a more interestinnotion, an ironic fiction that proposes a $ie5 of the real. *he prorammin of discourses orle sem"lant, is total, 5ith a fe5 e3ceptions. *el +uel falls outside the circuit of the HS),Sollers proposes, for the follo5in reasons. First, it is not identifia"le in a fi3ed place;'l'e3périence est telle qu'eue désoriente toute assination de place'. - Secondly, *el +uelis in a situation of 'permanent dissolution', not only in the sense that its committeemem"ers are constantly droppin out, "ut also in its continuin analysis of literature, itsdépence of discourses. *hirdly, *el +uel reproduces the memory of discourses, of theHS)99that is, it desacrali:es all the positions of its o5n discourse in a tra$ersal of alldiscourses, includin that 5hich is fundamental, reliion; ' *el +uelsuit une é$olution parall(le celle de la constitution de la mémoire HS).' B0 *his in$ol$es an e3perience offiction in 5hich the place of the su"?ect is e3ceeded, "ut 5hich does not opt for psychosis,madness, a position predicted "y the HS). Permanent dissolution is a more radical proposition. E$idently the pu"lication of Paradis is an important aspect of this

displacement, "ut Sollers also reconi:es !acan, Pascal, !autréamont, Doyce as e3ceptions5ho miht escape the closed circuit of discourse, of le sem"lant. *he time of literarycreation, its e3cess and dépense is a dissolution that falls outside the historical time of thecirculation of discourses4 a punctum temporis 5hich repeats and insists.

*his is a utopian and paranoiac $ie5 of the intellectual conte3t and the place of *el +uel,"ut one 5hich it is hard to disaree 5ith. *he

WWWWWWWWWWWWWWWWWWWW17 P+ So%%#rs+( 3!e HS) 3( *+ 1/+ 1@+19 I/i,+?@ I/i,+ 11+

r#s*ons#s o! &riti&s to *el +uel -"i&" ar# a%most -it"out #.&#*tion *r#,i&ta/%# an,*ro)ramma/%#( s##m to 4usti! t"# $i#- t"at its *%a&# is uni,#nti!ia/%# an, misun,#rstoo,+Its ,isso%ution is u%timat#% %in2#, to t"# &r#ati$# *ro&#ss o! -ritin)+ S#ui% &an /# s##n to/# %#ss int#r#st#, on&# t"# r#$i#- %#!t /#"in, t"# ,is&ours# o! t"#or to *ursu# its,isso%ution( a!t#r t"# ,isa**#aran&# o! its um/r#%%a !i)ur#s art"#s an, La&an+ P#rman#nt,isso%ution is a%so in a s#ns# a sur$i$a%( an, it is not sur*risin) t"at t"# ,#mis# o! *el +uel &oin&i,#s rou)"% -it" t"# ,#at" o! on# o! its *rin&i*a% a%%i#s( Ro%an, art"#s( an, t"at o!La&an( -it" -"om it "a, a%-as #nt#rtain#, a mutua%% "#%*!u% /ut sus*i&ious r#%ations"i*+T"at t"is ,isso%ution is *#rman#nt( not t"# /uria% o! a &or*s# /ut its sur$i$a%( is assur#, /t"# &ontinuation o! !')nfini, and of the 5ritin of Paradis.

L'-n$ini















!')nfini's place in the conte3t is similar to that of *el +uel, affirmin literature as a $aluehiher than the philosophical, socioloical, or theoretical. )t has a $ital role in pu"lishin a5ide rane of te3ts from the history of literature, emphasi:in their e3ceptional andradical status in the present. For e3ample, the second issue of the re$ie5 is aconcentration on <ante, 5hile an issue of -1 focuses on Qoltaire. B- &ther 8ey pu"lications include Hoethe, the mathematician Cantor, =ataille, F. Scott Fit:erald, Anais

Nin, Freud, and Pasolini. )t also has a more open approach than *el +uel to contemporaryforein 5riters, pu"lishin and analysin 5or8 "y >undera @special issue in -1,Na"o8o$ @special issue in -11, Norman Mailer, Philip #oth, Q. S. Naipaul, Edmund 6hite,!éonardo Sciascia. )n the French conte3t, amon its contri"utors are a num"er 5ho 5ere present also in the paes of *el +uel; Pleynet, >riste$a, #isset, Huyotat, Sarduy, Si"ony,Muray, enric, Scarpetta. A roup of contri"utors specific to !')nfini, 5hose fictional 5or8s5ere also pu"lished in the 'Collection !')nfini' run "y Sollers, include Alain Nadaud, Pierre=oureade, Marc9Édouard Na"e, <ominique #olin, =ernard 6allet, Emmanuel Moses,Ha"riel Mat:neff. =ernard 6allet 5ill orani:e a special issue on literature and eroticism in-1/, 5hile Alain Nadaud orani:es a special issue in -1G su"titled '&^ en est lalittérature7', pu"lishin the 5or8 of many of the important 5riters of the present, such asEuq(re Sa$it:8aya, Fran%ois

WWWWWWWWWWWWWWWWWWWW?1 Dant#3( !')nfini, B 6s*rin) 197 'Qoltaire' ( i/i,+ ?5 6s*rin) 1979+

on( O%i$i#r Ro%in( >ari# R#,onn#t( FranJois Ri$iGr#( an, DaniG%# Sa%%#na$#+ ?? 3 In 1979L'-$ini *u/%is"#, a s*#&ia% issu# #ntit%#, 'Hénération '1' ( a *%at!orm !or -rit#rs o! t"# n#-)#n#ration t"at -as &ru&ia% in t"# &ont#.t+ ? So%%#rs Paradis )) is *u/%is"#,( a)ain in s#ria%!orm( u* to 197( a&&om*ani#, / a s#ri#s o! im*ortant ,is&ussions /#t-##n So%%#rs an,Fran= ,# Ha#s -"i&" !o&us !or t"# most *art on t"#o%o)+ A!t#r t"#n So%%#rs3s *u/%i&ationsar# most% &u%%#, !rom "is 4ourna%isti& int#r$#ntions in *%a&#s %i2# !e Monde an, !e Nou$el&"ser$ateur ( on -rit#rs su&" as o%tair#( ossu#t( H#min)-a( 'u D#/or,( Parm#ni,#s(artists su&" as Ro,in( ar"o%( Cour/#t( an, su/4#&ts su&" as 3%a nou$#%%# &#nsur#3 an, t"#a&tr#ss '%#nn C%os#+ T"is #."austi$# &ata%o)uin) o! #.&#*tions( So%%#rs *ro*os#s( is mo$in)to-ar,s an #n&&%o*a#,i& *ro4#&t t"at tra$#rs#s t"# -"o%# "istor o! %it#ratur#+

