Wundervölker, Monstrosität und Hässlichkeit im Mittelalter (German Edition)

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Among these the commune Elise Dellwo practices literature like one would counterintelligence warfare, ceaselessly changing locations and identities, appearing nowhere and everywhere at once This last incarnation goes to show that transmutation is textual as well as intratextual. As in a theater, Dojna, then Hakatia and Vassila entered the desolate set of the last scene, one after the other. Iakoub Khadjbakiro wished them to go at one end of the picture, and then, he wanted to bow.

That these two women Dojna and Hakatia, both art- Inside Wars ists should be joined together, along with a third woman who is already dead when the story begins Vassila , is no coincidence, since the same couple of characters appear in Jorian Murgrave. Individuals do not disappear, or cease to matter; they simply become interchangeable, exchanging roles, trading names, but in due course they allow the story to be told.

However, that rebellion is always brought back to its individual and individualist dimensions. Political parties belong to the real world, ideological convictions relate to the world of fantasy. At the end of the s, though, the urgency of engagement was exhausted. Haunted by the dead bodies of fallen revolutionaries, Puesto Libertad marks the last hellish stage before oblivion. But far from freeing characters, Puesto Libertad, city of the dead, grinds them into a pulp, like so many homunculi that will reemerge in subsequent works, in other fallen, bombed-out wastelands, lost at the end of nowhere.

If the city only leads back to other versions of itself, this is because the text itself is a matrix, a linguistic matrix, an intertextual matrix, and a revolutionary matrix. Thus Volodinian novels do not end, but branch out to other related texts that recycle some of their narrative elements time, space, characters, narrative voice. Each novel contains to some degree the other novels of the cycle, like so many fuzzy subsets, though this degree remains unknown to readers, who can at best recognize certain elements resurfacing from one text to the other.

For Char, as for Volodine, poetics and ethics are cognates. The poet must seize the convulsive beauty of chaos while confronting the chaotic violence of history. A ghost, barely a memory, and freedom in the midst of riot. Freedom was at the top of a mass of hidden obediences and acknowledged conventions, behind the traits of an irreproachable deception.

History teaches that the radicals of actually planned on restoring the Roman republic, whereas the Communards of meant to resurrect the revolution of , the insurgents of wanted to give the uprising of a new chance, and so on. What matters here, however, is that the ill-fated expedition plays out like an attempted and predictably disastrous return to the past, but an attempt whose utter failure forces the reader to consider alternatives.

Even tears, it seems, have been exhausted, along with dreams, ideologies, and hopes for a better tomorrow. But this paradox, far from hindering narrative progression, incites it. Artistic opposition in the Soviet Union may have encountered more resistance, but nevertheless, artistic movements and factions endured, and a debate still took place. Dissidence, on the other hand, occupies a marginal space. In this absolute and mutual exclusion of the center and its margins only a minor literature could mature, foreign to the world and exotic to the gaze of the nondissident other.

Finally, naming this minor literature, which intersects the concepts of artistic dissidence and cultural marginality, was critical in allowing Volodine to stake a place for the exotic other. However, for Volodine the question of a label impinged upon the more important question of marginality, and a label was precisely what allowed him to display the paradoxical foreignness of his texts.

Having traced out a new space for postexotic literature, he then set out to construct its own intratextual archive. In addition not all the titles on the list refer to the published novels.

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Some are virtual texts; others have been written but were left unpublished. Their narratives are collective efforts, not only because literary cells produce them but because their meaning partakes of a communal dynamic. Each individual voice echoes other voices, and each text functions like a palimpsest to other texts, making the postexotic archive a doubly subversive mechanism, a debunking of the romantic myths of the writer as demiurge and of the uniqueness of the work of art, forcing readers to appropriate a resolutely alien text.

But however instructive these cross references might be to the amateur critic, they fail to elucidate the passages in which they appear. But it also proposes to go further than that. The representational strategy of parody predicates in the same movement the ridicule of the parodied object, its undeniable presence, and its necessity, if only as narrative support. For Michael Issacharov intertextuality remains the indispensable condition of parody, as the intertext leaves in the text an indelible trace.

