Scribd Logo
Importer

Bienvenue sur Scribd !

  • Glissant Paths PDF

    Transféré par

    Kostas Daflos
    255 vues24 pages

    Titre original

    Glissant-paths.pdf

    Copyright

    © © All Rights Reserved

    Formats disponibles

    PDF ou lisez en ligne sur Scribd

    Avez-vous trouvé ce document utile ?

    Ce contenu est-il inapproprié ?

    Signaler ce document

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    255 vues24 pages

    Glissant Paths PDF

    Transféré par

    Kostas Daflos

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 24
    EDOUARD GLISSANT Poetics of Relation TOTP AT, translated by Betsy Wing Ann Arbor ‘Tue Untversrry oF Micitca Parss Contents “Translator’s Introduction, Baty Wing Glowary Imaginary APPROACHES ‘The Open Boat Poetics” AA Rooted Errantry ELEMENTS Repestions Expanse and Filation Closed Place, Open Word Concerning « Baroque Abroad in the World Concerning the Poems Information PATHS Dictate, Decree ‘Transparency and Opacity The Black Beach 3 7 45 “7 6 al uu BI THEORIES Redation “The Relative and Choe Distancing, Determining That That Relinked, (Relayed), Retated POETICS Generatzation “That Those Beings Be Not Being For Opacity Open Circle, Lived Relation The Burning Beach Notes References 13 135 m1 159 ass 21 235 Translator’s Introduction Basy Wing “Je ise rcher mon langage {iy language wh rocks) Ginn, Lentini The stumbling blocks of a translation frequently exist a its ‘most productive points. Their usual fist effect is frustration ‘used by obstinate resistance (on both sides), but, i helt ererrenewed demand for conjecture, these apparent abst les can allow ust exape the cramped, habicial posites of ‘our own thought, This i the hopedfor reward of transla tore—nhote first work isto be attentive, even hopeful read ers—then, with as many premonitions of disaster as prospects of opening posibiliies within their own languages, they ‘must confront the tack of making these new apenings si: Able to new readers ‘All of Edouard Glisant’s work, a a poet, novelist, pla wright, or deoredcian from the very beginning (Las Fader in Slade a conse (1956], La Lizard (1959]) has been concerned with exploring the posibiliies ofa language that, ‘would be fully Antllean. Such a language would be capable ‘of writing the Anuiles into history. generating a conception ‘of time finding pat and founding a future. It would escape the pastity astociated with an impoted language of fixed forms (French) ae elle the folklore rape ofa language that um PATHS Out oud, to mark he spit AL GREOLIZATIONS FO LEN, Cralisaton, eof the wey forming a complex isan rol ery linguistic eli only xr ys process ond cotinty ot by the contents” on which dase erate Ths share we part fo the cca of elo Though this ton covers (no more and noes) tha which sccounts for crlizations, ges on propa to ft tntenions. The fit ons ont broader ekocuural ‘eam, from the Antilles tthe naan Ocean. But variations 1 hs sot dno em be termining factors, because the Sper hich hy change in Raion is 0 great. The booed i ap to gota Beng Bul that would con- Site stp backs ncomperion with how zations ‘0% function, Wx propre neler human's Being nor its Io, ae nat prope soy bythe defining of er denies buy thr lation to eveything pnb a wel— ‘he mutual tations parted by this ineplyof ations. Crefcatons bring nte Ration but nt twee the priciptsofeaenese rg ward nagituds, des of che, of Latinnes ol goealsingconyps—mere oF ea tenoeenly Dictate, Decree Baroque derangement and the guarantee provided by sei etic rigor just yesterday these were the counterpoises of four movement (out Balan, otr singe, our momentum) tovard tlaiiemoide! But the baroque no longer constitutes a derangement, since it has turned into a “natural” expression of whatever featters and comes together. The age of clasicisms (0 deep ning an inteenal unity ated to the dimensions of univer- ‘al vel portslated) 36 past. no doubt, for all cultures Ie emains to make the newworkof their converyences Work, OF to untangle ic Itremains to study those culeures that have not had time, before coming into planetary contact (or eontlict), to realize “thelr oven” clascism, Are their powers not impede as they come to the meeting? Then again, what Stall we say about composite cultures, whose compesition didnot reslt fom a union of "none" but, rather, was built inthe margins wih all kinds of materials cha by heir very nature were exceptions (0 the patience of the rue, o be thnist headlong into the world by necessity, oppression, anguish, greed, orn appelte for advencure? "The baroque isthe favored speech of these euluures, even ithtenceforth it belongs to all. We ealliebaroque, becase we know that conflucnces always partake of marginal, hat classics partake of intolerance and that, for ws, the subst tute for the hidden violence of dese incolerant exclusions the manifest and integrating violence of contamination on Note that metsage exists in places where categories make Ing their essences distinct were formerly in opposition. The more miisgebecame realized, the more the idea oft fed ‘As the baroque became naturalized inthe world, it tended vo become a commonplace, a generality (which is hot the same asa generalization), of new regime, Because it proliferated rather than deepened a norm tis unable to consent to “clay sicisms.” There it no culture rightfully impeded in the baroque; none imposes its tradition, even if there are some that export thei generaliving products everywhere Hows can continuity (which is "desrable”) be practiced in ‘thisincessant turnover? How can the