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Philippe Sollers (1936–2023)

Autor(a) de Women

141+ Works 1,121 Membros 12 Críticas 3 Favorited

About the Author

Image credit: Philippe Sollers en 2010

Obras por Philippe Sollers

Women (1983) — Autor — 107 exemplares
The Park (1961) — Autor — 50 exemplares
Watteau in Venice (1991) — Autor — 47 exemplares
A Strange Solitude (1958) — Autor — 46 exemplares
Mystérieux Mozart (2001) — Autor — 35 exemplares
Writing and the Experience of Limits (1968) — Autor — 35 exemplares
Casanova the Irresistible (1998) — Autor — 33 exemplares
Portrait du joueur (1985) — Autor — 28 exemplares
La Guerre du goût (1994) — Autor — 27 exemplares
Le Secret (1993) — Autor — 26 exemplares
Le Cavalier du Louvre : Vivant Denon, 1747-1825 (1995) — Autor — 25 exemplares
Passion fixe (2000) — Autor — 24 exemplares
Dictionnaire amoureux de Venise (2004) — Autor — 24 exemplares
Un vrai roman : Mémoires (2007) — Autor — 24 exemplares
Une vie divine (2006) — Autor — 23 exemplares
Le Coeur absolu (1987) — Autor — 22 exemplares
The Friendship of Roland Barthes (2015) — Autor — 19 exemplares
L'Etoile des amants (2002) — Autor — 19 exemplares
Les Folies françaises (1988) — Autor — 19 exemplares
Nombres (1966) — Autor — 17 exemplares
Eloge de l'infini (2001) — Autor — 16 exemplares
Le Lys d'or (1989) — Autor — 16 exemplares
Les voyageurs du temps (2009) — Autor — 15 exemplares
Vision à New York (1981) — Autor — 15 exemplares
H (2001) — Autor — 14 exemplares
Studio (1997) — Autor — 13 exemplares
Tel Quel. Théorie d'ensemble (choix) (1968) — Editor — 13 exemplares
Event (1990) — Autor — 13 exemplares
Liberté du XVIIIe (1994) — Autor — 13 exemplares
Trésor d'amour (French Edition) (2011) — Autor — 12 exemplares
L'année du Tigre (1999) — Autor — 11 exemplares
Médium (2014) — Autor — 10 exemplares
Centre (2018) — Autor — 10 exemplares
Illuminations à travers les textes sacrés (2003) — Autor — 10 exemplares
Théorie des exceptions (1986) — Autor — 10 exemplares
Paradis (1981) — Autor — 10 exemplares
Carnet de nuit (1988) — Autor — 9 exemplares
Writing and Seeing Architecture (2008) 9 exemplares
La Divine comédie : Entretiens avec Benoît Chantre (2000) — Autor — 9 exemplares
Discours parfait (2010) — Autor — 9 exemplares
Improvisations (1991) — Autor — 8 exemplares
L'Éclaircie (2012) — Autor — 8 exemplares
Lois (2001) — Autor — 7 exemplares
Fleurs : le grand roman de l'érotisme floral (2006) — Autor — 6 exemplares
Le Nouveau (2019) — Autor — 6 exemplares
Paradis, tome 2 (1986) — Autor — 6 exemplares
Mouvement (French Edition) (2016) — Autor — 6 exemplares
Portraits de femmes (2013) — Autor — 6 exemplares
L'École du Mystère (Folio t. 6282) (2015) — Autor — 5 exemplares
Beauté (2017) — Autor — 5 exemplares
Logiques (1968) — Autor — 5 exemplares
Bataille (1973) — Editor; Contribuidor — 5 exemplares
Les passions de Francis Bacon (1996) — Autor — 4 exemplares
Complots (French Edition) (2016) — Autor — 4 exemplares
Guerres secrètes (2007) — Autor — 4 exemplares
Littérature et politique (2014) 4 exemplares
L'oeil de Proust: Les dessins de Marcel Proust (1999) — Autor — 4 exemplares
Fugues (2012) — Autor — 4 exemplares
Agent secret (2021) 3 exemplares
Un Amour Americain (1999) — Autor — 3 exemplares
De Kooning, vite (1988) 3 exemplares
Sade Contra o Ser Supremo (2010) 3 exemplares
Lettres à Dominique Rolin: (1958-1980) (2017) — Autor — 3 exemplares
L'Intermediaire (1963) — Autor — 3 exemplares
Sade (Spanish Edition) (2007) 2 exemplares
Tel quel, no. 39 2 exemplares
Lacan même (2005) 2 exemplares
Una verdadera novela memorias (2008) 2 exemplares
Graal (2022) 2 exemplares
Le Saint-Ane (2004) — Autor — 2 exemplares
Désir (2020) 2 exemplares
Het park (1961) 2 exemplares
Tel Quel, numéro 43 (1970) 2 exemplares
Philippe Sollers: Vérités et légendes (2001) — Contribuidor — 2 exemplares
O Paraíso De Cézanne (2004) 2 exemplares
Légende (2021) 2 exemplares
El Secreto (Spanish Edition) (1994) 2 exemplares
Vision New York 1 exemplar
Une conversation infinie (2019) 1 exemplar
Mulheres (1995) 1 exemplar
数 (1976年) 1 exemplar
L'intermédiaire 1 exemplar
Tel Quel No. 44 1 exemplar
Le passioni di Francis Bacon (2012) 1 exemplar
Vers le Paradis (2017) 1 exemplar
Poker : entretiens avec la revue Ligne de risque (2005) — Autor — 1 exemplar
Le Rire de Rome : Entretiens avec Frans De Haes (1992) — Autor — 1 exemplar
Tel Quel, numéro 71-73 (1977) 1 exemplar
César à Venise (1995) 1 exemplar
Rodin, Dessins Erotiques (1987) 1 exemplar
tel quel 89 1 exemplar
Concha (1960) 1 exemplar
Céline (2012) 1 exemplar
Louis Cane : Sculptures (1991) 1 exemplar