!')nfini is a%most tota%% ,ominat#, / So%%#rs+ To t"is #.t#nt t"# t#nsion t"at &"ara&t#ri=#,t"# *el +uel )rou*( /#t-##n t"# *#rs*#&ti$#s o! So%%#rs( Krist#$a( P%#n#t( an, ot"#rs( at#nsion /#t-##n in,i$i,ua%s an, i,#as( is a/s#nt !rom !')nfini. !')nfini has not had totra$erse the $arious crises of modernism and of theory that 5as the ad$enture of *el +uel.)t does not ha$e the ideoloies of structuralism, formalism, Mar3ism, Maoism to set upand dissol$e. )ts character is determined "y a time after theory in literature, 5here theoryitself has "ecome displaced "y a cele"ration of sinularity and the e3ception in literature.!')nfini also e3ists in a period that has not seen the ideoloical s5ins and eruptions,centred on -/1, of the time of *el +uel. *he conte3t of !')nfini is that of the spectacle,the dominance of the media, particularly $isual, and of information4 the ideoloicaldominance of the media is in some 5ays coincidental 5ith the creation of the re$ie5. )t is pu"lished in a conte3t of postmodernity, a conte3t in 5hich, as !yotard puts it, the 'reatnarrati$es' ha$e ceased to function. )n postmodernity, reference and meanin "ecome

su"mered in a proliferation of seducti$e, superficial $isual systems, so that !')nifini'sassertion of the e3ceptional truth of literature is a constant and sinular $oice of dissent,sometimes accompanied "y a parodic discourse 5ithin and on the discourse of thespectacle, as in Sollers's no$els and his inter$entions in the media. *his $oice could onlycome into "ein, ho5e$er, throuh the tra$erssée of the time of theory of *el +uel.

WWWWWWWWWWWWWWWWWWWW?? 33O[ #n #st %a %ittratur#Q3( !')nfini, B/ 6summ#r 197+? 'nration 3793( !')nfini, B/ 6summ#r 1979( un,#r t"# r#s*onsi/i%it o! F+ #rt"#t+













Chronolo,y195:19590

So%%#rs m##ts Ha%%i#r( Hu)u#nin( Cou,o%( oisrou$ra( au,r(>ati)non( T"i/au,#au+

195 So%%#rs 3L# D!i3 *u/%is"#, / S#ui%( *rais#, / >auria&+art"#s( Mytholoies+

1957 So%%#rs Ine curieuse solitude *u/%is"#,( *rais#, / >auria& an,Ara)on+L$i:Strauss( Anthropoloie structurale.

198@ Formation o! r#$i#-+ 3D&%aration3+ So%%#rs( 3S#*t *oints surRo//#:'ri%%#t3+ Pu/%i&ations / Pon)#( Artau,( Simon( Pin)#t+Hu)u#nin an, >ati)non %#a$# &ommitt##+ So%%#rs an, Ha%%i#rm##t '+ atai%%#( -"o )i$#s t"#m a s#ri#s o! %#&tur#s !rom 195@ to*u/%is"+ Conta&ts -it" r#ton an, C%in#+Sartr#( Critique de la raison dialectique. Hodard, A "out de souffle.<eath of Camus. 'Manifeste des -B-'.

1981 Pu/%i&ations / Pon)#( atai%%#( Artau,( Ro//#:'ri%%#t( Poun,(H%,#r%in( or)#s+ art"#s( 3!a !ittérature au?ourd'hui 3+ So%%#rs( !eParc.

Affirmati$e letter "y Sollers to Pleynet on Pleynet's poetry. *hi9"audeau ?oins committee.Foucault, istoire de la folie. #icardou, !'&"ser$atoire de Cannes.#o""e9 Hrillet and #esnais, !'Année derni(re Marien"ad.#auschen"er e3hi". in Paris. Communications re$ie5 launched.<eath of Merleau9Ponty. &AS acti$e in Paris.

198? Pu/%i&ations / P%#n#t( >i&"au.( atai%%#( D+ Ro&"#( E&o( utor+P%#n#t( Pro$isoires amants des n(res.<euy and #icardou ?oin committee. Michel Ma3ence ?oins and lea$es committee. Coudol lea$es committee. allier lea$es com9mittee after attemptin to ain complete control. 'Collection *el +uel' "eun 5ith <. #oche, #écits complets.L$i:Strauss( !a Pensée sau$ae. <errida, )ntroduction to usserl's!'&riine de la éometrie. <eleu:e, Niet:sche et la philosophie. =ataille, !es!armes d'Eros.Contacts "et5een <errida and Sollers. <eath of =ataille. &AS



plastiquaes. #eferendum in Aleria. <emonstrations in France.198 Pu/%i&ations / P%#n#t( O%son( Fa#( au,r( D+ Ro&"#( ou%#=+

Ro//#:'ri%%#t( !a !ittérature au?ourd'hiu' + So%%#rs( '!oicusSolus', '!oique de la fiction' + Fou&au%t( 3!e lanae l'infini 3+P%#n#t( D+ Ro&"#( Fa#( au,r 4oin &ommitt##+ D#)u %#a$#s+Con!#r#n&# at Cris on 3Ine littérature nou$elleQ3( &"air#, /

Fou&au%t+ Fou&au%t( 3Distan&#( as*#&t( oriine3+ S*#&ia% issu# o! Critique on atai%%#+ Fou&au%t( Naissance de la clinique, #aymond #oussel +Ro//#:'ri%%#t( Pour un Nou$eau #oman+First issu# o! r#$i#- !'erne 6on C%in#+

198; Pu/%i&ations / ou%#=( San)uin#ti+ art"#s( 3!ittérature et sinif9ication3+ P%#n#t( 3!a Pensée contraire', '!')mae du sens3+ So%%#rs(3Pour un nou$eau roman3+ art"#s( 3Éléments de sémioloie3+D#%#u=#( Proust et les sines. Althusser, 'Freud et !acan'.!acan founds EFP, "eins seminar at ENS. Socialisme ou "ar"arieand Aruments re$ie5s fold.E$acuation of French troops from Aleria. =re:hne$ replaces>rushche$ in ISS#.

1985 S*#&ia% issu#s on Artau,( Dant#+So%%#rs( Dram#+ P%#n#t( Comm#+ To,oro$( *héorie de la littérature.=arthes, '<rame, po(me, roman' @on Sollers. Althusser, Pour Mar3,!ire le Capital. Picard, Nou$elle critique ou nou$elle imposture7 Pinet, +uelqu'un.Perec, !es Choses. #icardou, !a Prise de Constantinople.<errida, '<e la rammatoloie'. Dulia >riste$a arri$es in Paris. Sollers and =audry at !acan'sseminar @'!'&"?et de la psychanalyse'. Sollers meets !acan. Mer9cure de France re$ie5 folds.Mao, !ittle #ed =oo8.

1988 P%#n#t( 3!es Pro"l(mes de l'a$ant9arde3+ D#rri,a( 3Freud et lasc(ne de l'écriture3+ So%%#rs( 3!ittérature et totalité3( at art"#s3ss#minar at École pratique+ T"i/au,#au( &u$erture. M. #oche,Compact. Henette, Fiures ). =arthes, Critique et $érité.Con!#r#n&# on Sa,#+ oisrou$ra %#a$#s &ommitt##+ P%#n#t in

USA %#&turin) on !autréamont + So%%#rs m##ts Krist#$a+La&an( Écrits. Foucault, !es Mots et les choses. =en$eniste, Pro"l(mesde linuistique énérale.#e$ie5 Cahiers pour l'analyse launched at ENS, pu"lishes Althusser,!acan, <errida. Nadeau launches !a +uin:aine littéraire.!acan's seminar; 'Pour une loique du fantasme'.Chinese Cultural #e$olution.

