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Roland Barthes' on Racine Ghent University Faculty of Arts and Philosophy Roland Barthes’ On Racine: On the Deathbed of the Author? Supervisor: Paper submitted in partial Prof. dr. Jürgen Pieters fulfilment of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels- Nederlands” by Reuben Martens 2014-2015 ACKNOWLEDGMENTS This thesis had a rather late and odd start, as originally it was not supposed to be what it is now. I started writing this as a conference paper for the ‘Roland Barthes at 100’ conference which was hosted by Cardiff University on 30 and 31 March 2015. But it became more: in the course of my research for the conference paper I soon discovered that Barthes had a lot more to say than I expected and I felt that my research was actually far from complete. Having been so close to Barthes, I simply could not abandon him, so I decided to make him the topic of my thesis in an attempt to complete what I had started; the result is that which you now have before you. But before you start reading, there are some people I would like to thank first. First of all, I must thank Jürgen Pieters for his continuing support, for helping me prepare for the conference and for his help in the making the paper into the thesis it is now. Prof. dr. Pieters was always ready for me with helpful commentary and useful suggestions on what to improve and continually pushed me to make my work better. This would not have been possible without his help and I am very grateful for it. Secondly, I would like to thank prof. dr. Neil Badmington from Cardiff University for giving me the opportunity to present a paper at his conference. It was an amazing experience from which I learned a lot and provided me with a set of new academic skills. Then there is also dr. Marius Hentea, who I would like to thank for taking the time to revise my work and provide me with helpful comments, all the way from Manchester Metropolitan University. Also, a big thanks to my parents for giving me the opportunity of even going to university in the first place, taking the time to read my thesis and their continuing support. And lastly, I would like to thank my wonderful girlfriend Ine Verheyen, for her support and also for correcting my work and spotting the odd comma, which is not my strong suit; thank you very much, my love! I hope that my thesis provides an answer to a yet unexplored question within the existing research on Barthes’ work. Together with prof. dr. Pieters, I was able to find a gap in the existing research, which I now hope to – at least partially – fill with my thesis. I hope that all readers may be able to enjoy my work! 2 TABLE OF CONTENTS INTRODUCTION .................................................................................................................................. 4 1 THE QUARREL: NEW CRITICISM OR NEW FRAUD? ........................................................ 7 1.1 ON RACINE: A RECEPTION TURNED BAD .................................................................................... 8 1.2 BARTHES VS. PICARD: “NOUVELLE CRITIQUE” VS. ACADEMIC CRITICISM ............................... 10 2 THE AUTHOR’S DIAGNOSTICIAN: ROLAND BARTHES (1915-1980) ............................ 15 2.1 [ENTERS STAGE]: BARTHES, ‘TRAGIC’ OR ‘TRAGEDIC’? ......................................................... 15 2.2 RACINE OR BRECHT: WHO WILL SURVIVE? .............................................................................. 16 2.2.1 Barthes and Tragedy ......................................................................................................... 16 2.2.2 Barthes, Brecht (and the Modernists) ............................................................................... 19 2.3 ‘TRAGEDIC’ INFLUENCES: GOLDMANN AND POULET? ............................................................ 26 2.3.1 Poulet’s ‘Notes sur le temps racinien’ (1949) .................................................................. 27 2.3.2 Goldmann’s The Hidden God (1955) ............................................................................... 31 2.3.3 On Racine: authentic, or a mere corrected copy? ............................................................ 34 3 [EXIT BARTHES]: GUIDING THE AUTHOR TO HIS DEATHBED .................................. 37 3.1 THE AUTOPSY REPORT: A SHORT GENESIS OF ‘THE DEATH OF THE AUTHOR’ ...................... 37 3.2 THE TRAGEDY OF THE AUTHOR: BARTHES ON RACINE ........................................................... 39 3.2.1 ‘Racine Spoken’ ................................................................................................................ 39 3.2.2 ‘Racinian Man’ ................................................................................................................. 42 3.2.3 ‘History or Literature?’ .................................................................................................... 46 3.3 SAVE THE AUTHOR… OR LET HIM SUFFER? (‘CRITICISM AND TRUTH’) ................................ 50 3.4 A DRAMATIC GENIUS OR MODERN AESTHETE? (CRITICAL ESSAYS) ...................................... 52 3.5 FINALLY, THE AUTHOR DIES… (THE DEATH OF THE AUTHOR) .............................................. 54 4 CONCLUSIONS ON THE AUTOPSY OF THE AUTHOR ..................................................... 58 BIBLIOGRAPHY ................................................................................................................................ 62 APPENDIX I ........................................................................................................................................ 65 Word count: 25.849 3 Introduction “He who lives more lives than one More deaths than one must die” Oscar Wilde, ‘The Ballad of Reading Gaol’ The Author died in Paris in 1967, but perhaps his death had already been anticipated since the beginning of the decade. He had not been feeling so well for the last couple of years and his health declined without any chances of recovery. Quite possibly, a French doctor already made a diagnosis that would predict the Author’s death, in 1963. This doctor, going by the name of Roland Barthes, cleverly discovered a new form of criticism, which ultimately would prove a cancerous tumour in the heart of the author that would become his death sentence in the fullness of time. The newfangled diagnosis: Nouvelle Critique. The Author’s hand was no longer fully controlled by his brain and he started to become unable to control the meaning of the words that he voiced. His childhood friends, colleagues like Mallarmé and Proust, had already abandoned him before he got diagnosed with the terminal illness that would lead up to his extirpation. Hope for revival, for resurrection from the grave was possible only after diagnostician Barthes was deceased. However, the Author would not be able to return in the full ornament and glory of his days of yore, the Romantic era. On his deathbed the Author lay, from 1963 till 1967 when his oncologist Barthes decided to pull the plug and let the Author die, perhaps in pain and with great sorrow to some. Barthes, as any scientist who discovers a new diagnosis, described the moribundity over due time in a number of select publications. Voices had been raised that Barthes had no idea what he was doing and rivals, such as Raymond Picard, claimed him to be a fraud, only with the intent to serve his own purposes. His new method was considered faulty and in direct conflict with the old academic methods of Picard and his peers. Debates ran high and Barthes’ method was put under scrutiny. Successful counterattacks in successive publications by Barthes himself assured his status and made him a more than respected figure. Nevertheless, the Author died. Did Barthes indeed already give up on the Author in 1963, or did he only do so later on, after first trying to keep him alive in some way or another? In this thesis, I want to explore the progression of the death of the Author, beginning with On Racine, which Roland Barthes published in 1963. In this work, he expresses the idea of regarding the literary work as an autonomous object, to be looked at without the interference 4 of worldly interpretations. By implication that means the author, perhaps for the first time, was theoretically put outside of his own work; in other words, the author became no longer part of his own creation. Later, in 1967, Barthes published the essay ‘The Death of the Author’, in which the Author was not only put aside, but also more or less ‘murdered’. Specifically, I want to take a deeper look at how Barthes constructs the image of the author Racine – in On Racine – and compare that to Barthes’ later publications from the same decade Criticism and Truth, the essay ‘The Two Criticisms’ in Critical Essays, and ‘The Death of the Author’, where he constructs author images of modernists like the already mentioned Mallarmé and Proust. I will be wondering if there a similarity between these conceptions and if so, can we regard upon On Racine as anticipating what Barthes was only to fully put to words in ‘The Death of the Author’? However, in order to explore this idea, much needs to be taken into consideration. An idea does not simply come from anywhere, it is inspired, a reaction to or because something or someone else. Therefore, in order to properly investigate how Barthes’ concept of the author grew, we need to take a look at the seeds that may have caused its inception. A short exploration into Barthes’ past seems in order, a look into what attracted him to the theatre, why he chose Racine as a subject and
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