By Louis Aragon
Pour l'essentiel, Aragon a livré tout de lui-même de son vivant. Ou presque tout. Inutile de souligner que ce qu'il a réservé, retenu - faut-il écrire "dissimulé" ? -, n'en prend que plus de sens et pose au moins une interrogation, d'autant plus insistante qu'à ceux qui lui survivent il a confié un mandat sans équivoque : de lui-même, après lui, ne rien laisser dans l'ombre.
Les pages que nous publions ici appartiennent à ce domaine qu'Aragon n'a pas voulu donner à lire.
Read Online or Download Pour expliquer ce que j'étais PDF
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Additional resources for Pour expliquer ce que j'étais
According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.
Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.
With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.