198 S*#&ia% issu# on Sa,#+ So%%#rs( 3!e *oit 3+ Krist#$a( 3Pour unesémioloie des pararammes3+ So%%#rs( 3Proramme3+P%#n#t( !autréamont. <errida, !'Écriture et la difference. Sollers, '!aScience de !autréamont'.<ialoues 5ith PCF re$ie5 !a Nou$elle Critique. Contacts 5ith PCF 5riters <ai3, oude"ine, Scarpetta, enric. Split in committee at

end of year, Faye lea$es. #isset and #otten"er ?oin. Adoption of 'ScienceY!ittérature' su"title. Marriae of Sollers and >riste$a.<errida, <e la rammatoloie. =arthes, Syst(me de la mode. <e"ord, !aSociété du spectacle.Student unrest in Stras"our. !acan's seminar; '!'Acte psychana9lytique'. <eath of Che Hue$ara.

1987 D#rri,a( 3!a Pharmacie de Platon3+ au,r( 3Freud et la créationlittéraire3+ Krist#$a( 3<istance et anti9représentation3+ Pu/%i&ations/ atai%%# au,r( 'ou.+ So%%#rs( !iques, Nom"res. *el +uel,*héorie d'ensem"le.#e$ie5 supports PCF policy on -/1 and no comment on PraueSprin. Hroupe d'études théoriques created. Polemic o$er refusal to ?oin Inion énérale d'écri$ains.Conference at Cluny 5ith !a Nou$elle Critique. Althusser, !inine et la

philosophie. Poulant:as, Pou$oir politique et classes sociales. <eleu:e,<ifference et répétition. =audrillard, !e Syst(me des o"?ets.



!acan's seminar, '<'un autre l'Autre'. Scilicet re$ie5 created.)n May student demonstrations erupt in Paris. Sor"onne is occu9 pied, creation of occupyin councils. Inrest spreads after uni$er9sity cleared at end of May. Heneral stri8e. Stri8e called off after neotiations "et5een o$t. and CH* union. Ini$ersity of Qincen9nes opens in Sept. 5ith Foucault as director. &ccupied immedi9

ately.)n Auust Praue Sprin uprisin crushed "y Communist forces.1989 Pu/%i&ations / 'uotat( '#n#t( urrou)"s+ So%%#rs(

3Sur$o%Ra**orts6%o&sCon!%its3+ Staro/ins2i( 3!e *e3te dans le te3te3+ Krist#$a (3!'Enendrement de la formule3+ Krist#$a( Séméioti8é+Po%#mi& -it" Fa# o$#r %#tt#r in L'uanit7 a&&usin) D#rri,a o! &om*%i&it -it" H#i,#))#r3s a%%#)#, Na=i sm*at"i#s+ So%%#rs an,Krist#$a o&&u* o!!i&# o! F%a&#%iGr# -"#n La&an3s s#minar at ENSis sus*#n,#,+D#%#u=#( !oique du sens. Foucault, !'Archéoloie du sa$oir. =lanchot,!'Entretien infini. Ci3ous, <edans. Simon, !a =ataille de Pharsale.#e$ie5s *V* and Cinéthique created. !acan's seminar at ENSsuspended, mo$es to !a5 Faculty "uildin near Panthéon. !acanlectures at Qincennes 5here the students hec8le him. <emonstra9

tions and occupations at Qincennes. Cahiers pour l'analyse folds and some of its mem"ers ?oin the militant Hauche prolétarienne.Pompidou elected President. !in Piao desinated Mao's successor.

19@ Pu/%i&ations / >ao+ D#rri,a( 3!a <ou"le Séance3+ So%%#rs(3!énine et le matérialisme philosophique3+ au,r( !a 'Création' +Krist#$a an, >ar& D#$a,# 4oin &ommitt##+ R#$i#- P#intur#( cahiersthéoriques &r#at#, / artists o! t"# Su**orts Sur!a&#s )rou*+ Po%#mi&s-it" C"an)# o$#r a&&usations o! #ar% ri)"t:-in) t#n,#n&i#s / Fa#in !a Ha:ette de !ausanne. !eclaire <epartment of Psychoana ysisat Qincennes critici:ed in *el +uel. Addition of 'PhilosophieYPo9litique' to su"title. Huyotat, Éden, Éden, Éden. Polemic o$er itscensure4 a petition protestin aainst it is circulated and pu"lished in *el +uel. Second Cluny colloquium, '!ittérature et idéoloie'.

>riste$a and <errida critici:ed "y mem"ers of Chane and Action poétique at the conference.=arthes, L')#ire &es signes.#e$ie5 Po7ti/ue created "y *odoro$, Ci3ous, #ichard, Henette.Nou$elle #e$ue de psychanalyse created. !acan's seminar is '<'undiscours qui ne serait pas du sem"lant'. Dudith Miller e3pelled fromQincennes for su"$ersion. Further occupations. Foucault i$esinauural lecture at Collae de France.IS offensi$es in Qietnam.

191 Krist#$a( 3Mati(re, sens, dialectique3+ So%%#rs( 3Sur la contradic9tion3+ P%#n#t( 3!autréamont politique3+ S*#&ia% issu# on Surr#a%isman, N#o:Surr#a%ism+ S*#&ia% issu# on Ro%an, art"#s+art"#s( Sade, Fourier, !oyola+ So%%#rs( !ois+ P%#n#t( !'Enseinement dela peinture.Po%#mi& -it" A+ ou!!ro o$#r Surr#a%ism+ *el +uel si)ns mani!#sto-it" Cinéthique an, Cahiers du cinéma a)ainst r#$i#- Positif, "ut critici:es Cinéthique for its criticism of PCF. Mou$ement de Duin-G- created. &ffices of *el +uel co$ered in Maoist sloans. Pleynet critici:es 'posthumous reconciliation' of =reton and Araon. !aNou$elle Critique pu"lishes a note critici:in the re$ie5 for itsaddition of 'PhilosophieYPolitique' su"title and critique of Araon.*el +uel replies, defendin its position. Sollers pu"lishes letter in !eMonde protestin aainst interdiction of Macciocchi <e la Chine at 'Fte de !'umanité'. )nter$enes at festi$al. No$em"er issue an9nounces formal "rea8 5ith PCF. #e$ie5 declared in crisis. Hrouped'études théoriques suspended. Criticism of Cinéthique's domatism.*hi"audeau and #icardou lea$e committee.

!yotard, <iscours, fiure. Sartre, !')diot de la famille. Macciocchi, <ela Chine. !acan's seminar; '&u pire'.!in Piao dies in an air crash 5hile ostensi"ly fleein to the ISS#.



