Título: | THIS IS NOT A PERFORMANCE, IT IS A WAY: ROLAND BARTHES AT THE COLLÈGE DE FRANCE | ||||||||||||
Autor: |
ANA CRISTINA BARTOLO |
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Colaborador(es): |
LUIZ CAMILLO DOLABELLA PORTELLA OSORIO DE ALMEIDA - Orientador |
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Catalogação: | 09/NOV/2021 | Língua(s): | PORTUGUESE - BRAZIL |
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Tipo: | TEXT | Subtipo: | THESIS | ||||||||||
Notas: |
[pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio. [en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio. |
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Referência(s): |
[pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=55783&idi=1 [en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=55783&idi=2 |
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DOI: | https://doi.org/10.17771/PUCRio.acad.55783 | ||||||||||||
Resumo: | |||||||||||||
This thesis analyzes the courses given by Roland Barthes at Collège de
France (1977-1980), drawing on his utterance cited in the title of this work in
which he claims to experience the courses as a way, alluding to the Chinese word
Tao. Barthes draws on this conception of way as a methodology for undertaking a
new practice of writing, which he calls the novel. In the thesis, the projective
observation of this supposed method in operation is designated in terms of
methodological malaise. This terminology is justified by another personal
utterance, this one proffered in Cerisy-la-Salle (1977), in which Barthes argues
that the passion of fear has methodological value, because it is from it that an
initiating way begins. Elsewhere in this research there is the simulation of a poetic
of time in the making to correspond to the natural turn that Barthes calls a third
turn of the screw and which, in the course The preparation of the novel I, is
associated with the haiku. And finally, in the last branch of the approach, the
courses are observed from the perspective of a writing handbook to highlight a
pedagogy brought about by Barthes text itself, or indeed by the singularity of a
writing that explicates its procedures on two levels: reflexive and critical
discourse alongside poetic and performative demonstration. In this register,
Barthes considerations about the acts of approaching, noting, indicating,
misleading, capturing, classifying, commenting, defining, describing, listening,
listing, floating, interpreting, observing, etc. are combined. Barthes said that a
vanishing point for the course was the writing of a novel: moving from the
preparation to the praxis of writing. Mon Roland. Mon Roman. And here we
spiral back to the initial inquiry of the course The Preparation of the Novel I:
how to progress from notation to novel, from discontinuity to flow, from
fragment to non-fragment. Or else: how to write a novel?
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