Power and Subjectivity in the Late Work of Roland Barthes and Pier Paolo Pasolini (European Connections)
Viola Brisolin
Language: English
Pages: 297
ISBN: 3034302312
Format: PDF / Kindle (mobi) / ePub
Roland Barthes and Pier Paolo Pasolini were two of the most eclectic cultural personalities of the past century, as elusive as they were influential. Despite the glaring differences between them, they also shared a number of preoccupations, obsessions and creative approaches. Certain themes recur insistently in the works of both men: the pervasiveness of power and the violence inherent in the modernising process; the possibility of freedom and subjective autonomy; and the role of creative practices in a society configured as a desert of alienation. Despite this common ground, no systematic attempt at reading the two authors together has been made before now. This book explores this uncharted territory by comparing these two intellectual figures, focusing in particular on the similarities and productive tensions that emerge in their late works. Psychoanalysis plays a key role in the articulation of this comparison.
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Discussed at length below. 22 Two Versions of Sade 97 in Blanchot’s account, contradiction recurs again at this new level of the criminal’s ‘dialectical progression’: Si le crime est l’esprit de la nature, il n’y a pas de crime contre la nature et, par conséquent, il n’y a pas de crime possible. Sade l’af firme, tantôt avec la plus grande satisfaction, tantôt avec la rage la plus vive. C’est que nier la possibilité du crime, cela lui permet de nier la morale et Dieu, et toutes les valeurs.
Enjoys the public dimension of his martyrdom, the shame of being an outcast, exiled from life: ‘La vocazione delle piaghe del martirio che l’autore fa a se stesso nel momento in cui trasgredisce l’istinto di conservarsi, sostituendolo con quello di perdersi – non ha senso se non è resa esplicita al massimo, se non è, appunto, esibita.’ In the pursuit of this publicly exibited social death one experiences ‘il “piacere” che si ha in ogni attuazione 105 Moriarty, Roland Barthes, p. 153. 106 Le.
Barthes in L’Empire des signes and the log-jamming of thought provoked by textual undecidability. From Jouissance to Suspension 175 that ‘le sens est une telle fatalité pour l’homme qu’en tant que liberté, l’art semble s’employer, surtout aujourd’hui, non à faire du sens, mais au contraire à le suspendre; non à construire des sens mais à ne pas les remplir exactement.’115 Pasolini went on to argue that engaged art had to be ‘a canone sospeso’: this was, for Pasolini, the new ‘mandato’ of.
Unique to myself: a pain or an enjoyment, an intensity nobody can experience in my place. A message merely saying ‘condolences’ steals the intensity of pain from both Barthes and his addressee. To remain faithful to the truth of this intensity one must create variations: ‘J’en conclus que pour redresser mon message (c’est-à-dire en somme pour qu’il soit exact), il faut non seulement que je le varie, mais encore que ma variation soit originale et comme inventée.’20 Barthes’s horror of banality.
Cutting of f a section of the outside: by taking a piece of the text/world and folding it onto itself so as to make it into a secluded space, a sphere cut of f from the world from which it emerged. The amorous subject inhabits a space severed from the exterior, a space without relations and, as every relation is a relation of power, this monadic subject is finally a subject hors pouvoir. 30 Douglas Crimp, ‘Fassbinder, Franz, Fox, Elvira, Erwin, Armin, and All the Others’, October, vol. 21.