In fact, the picture the narrator draws of the fascist system that provides the political backdrop of the novel consistently appears too garish and transparent, not to be taken without some degree of suspicion. I do not mean that the narrator is absent from the text but that, as an indispensable condition of postexotic narrativity, the narrator is dead.

The postmortem dispersion of the self is a classic topos of Eastern philosophy, and notably Buddhism. But whether they elevate into a higher plane of existence or reincarnate, the dead may wander for up to forty-nine days in limbo Bardo , where they face hallucinatory re-creations of their past lives as is made explicit in Dondog and Bardo or not Bardo. Here again the intertext fails to give the reader keys to unload the text, even readers familiar with Eastern esoteric traditions. No longer actors in their own lives, postexotic narrators must elect to branch out to other lives, in hypertextual fashion, and model reality through storytelling.

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But the journey from one life to the next is anything but a pleasing passage for those who must go across. You wait for some friendly laughter that wakes you in the dark. You wait for some friendly voice to encourage you, to approve you, to get you out of there. And nothing. Nothing happens. The darkness remains silent Bardo Both symbolize the entropic impermanence of things and their renewal. Or would it be.

At the end of the day the truth about Moldscher remains in suspense. Both his nemesis Otchaptenkho and he himself die during a new offensive, but before their passing their eggs, carrying their commingled genetic heritage and troubled memory, lie hidden in the ruins. Here the two heroes, Gloria Vancouver and Breughel, are former fellow travelers who turned their back on the Party and left the old myths behind.

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Hence the culpability of previous generations, and the amnesia of more recent ones, loom large in the novel. In the postexotic chronotope, liberation notwithstanding, metempsychosis fails to empower the deferred narrators or provide them with a Joycean epiphany. Eventually each new incarnation must face the same chaos. Locked up in prisons and psychiatric institutions, writers resist—more or less successfully—by narrating, thus creating alternate realities. Yet because of its alienated and alienating nature, the postexotic novel risks becoming just as much a totalitarian system as the one that elicited it.

Both the prison and the psychiatric ward function as coercive spaces where narrating only occurs under the ominous gaze of others, at their prompting, because and despite of them. They get old, away from the world, in isolation cells, preoccupied with writing, thinking, and rehashing a revolution they could not carry through. And so on. In a programmatic statement Jorian Murgrave describes the combinatorial principle of the schizophrenic postexotic text.

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  • Two men. In fact they are three. He puts her [Gloria] on stage. From the inner night, he brings forth a detective who is sworn to kill them. He calls him Kotter. Sometimes John Kotter, sometimes Dimitri. This principle of incertitude informs all of Volodinian poetics. Against the conception of representation as medium quo, the surrealists sought to transgress the boundaries between the real and the surreal, between rationality and irrationality. Finally, for the New Novelists engagement could only concern language and pass through formal experiments.

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    Instead they attempted to translate the real through new means, notably objectivization chosisme and metatextual interrogations. A bad weed for the good health or good conscience of the world. Stories of the development of criminal pathologies abound on tv and grace the headlines of newspapers, from racket and embezzlement, to illegal phone tapping, electoral fraud, corruption, teenage prostitution, school violence, and gang rape in disenfranchised neighborhoods. Un fait divers tells the story of a man, Arne F. But although Bon rigorously follows the original account the newspaper article is quoted in the jacket notes, thus remaining outside the text , he evacuates the bathos of pulp literature and the sensationalism of yellow journalism by refusing to participate in the banalization of abjection.

    The newspaper article, on the other hand, banalizes the atrocity of the fact, adding to its abjection. Tellingly Bon makes use of the polar a genre that W. According to him, the fantastic belongs to the representative mode in its literalness of purpose and meaning. In addition he states that the real and the supernatural are antagonistic and vie for access to legitimacy and representation.

