The French baccalaureate in docremuneres.com
Sequence "rewrites"
Revolutions Homeric
To try to clarify the problem that we submit to you, I could leave a riddle posed not by me but by Stephen Dedalus to his students in the third episode of Joyce's Ulysses. This conundrum is one of those that can not be solved only if we already know the answer and she left without a voice student of Stephen, but also readers of Joyce. However, disturbing coincidence, it seems that it is an unsolved riddle which has caused the death of Homer. if we are to believe some ancient Lives of the poet: the poet died after being unable to answer a riddle posed to him by children. The meaning of this approximation seems clear: By reusing this deadly riddle, Joyce enfant terrible an aesthetic revolution would reiterate the murder of Homer, is the origin and tradition. We then understand that Homer is wary of children and youth, as for example in the contemporary piece by Howard Barker, The Bite of the Night, he repeats at every youth he hates (I hate the young) .
Yet what we would like to suggest today is that Homer would have loved young people and that in any case often young people like Homer, that in matters of literary history breaking aesthetic comes well often not a murder or a rejection of the father of poets but rather a tendency to Homer, his person or his text, one of the key elements of the rupture.
Obviously, this idea of a Homeric leader of some literary upheavals hires a paradox, a paradox that is translated into its semantic ambiguity of the word revolution. Revolution indeed means both
- repetition of the same periodical return
But also
- Upheaval, abolition of the past by creating a new and different order.
In sum, the word revolution led to ask how the repetition and return of the same may be consistent with the disruption of tradition and the establishment of a new state of affairs.
Or to put the issue in a more Homeric: Homer
figure of revolution is under 1 = periodic return to the origin or tradition seen as a model, yet this was of Homer revolutions in the sense of literary tradition of upheaval.
is to address this apparent paradox Homeric we have chosen to bring together experts from different moments in literary history that can be described as moments of rupture and foundation a new aesthetic.
But in doing so, by this time-series of different breaks, we might actually started to answer the question we asked ourselves:
In fact any failure as long as you replace it in time Throughout literary history, any break occurred in a succession of failures: it is not absolute beginning but only beginning.
Breaks therefore assume that we are considering the memory of previous ruptures and the anticipation of future fractures:
Basing a new order is to know that failure is possible and that the new today may well become the tradition tomorrow
Founding a new order is to experience the transience of things and the discontinuity of history.
In those circumstances is Homer?
Homer is certainly not a figure of rupture and new beginning, but not only the past and tradition =
For his first title of poet he is a figure of absolute beginning and not on
By the constancy of the Homeric reference in Western literary history, it is the figure of continuity
What is at stake may be so in these revolutions Homer is the report of resumption at the beginning, the break in continuity.
Or put another way, what we've asked perhaps to sketch a literary history in which the rupture is not necessarily abandonment of tradition, where any disruption would be viewed through the prism of concern of the discontinuity and the ephemeral.
For that to happen, of course, taking a double risk: on the side of Homer on the one hand, toward the idea of literary revolution on the other: the side of Homer
indeed Is it possible to confront and synthetically unified FIG éminenemment plural and diverse as is the name of Homer.
Homer is both the man and the text, the person and the symbol is also a result of réinteprétations and rewrites them heterogeneous intervention Glenn Most, therefore we will first take the extent of this plurality Homeric.
the side of the "literary revolution" then we took the risk together under the term encompassing "revolution" is as diverse a range of oppositions more or less marked at a standstill or a literary tradition:
So that we know at least from what pitfalls we'll sail, I will simply say that this type of failure may be considered
1 ° or so is paradigmatic order history
o paradigmatic example when one sees the opposition Curtius Ancients Modern transhitorique stereotype that passes through the history of European literature
o history if one considers that the appearance of a conflict between ancient and modern can be dated historically and geographically, it makes sense for example that From the moment the literary imitation is the subject of a questioning
2 ° The failure of literature, then, can be either claimed or attributed
o claimed when an author or group of authors explicitly defined in opposition to the dominant literary practice of his time or the past.
o attributed when the historian of literature recognizes the break afterwards and made a joint in his story.
3 ° Finally, the idea behind bounding fracture actually hiding conceptions of time and ways to sign up in time very different
o The time may be initially perceived as a continuous time but not yet n''interdit not innovation: it is then in a logic of literary imitation understood primarily as emulation. O
time then conceived as progress, resulting in recovery of this and a break with the literary mimesis
o breaking thirdly, can still assume an awareness of its inclusion in a present perceived as ephemeral as Jauss reminds until the 19th century, the opposition is not so much between modern and ancient, but rather between this ephemeral timeless and classic.
o Finally the time of the break may be seen as the future break with the past as it was then broken up with her present to imagine and prefigure a future that calls for it: this is essentially the attitude avant-garde.
