Showing posts with label plaisir. Show all posts
Showing posts with label plaisir. Show all posts

2 Aug 2016

Postmodern Approaches to Literature 3: The Pleasure of the Text (Part II)

 ... and first I put my arms around him yes and drew him down to me 
so he could feel my breasts all perfume yes and his heart 
was going like mad and yes I said yes I will Yes.


I suppose that one of the more attractive things about approaching literature according to a principle of pleasure is that it means we can have done with judgement in the traditional terms of good and bad. This in itself is surely a relief of some kind and a significant break with the moral history of the West. For as Deleuze rightly points out: "From Greek tragedy to modern philosophy, an entire doctrine of judgement has been elaborated and developed".

Kant notoriously gave us a false critique of judgement. It was Spinoza and his heirs, such as Nietzsche, who really carried this out and Barthes follows in their footsteps, refusing either to accuse or justify, defend or condemn. Indeed, Barthes quotes Nietzsche in the very first fragment of The Pleasure of the Text: 'I shall look away, that will henceforth be my sole negation.' All that matters is whether his body finds something pleasurable or not. It's a Nietzschean - not a subjective - game of love and hate.

Of course, what Barthes's body loves and what Barthes's body hates, will not be the same as what the body of another reader might love and hate. In Roland Barthes he makes a list of things he likes and a list of things he doesn’t like; two lists which are apparently of no great significance. But, of course, they do in fact mean something vital; namely, that no two bodies are the same: "Hence, in this anarchic foam of tastes and distastes ... gradually appears the figure of a bodily enigma ..." [1995]

Because all bodies are different, a Society of the Friends of the Text would be a social grouping in which members had nothing in common: "for there is no necessary agreement on the texts of pleasure" [1990]. This calls for a certain liberalism, therefore, each person consenting to "remain silent and polite when confronted by pleasures or rejections which they do not share", or run the risk of homicidal irritation. “I am liberal in order not to be a killer” [1995], as Barthes confesses.

The key thing is that within the above sodality, difference and contradiction is accepted. There is no judgement and no demand for conformity with a categorical imperative governing universal good taste. Barthes is very clear about who would comprise enemies of such a society:

"fools of all kinds, who decree foreclosure of the text and of its pleasure, either by cultural conformism or by intransigent rationalism (suspecting a 'mystique' of literature) or by political moralism or by criticism of the signifier or by stupid pragmatism or by ... loss of verbal desire." [1990]

Picking up on this idea of the body that Barthes introduces, we may say the following: for Barthes, the text itself can be thought of as a "body of bliss consisting solely of erotic relations" [1990] and utterly distinct from the body known by anatomists and discussed within scientific discourse. This is not to reduce the pleasure of the text to some kind of physiological process or need, but it is to affirm that the pleasure of the text "is that moment when my body pursues its own ideas" [1990] and fully comes into its own as a site of what Nietzsche calls the greater intelligence.

This sounds at first precisely like the kind of mysticism which his critics accuse him of and which Barthes is eager to deny. Later in The Pleasure of the Text he will insist that his major aim is to materialize the text and its pleasure; making it into an object of pleasure like any other and thereby abolishing the "false opposition of practical life and contemplative life" [1990].

Jonathan Culler's commentary on this aspect of Barthes’s work is particularly insightful and thus worth quoting at length:

"Reference to the body is part of Barthes’s general attempt to produce a materialist account of reading and writing, but it has four specific functions. First, the introduction of this unexpected term produces a salutary estrangement, especially in the French tradition, where the self has long been identified with consciousness, as in the Cartesian cogito ...
      Second, structuralism has devoted much energy to demonstrating that the conscious subject should not be taken as a given and treated as the source of meaning but should rather be seen as the product of cultural forces and social codes that operate through it. ...
      Third, given structuralism's treatment of the subject ... Barthes could not talk about the subject’s pleasure without begging numerous questions ... Yet he needs a way of speaking that takes account of the empirical fact that an individual can read and enjoy a text ... the notion of the body permits Barthes to avoid the problem of the subject ...
      Fourth, replacement of 'mind' by 'body' accords with Barthes’s emphasis on the materiality of the signifier as a source of pleasure."

