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Book Chapter The Geneva School: form and signification in motion POT, Olivier Reference POT, Olivier. The Geneva School: form and signification in motion. In: Marina Grishakova, M. & Salupere, S. Theoretical schools and circles in the twenthieth-century humanities. New York : Routledge, 2015. Available at: http://archive-ouverte.unige.ch/unige:78309 Disclaimer: layout of this document may differ from the published version. 1 / 1 9 The Geneva School Time] in 1949. Toward the end of 1949, Raymond and Poulet embarked on a long correspondence reporting on and discussing their respective work. Form and Signification in Motion In 1950, the three names René Wellek (1992) associated with "The Geneva School" were Raymond (1897-1981), Béguin (1901-1957), and Poulet (1902-1991). Olivier Pot Later, two of Raymond's students, Jean Rousset (1910-2002) and Jean translated by Helena Taylor Starobinski (1920) joined this initial circle. Poulet, who from 1952 had taken up a post at Johns Hopkins University in Bàltimore, introduced Starobinski to the circle in 1954, and in the same year he became acquainted with Jean Rousset's thesis (Rousset 1953). Historians sometimes also add Poulet's doctoral student, Jean-Pierre Richard (1922; Richard 2002, 47-48) to this "The Geneva School" was the term used from the 1950s and 1960s to group. The term "Nouvelle critique"' appears for the first time in Poulet's describe a group of literary cri tics who belonged to the movement known in preface to Richard's book, Littérature et sensation published in 1954. In France as the Nouvelle Critique, following the confrontation between Picard 1956, Poulet accepted a chair in literature at Zurich University, probably and Barthes over Sur Racine in 1963. Like the American New Criticism because it afforded him greater proximity to both Geneva and to Raymond of the 1940s, the Geneva School practiced "close rea<\ing" and promoted who had supported his application for this position. As for Albert Béguin, stylistic analysis that was based on the intimate relationship between the having held the chair at Bâle from 1937 to 1946, he went on to pursue structure of a text and its meaning (signification). However, unlike New political activities, culminating in his editorship of the journal Esprit. His Criticism, the Geneva School was also committed to looking "outside" the premature dea th in 1957 made the group aware of its comradeship: this is text, taking into account intentionality (authorial consciousness), readers' attested by the collection, Albert Béguin-Essais et témoignages. reactions (reader-response theory), and even historical and cultural contexts During the 1960s, theoretical thinking intensified. In 1962, Rousset (history of ideas). Employing phenomenological and hermeneutic methods, dedicated the preface, "Pour une lecture des formes" ("Toward a Reading these critics conceived of thé literary work as representing the deep struc­ of Forms"), of Forme et Signification (1962) to Poulet. In this preface he tures of an author's consciousness, revealing his experience of the physical unequivocally sided with "Nouvelle critique," which he claimed included world. This approach, which is also called "criticism of consciousness" and Russian Formalists, American New Criticism3, the art historian Focillon, as "criticism of identification," invites the interpreter to identify "empathetically" weil as the artists who had forged modern critical consciousness (Flaubert, with representations and meanings as they appear in the structures of the Mallarmé, Proust, Valéry). 1963 was a particularly fruitful year. According work. Broadly speaking, the School's methodology can be surnmarized as the to Rousset, who bad been Raymond's student since 1935, Raymond and desire to résolve the tension between form and meaning. his fellow scholars opened the way between Charles Du Bos's criticism of identification, "more attentive to the 'milieu intérieur' than to style," and "the formai analysis of Wôlfflin" (Rousset 1963, 469). Poulet published an SCHOOL OR COMRADESHIP: A "TOTALITY" OPEN TO extremely detailed study on Raymond (latet reprinted in La Conscience THE FUTURE Critique). In the same year the Geneva School paraded its visibility at the Congress held in Paris on J uly 26-for which these two cri tics bad carefully The "Geneva School," technically speaking, does not exist-not, that is, in put together the program.