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Barthes'ı Niçin Seviyorum
Yeni Roman'ın kurucusu ünlü Fransız yazar ve yönetmen Alain Robbe-Grillet, yirmi beş yıllık arkadaşı Fransız denemeci, eleştirmen ve göstergebilimci Roland Barthes'ı bir edebiyat adamı olarak niçin sevdiğini bu kitapta yer alan dört ayrı metinde içten ve duygusal bir anlatımla açıklıyor. 'Barthes'ı Niçin Seviyorum' başlıklı bölümde Barthes'ı bir dil ustası ve romancı olarak görme nedenlerini roman sanatına gönderme yaparak anlatıyor. Roland Barthes'ın Kararı' başlıklı metinde ise Barthes'ın yirminci yüzyıl edebiyat eleştirisine damgasını vuran kuramcı kimliğini inceliyor. 'Bir Barthes Daha' başlıklı metinde Barthes'ın yazar kimliğine geri dönüp, onu Genç Werther'in Acıları'nı yeniden yazarken hayal ediyor. Kitabın son metni olan 'Sevdiklerim, Sevmediklerim' Alain Robbe-Grillet'nin ünlü bir yazar ve yönetmen değil de bir birey olarak hayatı yaşama biçimiyle ilgili önemli ipuçları sunuyor.
Yirminci yüzyılın ikinci yarısında roman sanatını değiştiren usta bir yazar ile yine aynı dönemde bu kez edebiyat kuramlarını temellerinden sarsan benzersiz bir kuramcı arasındaki yazınsal dostluk bu kitapta açığa çıkıyor. Özellikle de iki dostun birbirleriyle yazı yazma etkinliklerini açık bir dille tartıştıkları bölümler, roman sanatına ve edebiyat eleştirisine ilgi duyan okurları derinden etkileyecektir.
Yirminci yüzyılın ikinci yarısında roman sanatını değiştiren usta bir yazar ile yine aynı dönemde bu kez edebiyat kuramlarını temellerinden sarsan benzersiz bir kuramcı arasındaki yazınsal dostluk bu kitapta açığa çıkıyor. Özellikle de iki dostun birbirleriyle yazı yazma etkinliklerini açık bir dille tartıştıkları bölümler, roman sanatına ve edebiyat eleştirisine ilgi duyan okurları derinden etkileyecektir.
- GenresNonfictionFrance
79 pages, Paperback
First published February 5, 2009
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About the author
Alain Robbe-Grillet
102 books431 followersScreenplays and novels, such as
The Erasers
(1953), of French writer Alain Robbe-Grillet, affiliated with the New Wave movement in cinema, subordinate plot to the treatment of space and time; directors, such as Jean Luc Godard and François Truffaut, led this movement, which in the 1960s abandoned traditional narrative techniques in favor of greater use of symbolism and abstraction and dealt with themes of social alienation, psychopathology, and sexual love.
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
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Displaying 1 - 10 of 10 reviews
February 25, 2024
Kitabı değerlendirecek kadar bilgim olmadığını söyleyerek başlayayım. Çünkü her iki yazardan da birer kitap okumuşum, Barthes’ten (berbat bir çeviriyle yayınlanmış) “Göstergeler İmparatorluğu” ve Robbe-Grillet’ten “Silgiler”. İki arkadaşın ortak yönü postmodern akımının öncülerinden olması diyebiliriz. Yönetmen ve yazar Alain R-G, yakın arkadaşı Roland B.’in hem düşüncelerini hem de kişiliğini anlatıyor. R. Barthes hakkında fikir edinebilecek kısacık, kolay okunan bir kitap. İlgilenenlere.
September 6, 2023
oldukça öznel bir anlatı, benim açımdan daha genç zamanlarımda Barthes'ı okurken hissettiğim yetersizlik duygusunun nedenini biraz anlamak iyi oldu....