Associated Works

The Crack-Up (1945) — Postface, algumas edições910 exemplares
In the Wake of the Wake (1977) — Contribuidor — 24 exemplares
Le chaud et le froid (un poème et sept nouvelles ...) (1995) — Préface, algumas edições13 exemplares
Amours (French Edition) (1997) — Contribuidor — 3 exemplares
Comment travaillent les écrivains (1978) — Contribuidor — 3 exemplares
Le Débat, No. 135, Comment enseigner le français (2005) — Contribuidor — 2 exemplares
海 1969年06月 発刊記念号 — Contribuidor — 1 exemplar
季刊 審美 第七号 — Contribuidor — 1 exemplar

Etiquetado

Conhecimento Comum

Membros

Críticas

Voilà un livre qui pourrait sembler bien profond mais qui ne rivalise guère qu’avec les maximes bouddhistes illustrant les photos des instagrameuses en collants lycra devant les couchers de soleil maldiviens.

Et si ce prétentieux recueil de pensées paraîtrait sagace grâce à ses petits chapitres prometteurs… Il ne fait malheureusement qu’esquisser de vagues concepts sans prendre le risque de les fouiller. Qui plus est, l’auteur m’a franchement lassé à force de discréditer les gueux, incultes et pisse-froid qui oseraient le juger. Il ne s’agit finalement là que d’une ode à l’intellect de Monsieur Sollers et de sa si délicieuse et brillante maîtresse.

Un beau style, certes, un peu d’érudition, soit ! Et ?
… (mais)
 
Assinalado
noid.ch | Oct 24, 2020 |
Originally published as H
Translated from the French by Veronika Stankovianska and David Vichnar
Equus Press (2015)

At the most elementary level, language behaves like gears and teeth locking and moving forward. A word has meaning, the reader decodes the word's meaning, and then reads the next word. Other elements like punctuation, capitalization, paragraph breaks, and quotation marks further assist the reader in how the text will be interpreted. H by Philippe Sollers has none of these prompts.

In standard reading practice, words become sentences, sentences become paragraphs, and ink on the page becomes narrative. It is such a common practice, we think nothing of it when reading the daily newspaper, a bestseller, or a website. H throws this relationship into flux. The text flows, the words flooding the page, with no period or paragraph break in sight. Written in 1973, Sollers wrote this avant-garde text in the middle of a personal ideological crisis. The former Maoist and founder of Tel Quel abandoned his Leftist ideology and converted to Catholicism. This crisis took place after he witnessed the violent excesses of Mao's Chinese Cultural Revolution.

