Roland Barthes: el ensayo y la ética de la evasión
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria
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En “Les sorties du texte”[“Las salidas del texto”](1972), a partir de los trabajos heterológicos de Georges Bataille, Roland Barthes reflexiona sobre la escritura del ensayo, cuyo devenir estaría acompasado por un ritmo amorosode alternancia entre saber y valor. En el ámbito de lo ensayístico se produciría un desplazamiento pulsional de la pregunta ontológica del saber hacia la pregunta excéntrica del valor: “¿Qué es esto para mí?”. De esta manera, la valoración introduce una subjetividad que no implica ni un punto de vista impresionista ni uno objetivo, sino una subjetividad cuyo agente es un no-sujeto; es decir, un sujeto incierto. Así es como Barthes se autodenomina en la “Leçon” [“Lección Inaugural”](1977): un sujeto que quiere inscribirse en las discusiones propias de las instituciones científicas sin someterse a su impotencia reproductiva; un sujeto que, por ese motivo, no produjo más que ensayos: género ambiguo en el que la escritura disputa con el análisis. Este artículo se propone ahondar en estos postulados barthesianos para leer “Las salidas del texto” en dos niveles concurrentes: temático y formal, para mostrar cómo su composición responde a la caracterización barthesiana de lo que es un ensayo.
In “Les sorties du texte” (1972), taking as a starting point Georges Bataille’s heterological works, Roland Barthes reflects on the writing of the essay, the development of which would keep in step with a loving rhythmwhich alternates knowledge and value. In the sphere of the essay, a pulsional shift would occur in the transition from the ontological question posed by knowledge to the eccentric question posed by value: “What is this for me?”. In this way, the act of valuation introduces a type of subjectivity which differs from an impressionist or an objective point of view, putting forward a kind of subjectivity that comes from a no-subject; i.e., an uncertain subject. That’s the way Barthes calls himself in the “Leçon” (1977): a subject that is willing to inscribe itself in the discussions the scientific institutions pay attention to, distancing itself from their reproductive impotence; a subject that, for that very reason, could only write essays: that ambiguous genrein which writing confronts analysis. This article’s aim is to delve deeper in these barthesian postulates so as to read “Les sorties du texte” in two concurring levels: thematic and formal, to show the way its composition resonates accurately to the barthesian characterization of the essay.
In “Les sorties du texte” (1972), taking as a starting point Georges Bataille’s heterological works, Roland Barthes reflects on the writing of the essay, the development of which would keep in step with a loving rhythmwhich alternates knowledge and value. In the sphere of the essay, a pulsional shift would occur in the transition from the ontological question posed by knowledge to the eccentric question posed by value: “What is this for me?”. In this way, the act of valuation introduces a type of subjectivity which differs from an impressionist or an objective point of view, putting forward a kind of subjectivity that comes from a no-subject; i.e., an uncertain subject. That’s the way Barthes calls himself in the “Leçon” (1977): a subject that is willing to inscribe itself in the discussions the scientific institutions pay attention to, distancing itself from their reproductive impotence; a subject that, for that very reason, could only write essays: that ambiguous genrein which writing confronts analysis. This article’s aim is to delve deeper in these barthesian postulates so as to read “Les sorties du texte” in two concurring levels: thematic and formal, to show the way its composition resonates accurately to the barthesian characterization of the essay.
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