December 23, 2024
"Roland Barthes'ın sesini seviyordum." s.78
Kitapla ilgili hoşuma gitmeyen tek nokta Marksizmle ilgili yorumları oldu, bunlara katılmadım tabii ki. Öte yandan Alain R.G. bize öyle bir Barthes sunuyor ki hayranlıkla okumamak elde değil. Barthes'ı, yolu Fransız göstergebilimi ve edebiyatından geçen herkes gibi ben de çok severim. Benim tanıdığım Barthes, yazar Barthes idi. Alain R.G. ise bize arkadaşı olan Barthes'ı samimi bir biçimde anlatıyor. Barthes'ı bu şekilde tanımak da çok hoşuma gitti açıkçası.
Son olarak Barthes, Barthes'lık yaparak "Her söz faşisttir" ("elle [la langue] est tout simplement fasciste") demiş Collège de France'daki açılış dersinde. Bunun üzerine düşünmek lazım. İyi ki bu dünyadan geçtin Barthes.
Kitapla ilgili hoşuma gitmeyen tek nokta Marksizmle ilgili yorumları oldu, bunlara katılmadım tabii ki. Öte yandan Alain R.G. bize öyle bir Barthes sunuyor ki hayranlıkla okumamak elde değil. Barthes'ı, yolu Fransız göstergebilimi ve edebiyatından geçen herkes gibi ben de çok severim. Benim tanıdığım Barthes, yazar Barthes idi. Alain R.G. ise bize arkadaşı olan Barthes'ı samimi bir biçimde anlatıyor. Barthes'ı bu şekilde tanımak da çok hoşuma gitti açıkçası.
Son olarak Barthes, Barthes'lık yaparak "Her söz faşisttir" ("elle [la langue] est tout simplement fasciste") demiş Collège de France'daki açılış dersinde. Bunun üzerine düşünmek lazım. İyi ki bu dünyadan geçtin Barthes.
May 16, 2016
1// Roland B. - The body is the most imaginary of all imaginary objects.
Alain R.G. - No, because it finds outward expressions such as the voice, for example. And the intonations of your voice are, for me, there in your text...
Roland B. - Yes, but that's just the point: I don't recognize my voice.
2// At the end of the inaugural lecture Barthes gave at the Collége de France, which I'd really enjoyed as had the whole audience, though it also aroused a certain hostility among some of the listeners, one young woman really laid into me. While I was voicing all the pleasure I'd derived from the lecture, she burst out, 'But listen, what did he say? Basically he said nothing.'... Of course not, he didn't say anything, he kept slipping from one fleeting meaning to another equally fleeting meaning. And it was precisely in this very movement of slippage that resided the functioning of the text, the pleasure I'd taken in listening to it and, for that reason, its importance.
3// Roland Barthes did not love himself. Or rather, perhaps, he loved himself too much, with a love that was too demanding and constantly disappointed...Anyway, it strikes me as obvious that this fundamentally unhappy relationship which he suffered from when it came to any image of himself, whether it was the image reflected in a mirror, or the representation which others formed of him, this terror of seeing his self [moi] coagulate, this neurotic refusal to assume a shape, played an essential role, not just in his emotional life, but also in his work as a whole.
Alain R.G. - No, because it finds outward expressions such as the voice, for example. And the intonations of your voice are, for me, there in your text...
Roland B. - Yes, but that's just the point: I don't recognize my voice.
2// At the end of the inaugural lecture Barthes gave at the Collége de France, which I'd really enjoyed as had the whole audience, though it also aroused a certain hostility among some of the listeners, one young woman really laid into me. While I was voicing all the pleasure I'd derived from the lecture, she burst out, 'But listen, what did he say? Basically he said nothing.'... Of course not, he didn't say anything, he kept slipping from one fleeting meaning to another equally fleeting meaning. And it was precisely in this very movement of slippage that resided the functioning of the text, the pleasure I'd taken in listening to it and, for that reason, its importance.
3// Roland Barthes did not love himself. Or rather, perhaps, he loved himself too much, with a love that was too demanding and constantly disappointed...Anyway, it strikes me as obvious that this fundamentally unhappy relationship which he suffered from when it came to any image of himself, whether it was the image reflected in a mirror, or the representation which others formed of him, this terror of seeing his self [moi] coagulate, this neurotic refusal to assume a shape, played an essential role, not just in his emotional life, but also in his work as a whole.