< The first part was to include "three presentations the same way that the Frankfurt School or· the Saussurean School exists. informing the audience on developments outside France since 1920; and "It was a bit rnislea_ding to have coined this name," reflected its inventor, two presentations on France": "Cl. Pichois on traditional, historicizing crit­ Georges Poulet (Poulet and Grotzer 1979, 257). The "mythical Genevan icism" and Starobinski on the "trends of New Criticism." The second part school," or the "so-called Geneva School,"1 which was in fact a sort of infor­ aimed to bring together, once again in relation to France, three presentations ma! intellectual society, or at the very most a "laboratory" in which to cir­ given by "representative critics": Georges Blin ("to avoid only giving the culate i<jeas, formed in the win$:er of 1937-1938. Poulet, while teaching at floor to the 'anti-Sorbonards,' which would have been ridiculous"), Gaëtan Edinbutgh University and reàding Albert Béguin's thesis, L'Ame romantique Picon and Poulet (or, failing that, Richard). In addition, papers were to be et le rêve (1937), came across the name of its author's supervisor, Marcel given by Paul de Man, René Wellek, Arnaldo Pizzorusso, Giovanni Macchia, Raymond, wh ose work he already admired, and to whom he would go on to Lucien Goldmann, Yves Bonnefoy, Boris de Schloezer, and others. Behind dedicate the first volume of Etudes sur le temps humain [Studies in Human this apparent! y eclectic program, the genesis and focus of the Geneva School 154 Olivier Pot The Geneva School 155 were given priority: "by hearing Rivière, Du Bos, Raymond and Béguin, of interest. The first of these was German Romanticism, a tradition insepa­ Bachelard and Richard, Blanchot and Staro(binski)" in succession, the rable from the posture of "ferryman" (passeur) that had first been assumed intention was to trace "the progress of consciousness from 1920 to the pres­ by translator-poets such as Gustave Roud' and Philippe Jaccottet. In the ent," sa that the "predecessors" would only be taken into account "in so far Genevan tradition, it was expected that young intellectuals would spend as they have enlightened and guided us" (letter of January 2, 1963 ). Jacques sorne years "improving themselves" abroad in Germany. Raymond was a Derrida attests to the fact that the Geneva School had become a point of lector in Leipzig from 1926 to 1928; he immersed himself in Kierkegaard, reference: two of his articles published in 1962 and 1964, and repeated in Gundolf, Dilthey (who had also influenced Du Bos), and every angle of the Grammatologie in 1967; used the studies of both Rousset (on "forme et "metaphysics of poetry and metaphysical poetry." 7 Until he was forced to signification") and Starobinski (on Rousseau) as starting points. leave Germany, Béguin was a lector at the University of Halle an der Saale The Geneva School undertook a project of "critical renovation"; this tri­ from 1929 to 1934, a position Rousset would then go on to hold from umphed in 1966 thanks to the meetings organized in Cerisy by Poulet (Poulet 1939 to 1942 before he went to Munich. This period of critical "incuba­ and R.icardou 1967). Other like-minded figures, such as Gérard Genette, tion" was marked for al! of them by translation projects: the Romantics for Hélène Tuzet, and Serge Doubrovsky, joined the group. The same year an Béguin, Baroque poets for Rousset, Wolfflin for Raymond, and Kafka for article by]. Hillis Miller (1966) made the label, "The Geneva School," offi­ Starobinski. cial; Sarah Lawall (1968) then integrated this into her analysis of "criticism Epistemologically, the Geneva School was also inspired by the anti­ of consciousness". "The myth began to take shape-before it broke up, that positivism of the German school of philology, and thinkers such as Vossler, is," Raymond comment wryly; for him, the "Geneva School" was at most a Curtius, Spitzer, Auerbach, Friedrich, as Poulet notes (letter of January 7, "family," "attesting to our friendship," rather than a movement with a for­ 1963 ). They opposed the stance of the neogrammarians; the latter was also malized corpus of methods and techniques. Poulet takes this further: "Mme being questioned by Saussurean linguistics, which Raymond and Béguin Lawall saw the world through glasses of my making. And thus, a whole were the first to incorporate into their work, without making it a dominant series of other-even more contestable-myths joined the principal one" tool ("appareillage lourd," Starobinski 1979b ). Raymond, who had defended (letter of October 12-23, 1968). The Geneva School is, therefore, somewhat his thesis on [;Influence de Ronsard sur la poésie française (1550-1585) at the snark of criticism. the Sorbonne in 1927, later regretted having "given in to the need for the Furthermore, by reworking previous studies on his critical affinities and tangible and the pragmatic in literary history." By contras!, the "participant friendships in La Conscience critique in 1971, Poulet set out to trace the reader" method he adopted in 1933 for De Baudelaire au surréalisme felt history of.a research project that was constantly evolving, rather than give like a sort of liberation (Starobinski 2000, 133, 135). This approach, which . the impression of methodological coherence: "a totality th at was open to "reached far beyond historical positivism," was for Starobinski "the corn­ the future from each publication date" (letter of December 29, 1970). The mon denominator of the Genevans" (Poulet and Grotzer 1979, 257, 267). expression "criticism of identification" (the term "identification" cornes He highlights the group's distrust of "systematic" or "structuralist" research.
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