    In this area, object and image seem to collide, but in fact neither object nor reconstituted image genuinely reside there: nothing does. This wavering, this ontological and semantic hesitation, this fuzziness, signals the dissolution of strictly realistic expectations, as it refutes an openly monological imperative for the novel. But besides the academic awards that were showered on him—testifying to his growing fame in European countries—Bon kept traveling off the beaten path, while driving trucks across France and other countries. Today, before the revolt comes to be, we still miss a white sheet against which we may project the monstrosity of dreams: just an empty space over the opaqueness of things.

    Through the trope of madness it is the pain of loss that transpires, loss of identity, self-respect, and the links that tie the individual to society. Ultimately it is the loss of meaning that madness epitomizes, but also its reconstruction. Portrait of the City as Strange Attractor Because we live in a predominantly metropolitan environment, Bon takes to task urban mythologies, in the sense Roland Barthes gives to the term. Forced into an undesirable confrontation with madness, the inhabitants become aware—though they may deny it—of the aleatory nature of their own normality, for only through the contraposition of normality and madness does the possibility for truth emerge, says Bon.

    But with the loss of the wall we lost the capacity to mark the limits of the cage we are in, warns Barbin. A heavenly or terrestrial bum. For the insane, like artists Grueling Prognostications and suicides, remain physically marginalized, symbolically positioned on the fault line between the world and its outer limits, between meaning and absence of meaning. Following upon the tracks of writers of travel literature, like Joseph Conrad, Bon chooses instead to take readers on an elusive search for a truth that must necessarily be found elsewhere, in a fuzzy space, at the margins of our industrial wasteland and at the margins of language.

    Pozzo not only lives at the margins of society; he literally stands at the edge of the real. Pozzo does not leave the city but travels through it, following its lines of force. Ploetzensee is a Berlin jail where German resistors were executed on 20 July Traumatized by the war, we learn, he shot himself in order to be discharged from the military.

    It hardly bounces the second time: only the sound remains, already polluted but stronger, saturated. The sound is saturated at the second bounce, as if the information provided by the falling glass were too much for the senses, as if meaning were overwhelming or meaningless, as if the listener had entered a zone of white noise, confusion, and loss. Good night Starting from the initial alexandrine, with a caesura that separates subject from object, the singer-narrator—here metonymically represented by the microphone—stands out from the world of iron that surrounds him—the industrial wasteland where the story is located.

    Here everything begins with a sound, a noise that ripples across the walls of the prison, with ample though constantly interrupted movements, only to end against the wall of the prison, running literally out of breath within the last part of the sentence. All is told there, the personal and collective traumas, and the tragedy of internment, but it is the rhythm, its iterative isochronies, that warps the yarn, as if in that sentence human time were caught in a loop, self-repeating until consumption.

    No doubt his experience as a factory worker led Bon to pay particular attention to the notion of rhythm, notably to the vital need there is to swerve away from preimposed cadences, to go beyond mechanical time, beyond rhythmic sameness, beyond the numbing habitus of everyday life.

    But like the skipping of a beat, small events soon throw the system in unsuspected directions. Because he fails to wake up in time, the narrator makes a series of mistakes: he takes the train at the wrong time, or he climbs in the wrong wagon. In any case, the harmony of the day and of the social body is lost, as cultural conditionings fail to give answers to the newly created situation Indeed, no one remembers the historical origins of the ceremony nor its ideological implications; they do not even know where the pallet carrier comes from, as if the mechanical object and its mysterious driver were endowed with all the mystery of old myths but escaped interpretation.

    A whiter noise, like a thousand vibrations, all mixed up. However, Bon posits two forms of turbulence, different in nature and purpose. First, there is the turbulence all individuals face in their daily lives, but as information increases in complexity, and the need for new interpretive structures is felt, a second type of turbulence appears, a wake turbulence this time, which translates the capacity of the artist, and the text, to produce meaning from excess.

    For him cities come in dreams 44 , visions, in fact, that allow him to hear out and map out, through mental space, circumambient white noise, that is, the white zone from which instability threatens and, paradoxically, informs narrative order. Such is the case of Lambert, the blind man, who pays regular visits to Jean Jeudy, a former sailor who recounts the story of his life, the years he spent traveling around the globe in a world wrecked by wars and human folly. So Lambert continues the story in place of the original narrator, picking up the thread where Jeudy left it.

