Frédéric Roussille
Université de Toulouse-Jean Jaurès
Abstract
Etymologically, poetry is a creation in which three parts are identified : a creating agent, a created product, a creative process. Yet artists in the 20th century intended to naturalise poetry. Then both the poet and his work seemed to merge within the poetic crucible. As a rose buds with no creator but itself and no other ‟why” but its blooming, poetic forms could spring up solely by their own means; instead of portraying things external to itself, writing would consist in bringing out traces previously sketched through the world and to be passed on. A thread shared by R. Char and W. Herzog is their exhibiting monsters whose uniqueness outruns any cosmic design, so much so these latter become impossible to dicipher. Their mystery is all the more impressive as they are signs of nothing special. When a sign is given, the very question of what is referred remains unasked, the price of nature thus regained being this kind of intransitivity Jacques Lacan dealt with when introducing his notion of « signifier foreclosure ».
Keywords
Monster – Nature – Poetry – Sign – Trace
DOI: 10.13131/2611-9757/jrxs-cj61
