Coup de « dé » et « lois du hasard » dans les créations poétiques et plastiques de Ghérasim Luca

This work questions the role of chance in the poetic and plastic creations of Ghérasim Luca. This way of thinking about chance as it manifests itself in the ‘cubomanies’, as well as in the poems, is nourished by the discoveries that shook all of science in the first half of the 20th century, particularly in the field of quantum physics. The poem, just like the ‘cubomanie’, presents itself as a place of fragmentation and rearrangement of matter. As contemplated here in this movement of perpetual rearrangement, chance appears to be simultaneously unpredictable and indeterminate. It is also related to an esoteric conception that seeks to bring out secret interconnections: it therefore functions not only as a generating principle, but also as a revealer. In these diverse manifestations, chance is part of an exploratory process: it does not so much offer a result as it opens up the possibility of constant indefinite rephrasing.This work questions the role of chance in the poetic and plastic creations of Ghérasim Luca. This way of thinking about chance as it manifests itself in the ‘cubomanies’, as well as in the poems, is nourished by the discoveries that shook all of science in the first half of the 20th century, particularly in the field of quantum physics. The poem, just like the ‘cubomanie’, presents itself as a place of fragmentation and rearrangement of matter. As contemplated here in this movement of perpetual rearrangement, chance appears to be simultaneously unpredictable and indeterminate. It is also related to an esoteric conception that seeks to bring out secret interconnections: it therefore functions not only as a generating principle, but also as a revealer. In these diverse manifestations, chance is part of an exploratory process: it does not so much offer a result as it opens up the possibility of constant indefinite rephrasing.This work questions the role of chance in the poetic and plastic creations of Ghérasim Luca. This way of thinking about chance as it manifests itself in the ‘cubomanies’, as well as in the poems, is nourished by the discoveries that shook all of science in the first half of the 20th century, particularly in the field of quantum physics. The poem, just like the ‘cubomanie’, presents itself as a place of fragmentation and rearrangement of matter. As contemplated here in this movement of perpetual rearrangement, chance appears to be simultaneously unpredictable and indeterminate. It is also related to an esoteric conception that seeks to bring out secret interconnections: it therefore functions not only as a generating principle, but also as a revealer. In these diverse manifestations, chance is part of an exploratory process: it does not so much offer a result as it opens up the possibility of constant indefinite rephrasing

La machine à dire beaucoup : mécanique du fait divers chez Valère Novarina

L’article s’intéresse à l’écriture du fait divers dans trois pièces de Valère Novarina : La Scène (2003), L’Acte inconnu (2007) et Le Vrai Sang (2011). Chacune de ces pièces est le lieu d’un jeu avec les codes du genre fait-diversier, nettement perceptible dans les interventions de « La Machine à dire beaucoup », personnage qui apparaît comme un relais du discours journalistique. Notre étude s’attache à mettre en évidence, par une approche lexicale, syntaxique et énonciative, ce que la reprise subversive de V. Novarina entend révéler du fait divers, et de son traitement médiatique contemporain. In fine, il s’agit pour le dramaturge de renverser, par un effet comique de surcharge, la paralysie et l’asphyxie de « l’empire de la Communication », afin de substituer au discours médiatique désincarné une exploration sensible des possibles du verbe.This paper addresses the writing of crime news items in three theatre plays by Valère Novarina : La Scène (2003), L’Acte inconnu (2007) and Le Vrai Sang (2011). Each of these plays questions the genre codes, as clearly seen when “La Machine à dire beaucoup”, a character personifying the media language, appears on stage. Our point is to analyse, through a lexical, syntactic and enunciative approach, what the subversive appropriation of Novarina reveals of the values placed on the crime news genre in our contemporary world. Ultimately, the playwright aims to reverse, through comical excess, the paralysis and the asphyxia induced by the “empire of Communication”, so as to replace the disembodied media discourse by a physical exploration of language