    Like Lambert, she feels it is her duty to keep memory alive and pursues the story begun by another by weaving narrative strands back together, bridging discourse from others to herself. For its part 30, rue de la Poste has a more conventional narrative organization, largely because it was published at Seuil Jeunesse for a younger readership.

    Yet it still tells the interrelated stories of nine young persons who all spend some time at a center for the homeless run by Ali. The book is divided into twelve chapters, and each youth tells her or his story in a chapter, with the exception of Ali, who has three chapters to himself because he serves to tie all the narrative strands together. In Limite Bon introduces the polyphonic mode that became the hallmark of all his texts. A similar pattern deploys itself in Le crime de Buzon. As usual a prologue lays out the main elements and sets the tone, while voices speak up in alternating patterns during the entire novel.

    Tellingly enough the voices of the Grueling Prognostications two ex-convicts Buzon and Raulx do not open or close the text but remain framed within. Eventually the Sorbonne censors Pantagruel, Gargantua, and the Quart livre for obscenity and condemns Rabelais, while Copernicus, and later Galileo, meet with persecution for saying that the earth revolves around the sun.

    Often a murder or a suicide serves to set the narrative in motion. Thus the very absence of the young woman allows for a coalescing of various heterotopic elements into the body of one text, while she becomes the strange attractor around which the destinies of all the characters revolve, intersecting in crisscrossing patterns. The man without a home, the man who had just left the prison system, has become that anchor, that strange attractor, that physical and semantic place around which the text now begins to deploy. Around the death of Brulin the texts of the other inmates begin to form a polyphonic whole, which the narrative weaves together like voices in a chorus.

    Instead they are asked to write about other subjects: facing rejection, traveling, describing a house. A lost origin, the impossibility to take roots, a rummaging memory, the present in abeyance. As to landmarks, there are none. His time? The time of a resurrection that remembers death and what happened before, but misses the glory of being beyond: merely the feeling of a reprieve, of having gotten away. Bush won his bid for presidential reelection after a campaign that catered to reactionary notions of fear, paranoia, and xenophobia, sprinkled with a hefty dose of French bashing. In short, the National Front and the neoconservative wing of the Republican Party shared the same broad refusal of variability and change; for that reason they offered the same unmitigated support for traditionalist values.

    If for traditionalists but also liberals political discourse aims primarily to counter such vagueness, introduce order in a chaotic environment, and therefore forego the sort of quagmire mentality that has haunted much of American and French politics since the s, the task of literature, especially literature with a strong formal bent, appears decidedly different.

    While Lang, on September 12, started attempting to account for the symbolic impact of the terrorist acts of the previous day, linking the heartrending massacre of the Twin Towers to the catastrophes of Hiroshima and Nagasaki, the U. Indeed, quite the opposite is true. And yet the world still goes on, and so does the story.

    For the characters, as well as the readers, the action in Longue-vue may well be driven by ignorance, misconception, and misapprehension, but narratologically speaking Longue-vue still functions as a novel, and a story still is told, one that has a beginning, a middle, and an end, no matter how fuzzy or undecidable.

    How many grains? How many semes? How many petals? Where do the remaining 20 percent live? In the country, you think straight away. But where does the country begin? A lot of grass with trees? But such uncertainty should not be endured as a loss. I consoled myself with the thought that a memory is only ever a set of variations on a lost melody, and that the Art of the Fugue may have only been, for Bach, the occasion to recall the traits of a woman he loved, and I wondered if his impending blindness.

    Your grandfather Jakob was a poor Czech butcher; your father was a crooked businessman, also speaking Czech. Of course, behind it your Hebrew name was hiding, Amschel which is also Adam , like a tongue hiding another, an identity hiding Vague Becomings another. An army of ghost names hiding in the roots of self. And when none are left, there still is the initial. What about two names? Ultimately, Reyes assures us, there is always already something at the core, even when nothing is left, like an initial, K in this case, and a pregnant one at that, from which the modern novel will emerge and spin out.

