Cahiers ERTA 2023-04-03T12:48:55+00:00 Ewa M. Wierzbowska Open Journal Systems <p style="text-align: justify;"><em>Cahiers ERTA</em> est une plate-forme d’échange scientifique sur la littérature francophone moderne et contemporaine. Nous visons avant tout à développer ce qui constitue l’essence de la littérature, à savoir une lecture à la fois intime et commune, un partage des connaissances et des expériences. Nous attendons un échange de différents points de vue sur la littérature qui soit fructueux et ouvre de nouvelles perspectives analytiques et interprétatives.</p> Préface 2023-04-03T08:44:31+00:00 Ewa M. Wierzbowska Lydie Parisse 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Lydie Parisse, "Les Voies négatives de l’écriture dans le théâtre moderne et contemporain", Paris, Lettres Modernes Minard, 2019, p. 288. 2023-04-03T12:48:55+00:00 Adrien Chapel 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Les voies négatives de Samuel Beckett 2023-04-03T08:52:52+00:00 Lydie Parisse <p>The author evokes some hypotheses on the question of the negative way as a structural data in relation to the process of Beckettian writing (the critical position with respect to language; the practice of dispossession; disfigurement) by taking up elements of his books published by Classiques Garnier in 2019: <em>La parole trouée. Beckett, Tardieu, Novarina</em>, and L<em>es Voies négatives de l’écriture dans le théâtre moderne et contemporain.</em></p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Voie négative, vue négative : Le théâtre de l’appel de Valère Novarina 2023-04-03T09:29:06+00:00 Inhye Hong <p>In Novarina’s work, the word establishes a “lyrical gesture” : it <em>calls</em>. Since the appearance of what is called constitutes the drama itself, we can consider the lyricism as communication between the subject and the object as the process of creation. This creative gesture is doubly negative. First of all, the writer does not exist anymore in the creation process accomplished with the spectators. Secondly, Novarinian fiction is defined by its negative qualities : informal and timeless, it develops a negative view that opens behind the language.</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 La purification ardente et l’échec. Antonin Artaud lu par Josep Palau i Fabre 2023-04-03T10:25:48+00:00 Sergi Castella-Martinez <p>Antonin Artaud’s « Théâtre de la cruauté » consists in the extreme display of the conflictive nature of the world. The Catalan poet Josep Palau i Fabre highlighted the poetic and negative dimensions of Artaud’s project and insisted on its failure, addressing its impossible objectivation and its similarity with alchemy. The article aims to identify the central elements of Palau’s interpretation, annihilation and debirth, and to assess their inscription in an experimental poetics proposal inspired by alchemy.</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Apophatisme et non-dualité dans le "Vedānta" et chez Ad Reinhardt 2023-04-03T10:56:44+00:00 Diego Scalco <p>The <em>Ultimate Paintings</em>, a series of abstractions made by Ad Reinhardt during the 1960s, are coupled with writings with obvious affinities to the apophatic formulas of the commentaries of the <em>Upanishads</em> (the philosophical conclusions of the Vedas) known as the “nondual <em>Vedānta</em>” (<em>Advaita Vedānta</em>). The abstractions themselves refer to the model of the yantra, the geometrical diagram into which Brahmanic iconography is supposed to subside. In this instance, the apophasis defeats the attempt to signify through painting and language what constitutes itself in painting and language.</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Kim Tschang-Yeul : La voie de l’eau 2023-04-03T11:30:14+00:00 Sébastien Galland <p>From the series <em>Event of the Night</em> in 1972 to <em>Neige</em> in 2003, via <em>Gouttes d'eau</em> (1979-2013), the painter Kim Tschang Yeul has developed a poetics of formlessness in which negation, emptiness and absence direct the creative process. The Korean plastic artist offers through the materiality of the work a meditation on the fluence of worlds and forms. The drop of water expresses the precariousness of things, but also evokes a beyond of representation whose richness is as great as its restraint. Water is the metaphor of the void without which the full cannot unfold; it introduces the practice of non-action, which does not consist in doing nothing but in letting the supporting factors at work in the form happen. The creative process abstains from any intentional action, to let the invisible power of the tao act.</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Pierre Klossowski. L’acte créateur de l’écrivain-peintre 2023-04-03T12:12:02+00:00 Cornelia Klettke <p>Klossowski, who had originally started as a religious seeker of truth in his younger years, will – after his « reversal » – feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicité d'une force "démonique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (<em>Wahnbild</em>).</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Table des matières 2023-04-03T08:29:13+00:00 Ewa M. Wierzbowska 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023 Un testament dans les tiroirs. En marge d’une nouvelle traduction de "Sodome et Gomorrhe" 2023-04-03T12:26:59+00:00 Tomasz Swoboda <p>Written on the sidelines of a new translation of <em>Sodom and Gomorrah</em> into Polish, the article evokes the problem that the translator had in finding the equivalent of the term inverti. This problem serves as a pretext to speak, on the one hand, of homosexuality in Proust, on the other, of language as the subject of the novel. In this context, the role of Albertine and the etymological tirades of professor Brichot are studied in particular. The author also highlights the testamentary character of this part of the Proustian cycle.</p> 2023-03-31T00:00:00+00:00 (c) Tous droits réservés 2023