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Chapter 7 Jarry's Engagement with Contemporary Culture RIJKSUNIVERSITEIT GRONINGEN ‘UBUSING’ CULTURE Alfred Jarry’s Subversive Poetics in the Almanachs du Père Ubu Proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen op gezag van de Rector Magnificus, dr. F. Zwarts, in het openbaar te verdedigen op donderdag 19 november 2009 om 14.45 uur door Marieke Dubbelboer geboren op 20 december 1977 te Emmen 2 Promotor: Prof. Dr. E.J.Korthals Altes Copromotor: Dr. E.C.S. Jongeneel Beoordelingscommissie: Prof. Dr. P. Besnier Prof. Dr. R. Grüttemeier Prof. Dr. H.L.M. Hermans ISBN: 978-90-367-4107-1 Table of contents Foreword .................................................................................................... 7 Introduction .............................................................................................. 9 Alfred Jarry (1873-1907) ....................................................................... 9 The Almanachs du Père Ubu ................................................................ 10 Aims of this study ............................................................................... 12 Approach and outline of the book ........................................................ 14 Chapter 1 Symbolism and Beyond. An Introduction to Jarry’s Life, Work and Poetics .............................................................................................. 16 1.1 Life and work ................................................................................... 16 1.1.1 Early years ................................................................................. 16 1.1.2 Literary debut; Symbolism.......................................................... 17 1.1.3 Ubu claims the stage .................................................................. 18 1.1.4 Symbolism left behind; career changes and Ubu’s Almanacs ...... 20 1.2 Jarry’s poetics .................................................................................. 23 1.2.1 ‘Linteau’ (Les Minutes de sable mémorial, 1894); first outline of a subversive poetics. .............................................................................. 23 1.2.2 Introducing Père Ubu ................................................................. 33 1.2.3 Introducing Pataphysics. ............................................................ 36 Chapter 2 Situating Ubu’s Almanacs. Artistic Counter-Culture and Popular Tradition .................................................................................... 41 2.1 Ubu sur la butte: Jarry, the Almanacs and Montmartre ..................... 41 2.1.1 Humorist groups and artistic cabarets ........................................ 41 2.1.2 Jarry, Ubu’s Almanacs and the cabaret ...................................... 44 2.2 The popular tradition of the almanac genre ...................................... 45 2.2.1 Definition ................................................................................... 46 2.2.2 A heterogeneous genre ............................................................... 46 2.2.3 Audience .................................................................................... 47 2.2.4 Information, education and propaganda ..................................... 48 2.2.5 Popular almanacs at the end of the nineteenth century .............. 48 2.2.6 Ubu’s Almanacs ......................................................................... 49 Chapter 3 Collaboration and Anonymity. The Making of Ubu’s Almanacs ................................................................................................................. 51 3.1 The making of the ‘small Almanac’ (1898) ......................................... 51 3.1.1 The literary community of the Phalanstère.................................. 51 3.1.2 Pierre Bonnard (1867-1947) ....................................................... 53 3.1.3 Claude Terrasse (1867-1923) ...................................................... 54 3.2 The publication of the first Almanac (December 1898) ...................... 55 3.3 Anonymity ........................................................................................ 57 3.4 The making of the second Almanac................................................... 59 3.4.1 The ‘Cellar’ at the art gallery of Ambroise Vollard(1866-1939) ..... 59 3.4.2 Claude Terrasse’s account of the collaboration ........................... 61 3.4.3 Félicien Fagus (22 January 1872-8 November 1933) ................... 63 3.4.4 The publication of the second Almanac (January 1901) .............. 65 3.5 Rethinking authorship ..................................................................... 67 3.5.1 The legacy of the Almanacs. Ubu as collective artistic property ... 68 3.5.2 Multiple authorship versus the ‘genius author’? ......................... 70 Chapter 4 Recycling and fragmentation. Collage in the Almanacs ....... 73 4.1 Collage in literature .......................................................................... 73 4.2 Collage in the first almanac .............................................................. 76 4.2.1 Generic hybridity........................................................................ 76 4.2.2 Ready-made and pseudo ready-made elements ........................... 84 4.2.3 Mixing media; text and image ................................................... 105 4.3 Collage in the second Almanac ....................................................... 106 4.3.1 Generic hybridity...................................................................... 106 4.3.2 Ready-made and pseudo ready-made material .......................... 109 4.3.3 Mixing media: text, image and sheet music ............................... 116 4.4 Re-inventing the literary text, the author and representation .......... 121 Chapter 5 Ubu Reporter. News and newspapers in the Almanacs ........ 125 5.1 Writers and the press ..................................................................... 125 5.2 Alternative news. Jarry’s ‘speculative’ journalism ........................... 128 5.2.1 News fascinates ........................................................................ 130 5.2.2 Transformation ........................................................................ 131 5.2.3 Parody and satire; questioning claims to truth .......................... 133 5.2.4 Alternative realities .................................................................. 134 5.3 News and newspapers in the Almanacs .......................................... 134 5.3.1 Satire and parody; questioning representation and claims to truth ......................................................................................................... 135 5.3.2 Re-illustrating reality................................................................ 141 5.3.3 From sensational news to alternative realities ........................... 143 5.4 Ubu’s Almanacs as a ‘cure for newspapers’. .................................... 146 Chapter 6 Bringing art to life ................................................................ 148 6.1 The foreword in the first Almanac; a manifesto? ............................. 148 6.1.1 The writer as prophet ............................................................... 149 6.1.2 Literature as a cure for life ....................................................... 150 6.2 Art and mass culture; ambiguities .................................................. 151 6.2.1 The modern work of art is a stuffed crocodile ............................ 151 6.2.2 Ubu as dandy and part of the crowd ......................................... 155 6.2.3 Transgressing the boundaries of art and life ............................. 157 6.3 Art and mass culture; new bonds ................................................... 159 6.3.1 Aesthetic valorisation of everyday life ........................................ 159 6.3.2 Poetic language versus newspaper language ............................. 160 6.3.3 Collage; new bonds between art and mass culture .................... 161 6.4 Bringing art to life .......................................................................... 161 Chapter 7 Jarry’s engagement with contemporary culture ................. 163 7.1 Writers and politics around 1900 ................................................... 163 7.2 The first Almanac: the Dreyfus Affair .............................................. 164 7.2.1 The Affair as a spectacle ........................................................... 167 7.2.2 ‘Commitment’ through wordplay ............................................... 170 7.2.3 Ironical distance and deconstruction of truth ........................... 172 7.2.4 Repainting the Affair ................................................................ 173 7.2.5 The city of Paris and the Affair .................................................. 176 7.2.6 The Affair and the controversy around Rodin ............................ 178 7.2.7 The Affair in the rest of the Almanac......................................... 179 7.2.8 Anti-militarism ......................................................................... 180 7.3 The second Almanac: anti-colonialism ............................................ 181 7.3.1 Ubu’s ‘civilizing mission’ ........................................................... 183 7.3.2 Anti-clericalism ........................................................................ 186 5 7.4 Jarry, the Almanacs and politics .................................................... 188 7.4.1 Censorship ..............................................................................
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