So we will probably face the plurality of the revolution but these terms are different but share a gesture of rupture or a sense of continuity with a past perceived as untimely.
Within these failures, why Homer?
I would suggest three directions reflections :
Homer in the breakdown could act as guarantor
the guarantor is indeed one that allows writing and innovation, but often this guarantee function is often different from function model that can effectively mimic. To take one striking example of this phenomenon, the novel case of Thebes = overall translation of the Thebaid of Statius but the author of this novel records the name of Statius in his text precisely when he is trying not to imitate Stace. In this case Stace guarantees but it is not a model. `
2 Homer then could be a figure of eternity and timelessness of classical
these categories come into play with the ephemeral experience that involves breaking and somewhat offset from the experience of discontinuity
I recall that Baudelaire defined the modern precisely by this alliance of the current and ephemeral, that the modern sense requires a part of classicism.
I also remember, this vivid picture in mind, that according to Benjamin (The concept of history), during the revolution deJuillet fighters putting in place a new order firing as the clocks to stop time.
= Homer would then play the role of a stopped clock
Finally Homer could be a model not so much writing but absolute beginning
Imitate Homer then it would not imitate the act of writing , not the text itself, but the gesture of inauguration of introduction.
But if Homer is a figure of absolute beginning, it is the only poet to have no known past, do not we discover that Homer is really modern, or rather it is " that more modern, "it represents writing for any sort of a break unattainable ideal?
o Homer as a figure of absolute beginning would be an ideal in that it does not even need to abolish the past to develop the writing, it is actually more than nine again, and he grew that the nine could be an ideal for anyone seeking the new.
o It would also modern in that it contributes to the timelessness of true classic, but this ephemeral, fashion, that by his "revolution" and rework by réinteprétations he is constantly the subject in history. Where = Baudelaire sees modernity as a timeless classic in search of fashion, Homer inversely symmetrical, would the arrival of fashion, this timeless classic in the ephemeral.
o Finally Homer would be modern, even avant-garde because the remoteness of the past the most remote and most remote makes him a figure of the strangeness and difference,
This strangeness can join the extravagance or eccentricity that guards before calling their vows: and it is known that the ties the forefront, especially in the early 20th century, has maintained with the primitive.
Sophie Rabau
http://www.fabula.org/atelier.php?R 26eacute%%% 3Bvolutions_hom 26eacute 3Briques% [/ b]
To try to clarify the problem that we submit to you, I could leave a riddle posed not by me but by Stephen Dedalus to his students in the third episode of Joyce's Ulysses. This conundrum is one of those that can not be solved only if we already know the answer and she left without a voice student of Stephen, but also readers of Joyce. However, disturbing coincidence, it seems that it is an unsolved riddle which has caused the death of Homer. if we are to believe some ancient Lives of the poet: the poet died after being unable to answer a riddle posed to him by children. The meaning of this approximation seems clear: By reusing this deadly riddle, Joyce enfant terrible an aesthetic revolution would reiterate the murder of Homer, is the origin and tradition. We then understand that Homer is wary of children and youth, as for example in the contemporary piece by Howard Barker, The Bite of the Night, he repeats at every youth he hates (I hate the young) .
Yet what we would like to suggest today is that Homer would have loved young people and that in any case often young people like Homer, that in matters of literary history breaking aesthetic comes well often not a murder or a rejection of the father of poets but rather a tendency to Homer, his person or his text, one of the key elements of the rupture.
Obviously, this idea of a Homeric leader of some literary upheavals hires a paradox, a paradox that is translated into its semantic ambiguity of the word revolution. Revolution indeed means both
- repetition of the same periodical return
But also
- Upheaval, abolition of the past by creating a new and different order.
In sum, the word revolution led to ask how the repetition and return of the same may be consistent with the disruption of tradition and the establishment of a new state of affairs.
Or to put the issue in a more Homeric: Homer
figure of revolution is under 1 = periodic return to the origin or tradition seen as a model, yet this was of Homer revolutions in the sense of literary tradition of upheaval.
is to address this apparent paradox Homeric we have chosen to bring together experts from different moments in literary history that can be described as moments of rupture and foundation a new aesthetic.
