La préparation du roman : Cours au Collège de France by Roland Barthes, Eric Marty

By Roland Barthes, Eric Marty

Les deux cours sur «La préparation du roman», donnés au Collège de France entre décembre 1978 et février 1980, constituent un pan vital de l’oeuvre de Roland Barthes. Autrefois publiés sous los angeles forme de notes retrouvées, ils paraissent ici sur los angeles base d’une transcription des enregistrements. On retrouve ainsi l. a. magie de los angeles parole de Barthes, sa générosité, son intensité, sa puissance de rationalization qui n’abandonne jamais l’exigence intellectuelle, son goût des digressions, son paintings d’élever l’individualité vers le général selon son voeu d’une technological know-how du singulier, dans une sorte de testomony qui est aussi et avant tout une passionnante leçon de vie. Dans ces cours, qui se révèleront être les derniers par l. a. fatalité d’un twist of fate, Roland Barthes s’interroge sur les stipulations d’écriture du roman, avec pour modèles d’abord le haïku japonais, puis A los angeles recherche du temps perdu de Proust, ou encore Dante, Chateaubriand, Flaubert, Rimbaud, Kafka, Gide. Une query prémonitoire hante los angeles réflexion de Barthes : et si l. a. littérature comptait de moins en moins ? Et si ceux qui en font leur ardour étaient de plus en plus minoritaires, comme une espèce en voie de disparition ? «J’ai d’abord examiné le rapport de l’oeuvre et de cet acte minimum d’écriture qu’est l. a. Notation, le Haïku. Cette année, je veux suivre l’oeuvre de son Projet à son accomplissement : autrement dit, du Vouloir-Ecrire au Pouvoir-Ecrire. Si vous le voulez bien, nous allons considérer le Cours qui begin comme un movie ou comme un livre, bref comme une histoire».

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Simply to look the other way, denying the problem's existence, is (as Kierkegaard argues in The Concept of Dread) to consign oneself to damnation in its darkest (if also its most common) form. But to face the problem is a treacherous business, as well, and the Luncheon in the Sepulcher 47 safest way to do so is vicariously, through the agency of art. An interest in diseases is necessarily a morbid interest, and this is—let us admit it—the nature of our interest in Poe, and in the gothic tradition, in general.

As mythmakers, science fiction writers have a double task, the first aspect of which is to make humanly relevant—literally, to humanize— the formidable landscapes of the atomic era. We must trace in the murky sky the outlines of such new constellations as the Telephone, the Helicopter, the Eight Pistons, the Neurosurgeon, the Cryotron. Often enough, in looking about the heavens for a place to install one of these latter-day figures, the mythmaker discovers that the new figure corresponds very neatly with one already there.

The most gullible can simply report to the local Scientology recruiting office. Ursula LeGuin promotes a return to the wisdom of a Native American never-never land. Michael Moorcock has become an advocate of Andrea Dworkin. The tendency is always to venture toward the current ideological limit as an inherently more dramatic situation, which is also, however, inherently silly. Ideological silliness is an affliction more tolerable in the young, and, for reasons I've tried to lay out, exactly the same may be said of a taste for science fiction.

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