stabilizing action af for ‘mee clasiclss be replaced? And with what? Acfrst our only recourse in the matter seemed be the pos: ltivity of scientific method. This, for example, war the method adopted for the defense and. promotion of lan guages, corresponding to the ambition of linguists to set ‘self up ara sience. A profitable pretense; despite its failure tobe confirmed, it provided the basis for a sytem and gat ered together its catered materials. But scence had ceased having any desire to obtain this sort of guarantee, having, meanwhile, ventused not outside the postive but beyond Posivism. Ic had come face w face with the baroque and "understood tha the work ofthe latter deserved cogniance The most cecent developments of science insite is, there= fore, to ventre in our quest beyond the las aid down by its Philosophies. For a long ime we have dvined both order And disorder in the world and projected these ax measure land excess But every poetics led sto belive something that, ofcourse, is not wrong: that excestveness of order and a measured disorder exist as well The only discernible sabi iis in Relation have todo withthe interdependence of the cycles operative there, how their corresponding patterns of ‘movement are in tune. In Relaion analyie though sled. construct unities whose imwerdependent variances jointly % i picce gether the interactive rotaity. These unites are not ‘models but revealing whos monde, Thought makes music ‘Wiliata Faulkner's work, Bob Mareys song, the theories of| Benoit Mandelbrot, are all ébasmonde.Wilredo Laun’sp ing (lowing together) or that of Roberto Maca (tearing apart); the architecture of Chicago and just as eaiy the shantytowne of Rio or Caracas; Ezra Pounds Cants but also the marching of schoolehildren in Soweto ate éehormonde ‘Finnegan's Wake was a dhe that was prophetic and consequently absolute (wichout admision into the real) ‘Antonin Artaud’s words constitute an homonde outside of the world Whatever, coming from a tradition, enters ito Relation; whatever, defending a tradition, juries Relation; whatever, having lefe behind or refuted exery wadition, provides the bss for another fllsense to Relation; whatever, born of Relation, contradicts and embodies i. Anglo-American pid ‘gin (something, therefore, spoken nether by de English nor by the Americans) i a negative dckomonds, whose concrete force weaves the folds of Relation and neutralizes its subsi= “The Creole language i fragile and revealing échemonde, born of a reality of relation and linited within thie reality by its dependence Spoken languages, without exception, have become dor monde, whose tack we are only just beginning to feel each {ime one is wiped out by this circularity evotion Echormonde are not exacerbations that result directly fom the convulsive conditions of Relation. They ae at workin the matter ofthe world; dey prophesy or uminae it, divert it ‘or conversely gain strength within i In order to cope with or express confluences, every ind vidual, every community, forme is own ‘harmonds, imagined from power or vainglory, from suffering or impatience. Fach individual makes this sor of music nd each community 35 93 ell. As does he totality composed of individuals and com Behosmonde thus allow ws to sense and cite the cultures of peoples in the turbulent confluence whose globalty orga izes our chaasamnde. They patter its constituent (not com lusive) elements and its expressions, What we earlier remarked in SasntJobn Perse as an ses- thetics of the universe "narration af the universe), we now describe ina different manner. lis anaesthetic ofthe chase The chaosmondeis only disorder ifone assumes there to be an order whose full force poetics is not prepared to reveal (poetics is nota science). The ambition of poetics, rather, x to safeguard the energy of this order. The aesthetics of the universe assumed preesablshed norms the aesthetics of chaoemonde's the impassioned illurtration and refutation of these, Chaos isnot devoid of norms, but these neither cot sutute a goal nor govern a method there (Chace monde x nether fasion nor confusion: it acknowl fedges neither the uniform blend-—a ravenous integration — hor muddled nothingness. Chao ie not chaotie.” ‘But its hidden order does not presuppose hierarchies precellencies—neither of chosen languages nor of prince nations, The chaasmindeis nota mechanism thas no key, ‘The aesthetic of the chant monde (what we were thus calling the aesthetics ofthe universe but cleared of prior! valves) embraces all the elements and forms of expression of this totaly within us its tori’ act and it uit, totals’ reflection and agent in motion The baroque is the notestablished outcome of this Relaion is that which simultaneously realizes and ‘expres this motion eis the chaoe monde elating (oie). The poescs of Relation (which is, therefore, part of the esthetics ofthe chane mond) senses, assumes opens gathers, * scatters, continucs, and transforms the thought oF these ele rents, these forms, and ths mation Destnitare these facts, declare them void replace them, reinvent dheir nisi: totaly’ imagination i inexhawsable and always, in every form, wholly Legitimate—thats, tree of aM legitimacy. ‘An equilibrium and ability to endure are resved through ‘chosmonde Individuals and communities go beyond sain fry or suffering, power oF impatience, together—however Iinperceptiby, The important thing is that ch a proces represents an optimum Ii results are unpredictable, but the beginnings ofthe capacity to endure are detecuble, coming. where formerly there were

    Vous aimerez peut-être aussi