Of course, problems remain with this invoking of (and appeal to) the body. For even if one strives to avoid falling into mysticism or some form of biological essentialism, we’re still left with a word that seems to have a greater degree of authority and authenticity than other words; "a word whose ardent, complex, ineffable, and somehow sacred signification gives the illusion that this word holds an answer to everything" [1995] - i.e. what Barthes calls a mana-word.

Although aware that the word 'body' was functioning as such in his later writings, I’m not sure Barthes ever fully addresses this issue. He seems happy to use it, if only as deliberate provocation to the new intellectual orthodoxy - which, ironically, he had helped to create.

Further, if via his use of the term body Barthes allows a form of faceless subjectivity back into the Text, so too is he prepared to welcome back the author as a kind of spectral guest:

"If he is a novelist, he is inscribed in the novel like one of his characters ... no longer privileged, paternal ... He becomes, as it were, a paper-author: his life is no longer the origin of his fictions but a fiction contributing to his work ..." [1977]

In The Pleasure of the Text, he expands on this theme: 

"As an institution, the Author is dead: his civil status, his biographical person have disappeared ... they no longer exercise over his work the formidable paternity whose account literary history, teaching, and public opinion had the responsibility of establishing and renewing; but in the text, in a way, I desire the author: I need his figure (which is neither his representation nor his projection), as he needs mine ..." [1990]

The reason for this necrophilia is easy to appreciate. Barthes desires the return of the author for the same reason that the text needs its shadow - "a bit of ideology, a bit of representation, a bit of subject" [1990] - and a painting its chiaroscuro: in order for it to become fertile. Those who would argue that we abandon all caution and strip a work of everything that we previously valued within it take us towards sterility and suicide.

As Deleuze and Guattari note, caution is the immanent rule of experimentation, whether one is producing an avant-garde artwork or building a body without organs: "if you blow apart the strata without taking precautions, then instead of drawing down the plane [of consistency] you will be ... plunged into a black hole, or ... dragged towards catastrophe".

Barthes attempts to shatter the dead-grip of traditional criticism upon classical literature - not to destroy the latter. In his ‘Inaugural Lecture’ to the Collège de France, he declares:

"The old values are no longer transmitted, no longer circulate, no longer impress; literature is desacralized, institutions are impotent to defend and impose it as the implicit model of the human. It is not, if you like, that literature is destroyed; rather it is no longer protected, so that this is the moment to deal with it. ... Our gaze can fall, not without perversity, upon certain old and lovely things, whose signified is abstract, out of date. It is a moment at once decadent and prophetic, a moment of gentle apocalypse, a historical moment of the greatest possible pleasure." [1989]

Of course, whilst Barthes may retain a nostalgic fondness for these old and lovely things (works by Zola, Balzac, Proust et al) - and whilst they may still give him a great deal of plaisir - they cannot induce jouissance. For bliss comes only with the absolutely new; "for only the new disturbs (weakens) consciousness" [1990]. This is a rare occurrence and does not come easily. Often, what we take to be the new is merely "the stereotype of novelty" [1990].

The New, as Barthes conceives it, is then not simply the latest thing - it's a value. And it opposes all the old forms of encratic language (i.e. the language of power), which are founded upon repetition and stereotype; "all official institutions of language are repeating machines: school reports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology" [1990]. Barthes continues:

"The stereotype is the word repeated without any magic, any enthusiasm, as thought it were natural ... Nietzsche has observed that 'truth' is only the solidification of old metaphors. So in this regard the stereotype is the present path of 'truth'..." [1990]

Opposing the rule of the stereotype is the New and the exceptional pleasure of the New (which is bliss). But finding new ways to write and to speak is not easy and would seem to involve more than merely coining endless new terms or indulging in a kind of linguistic Saturnalia. Indeed, Nietzsche warns us against those innovators in language who constantly seek to supplement language, rather than bring greater style or discipline to it.

Heidegger also argues that whilst it’s right to identify the metaphysics of language, there is no need to abandon all grammatical convention. For a revitalizing of language does not result "from the fabrication of neologisms and novel phrases" [1994], but from a change in our relation to (and usage of) language. Even old words, worn out by convention and repetition, can be recontextualized, reinterpreted, and revalued.

Often, it’s case of transforming the Word back into the Flesh; that is to say, of giving back to language what Anaïs Nin described as the “bulginess of sculpture, the feeling of heavy material fullness” and perhaps our poets are best placed to lead the way here. But it’s philosophy, says Heidegger, which is ultimately responsible for preserving “the force of the most elemental words in which Dasein expresses itself” [1998] and to protect language from being degraded by a common intelligibility into doxa, cliché, or sheer nonsense.