But in doing so, by this time-series of different breaks, we might actually started to answer the question we asked ourselves:
In fact any failure as long as you replace it in time Throughout literary history, any break occurred in a succession of failures: it is not absolute beginning but only beginning.
Breaks therefore assume that we are considering the memory of previous ruptures and the anticipation of future fractures:
Basing a new order is to know that failure is possible and that the new today may well become the tradition tomorrow
Founding a new order is to experience the transience of things and the discontinuity of history.
In those circumstances is Homer?
Homer is certainly not a figure of rupture and new beginning, but not only the past and tradition =
For his first title of poet he is a figure of absolute beginning and not on
By the constancy of the Homeric reference in Western literary history, it is the figure of continuity
What is at stake may be so in these revolutions Homer is the report of resumption at the beginning, the break in continuity.
Or put another way, what we've asked perhaps to sketch a literary history in which the rupture is not necessarily abandonment of tradition, where any disruption would be viewed through the prism of concern of the discontinuity and the ephemeral.
For that to happen, of course, taking a double risk: on the side of Homer on the one hand, toward the idea of literary revolution on the other: the side of Homer
indeed Is it possible to confront and synthetically unified FIG éminenemment plural and diverse as is the name of Homer.
Homer is both the man and the text, the person and the symbol is also a result of réinteprétations and rewrites them heterogeneous intervention Glenn Most, therefore we will first take the extent of this plurality Homeric.
the side of the "literary revolution" then we took the risk together under the term encompassing "revolution" is as diverse a range of oppositions more or less marked at a standstill or a literary tradition:
So that we know at least from what pitfalls we'll sail, I will simply say that this type of failure may be considered
1 ° or so is paradigmatic order history
o paradigmatic example when one sees the opposition Curtius Ancients Modern transhitorique stereotype that passes through the history of European literature
o history if one considers that the appearance of a conflict between ancient and modern can be dated historically and geographically, it makes sense for example that From the moment the literary imitation is the subject of a questioning
2 ° The failure of literature, then, can be either claimed or attributed
o claimed when an author or group of authors explicitly defined in opposition to the dominant literary practice of his time or the past.
o attributed when the historian of literature recognizes the break afterwards and made a joint in his story.
3 ° Finally, the idea behind bounding fracture actually hiding conceptions of time and ways to sign up in time very different
o The time may be initially perceived as a continuous time but not yet n''interdit not innovation: it is then in a logic of literary imitation understood primarily as emulation. O
time then conceived as progress, resulting in recovery of this and a break with the literary mimesis
o breaking thirdly, can still assume an awareness of its inclusion in a present perceived as ephemeral as Jauss reminds until the 19th century, the opposition is not so much between modern and ancient, but rather between this ephemeral timeless and classic.
o Finally the time of the break may be seen as the future break with the past as it was then broken up with her present to imagine and prefigure a future that calls for it: this is essentially the attitude avant-garde.
So we will probably face the plurality of the revolution but these terms are different but share a gesture of rupture or a sense of continuity with a past perceived as untimely.
Within these failures, why Homer?
I would suggest three directions reflections :
Homer in the breakdown could act as guarantor
the guarantor is indeed one that allows writing and innovation, but often this guarantee function is often different from function model that can effectively mimic. To take one striking example of this phenomenon, the novel case of Thebes = overall translation of the Thebaid of Statius but the author of this novel records the name of Statius in his text precisely when he is trying not to imitate Stace. In this case Stace guarantees but it is not a model. `
2 Homer then could be a figure of eternity and timelessness of classical
these categories come into play with the ephemeral experience that involves breaking and somewhat offset from the experience of discontinuity
I recall that Baudelaire defined the modern precisely by this alliance of the current and ephemeral, that the modern sense requires a part of classicism.
I also remember, this vivid picture in mind, that according to Benjamin (The concept of history), during the revolution deJuillet fighters putting in place a new order firing as the clocks to stop time.
= Homer would then play the role of a stopped clock
Finally Homer could be a model not so much writing but absolute beginning
Imitate Homer then it would not imitate the act of writing , not the text itself, but the gesture of inauguration of introduction.