The challenge for the reader is parsing this ideological conversion story amid the word-flood that fills page after page. H reads like an amalgamation of Molly Bloom's soliloquy from Ulysses, Lucky's nonsensical monologue from Waiting for Godot, and the disintegration of identity from the last pages of The Unnameable. Sollers thrusts the reader into a strange linguistic borderland, straddling sense and nonsense.

During this literary engagement, the reader and the author toggle between collaboration and antagonism. In the non-blurb blurb on the back cover, Sollers explains that

Beyond the automatism, a calculation is at play, keeping watch, criticising, departing at once from all the points of history. This calculation is uttered by masses in the discontinuous unity of its sections. It adjusts, strikes, whispers, shouts, marks, deletes, tallies, signals the moving absence which is nevertheless addressed, talked to, with all the background language.

He goes on, saying, “That's it, then, relax, it's clear. Stay with the meaning, it's simple. They are two, here, in the night. Tempo.” The two being author and reader.

Part of the joy and the challenge presented by H is finding one's groove with the text. The “discontinuous unity” will at first confront the reader, attacking her sensibilities in the vain attempt to discover a linear narrative or intellectual through-line. But as more and more words get consumed by the reader, a relaxation sets in. A kind of numbness or hypnosis pacifies the reader. Then, as if by some alchemical reaction, sentences and phrases start appearing. These phantom sentences begin to create fragments of narrative.

But even these nebulous narrative fragments appear and disappear with a frustrating randomness. The text will build into an extended set-piece and the, just as suddenly, evaporate in a mishmash of random words or nonsense terms.

The ephemeral narratives take on different forms, different tonal registers. Everything from high- to low-culture is evoked. A confessional narrative as Sollers struggles with the empty promises of Maoism. This might become a more formal meditation, a historical genealogy of the Left since Karl Marx, only to turn into a nonsensical dadaist inventory of words. The inventory might mutate into a long pornographic tableau, penetrations and vulgarity. And so on. For 172 pages.

Regular notions of reading practice become moot when confronting a text like this. I myself began reading it, had other reviewing duties, and then returned to the text after a long absence. It felt like dipping into a lake after a long winter. At first it was strange and alienating, then I got back into the groove of things. Because of the text's avant-garde nature, I didn't need to remember characters or plot. The verbal static began to take on new forms.

Sollers also created a text that avoid a uniform interpretation. Because there are no paragraph breaks or punctuation, any reader can separate where a sentence or phrase begins or ends. As with Finnegans Wake or The Cantos, despite any authorial premeditation in execution, a certain amount of ambiguity develops. The way I read H will differ than how another person reads H. Equus Press kept academic machinery to a minimum, only italicizing words that were in English in the original French version. Sollers drops in Chinese, German, Italian, Latin, and other languages. Citations explaining these foreign phrases would slow down the reader and impose an interpretive framework. I just went with the flow, letting the sight and sounds of those foreign tongues echo off the unending textual flood. If you really want to know what these words mean, there's always Google Translate. For me, it didn't seem necessary.

An example or two should suffice in what the reader confronts. To take a random passage:

[…] since 1784 founding of the société asiatique from kolkata what on earth're we still doing in there that's exactly what I'm asking you oh these ebbs nietzsche's walking stick again sister's bang right stop thinking about it relax you know well it drives you crazy go back go back to the flowers here you go take this daffodil lean against the vault in the moss do they keep on singing no-one'd say it's all over there i catch sight of red flags […]

The passage feels like Molly Bloom's soliloquy, but like Beckett's The Unnameable, the narrative referents keep changing. In some cases, we can surmise that Sollers is speaking, at other time we don't know who is speaking. The lack of punctuation makes it more of a challenge to divine whether the writing is an original thought or a quotation or a parody.

While David Vichnar offers a comprehensive introduction, I would also recommend a cold reading. Devoid of literary, political, and personal context, it becomes easier to let the text flow over you. Along with Ulysses and Beckett's Three Novels, H can take its place in the permanent avant-garde.

http://driftlessareareview.com/2015/11/17/translation-tuesdays-h-by-philippe-sol...
… (mais)
 
Assinalado
kswolff | Nov 15, 2015 |

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Estatísticas

Obras
141
Also by
8
Membros
1,121
Popularidade
#22,922
Avaliação
½ 3.5
Críticas
12
ISBN
252
Línguas
11
Marcado como favorito
3

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