To allow language, in other words, the right to live and, equally important, the right to die. For what is the stereotype at last but the "nauseating impossibility of dying" [1990] - the rule of a world in which words become reified, fixed, undead.

The pleasure of the text, we might conclude, lies in its mortality ...


Bibliography

Roland Barthes, 'From Work to Text', essay in Image Music Text, trans. Stephen Heath, (Fontana Press, 1977). 
Roland Barthes, 'Inaugural Lecture', trans. Richard Howard, in Barthes: Selected Writings, ed. Susan Sontag, (Fontana Press, 1989).
Roland Barthes, The Pleasure of the Text, trans. Richard Miller, (Blackwell, 1990).
Roland Barthes, ‘Twenty Key Words for Roland Barthes’, interview in The Grain of the Voice, trans. Linda Coverdale, (University of California Press, 1991), pp. 205-06.
Roland Barthes, Roland Barthes, trans. Richard Miller, (Papermac, 1995).
Jonathan Culler, Barthes, (Fontana Press, 1990).
Gilles Deleuze, ‘To Have Done With Judgement’, in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco, (Verso, 1998)
Gilles Deleuze and Félix Guattari, A Thousand Plateaus, trans. Brian Massumi, (The Athlone Press,
Heidegger, ‘The Way to Language’, essay in Basic Writings, ed. David Farrell Krell, (Routledge, 1994).
Heidegger, Being and Time, trans. Joan Macquarrie and Edward Robinson, (Blackwell, 1998).
Anaïs Nin, D. H. Lawrence: An Unprofessional Study, (Blackspring Press, 1985).
Mireille Ribière, Barthes: A Beginners Guide, (Hodder and Stoughton, 2002).

Note: this and the two related posts have been assembled from extensive notes made for a course entitled Postmodern Approaches to Literature, that I taught at Morley College, London, in the Spring of 2010. To read PAL 1 click here. To read PAL 2 click here. To read the first part of this post click here

This post is dedicated to Gail who asked 'Why read Barthes?'


Postmodern Approaches to Literature 3: The Pleasure of the Text (Part I)

Marilyn being pleasured by James Joyce


The Pleasure of the Text, published two years after 'From Work to Text', clearly picks up from where the latter left off. It offers us not a poetics, but an erotics of reading. And, also, a challenge to all forms of moral asceticism and militancy which have no time for sensual pleasure and despise the body. Barthes explained to an interviewer at the time:

"I felt that today’s intellectual language was submitting too easily to moralizing imperatives that eliminated all notion of enjoyment, of bliss. In reaction, I wanted therefore to reintroduce this word [pleasure] within my personal range, to lift its censorship, to unblock it, to un-repress it." [1991]

This, actually, was quite a daring thing to do and it lost Barthes many friends and supporters (even as it won him a new, wider readership). I suspect that a lot of the continued hostility aimed towards postmodern approaches to literature and to life is that they don’t take themselves too seriously and concern themselves with pleasure. Nothing enrages the puritan more than this - unless it's logical inconsistency and The Pleasure of the Text opens by imagining a figure who "abolishes within himself all barriers, all classes, all exclusions, not by syncretism but by simple disregard of that old spectre: logical contradiction" [1990].

Over the course of some 46 fragments spread over 67 pages and arranged alphabetically by title (i.e. arbitrarily), Barthes speaks in favour of such an anti-Socratic hero who mixes every language and endures the mockery of moral-rational society without shame. And he reveals him to be "the reader of the text at the moment he takes his pleasure" [1990].

But for Barthes there are two types of pleasure; the pleasure of the text, which he terms jouissance and the pleasure of the work, for which he uses the common word plaisir. Of course, there is no absolute distinction between them and Barthes freely admits that his use of such an opposition is here, as elsewhere, purely provisional and strategic:

"The opposition 'pleasure/bliss' is one of those voluntary artificial oppositions for which I’ve always had a certain predilection. ... These oppositions shouldn’t be taken literally; for example, by asking if such and such a text belongs to the order of pleasure or of bliss. These oppositions are intended above all to clear more ground, to make headway - just to talk and write." [1991]

But, having said that, Barthes does then qualify this statement by adding: "the difference between the two words is still quite real ..." [1991]. What, then, is this real difference?