But if Homer is a figure of absolute beginning, it is the only poet to have no known past, do not we discover that Homer is really modern, or rather it is " that more modern, "it represents writing for any sort of a break unattainable ideal?
o Homer as a figure of absolute beginning would be an ideal in that it does not even need to abolish the past to develop the writing, it is actually more than nine again, and he grew that the nine could be an ideal for anyone seeking the new.
o It would also modern in that it contributes to the timelessness of true classic, but this ephemeral, fashion, that by his "revolution" and rework by réinteprétations he is constantly the subject in history. Where = Baudelaire sees modernity as a timeless classic in search of fashion, Homer inversely symmetrical, would the arrival of fashion, this timeless classic in the ephemeral.
o Finally Homer would be modern, even avant-garde because the remoteness of the past the most remote and most remote makes him a figure of the strangeness and difference,
This strangeness can join the extravagance or eccentricity that guards before calling their vows: and it is known that the ties the forefront, especially in the early 20th century, has maintained with the primitive.
Sophie Rabau
http://www.fabula.org/atelier.php?R 26eacute%%% 3Bvolutions_hom 26eacute 3Briques% [/ b]
Latest papers: workshop writing, rewriting, critical essays, stories
Sequence: Rewrite
Two conferences on rewrites
Conferences:
to Rewrite 18th century :
http://www.savoirs.ens.fr/diffusion/audio/2005_11_03_mallinson.mp3
Tartuffe and mother guilty
http://www.savoirs.ens.fr/ diffusion/audio/2005_11_10_mallinson.mp3
Writing Workshop: rewritings
Odyssey, source rewriting Rewriting and re
http://docremuneres.forumparfait.com/l-odyssee- source-to-rewriting-vt2500.html
Intertextuality and interdiscursivity
http://docremuneres.forumparfait.com/intertextualite-et-interdiscursivite-vt2501.html
Rewriting epics
The Trojan War in Achilleid Statius
http://docremuneres.forumparfait.com/reecriture-d-epopees-la-guerre-de-troie-vt2502.html
Imitate Homer Homeric revolutions
http://docremuneres.forumparfait.com/imiter-homere-revolutions-homeriques-vt2503.html
Sequence: Rewrite
Two conferences on rewrites
Conferences:
to Rewrite 18th century :
http://www.savoirs.ens.fr/diffusion/audio/2005_11_03_mallinson.mp3
Tartuffe and mother guilty
http://www.savoirs.ens.fr/ diffusion/audio/2005_11_10_mallinson.mp3
Writing Workshop: rewritings
Odyssey, source rewriting Rewriting and re
http://docremuneres.forumparfait.com/l-odyssee- source-to-rewriting-vt2500.html
Intertextuality and interdiscursivity
http://docremuneres.forumparfait.com/intertextualite-et-interdiscursivite-vt2501.html
Rewriting epics
The Trojan War in Achilleid Statius
http://docremuneres.forumparfait.com/reecriture-d-epopees-la-guerre-de-troie-vt2502.html
Imitate Homer Homeric revolutions
http://docremuneres.forumparfait.com/imiter-homere-revolutions-homeriques-vt2503.html
, one finds this prophecy explicitly attributed to Calchas.'s Position Stace is characterized by a mixture of two traditions . Like Homer, he does not know (but voluntarily him) prophecy that Achilles could only afford to win the Trojan War: This perspective is mentioned upstream, but reduced to a mere "hearsay" (v. 475: illum unum Teucris Priamoque loquuntur / fatalem); the reason of predestination victorious is demystified and streamlined with a triple set of explanations: if the Achaeans Achilles think they need it because of what we already know of him at this stage, that is to say the harshness of his education, his divine ancestry, and his invulnerability (476-481). Stace nevertheless retains the prophecy of Calchas Following the tradition of songs Cyprians, but, stripping it of all transcendental side of its contents (revelation about the future of war linked to the fate of Achilles), it reduced its stake to a simple question of locating the hero in this: where is Achilles this time (cf. v. 505-506)? Stace has made in his sources that the arrangement: the rationalization of predestination ("return" apparent Homer) actually contributes to the tone "medium" and "ethics" of this epic, which highlights the personal potentialities the hero and who likes to stage an Achilles already provided in advance of which will be hers ... once he has actually accomplished feats (a type of "anachronism metaliterary" which are customary Latin poets of the first century). The key is that everything revolves around the hero's ingenium, a real "focus", and that outweighs the immanent transcendent. On the other hand, the integration of the prophecy of Calchas, even half emptied of its contents, keep the interest of presenting a form hyperbolic and dramatized, the radical opposition between the world Scyros and that of war Trojan, as has above. This logic of selectivity between different traditions should of course be studied passage by passage throughout the work, but it would take too long to take her here. Retain from this analysis that Stace is neither slave nor of the Homeric vulgate posthomérique, but chooses in each case the version that allows him to better highlight is the person of its hero, is the dominant tone of poem (including when, as here, to play on a contrast of tones). 