    Seen in this dim light, humanity, much ballyhooed and put under the threat of erasure during the horrors of the past century, makes a striking comeback. And yet applying a fuzzy paradigm to the situation might radically reverse its terms. As such she never settles down, is always in motion.

    In this era of uncertainty one should be so lucky. Notes 1. Etat des lieux 1. Bourgeade 9. Heise Otchakovsky-Laurens Brunel Porush — Barth, Further Fridays Brooks, Reading 4. Fauconnier Roudiez See Hayles, Chaos Bound — See Knee ; Ollier Kosko, Fuzzy Thinking Tye Milliex Salvayre Pinget Volodine, Le port See Miraux Kacem 8. Chevillard, Palafox back cover. See Vullierme 91; Morin and Kern Butor, qtd.

    Laurrent, Liquider 31, Vonnegut, Timequake xi. Rushdie ; Joyce Chevillard, Crab Nebula 1. Joyce Kuberski 5. Notes to pages 24—46 2. Jean-Philippe Toussaint 1. The term paraxis is also a technical one employed in optics. A paraxial region in which light rays seem to unite at a point after refraction. Toussaint, Making Love 5. See Meyer Spacks Meyer Spacks See Lipovetsky 9, This is in English in the text. The pun plays on the fact that Monsieur is both knowledgeable and poised. In Beau regard narrating is almost exclusively construed as gazing gazing as the recording and frame-freezing of events in space and in time.

    Bal Brooks, Reading 4, , Rather, the aleatory resides in that initial moment of reticence why does the narrator hesitate to go and visit Biaggi? Brooks, Reading Hayles, Chaos Bound Gleick For Toussaint the concept of clinamen is necessarily a critical one. The unpredictability that the clinamen presupposes allows the related concept of entropy to subvert the dominant paradigms of determinist thought. Already, with the invention of pataphysics, Alfred Jarry was trying to articulate a science of chance by drawing up the laws governing exceptions.

    According to narratologists Gerald Prince, Mieke Bal , time is the primary modus operandi of narratives. However, in The Bathroom the time sequence never reaches its logical—and eschatological—conclusion: expenditure of energy, and textuality. Notes to pages 59—64 Eric Chevillard The epigraph to this chapter is also quoted by Balzac as an epigraph to Physiologie du marriage.

    The English translation is from the University of Essex:. See Bakhtin, Dialogic Imagination 44— Bergson, Laughter 3. Humor and ludism are cognates, but they are not synonyms. Humor refers to comedy, to the art of making one laugh. Ludism refers to the game, and Huizinga and Caillois have shown that games can be played in deadly earnest. See Jameson, Postmodernism 16—19, — Subsequent references will appear in the text. See Rousset Stendhal Bergson, Laughter 4. All, from A to Z. The torching of the great dictionary. See Serres, Hermes Notes to pages 70—91 See Brooks, Reading 6—7.

    See Aristotle. By counting the number of internal tissue layers within a tree, one can discern its age. See Braque Paulson Diderot, Lettre See Hayles, Chaos and Order. See Copens esp. See Bakhtin, Rabelais See Bakhtin, Dialogic Imagination — See Diderot, Le neveu de Rameau. In Galapagos Kurt Vonnegut explores the same theme, relating the evolution of a group of tourists stranded in the Galapagos after a virus has annihilated the entire human race.

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    In order to survive the remaining humans learn to devolve into a hybrid species, half human, half seal. Uchronia is the historical counterpart to utopia. Brooks, Body Work Blake See Kristeva, Powers. A remarkably similar sentiment is echoed in Macbeth V. Out, out, brief candle! Morin and Kern Probing the plug, Descartes wonders what makes it what it is and where the border lies between the thing and the nonthing Kosko, Fuzzy Thinking 4. Chevillard has stated in several interviews that the character of Crab is central to his oeuvre and that he comes back to it the most frequently.