Sept.; <eath of Mao. &ct.; Arrest and trial of Han of Four. BBnd Conress of PCF4 'dictatorship of proletariat' dropped.

19 Pu/%i&ations / art"#s( Krist#$a( So%%#rs+ S*#&ia% issu# on t"#USA+art"#s( Framents d'un discours amoureu3. Pleynet, Art et littérature.Sollers and Cla$el, <éli$rance.

Qerdilione conference on '!a Qiolence'. Article "y Sollers in !e Monde on =.9. !é$y !a =ar"arie $isaehumain.Hluc8smann, !es Ma_tres penseurs. )riaray, Ce se3e qui n'en est pasun.!acan's seminar; '!e Moment de conclure'.

197 S*#&ia% issu# on 3#echerches féminines3+ S*#&ia% issu# on ,is:si,#n&#+ Part s*#&ia% issu# on P%#n#t+#r,i)%ion# &on!#r#n&# on ,issi,#n&#+>a&&io&&"i( Apris Mar3, a$ril. <errida, Éperons, !a Qérité en peinture.Hirard, <es choses cachées depuis la foundation du monde.!acan's seminar; '!a *opoloie et le temps'.

199 Pu/%i&ations / 'irar,( Sa,#( >ura( S+ F#%man( So%%#rs+ 3!'Au9uste Comte', Da:: 3( 3Pourquoi ?e suis si peu reliieu3 3+ P%#n#t*u/%is"#s /oo2s on *aintin)+ art"#s( So%%#rs écri$ain.#otten"er lea$es committee, ha$in pu"lished nothin since -G-.Su"title 'Art' added.=ourdieu, !a <istinction. <e"ray, !e Pou$oir intellectuel en France.

197@ art"#s( 3<éli"ération3+ So%%#rs( 3Socrate en passant 3( 3!e Pape3(3On n'a encore rien $u3+ S*#&ia% issu# on o&#+Krist#$a( Pou$oirs de l'horreur + P%#n#t( !e Qoyae en Chine. Euloistic note after death of =arthes. Sollers 5elcomes dissolution of EF7.So%%#rs( =enoist, and !é$y, in *el +uel, critici:e 'heemony of philosophy' centred on Critique.=arthes, !a Cham"re claire. <eleu:e and Huattari, Mille plateau3.!yotard, !a condition postmoderne. Special issue of Critique on analytic philosophy. !acan dissol$es EFP. =arthes dies in hospital. !ouis

Althusser stranles his 5ife at ENS and is committed 5ithout atrial. Papal $isit.1971 So%%#rs 3!e HS) 3( 3Pourquoi ?'ai été chinois3( 3istoire de femme3+

Pu/%i&ations / >ura on a%=a&( Hou,#/in# on o&#+So%%#rs( Paradis. Pleynet, #ime. Muray, Hilhu. =audfiIard, Sinula9tions. <e"ray, Critique de la raison politique. Clément, Qies et léendes de Dacques !acan. !acan, Séminaire, iii. =.9. !é$y, !')déoloie fran%aise.Sept.; death of !acan.

197? So%%#rs( 'De sais pourquoi ?e ?ouis' ( 3!'Assomption3+ S*#&ia% issu#s onPi&asso( *s&"oana%sis+ Pu/%i&ations / >a%rau.+art"#s( !'&"$ie et l'o"tus. Hirard, !e =ouc émissaire. !e$inas, Éthiqueet nifini.

197 Fina% issu#0 *u/%i&ations / >ura on Hu)o( Hou,#/in# on o&#

an, *el +uel.Sollers Femmes pu"lished "y Hallimard. *el +uel shifts pu"lisher to Hallimard and chanes name to !')nfini.



=iblio,ra.hy4"A"2 +#%"C'+4erioials

*el +uel <uart#r% *#rio,i&a%( 1:9;( 6 91 $o%um#s( 6 Paris( 198@:7( B,itions ,u S#ui%+

!')nfini, quarterly periodical @ Paris, -129, continuin, Éditions <enol, then Hallimard.

Pu4lications o$ the 'Collection Tel Quel'

=A!ES*#)N) N., *ristan @ Paris, -GB.

=A#*ES #., Essais critiques @ Paris, -/.

99999 Critique et $erité @ Paris, -//.

99999 SY @ Paris, -G0.

99999 Sade, Fourier, !oyola @ Paris, -G-.

99999 !e Plaisir du te3te @ Paris, -G2.

99999 Framents d'un discours amoureu3 @ Paris, -GG.

99999 !'&"$ie et l'o"tus @ Paris, -1B.

=AI<#T D.9!., !es )maes @ Paris, -/2.

99999 Personnes @ Paris, -/G.

99999 !a 'Création' @ Paris, -G0.



=&I!E P., #ele$és; d'apprenti @ Paris, -/.

99999 Par $olonté et par hasard @ Paris, -G.

<A)V P., Nou$elle critique et art moderne @ Paris, -/1.

<E##)<A D., !'Écriture et la différence @ Paris, -/G.

99999 !a <issémination @ Paris, -GB.

FATE D.9P., Analoues @ Paris, -/.

99999 !e #écit hunique @ Paris, -/G.

F&##ES*E# Q., Qesties @ Paris, -G1.

HENE**E H., Fiures i @ Paris, -// and ii @ Paris, -/.

H)NS=E#H A., &M; Entretiens et témoinaes -/29-G1 @ Paris, -1-.

EN#)C D., Archées @ Paris, -/.

99999 Chasses @ Paris, -G.

99999 Carrousels @ Paris, -1-.

>#)S*EQA D., Séméioti8é; #echerches pour une sémanalyse @ Paris, -/.