SCRITTURA VINCOLATA, SCRITTURA ESPERIENZIALE: UN PERCORSO CREATIVO IN LINGUA STRANIERA

Il contributo sostiene che i laboratori di scrittura creativa rappresentano una strategia efficace per l’insegnamento di una lingua seconda. Ipotizzando che vi sia una dialettica tra alterità e appropriazione del sapere alla base di ogni processo di apprendimento, gli autori vedono nella polarizzazione – definitoria delle procedure dei laboratori di scrittura creativa – tra scrittura vincolata e scrittura esperienziale la possibilità di una trasposizione ludica della suddetta dialettica che permette di superarne le criticità aggirando eventuali inibizioni dell’apprendente. La proposta teorica si fonda su un’analisi di scritti di studenti universitari italofoni che hanno partecipato a laboratori di scrittura creativa in francese nell’ambito di lettorati. L’osservazione di testi realizzati a partire da vincoli arbitrari porta alla luce un insieme di fenomeni che testimoniano paradossalmente un investimento soggettivo dello scritto in lingua seconda. Questi fenomeni sono considerati dagli autori una conferma della funzione liberatrice del vincolo arbitrario nonché del fatto che esso porta a un’appropriazione intima di saperi linguistici.   Constrained writing, experiential writing: a creative proposal in a foreign language This paper argues that creative writing workshops are an effective strategy for teaching a second language. Assuming that there is a dialectic between alterity and the appropriation of knowledge at the basis of every learning process, the authors construe the polarization – which defines the procedures of creative writing workshops – between constrained writing and experiential writing as a possibility for a ludic transposition of the above dialectic that allows overcoming its criticality by circumventing possible inhibitions of the learner. The theoretical proposal is based on an analysis of the writings of Italian-speaking graduate and undergraduate students who have taken part in creative writing workshops in French in the context of French language practices. The observation of texts made from arbitrary constraints brings to light a set of phenomena that paradoxically reveals a subjective investment in second language writing. These phenomena are considered by the authors to be a confirmation of the liberating function of the arbitrary constraint and of the fact that it leads to an intimate appropriation of linguistic competencies

Signs at stake : emergence and opacification in Ghérasim Luca’s poetic and plastic creations

