Je suis un arbre (Dune seule voix) (French Edition)

McCarthy agressé pour l’érection d’un arbre de Noël ambigu, place Vendôme
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We have two examples of the Bergsonian model of laughter, [5] in which the identification of a fault provokes an automatic, collective and fundamentally norm-enforcing reaction: laughter. But one of them, it becomes increasingly sure, is directed at us, as the narrator laboriously provides a re-cap of the history of linguistics. The aim of readjusting the cultural identity of ordinary French people to reintegrate key figures from Central Europe, lost by political phenomena, seems, at this moment, impossible.

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Laughter that is simultaneously undercut with melancholy means that it is a double laughter existing in multiple dimensions, and the reader is unsettled as to which point of view to adopt. Kundera has suggested that this instability affects disillusionment:.

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In this encounter with European history and with ourselves, we cannot decide where to place our self-recognition, and we are pushed to the edges of humour. Kunderian laughter is a mode of identification that is constantly in motion. Deleuze says that we erroneously think of becoming as an agency of the a-venir :.

Et la Flandre découvrit Emmanuelle Praet…

As-tu encore ta dent? Ne souffrez pas pour mon malheur, A aucun prix, que la sauvage Mette votre coeur en servage Comme elle a fait de votre corps; Si elle vous navre dehors, Ayez dedans coeur indomptable Contre son bras impitoyable, Et si le corps reste en prison, Gardez le coeur de trahison. La vengeance les vaut-elle? Si vous leur serrez toutes la main, vous passez pour un goujat. Des gens si forts! The canvas is all yellow with the exception of the wall and the bottom of purplish hills.

By contrast, the norm-enforcing laugh is an event of becoming because it involves simultaneous collision of tenses, and thus, as it shifts, a multiplicity of perception. Rather than humour forcing an identification with one norm or another, what we might call a binary system of identification, the fluid patterns of norms in Kundera, communicated by laughter, suggest that identification happens in a space of inbetween-ness:.

Deleuze offers his conception of the devenir as an alternative model to what he calls the machine binaire offered to us by society. He argues that we are encouraged to form identities through choosing between two pre-ordained poles:. Instead, becoming is not an identification with one side of a binary, or a finite journey from one pole to another, but an unfixed place of inbetween-ness:.

It is this voluntary cultivation of identity that Deleuze argues is artificially imposed, and the journey Kundera sends her on can be read as a dramatisation of the identity crises produced by this machine binaire. The preformed choices set up by naming nation states carry infinite associated binaries, otherwise known as cultural stereotypes.


Limiting both the homeland and the destination to signs and labels in reductionist stereotyping is thus presented as a symptom of exile. Deleuze conveys this in the concept of reterritorialisation :. Then in his essay Le Rideau :. In this way, the devenir is not longer a personal, but collective event. Even when Kundera explores identity in his more plural, multi-layered and multi-directional manner, fault lines appear when we look for a perfect model of writing that manages to dissolve national boundaries, most evidently because national labels are unavoidably mobilised in cultural mapping.

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One might initially think that identity formation as choosing cultural references with which to align oneself corresponds with the notion of becoming. The perpetually shifting margins of perception and identification in Kundera can be seen to participate in a nomadic literature that rests on the impossibility of return and the impossibility of arrival, on a sort of border, frontier or chasm that is in-between and has no relation to a geographical map. In La Lenteur , any reality outside the hotel seems to exist in a realm of impossibility, irredeemably outside the text:.

Il lui fait signe. The three orientations that appear to Jean-Marc are his native home, a makeshift shelter in a city that was home until ten minutes previously when Chantal demanded he hand over his key, and an unknown journey. Thrown into exile by Chantal, it seems illogical to him to fashion a form of home either in his past or in the precariousness of the present, represented by the temporal precision of a stay in a hotel.

His nomadic identity is communicated through his instinct towards the taxi with no idea where he will ask to be taken. Opposing himself to Chantal, he self-consciously inhabited what he perceived as the margins of society:. Je suis en marge de ce monde. He uses this to abscond responsibility. One can exist on a spiritual border without being physically displaced, and travelling from A to B, from Paris to Prague, from love to rejection, is complex and multi-orientated.

Fundamentally, Kundera shows that translation is not exact semantic transposition from one linguistic system to another; au contraire , exilic language is presented as chaotic and impure, as the stew of languages emerging from within the realities of exile, migration and diaspora causes meaning to seep away. With translation between languages occur endless events of Deleuzian de- and re-territorialisation: a signifier from one linguistic sphere must be replaced by one from another linguistic sphere, while the signified remains fixed.

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A migratory translation, by contrast, works across a false binary on the illusion that meaning can travel smoothly between language A to language B. Colons and semicolons where full stops could have been evoke how languages do not have discrete boundaries but rather cross-fertilise and mutate. Thus, the multiple translations of retour and nostalgia lose their significations because they are increasingly decontextualised, or deterritorialised, without being again reterritorialised by the narrator, who seems to be just offering vagaries about European linguistics as a philosophical preamble.

This model of language is not utilitarian, but rather the essence of devenir : in a constant state of self-referential re-definition.

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In a essay, Kundera explained the Russian attack on the Czech language in terms of structural functionalism:. Russian and French are similar in that they are both languages that had colonised a foreign national zone. In other words, French, by displacing German as the language of nobility, had shown itself to be more powerful. But this power seems to have manifested itself in pleasure, in francophilia , and its impact on the people of Prague is encapsulated in the non-threatening image of charme.

But in fact charme denotes another form of power: seduction. It is a literature that undermines the collected cultural might of a language, stripping it to a pure political tool. The major and minor are discussed, but in reference to the major key of playfulness and the minor key of melancholy.

Reading Kundera with Deleuze in mind exposes complex identity dynamics that go beyond what initially seem to be domestic portrayals of jealousy. When she and Gustaf go to Prague, the linguistic shift leaves her defenseless to claim him as her own.

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In Prague, however, Gustaf, not knowing Czech, communicates in international English. This might seem like a straightforward transition for Irena from the major to the minor. Gustaf had lifted Irena from the margins of society, womanhood and nationhood and placed her in the centre, but the power gained from this was still entirely dependent on Gustaf wanting to stay with her.

The change of location to Prague brings into relief the marginality of her existence usually kept at bay by her linguistic competency in French. Est-ce ton domaine professionnel? Quels sont les projets que tu caresses actuellement?

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