KRISTEA +( !a #é$olution du lanae poétique 6 Paris( 19;+

::::: Polyloue 6 Paris( 198+

::::: Pou$oirs de l'horreur; Essai sur l'a"?ection 6 Paris( 197@+

::::: 6#,+( !a *ra$ersée des sines 6 Paris( 195+

::::: 6#,+( Folle $érité 6 Paris( 199+

>ACCIOCCHI >+(:A+( Pour Hramsci 6 Paris( 19;+

::::: Apr(s Mar3, a$ril 6 Paris( 197+

>URAM P+( Céline 6 Paris( 1971+

PLEMNET >+( Paysaes en deu3 sui$e de !es !ines de la prose 6 Paris( 198+

::::: Comme 6 Paris( 1985+

::::: !'Enseinement de la peinture 6 Paris( 191+

::::: Stan:e 6 Paris( 19+

::::: Art et littérature 6 Paris( 19+

::::: #ime 6 Paris( 1971+



RICARDOU +( Pro"l(mes du nou$eau roman 6 Paris( 198+

::::: Pour une théorie du nou$eau roman 6 Paris( 191+

RISSET +( Deu 6 Paris( 191+

ROCHE D+( #écits complets 6 Paris( 198?+

::::: !es )dées centésimales de Miss Elani:e 6 Paris( 198;+

::::: Éros énerum(ne 6 Paris( 1987+

::::: !e Mécrit 6 Paris( 19?+

ROCHE >+( Compact 6 Paris( 1988+

::::: Circus 6 Paris( 191+

::::: CodeV 6 Paris( 19;+

::::: &péra "ouffe 6 Paris( 19+

::::: Maca"ré 6 Paris( 199+

::::: Maladie mélodie 6 Paris( 197@+

ROTTENER' P+( !e !i$re partaé 6 Paris( 1985+

SAN'UINETI E+( Capriccio italiano 6 Paris( 198;+

::::: !e No"le ?eu de l'oye 6 Paris( 19@+

SARDUM S+( Maitreya 6 Paris( 197@+

SCARPETTA '+( Sc(ne 6 Paris( 19?+

SCHEFER +:L+( Scénoraphie d'un ta"leau 6 Paris( 1989+

SIONM D+( !e Nom et le corps 6 Paris( 19;+

SOLLERS P+( !')ntermédiaire 6 Paris( 198+

::::: <rame 6 Paris( 1985+

::::: !oiques 6 Paris( 1987+

::::: Nom"res 6 Paris( 1987+

::::: !ois 6 Paris( 191+

::::: 6 Paris( 19+

::::: Sur le matérialisme 6 Paris( 19;+

::::: Paradis 6 Paris( 1971+



*el +uel, *héorie d'ensem"le 6 Paris( 1987+

THIAUDEAU +( &u$erture 6 Paris( 1988+

::::: )maine: la nuit 6 Paris( 1987+

::::: Mai '/1 en France 6 Paris( 19@+

TODORO T+ 6#,+( *héorie de la littérature; *e3tes des formalistes russes 6 Paris( 1985+

UN'ARETTI '+( A partir du désert 6 Paris 1985+

+'C#!$A"2 +#%"C'+6For arti&%#s( #.&#*tin) t"os# in En)%is" an, t"os# not r#!#rr#, to in t#.t( s## !ootnot#s+

ADORNO T+( Neati$e <ialectics 6 Lon,on( 19+

A'ACINSKI S+( DERRIDA +( KOF>AN S+( LACOUE:LAARTHE P+( NANCM +:L+( an,PAUTRAT +( Mimesis des articulations 6 Paris( 195+

ALTHUSSER L+( Pour Mar3 6 Paris( 1985+

::::: !énine et la philosophie 6 Paris( 1987+

::::: #éponse Dohn !e5is 6 Paris( 19+

::::: Positions 6 Paris( 198+

::::: #t a%+( !ire le Capital 6 ? $o%s+ Paris( 1985+

ARON +:P+( !es Modernes 6 Paris( 197;+

::::: ALIAR E+( an, ESTALET R+( !i$e le Capital, ii 6 Paris( 1985+

ARTAUD A+( Ru$res compl(tes 6 15 $o%s+ Paris( 19@:9@+

AUERT + 6#,+( Doyce a$ec !acan 6 Paris( 197+

AURAL F+( an, D#%&ourt X+( Contre la nou$elle philosophie 6 Paris( 19+

AULA'NIER:SPAIRANI P+( CLAREUL +( PERRIER F+( ROSALOTO '+( an, ALARE'A +:P (!e <ésir et la per$ersion 6 Paris( 198+

ACHELARD '+( !a Psychoanalyse du feu 6 Paris( 197+

ANN S+( 3Intro,u&tion to >ar&#%in P%#n#t0 Paintin) an, Surr#a%ism an, Paintin)3(Comparati$e Criticism, 6 197?+

::::: 3T"# Car##r o! T#% u#%0 T#% #u% /#&om#s L3In!ini3( Comparati$e Criticism, / 6 197;+

ARNES + 6#,+( Early Hree8 Philosophy 6 Lon,on 197+

ARTHES R+( !e <eré :éro de l'écriture 6 Paris( 195+



::::: Mytholoies 6 Paris( 195+

::::: Sur #acine 6 Paris( 198+

::::: Syst(me de la mode 6 Paris( 198+

::::: !'Empire des sines 6 Paris( 19@+

::::: Alors la Chine7 6 Paris( 19;+

::::: #oland =arthes par #oland =arthes 6 Paris( 195+

::::: Sollers écri$ain 6 Paris( 199+

::::: !a Cham"re claire 6 Paris( 197@+

::::: !e =ruissement de la lanue 6 Paris( 197;+

::::: !'A$enture structuraliste 6 Paris( 1975+

ARTHES R+( )ncidents 6 Paris( 197+

ATAILLE '+( Ru$res compl(tes 6 1? $o%s+ Paris( 191:77+

ATTISTINI +( *rois présocratiques 6 Paris( 1987+

AUDRILLARD +( !e Syst(me des o"?ets 6 Paris( 1987+

AUDRM +:L+( !'Effet cinéma 6 Paris( 197+

::::: Proust, Freud et l'autre 6 Paris( 197;+

::::: Personnaes dans un rideau 6 Paris( 1991+

DE S+ EAUOIR( Pour une morale d'am"iuité 6 Paris( 19;+

::::: Faut9il "r`ler Sade7 6 Paris( 1951+

ENNIN'TON '+( an, DERRIDA +( Dacques <errida 6 Paris( 1991+

ENOIST +:>+( Mar3 est mort 6 Paris( 19@+

::::: !a #é$olution structurale 6 Paris( 195+

ENENISTE E+( Pro"l(mes de linuistique énérale 6 ? $o%s+ Paris( 1988 an, 19;+

LANCHOT >+( *homas l'o"scur 6 Paris( 19;1 an, 195@+

::::: !'Arrt de mort 6 Paris( 19;7+

::::: !a Part du feu 6 Paris( 19;9+

::::: !'Espace littéraire 6 Paris( 1955+

::::: !e !i$re $enir 6 Paris( 1959+



::::: !'Entretien infini 6 Paris( 1989+

::::: Fau3 pas 6 Paris( 195+

LOO> H+( *he An3iety of )nfluence 6 N#- Mor2( 19+

ONNEFOM M+( <u mou$ement et de l'immo"ilité de <ou$e 6 Paris( 195+

OSCHETTI A+( Sartre et '!es *emps modernes' 6 Paris( 1975+

DU A+ OUCHET( <ans la chaleur $acante 6 Paris( 1981+

OURAKI N+( Éléments de mathématique; *héorie des ensem"les 6 Paris( 1987+

OURDIEU P+( !a <istinction 6 Paris( 199+

::::: omo academicus 6 Paris( 197;+

OUERESSE +( !e Mythe de l'intériorité 6 Paris( 198+

OIE >+( Freud, Proust, !acan; *heory as Fiction 6 Cam/ri,)#( 197+

::::: !acan 6 Lon,on( 1991+

OMER P+( Mots d'ordre 6 Paris( 1989+

::::: Non9lieu 6 Paris( 19?+

RETON A+( !es Qases communicants 6 Paris( 1955+

::::: Manifestes du surrealisme 6 Paris( 19?+

RITTON C+( 3T"# Nou$#au Roman an, T#% u#% >ar.ism3( Pararaph, -B6 >ar+ 1979+

CADAA E+( CONNOR P+( an, NANCM +:L+ 6#,s+( 6ho Comes after the Su"?ect7 6 N#-Mor2( 199@+