Notre travail interroge les différentes pratiques de création de Ghérasim Luca (livres-objets, albums, portfolios, plaquettes, poèmes-tracts et poèmes-affiches, récitals scéniques et télévisuels, cubomanies, dessins au point) à l’aune des expériences sémiotiques qu’elles engagent. Dire des signes qu’ils sont mis en jeu, c’est insister sur la dimension matérielle et éminemment sensible des mouvements de production et de réception. La question du sens est indissociable de celle du médium, dès lors que les signes se donnent à éprouver comme corps (corps sonores, corps graphiques ou typographiques) par des corps. La notion de surgissement permet de rendre compte de cette spatialité, qui a partie liée avec des phénomènes théâtraux, ceux d’apparition et de disparition : la page blanche, la bande sonore, l’écran, le panneau de bois peint, sont autant de lieux où peut s’inventer et se déployer une pensée incarnée. Quant à la notion d’opacification, employée en linguistique pour décrire certains phénomènes métadiscursifs, elle mérite d’être réévaluée et déplacée : nous nous efforçons de passer du domaine strictement verbal à un champ plus largement sémiotique.Notre parcours s’organise en quatre étapes solidaires, qui manifestent l’intrication des approches historiques, sémiotiques, linguistiques, médiologiques, stylistiques, mais aussi scientifiques et philosophiques. La première partie consiste en une exploration des créations plastiques, graphiques, sonores, qui intègre les diverses collaborations auxquelles Ghérasim Luca a pris part en Roumanie puis en France. La deuxième partie dégage un imaginaire linguistique, nourri de diverses traditions (l’atomisme de Lucrèce, l’alchimie, la Kabbale), qui fait du vide un principe structurant, et de l’écriture un travail d’agencement. Cet imaginaire, qui relève d’une pensée de la langue dans la langue, est lui-même volontiers mis à distance : il ne s’agit pas d’adhérer à ce qui serait une théorie, mais de circuler librement entre des conceptions apparemment inconciliables. La troisième partie décrit les jeux de perturbation du sens à partir du statut tout à fait singulier accordé aux autonymes, aux néologismes et aux noms propres dans les recueils de la période française : les divers types de trouble sémiotique et l’invention d’un hors-lexique participent d’un mouvement de déstabilisation. La quatrième et dernière partie est consacrée au geste de reprise, qui se décline sous de multiples formes, parmi lesquelles on compte le collage et le détournement.This work questions the different practices of Ghérasim Luca (book-objects, albums, portfolios, booklets, pamphlet-poems, poster-poems, scenic and audiovisual recitals, cubomanies, drawings) in light of the semiotic experiences they initiate. Asserting that signs are at stake means insisting on the material and highly perceptible dimension of both production and reception. From the moment that signs are perceived as bodies (audible bodies, graphic and typographic bodies) by other bodies, the question of meaning is linked to the question of medium. With the notion of emergence, we can analyse spatial phenomena, linked to theatrical ones, such as appearance and disappearance : the white page, the audiotape, the screen, the wooden panels are places where an embodied thinking can arise and expand. The notion of opacification, which is used by linguists to describe metadiscursive phenomena, can be reconsidered and redefined : we try to exceed the verbal domain and to adopt a global semiotic perspective, which includes non-verbal matters.This study is composed of four interdependent parts, which show the interpenetration of historical, semiotic, linguistic, mediologic, stylistic but also scientific and philosophical approaches. The first part explores the plastic, graphic and audio creations of Ghérasim Luca, including collaborations with several artists in Romania and France. The second part identifies what we could call a linguistic imaginary, fuelled by three different traditions (Lucretius’ atomism, alchemy, Kabbalah), which considers void as a founding principle, and writing as a layout. This imaginary, which inquires the possibility of thinking about language within the language, is playfully held at a distance by Ghérasim Luca : the point is not to adopt a theory, but to circulate freely between apparently incompatible approaches. The third part describes various phenomena of meaning disruption and focuses on the specific status given to autonyms, neologisms and proper nouns in his French period : the different kinds of semiotic troubles and the invention of a lexicon beyond the lexicon take part in the destabilisation process. The fourth part is about the activity of re-creation, which takes several forms, including collage and ‘détournement’

Gherasim Luca, Paul Celan : un au-delà de la langue dans la langue ?

Paul Celan et Gherasim Luca ont en commun un héritage, qui semble à la fois installer la mort au cœur de la création et interdire le passage dans un « après ». L’homme ne peut espérer atteindre un au-delà ni ne peut aspirer à la saisie d’un sens définitif, qui transcenderait le langage. Bien plus, les auteurs font le constat que toute fixation est mortifère, et que l’instabilité est le prix de la parole poétique. L’écriture devient alors le lieu d’un étrange pari : l’enjeu est de trouver un au-delà de la langue dans la langue.Paul Celan and Gherasim Luca share the same legacy, which seems to put death at the center of their creative work and denies access to any kind of afterlife. There is no hope of reaching heaven, no chance of garnering any definitive meaning that could transcend language. Moreover, both authors acknowledge the same fact: the desire to fix things is a mortiferous one, and instability is the backbone of poetry. The very act of writing is based on a paradoxical aspiration: to go beyond the limits of language within the language

Les insectes comme modèles dans l'imaginaire des artistes: symboles et anti-symboles