July 16, 2019
This slenderest of volumes presents three brief texts and a transcript of a talk by Robbe-Grillet, all under the latter's title, 'Why I love Barthes'. Yet, for its light touch, these pieces disguise a gravity of respect and gratitude that opens up both the book's subjects. For, while claiming to talk about Barthes, this little collection emphasises the speaker's 'I' as much as the writer and persona Barthes. And it is in this writerly play with, to use Robbe-Grillet's Barthesian term, personicity that the volume finds a genuine warmth of affection without ever falling into platitudes of friendship.
Thus, in celebrating Barthes, and his debt to him, Robbe-Grillet also manages to liberate his works from Barthes's more rigid interpretations, whilst also reflecting kindly on the growth of Barthes's own thinking. It is in this renegotiation that the reader appreciates the texts, shedding light on the flux of thought that is always at play in the rereading and discussion of a piece of writing. Here, reading certain analogies of how the structure of a Camembert can show the trembing core of thought, or the slippage of thought are a real pleasure. As is reflecting on the analogy of the 'chip-pan' of ideology, where every text comes out as a chip no matter its content and origins.
This slender volume therefore gives a fascinating insight into the writing of both authors, and a starting point for a re-read of their texts, in the full expectation that this will lead to further slippage and trembling in appreciating their writings.
Thus, in celebrating Barthes, and his debt to him, Robbe-Grillet also manages to liberate his works from Barthes's more rigid interpretations, whilst also reflecting kindly on the growth of Barthes's own thinking. It is in this renegotiation that the reader appreciates the texts, shedding light on the flux of thought that is always at play in the rereading and discussion of a piece of writing. Here, reading certain analogies of how the structure of a Camembert can show the trembing core of thought, or the slippage of thought are a real pleasure. As is reflecting on the analogy of the 'chip-pan' of ideology, where every text comes out as a chip no matter its content and origins.
This slender volume therefore gives a fascinating insight into the writing of both authors, and a starting point for a re-read of their texts, in the full expectation that this will lead to further slippage and trembling in appreciating their writings.
November 2, 2011
Not an essential book, but something sweet, smart, and elegant - and is it unusual to think of Alain Robbe-Grillet as sweet? That I don't know, but he has deep feelings for the work of the great critic Roland Barthes. The book is short, basically a speech and a conference between the two writers. This is almost like having a small program of an evening out with these gents.
August 15, 2024
Un libro super cortito en el que principalmente se transcribe una charla que protagonizar Alain Robbe-Grillet y Roland Barthes.
Me animó a leerlo mi gran admiración por Barthes y si bien tiene apuntes muy interesante sobre por qué nos puede gustar Barthes en general, en algunos momentos me parece que se aleja de la cuestión y hay cierta mirada de superioridad intelectual por parta de Robbe-Grillet con otros interlocutores... Los mejores momentos son cuando habla Barthes y los interlocutores le rebaten a Robbe-Grillet.
Si te gusta Roland Barthes y lo has leído es curioso ver algunos apuntes que hacen de su forma de escribir. Si no lo has leído, léete La Cámara Lúcida, por fa.
Me animó a leerlo mi gran admiración por Barthes y si bien tiene apuntes muy interesante sobre por qué nos puede gustar Barthes en general, en algunos momentos me parece que se aleja de la cuestión y hay cierta mirada de superioridad intelectual por parta de Robbe-Grillet con otros interlocutores... Los mejores momentos son cuando habla Barthes y los interlocutores le rebaten a Robbe-Grillet.
Si te gusta Roland Barthes y lo has leído es curioso ver algunos apuntes que hacen de su forma de escribir. Si no lo has leído, léete La Cámara Lúcida, por fa.
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November 6, 2024bana çok kişisel bir metin gibi geldi. belki Barthes'i daha iyi bilenlerin keyif alabilirler
April 2, 2014
Two geniuses mucking around. Good fun.
March 24, 2019
0701219: transcripts of r-g praising barthes who praised him v early on. radio or something. short...
Displaying 1 - 10 of 10 reviews