CALET +:L+( #oland =arthes 6 Paris( 199@+

CA>US A+( !'omme ré$olté 6 Paris( 1951+

CASTORIADIS C+( !e Socialisme "ureaucratique 6 Paris( 19+

CBLINE L+:F+( <'un chLteau l'autre 6 Paris( 195+

CHAR R+( #echerche de la "ase au sommet 6 Paris( 1955+

CHO>SKM N+( Structures syntactiques 6 Paris( 1989+

::::: Aspects de la théorie du synta3e 6 Paris( 191+

CIXOUS H+( *om"e 6 Paris( 1985+

::::: <edans 6 Paris( 1989+

CLB>ENT C+( Qies et léendes de Dacques !acan 6 Paris( 1971+



COAN A+( A istory of Modern France, iii 6Harmon,s-ort"( 1985+

COLLIER P+( 'Heores =ataille; *he *heory and Practice of Communication' ( P"+D+ t"#sis6 Lon,on 195+

COLLOERT D+( <ire )9)) 6 Paris( 19?+

::::: )l donc 6 Paris( 198+

CO>ES P+( !a !ittérature et le mou$ement de Mai '/1 6 Paris( 197;+

DANTE( !a <i$ine Comédie, trans. D. #isset @ 2 $ols.4 Paris, -B.

<AQ)ES ., Sartre and '!es *emps modernes' @ Cam"ride, -1G.

<E=&#< H., !a Société du spectacle @ Paris, -/G.

99999 Considérations sur l'assassinat de Hérard !ie"o$ici @ Paris, -1.

99999 Commentaires sur la société du spectacle @ Paris, -11.

99999 )m irus imus nocte et consumimur ini @ Paris, -0.

99999 Panéyrique @ Paris, -0.

<E=#AT #., !e Pou$oir intellectuel en France @ Paris, -G.

<E!EIE H., Niet:sche et la philosophie @ Paris, -/B.

99999 !a Philosophie de >ant @ Paris, -/2.

99999 Proust et les sines, @ Paris, -/.

99999 and HIA**A#) F., Anti9Odipe; Capitalisme et schi:ophrénie @ Paris, -GB.

99999 >af8a; Pour une littérature mineure @ Paris, -G.

99999 Mille plateau3; Capitalisme et schi:ophrénie @ Paris, -10.

<E##)<A D., <e la rammatoloie @ Paris, -/G.

99999 Mares de la philosophie @ Paris, -GB.

99999 Positions @ Paris, -GB.

99999 Hlas @ Paris, -G.

99999 !a Carte postale de Socrate Freud et au del @ Paris, -G/.

99999 Éperons @ Paris, -G1.

99999 !a Qérité en peinture @ Paris, -G1.

99999 )ntroduction to E. usserl, !'&riine de la éométrie @ Paris, -/B.

<ESC&M=ES Q., !e Mme et l'autre @ Paris, -G.



<E6S P., !oics of <isinteration @ !ondon, -1G.

<IC#&* &., and *&<&#&Q *., <ictionnaire encyclopédique des sciences du lanae@ Paris, -GB.

EC& I., !'Ru$re ou$erte @ Paris, -/.

E!!)&* H., Althusser; *he <etour of *heory @ !ondon, -1G.

E#)=&N <., Michel Foucault @ Paris, -1.

FATE D.9P., =attement @ Paris, -/B.

99999 !'Écluse @ Paris, -/.

99999 !es *royens; e3arammes @ Paris, -G0.

9B1

FAME +:P+ )nferno; Qersions 6 Paris( 195+

::::: an, ROUAUD + 6#,s+( Chane de forme 6 Paris( 195+

::::: an, ROUAUD + 6#,s+( Chane matériel 6 Paris( 195+

FLETCHER +( an, #n4amin A+ 6#,s+( A"?ection, Melancholia and !o$e; *he 6or8 of Dulia>riste$a 6 Lon,on( 199@+

FOREST P+( Philippe Sollers 6 Paris( 199?+

FOUCAULT >+( Maladie mentale et psycholoie 6 Paris( 1955+

::::: istoirie de la folie l'Le classique 6 Paris( 1981+

::::: Naissance da la clinique 6 Paris( 198+

::::: #aymond #oussel 6 Paris( 198+

::::: !es Mots et les choses 6 Paris( 1988+

::::: Sur$eiller et punir 6 Paris( 195+

::::: istoire de la se3ualité, i; !a Qolonté de sa$oir 6 Paris( 198+

::::: Intro,u&tion to L+ ins-an)#r( #$e et e3istence 6 Paris( 195;+

FOURNM +:F+( 3!a <eu3i(me Qaue; *el +uel et le surrealisme3( French Forum, B 6 197+

FREUD S+( *he )nterpretation of <reams 6 Lon,on( 198+

::::: &n Se3uality 6 Lon,on( 19+

::::: &n Metapsycholoy 6 Lon,on( 197;+

::::: *he &riins of #eliion 6 Lon,on( 1975+



::::: Essais de psychoanalyse appliquée 6 Paris( 19+

'EOR'E F+( !'Effet 'yua de pole 6 Paris( 199+

'IDE A+( #etour de l'I#SS 6 Paris( 198+

'IRARD R+( <es choses cachées depuis la fondation du monde 6 Paris( 197+

::::: !e =ouc émissaire 6 Paris( 197?+

'LUCKS>ANN A+( !a Cuisini(re et le maneur d'hommes 6 Paris( 195+

::::: !es Ma_tres penseurs 6 Paris( 19+

'OLD>ANN L+( !e <ieu caché 6 Paris( 1958+

::::: Pour une socioloie du roman 6 Paris( 198;+

'OUX +:+( Freud et Mar3; Économie et sym"olique 6 Paris( 19+

::::: !es )conoclastes 6 Paris( 19+

'RANET >+( !a Ci$ilisation chinoise 6 Paris( 19?9+

::::: !a Pensée chinoise 6 Paris( 19;+

'REEN A+( !e <iscours $i$ant 6 Paris( %9 +

'REENE R+ +( si3 French Poets of our *ime 6 Prin&#ton( N( 199+

::::: 3Po#tr( >#ta*o#tr( R#$o%ution0 Sta)#s on >ar&#%in P%#n#t3s a3( #omanic#e$ie5, /1 6 19+

'REI>AS A+( Sémantique structurale 6 Paris( 1988+

'UERLAC S+( *he )mpersonal Su"lime( 6 Stan!or,( 199@+

::::: 3T"# Su/%im# in T"#or3( Modern !anuae Notes, -0/ 6 1991+

'UMOTAT P+( *om"eau pour cinq cent mille soldats 6 Paris( 198+

::::: Éden, Éden, Éden 6 Paris( 19@+

::::: !a !ittérature interdite 6 Paris( 19?+

HALLIER +:E+( !a Cause des peuples 6 Paris( 19+

HA>ON H+( an, ROT>AN P+( !es )ntellocrates 6 russ#%s( 1971+

HARLAND R+( Superstructuralism 6 Lon,on( 197+

HAREM S+( May '/1 and Film Culture 6 Lon,on( 197+

HAKES T+( Structuralism and Semiotics 6 Lon,on( 19?+

3H#a%in) or,s0 Dr+ La&an3s Stru&tura%ism3( *imes !iterary Supplement 6 ?5 an+ 1987+