In ‘From Work to Text’ Barthes puts it this way:

"Certainly there exists a pleasure of the work ... I can delight in reading and re-reading Proust, Flaubert, Balzac ... But this pleasure, no matter how keen and even when free from all prejudice, remains in part (unless by some exceptional critical effort) a pleasure of consumption; for if I can read these authors, I also know that I cannot re-write them ... and this knowledge, depressing enough, suffices to cut me off from the production of these works ... As for the Text, it is bound to jouissance, that is to a pleasure without separation." [1977]

Throughout The Pleasure of the Text he expands upon and plays with this distinction, using a libidinally material and perverse language of gay desire; words such as cruise, for example, coming to prominence. The language used is also significantly informed by Lacanian psychoanalysis. For Lacan, famously, the unconscious is structured like a language and the subject - thought of primarily as a desiring subject - is perpetually seeking out the lost object of their desire. As Mireille Ribière writes:

"The prime function of language, and hence literature, is to signify this fundamental sense of loss. Therefore, desire is the force that drives reader and writer endlessly to go from signifier to signifier in search of fulfilment and pleasure."

The most erotic aspect of a text, for Barthes, is not found in any sexual description or pornographic representation as such, but in the language deployed and the very structure of sentences. This is what he loves most about the writings of Sade for example; the pleasure of reading him clearly proceeds from the fact that not only does he bring together different types of writing and create many new words and concepts, but that "pornographic messages are embodied in sentences so pure they might be used as grammatical models" [1990]. Emphasizing the erotic aspect of jouissance, Barthes concludes his fragment on Sade:

"The pleasure of the text is like that untenable, impossible, purely novelistic instant so relished by Sade’s libertine when he manages to be hanged and then to cut the rope at the very moment of his orgasm, his bliss."
[1990]

What Barthes is excited by then, is the thought of a limit or of an edge between two terms and the pathos of distance (or break) between them. He doesn’t want the destruction of culture or of narrative; he wants these things to be taken to the point at which they are lost and we too lose ourselves in some manner.

Can classic works promise us this experience of bliss or are they strictly tied to a form of pleasure which simply reaffirms cultural convention and our sense of self? Barthes, often thought of as a champion of the nouveaux roman, surprisingly still seems to have a lot of time for the works of the great 19thC authors. For he suggests that if we read them in a writerly manner - unconcerned with the integrity of the text - and at our own pace or rhythm - bypassing those passages or pages which we find boring - then we may yet find them newly pleasurable: "Thus what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again." [1990]

Of course, this has "nothing to do with the deep laceration the text of bliss inflicts upon language itself" [1990], but it does mean that we can develop an approach to literature which allows us still to read a work like War and Peace without nodding-off and having the book fall from our hands. Ironically, the only way to read the more avant-garde texts is to go slowly and carefully through them in a leisurely, aristocratic manner. Try to read a novel by Philippe Sollers or Maurice Blanchot quickly and it will become "inaccessible to your pleasure" [1990].

And so, to reiterate, we have two types of text: the text of pleasure that "comes from culture and does not break with it", linked to a "comfortable practice of reading" [1990]; and the text of bliss that "imposes a state of loss, the text that discomforts ... unsettles the reader’s historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language" [1990].

The reader can thus enjoy the satisfaction of plaisir which guarantees their subjective consistency, or the promise of its loss via jouissance.


Bibliography

Roland Barthes, 'From Work to Text', essay in Image Music Text, trans. Stephen Heath (Fontana Press, 1977).

Roland Barthes, The Pleasure of the Text, trans. Richard Miller, (Basil Blackwell, 1990).

Roland Barthes, ‘Twenty Key Words for Roland Barthes’, interview in The Grain of the Voice, trans. Linda Coverdale, (University of California Press, 1991).

Mireille Ribière, Barthes: A Beginners Guide (Hodder and Stoughton, 2002).

Note: this and the two related posts have been assembled from extensive notes made for a course entitled Postmodern Approaches to Literature, that I taught at Morley College, London, in the Spring of 2010. To read PAL 1 click here. To read PAL 2 click here. To go to part two of this post click here.

This post is dedicated to Gail who asked 'Why read Barthes?'