International audienceInsects are among the prominent and most diverse animal groups interacting with humans. How they are perceived by human societies, and how artists mediate this interaction, is a singular object of reflexion. The relationship has been already analysed for the most visible/emblematic of insect taxa, but many others remain seemingly hidden. With the example of aphids, we will show that invisibility itself, and many other traits of “tiny insects”, have been a subject of reflexion for a cohort of artists across human history. I will briefly scan a series of case studies on the interaction between nature (aphids, insects), art (artists and scientists) and their observers (humans), from even before antique Greece to the internet era. Aristote, Brueghel the elder, Bonnet, Delacroix, Hugo, Beauvoir, Vian or virtual musical avatars of Guy Debord have all been timidly inspired by such insignificant insects. But at the microbiome age, is there really a link between size and significance?Les insectes sont l'un des groupes animaux aux interactions diverses avec les humains, qu'elles soient positives ou négatives. Les représentations qu’ils inspirent aux artistes reflètent la façon singulière dont ils sont perçus par les sociétés et le rapport complexe que ces dernières entretiennent avec eux. Cette relation a déjà été analysée pour les principaux groupes d'insectes dits "typiques". Les plus visibles d’entre eux ou ceux disposant d'une métamorphose complète – abeilles, coléoptères, papillons, mouches – ont toujours fasciné et intrigué les humains. Mais qu’en est-il des insectes infiniment petits et moins séduisants a priori ? Avec les pucerons pour exemples, nous montrerons qu’ils ont également nourri l’imaginaire artistique à différentes époques et que, paradoxalement, leur invisibilité est le vecteur même de l’intérêt qu’on leur porte. Je me propose de dresser un rapide panorama des relations réciproques entre scientifiques et artistes sur le motif du puceron. De la Grèce antique à internet, d’Aristote à Debord en passant par Brueghel, Bonnet, Delacroix, Hugo, Beauvoir ou Vian, il s’agit d’interroger la variété des propositions esthétiques et symboliques que ce groupe d’insectes a pu engendrer

“MUSICIENNE DU SILENCE”: IL CANTO DELLA CARPA DI GHÉRASIM LUCA

“Musicienne du silence”: the carp’s song by Ghérasim LucaThis work questions the music’s metaphor in Ghérasim Luca’s poems in light of the experiences they initiate. Ghérasim Luca, poet and artist, explores the meaning disruption within language: a poem such as “Ré alité”, presented as a music score, is based on a syllabic dislocation. This leads both to the spatialization of the text and to its phonological and material aspect appearing sharply. This can be construed as a writing experimentation that plays with the music of the sounds to signify the language frailty and the fecundity when it is recognized in its materiality. Indeed, the neologism “ontophonie”, invented by Ghérasim Luca to describe his own work, insists on the exploratory nature of the poetic process and defines an artwork where silence, sounds and voice appear as founding principles. From this perspective, the notion of performance becomes crucial as it highlights the very hic et nunc of the reading process (the creation being a “creaction”, as written by Ghérasim Luca himself in “Je m’oralise”)

Encyclop'A(rt)phid: les artistes dans le monde des pucerons, et vice versa - Signification ou Insignifiance ?

Les insectes ont souvent occupé une large place dans l'imaginaire collectif des sociétés humaines (abeille, scarabées, papillons).Mais les pucerons ?Sur la base de recherches non exhaustives dont la méthodologie sera exposée, nous proposerons un aperçu de la façon dont les artistes en tout genre et de tous siècles ont perçu les pucerons et leur place dans l'entourage humain.La période moderne étant pléthorique en images, nous essayerons de porter l'accent sur les périodes plus lointaines, de démêler une limite souvent floue entre l'art et la connaissance (connait-science), et de s'intéresser aux représentations non graphiques, les plus rares dans le corpus que nous avons exploré.Enfin, nous tenterons une analyse réflexive sur le regard que les artistes ont posé sur l'objet d'étude de notre communauté d'aphidologie: que cela nous dit il de nous, de nos animaux favoris, et des artistes, et donc des humains eux-mêmes...Vaste projet, que nous proposerons à une nouvelle section de la célèbre Encyclop'Aphid, pour l'occasion de sa translation dans la langue de Darwin..