HEATH S+( *he Practice of 6ritin( 6 Lon,on( 19?+

::::: !e Qertie du déplacement 6 Paris( 19;+

HE'EL '+ + F+( *he Essential 6ritins( #,+ F+ '+ #iss 6 N#- Mor2( 19;+

HEIDE''ER >+( )ntroduction la metaphysique 6 Paris( 198+

HERRI'EL E+( en in the Art of Archery 6 Paris( 19?+

HILL L+( 'Philippe Sollers and *el +uel' ( in >+ Ti%/ 6#,+( =eyond the Nou$eau #oman 6 Lon,on( 199@+

HOSON >+( '&n the Su"?ect of the Su"?ect; <errida on Sollers in !a <issémination' ( in D+oo, 6#,+( Philosopher's Poets 6 Lon,on( 1991+

HOCUARD E+( an, Ra<u#%( &rane E3port !td. -/9-1/ 6 Paris( 1978+

HOLLIER D+ 6#,+( !e Coll(e de socioloie 6 Paris( 199+

::::: '-/1, May' ( in D+ Ho%%i#r( 6#,+( istory of French !iterature 6 Har$ar,( 1979+

HOUDEINE +:L+( E3c(s de lanaes 6 Paris( 197+

HU'UENIN +:R+( Ine autre ?eunesse 6 Paris( 1981+

::::: Dournal 6 Paris( 198;+

IRI'ARAM L+( Speculum de l'autre femme 6 Paris( 19;+

A>ET C+( an, Lar,r#au '+( !'Ane 6 Paris( 198+

OUFFROM A+( !e Hué; Machia$el, No$alis, Mar3 et une con$ersation de P. Sollers a$ec A. Douffroy 6 Paris( 19+

KERR T+( 3A Postmo,#rn No$#%3( Pararaph, -B 6 >ar+ 1979+

KLEIN >+( *he Selected Melanie >lein 6 Lon,on( 1978+

KLOSSOSKI P+( !a #é$ocation de l'Édit de Nantes 6 Paris( 1959+

KO]E A+( )ntroduction la lecture de eel 6 ARIS( 199+

KOMRB A+( <u monde clos l'uni$ers infini 6 Paris( 19+

KRISTEA +( !e !anae, cet inconnu 6 Paris( 1989 an, 1971+

::::: !e *e3te du roman 6 T"# Ha)u#( 1989+

::::: istoires d'amour 6 Paris( 197+

::::: Soleil noir 6 Paris( 197+

::::: Étraners nous9mmes 6 Paris( 1979+

::::: !es Samoura]s 6 Paris( 199@+



KUAPPI N+( *el +uel; !a Constitution sociale d'une a$ant9arde 6 H#%sin2i( 199@+

KUHN T+( *he Structure of Scientific #e$olutions 6 C"i&a)o( 19@+

LACAN +( Écrits 6 Paris( 1988+

::::: Écrits, @Collection 'Points', @ B $ols.4 Paris, -G0 and -G-.

99999 !e Séminaire, 3i; !es +uatre Concepts fondamentau3 de la pychanalyse @ Paris,-G2.

99999 *élé$ision @ Paris, -G2.

LACAN +( !e Séminaire, 33; Encore 6 Paris( 195+

::::: !e Séminaire, 3$ii; !'En$ers de la psychanlyse 6 Paris( 1991+

LA CHARITB( !!+( *5entieth Century A$ant9arde French Poetry 6 K#ntu&2( 199?+

LACLAU E+( an, >ou!!# C+( eemony and Socialist Stratey 6 Lon,on( 1975+

LACOUE:LAARTHE P+( an, NANCM +:L+( !'A"solu littéraire 6 Paris( 197@+

LAPLANCHE +( lderlin et la question du p(re, @ Paris, -/-.

99999 and P&N*A!)S D.9=., Qoca"ulaire de la pychanalyse @ Paris, -/.

!AP&#*E #., Ine $ie @ Paris, -1/.

!AQE#S A., #oland =arthes; Sructuralism and After @ !ondon, -1B.

99999 'France; *he End of the *erreur7 *he E$olution of Contemporary Critical Attitudes',*he uman Conte3t, B @ -G0.

99999 '*he Ne5 Medecine of &rans', *imes !iterary Supplement @ - Fe". -G.

99999 ')n #e$ulsion is our =einnin', *imes !iterary Supplement @ B &ct. -10.

99999 '&n 6ins of Prophecy', *imes !iterary Supplement, @ - May -1-.

!EC*E D., Dulia >riste$a @ !ondon, -10.

!EC!A)#E S., Psychanalyser @ Paris, -/1.

!EFE=Q#E ., Critique de la $ie quotidienne @ Paris, -G.

99999 Fondements d'une société de la quotidiennété @ Paris, -/-.

99999 !a #é$olution ur"aine @ Paris, -G0.

!E!T H., Sade @ Paris, -/G.

!E#N&I* H., *he French Doyce @ Michian, -0.

!EQ)NAS E., Autrement qu'tre ou au9del de l'essence @ Paris, -G.



99999 Éthique et infini @ Paris, -1B.

!ÉQ)9S*#AISS C., )ntroduction l'O$re de Marcel Mauss @ Paris, -0, trans; F. =a8er@ !ondon, -1G.

99999 Anthropoloie structurale @ Paris, -1.

99999 !a Pesée sau$ae @ Paris, -/B.

!ÉQT =.9., !a =ar"arie $isae humain @ Paris, -G1.

99999 +uestions de principe deu3 @ Paris, -1/.

!ETS S., !es a"its neufs du Président Mao @ Paris, -G-.

!)P&QE*S>T H., !'re du $ide @ Paris, --.

!!E6E!TN D., <errida on the *hreshold of Sense @ !ondon, -1/.

'!oicus Sollers', *imes !iterary Supplement, 21 @ <ec. -/1.

!T&*A#< D.9F., <iscours fiure @ Paris, -G-.

99999 <éri$e partir de Mar3 et Freud @ Paris, -G2.

99999 <es dispositifs pulsionnels @ Paris, -G2.

99999 Économie li"idinale @ Paris, -G.

99999 !a Condition postmoderne @ Paris, -10.

MACC)&CC) M.9A., <e la Chine @ Paris, -G-.

99999 @ed., Pasolini @ Paris, -1-.

MACET <., !acan in Conte3ts @ !ondon, -11.

99999 *he !i$es of Michel Foucault @ !ondon, -2.

MA!!A#MÉ S., Correspondance de Mallarmé, -1/B9-1G- @ Paris, -.

