By Roland Barthes
Décrivant son projet pour Fragments d’un discours amoureux, Barthes précise que « tout est parti du principe qu'il fallait faire entendre los angeles voix de l'amoureux ». Ici, pas de théorisation de ce discours amoureux, mais sa seule expression. « C'est un portrait qui est proposé, mais ce portrait n'est pas psychologique » ; il se fait l’écho de « quelqu'un qui parle en lui-même, amoureusement, face à l'autre - l'objet aimé -, qui ne parle pas ». Un texte si juste qu’il retentit en chacun, longuement...
1.Absence 2.Altération 3.Angoisse 4.Annulation 5.Atopos 6.Attente 7.Casés 8.Conduite nine. Contacts 10.Dédicace 11.Etreinte 12.Fading 13.Fête 14.Insupportable 15.Jalousie sixteen. Je-t-aime 17.Rencontre
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Additional resources for Fragments d'un discours amoureux
Pp. 331–333) As long as sexual identity and mother’s judgment are linked as antithetical and exclusive poles of the daughter’s problem, the “split” she describes will prevent her from ever completing her declaration of sexual independence. “Full sexual independence” is shown by the book’s own resistance to be as illusory and as mystifying an ideal as the notion of “mother love” that Friday so lucidly rejects. Dinnerstein’s autobiographical remarks are more muted, although her way of letting the reader know that the book was written partly in mourning for her husband subtly underlies its persuasive seriousness.
Pp. 95, 96, 97, 125) All three autobiographies here are clearly attempts at persuasion rather than simple accounts of facts. They all depend on a presupposition of resemblance between teller and addressee: Walton assures his sister that he has not really left the path she would wish for him, that he still resembles her. Frankenstein recognizes in Walton an image of himself and rejects in the monster a resemblance he does not wish to acknowledge. The teller is in each case speaking into a mirror of his own transgression.
Nancy Friday’s book, which is subtitled “The Daughter’s Search for Identity,” argues that the mother’s repression of herself necessitated by the myth of maternal love creates a heritage of self-rejection, anger, and duplicity that makes it difficult for the daughter to seek any emotional satisfaction other than the state of idealized symbiosis that both mother and daughter continue to punish themselves for never having been able to achieve. Mary Shelley’s Frankenstein is an even more elaborate and unsettling formulation of the relation between parenthood and monstrousness.
Fragments d'un discours amoureux by Roland Barthes