    See Brooks, Reading A real page burner, Agrippa comes on a disk, each page self-destructing after it has been read. On sequential combinations see Ducrot and Todorov Notes to pages — Brooks, Reading xi. Marie Redonnet 1. See Kuhn 43— Leiris 9—24, 30— Redonnet, Mobie-Diq Blanchot, Space Beckett, Fin de partie An English version is available at. Redonnet, letter to the author, 16 May Redonnet, letter, 16 May Went-Daoust Redonnet, personal interview with the author, 27 Jan. Remember thee? Gusdorf, Auto-bio-graphie Miraux For all translations from German, I am indebted to Judith Zollinger.

    Jean-Philippe Miraux explains that autobiographies are autotelic insofar as the object of the narration is the narrator him- or herself 6. Forest et al. Philippe Lejeune argues that autobiographies are rigorously organized around a didactic and dialectic structure that determines the logic of the text. See Lejeune — Redonnet, interview, 27 Jan. The English translation is from Book The quote comes from Genet, NotreDame-des-Fleurs, and refers to the ontological void the young Cullafroi must confront after he throws some consecrated hosts on the ground and the Host fails to materialize and chastise his transgression.

    Blanchot, Book ; Le livre Corvin Alter-Gilbert Also see Book Antoine Volodine 1. Throughout his texts Volodine makes ample use of neologisms. I will attempt to conserve both his semantic and poetic intentions and effects as I translate them. Briot 7. See Eco, Role 4—5. The term Uber-marionette was coined by Edward Gordon Craig. See On the Art of the Theatre. See Merwin. Sometimes the author remains unknown. See Scanlan See Blanchot, Le livre. Volodine, letter to the author, 12 Sept. Hardt and Negri, Multitude xii. Briot Scanlan Volodine, letter to the author, 3 Nov.

    According to S. The story behind the word is recorded in the biblical book of Judges. Char Servier The Cheka Chresvychainaya Kommissiya was the special commission founded by Lenin and Dzerjinski, charged with repressing counterrevolutionary activities in the Soviet Union from through The Winter Palace, where the Russian government was barricaded, was seized by the Bolsheviks on 25 Oct. Gide, in Breton, Position Breton, Position 72— See Volodine, Une recette Volodine, letter to the author, 6 Nov. See Jameson, Postmodernism Volodine, letter to the author, 12 Dec.

    Volodine, letter to the author, 26 Nov. Dargyay See Becker. Foucault, Foucault Reader Volodine, letter, 26 Nov. Beckett, Happy Days See Kosko, Fuzzy Thinking. The text was written in collaboration with Paul Badin and Ricardo Perlwitz. Sartre, What Is Literature? Bon, Calvaire Bon, interview, 9 May Dantec Deloux See Reboux See Jackson And such the farrago from eye to mind. For it to make what sad sense of it may. No matter now. Such equal liars both.

    Real and—how ill say its contrary? The counter-poison. Bakhtin, Rabelais Also see Csicsery-Ronay. Manuscript sent to the author. Bon, letter to the author, 12 Sept. Apollinaire Prigent, Ceux qui For Segalen the traveler must be an exote and, to avoid assimilation into the other culture—as well as fathom it—must maintain a gap in between. To sense diversity the subject must necessarily distance him- or herself from his or her object.

    See Rossi Les grands ensembles designates the urban projects on the periphery of major cities. Tailleux Evans Claudel Barthes, Le bruissement Bon, letter to the author, 29 Feb. The story of Habakuk is the story of a man against a city, but a man who is ill like the city, posing the problem of evil and its punishment by one who is more evil than oneself, here Judah by the Chaldeans.

    The fact that Bon has very poor eyesight—he suffers from myopia—might play a less than anecdotal role in this hierarchization of the senses. Rabelais See Rabelais See Bon, Voleurs 9. Vague Becomings 1. Quignard, Les ombres I am grateful to Lydie Moudileno for her insights on the sans-papiers and for our conversations on this subject. Oster Rorty 7. Desbiolles 9. Apperry Reyes Lenoir Bibliography Adler, Franklin Hugh. Albert, Claudia. Paris: pol, Alizart, Mark. Allaire, Suzanne.

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    How to Pronunce Barthes in French - pefawuqa.cf

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