DE P+ >AN( *he #esistance to *heory 6 >an&"#st#r( 1978+

>ARX:SCOURAS D+( 3T"# Dissi,#nt Po%iti&s o! T#% u#%3( !'Esprit créteur, BG 6summ#r197+

>ASPERO H+( !e *aoisme 6 Paris( 195@+

>ATHM +:P+( E3trme9&ccident; French )ntellectuals and America 6 C"i&a)o( 199+

>AURIACC F+( Nou$eau3 "loc9notes 6 Paris( 1981+

>AURON C+( <es métaphores o"sédantes au mythe personnel; )ntroduction la psychocritique 6 Paris( 1981+

>AUSS >+( Socioloie et anthropoloie 6 Paris( 195@+



>ICHELSON A+( 3T"# A)on o! t"# Fr#n&" L#!t3( &cto"er, / 6 197+

>OI T+( Se3ual *e3tual Politics; Feminist !iterary *heory 6 Lon,on( 1975+

>ONTEL +:C+( Plaes 6 Paris( 1987+

::::: !e Carne$al 6 Paris( 1989+

>ULHERN F+( *he Moment of Scrutiny 6 Lon,on( 199+

NADEAU >+( istoire du Surréalisme 6 Paris( 198;+

NANCM +:L+( !a Communauté désOu$rée 6 Paris( 1978( trans+ 6an, #,+ P+ Connor as *he)noperati$e Community 6 >inn#a*o%is( 1991+

::::: Ine pensée finie 6 Paris( 199@+

::::: *he =irth to Presence( #,s+ + Hama&"#r an, D+ E+ #%%/#r 6 Stan!or,( Ca%i!+( 199+

:::::an, LACOUE:LAARTHE P+( !e *itre de la lettre 6 Paris( 19+

NEEDHA> +( Science and Ci$ilisation in China 6 8 $o%s+ Cam/ri,)#( 195;:78+

NICOLAS A+( 3Écriture etYou linuistique3( !anue francaise, G 6 S#*t+ 19@+

NIETYSCHE F+( A Niet:sche #eader ( #,+ R+ + Ho%%in),a%# 6 Harmon,s-ort"( 19+

PASCAL +( Pensées 6 ? $o%s+ Paris( 1991+

PASUALINI +( Prisonnier de Mao 6 Paris( 19+

PAULHAN +( !es Fleurs de *ar"es ou la terreur dans les lettres 6 Paris( 19;1+

PAUERT +:+ 6#,+( !'Affaire Sade 6 Paris( 1957+

PEREC '+( !a <isparition 6 Paris( 1989+

PHILLIPS A+ 'RIFFTHS 6#,+( Contemporary French Philosophy 6 Cam/ri,)#( 197+

PICARD R+( Nou$elle ou nou$elle imposture7 6 Paris( 1985+

PIN'ET R+( +uelqu'un 6 Paris( 1985+

::::: Passacaille 6 Paris( 1989+

PLEMNET >+( !autréamont 6 Paris( 198+

::::: +uelques pro"l(mes de la peinture moderne; !ouis Cane 6 Paris( 19?+

::::: Syst(me de la peinture 6 Paris( 19+

::::: *ransculture 6 Paris( 199+

::::: !e Qoyae en Chine 6 Paris( 197@+

::::: Spirito pererino 6 Paris( 1971+



::::: !'Amour 6 Paris( 197?+

::::: Framents du chOur 6 Paris( 197;+

::::: !es *rois li$res 6 Paris( 197;+

::::: Hiotto 6 Paris( 1975+

PLEMNET >+( Plaisir la tempte 6 Paris( 197+

::::: Premi(res poésies 6 >ont*#%%i#r( 197+

::::: !e *our et l'heure 6 Paris( 1979+

::::: Mother5ell 6 Paris( 1979+

::::: !es Modernes et la tradition 6 Paris( 199@+

AN DER I+ POEL( #é$olution de la pensée; Maoisme et feminisme tra$ers *el +uel, !es*emps modernes et Esprit 6 Amst#r,am( 199?+

PONTALIS +:+( Apr(s Freud 6 Paris( 1987+

POSNER C+ 6#,+( #eflections on the #e$olution in France; -/1 6 Harmon,s-ort"( 19@+

POSTER >+( E3istential Mar3ism in Post95ar France 6 Prin&#ton( N( 195+

POULANTYAS N+( Pou$oir politique et classes sociales 6 Paris( 1987+

POUND E+( !es Cantos, trans. <. #oche @ Paris, -1/.

P#)HEN* C., <enis #oche @ Paris, -GG.

#AH!AN<9SI!!)QAN E., and =#ACE# M. @eds., !acan and the Su"?ect of !anuae@ !ondon, --.

#ANC)#E D., !a !e%on d'Althusser @ Paris, -G.

#EA<E# >., )ntellectuals and the !eft in France since -/1 @ !ondon, -1G.

'#e?oycin on the left', *imes !iterary Supplement, 2/1- @ BB Sept. -GB.

#)CA#<&I D., !'&"ser$atoire de Cannes @ Paris, -/-.

99999 !a Prise de Constantinople @ Paris, -/.

99999 !es !ieu39dits @ Paris, -/.

99999@ed., Nou$eau #oman; ier, au?ourd'hui @ B $ols.4 Paris, -GB.

#)CA#< D.9P., !ittérature et sensation @ Paris, -.

99999 Poésie et profoundeur @ Paris, -.

#)SSE* D., Mors @ Paris, -G/.



99999 Entre la $ie et la mort @ Paris, -/1.

99999 Enfance @ Paris, -12.

99999 *u ne t'aimes pas @ Paris, -1.

SA#*#E D.9P., !'E3istentialisme est un humanisme @ Paris, -G.

99999 +uest ce que la littérature7 @ Paris, -G.

99999 Situations ) @ Paris, -G.

99999 Critique de la raison dialectique @ Paris, -/0.

99999 Situations Q))); autour de '/1 @ Paris, -GB.

SCA#PE**A H., =recht ou le soldat mort @ Paris, -G.

99999 Éloe du cosmopolitisme @ Paris, -1-.

99999 6al8man @ Paris, -11.

SCNE)<E#MANN S., Daques !acan; *he <eath of an )ntellectual ero @ Cam"ride, Mass.,-12, trans. P. E. <au:at, as Dacques !acan, ma_tre en7 @ Paris, -1/.

Screen #eader ) @ !ondon, -GG.

SEA!E P., and MCC&NQ)!!E M., French #e$olution -/1 @ annonds5orth, -/1.

S)C#E =., !e Nom de Sha8espeare @ Paris, -12.

S)!QE#MAN . D. @ed., Philosophy and Non9Philosophy since Merleau Ponty @ !ondon,-11.

S)M&N C., !a =ataille de Pharsale @ Paris, -/.

99999 !'Acacia @ Paris, -1.

S&!!E#S P., Ine curieuse solitude @ Paris, -1.

99999 !e Parc @ Paris, -/-.

99999 Francis Pone @ Paris, -/2.

99999 !'Écriture d l'e3périence des limites @ Paris, -G-.

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