By Adrian Morfee
Antonin Artaud (1896-1948), maybe top referred to as a dramatic theorist, is a vital yet super tough author. This e-book reviews the advance of his pondering, from the early texts of the Twenties via to the acclaimed yet lesser identified Forties writings, on such concerns because the physique, theology, language, identification and the hunt for an elusive and unsayable self-presence, after which makes use of this as a framework during which to learn his past due texts. New consciousness is paid to the methods through which his texts generate meanings, the logics that carry those meanings jointly, and the inner contradictions of the past due poetry. this permits a brand new photo to emerge that debts for the coherent if unequal improvement of his principles in addition to the force in the direction of systematization to be present in even his such a lot opaque writings. by means of returning to the texts and concentrating on the explicit phrases of Artaud's writing, in addition to their gleeful resourcefulness and ludicity, it truly is argued that Artaud has to be thought of now not as a contestatory psychotic yet as a author of the 1st magnitude.
Accessible to either pupil and newcomer, this illuminating and unique learn will refocus serious notion on either the improvement of Artaud's pondering and the importance of his oft-neglected later paintings.
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Extra resources for Antonin Artaud's Writing Bodies (Oxford Modern Languages and Literature Monographs)
So Artaud’s work becomes an endless commenting and theorizing about the paucity of thought and its many hiatuses, indefatigably reporting the losses attendant upon thinking. The Correspondance avec Jacques Rivie`re is famously not about its declared subject matter, the (negligible) literary merits of the poems Artaud sent to the Nouvelle Revue franc¸aise for publication, but instead reports the blockages and losses he holds to be inherent to thinking. L’Ombilic des Limbes and Le Pe`se-Nerfs continue the attempt to give tongue, in fragmentary form, to the discontinuities of his mental life, taking the project forward to an endeavoured prise de conscience of thought-in-troubled-action.
32), where the sudden Wring of the barely repressed jaunty rhythm and overstated internal rhymes are suggestive of the full-throated glee of late Artaud. Aragon shares some of Artaud’s ambivalence towards language. Like Artaud, he writes of the ways in which the poet may be alienated within his own discourse: ‘chaque parole [ . . ] dit autre chose que ce qu’elle dit [ . . ] tout vocable porte j Au-dela` de soi-meˆme une signiWcation de chute une force re´ve´latrice j Ou` ce que je ne dis 22 This is from a series of dispersed notes collected by The´venin under the title ‘Pages de Carnet.
114). Artaud departs radically from Surrealist thought in his ontological pessimism. Being-in-the-world is not, for Artaud, a given, but something that involves great mental eVort: ‘Il y a des imbe´ciles qui se croient des eˆtres, eˆtres par inne´ite´. j Moi je suis celui qui pour eˆtre doit fouetter son inne´ite´’ (i*. 21 Artaud’s keen awareness of the problematics of consciousness means that he situates himself at a level ‘below’ that of lyric fancy. His mental world is taken over by an anguished awareness of its non-awareness.
Antonin Artaud's Writing Bodies (Oxford Modern Languages and Literature Monographs) by Adrian Morfee