L’annulation du visage: une «morale substitutive»?

Cancelled face, a «moral substitute»? The pandemic affecting our world in 2020 leads us to question a centuries-old socio-cultural practice, namely the wearing of masks, and to rethink their use in light of the current context. Depending on the civilizations and eras, masks have had various functions: religious, social and artistic. None of these functions corresponds, however, to the recent use of masks. Henri Michaux, Jean Starobinski, Michel Butor and Yves Bonnefoy will help us to answer these questions: How the wearing of masks does change our relation to identity? our relationship with others? Does not seeing the whole face make it possible to see others better?

'Au meilleur de soi': Yves Bonnefoy and the Making of Baudelaire

Yves Bonnefoy has singled out Baudelaire as a primary formative influence. The breadth and depth of critical enquiry afforded by Bonnefoy to his predecessor over the decades are attested by two substantial collections of his essays compiled in later years, as well as by verse resonating on occasion with the other’s name and voice. Bonnefoy’s goal is at once scholarly and creative: not only does he explore the full import of Baudelaire’s poetic legacy and lend it lasting pertinence within the history of literary endeavour, he also seeks to enter actively into its struggle, uncovering in its contradictions and aporias a corrective and recuperative dynamics that is played out anew in his own poetic writing as part of a larger and pressing ‘refondation de l’être’.

L’Acte de traduire et la remédiatisation

"I am well versed in translating poetry – especially that of Yves Bonnefoy – as well as the theatrical essays of the contemporary playwright and director Valère Novarina. What the two authors have in common is that they make the work of the Hungarian poet János Pilinszky resonate in Hungarian without having known him. When one translates a text, its reception is often facilitated by another work of the target culture through which the work to be translated is transmitted. Patrice Pavis' expression ""verbo-corps"" seems very relevant when it comes to translating for the stage. As for the translation of plays, in general, there is one version to be published and read, and another to be performed. In the latter case it is important to see in front of us the stage and the actors (if possible already designated) to choose the rhythm of the lines, as well as to keep or reject the puns, or substitute some for others. I give some examples from our Hungarian translation of Valère Novarina. In order to shed light on the terms of adaptation and remediation from the point of view of theatre as a meeting place par excellence for various media, and not from the point of view of translation itself, I finally take as examples some shows I saw at the Festival d'Automne in Paris in 2019."

Yves Bonnefoy e a poesia em presença

Poeta contemporâneo francês, Yves Bonnefoy é autor de vasta obra poética e de textos críticos sobre poesia, artes e tradução. A proposta desse artigo é enunciar algumas observações sobre o leitmotiv que anima sua variada produção poético-crítica, qual seja, aquele da presença ─ e seus sinônimos bonnefidianos de finitude, de imediatez, de ser-no/com-o-mundo. Esse leitmotiv, hipótese que aqui será feita, é marca primeira, segundo Bonnefoy, do modo poético conhecido como haicai. Aqui e acolá, lateralmente, serão igualmente assinaladas, a título sugestivo, algumas relações com a poesia de Manoel de Barros e de Paulo Leminski, cujos poemas, em alguns casos, carregariam, eles também, a marca da presença. Importa observar, em termos metodológicos, que esse artigo envereda pelos caminhos de uma crítica de simpatia, modo mais afeito a respeitar a perspectiva bonnefidiana sobre a poesia (em presença/da presença).

Yves Bonnefoy and Jean-Luc Nancy

This book explores how the French poet Yves Bonnefoy (1923–2016) develops a newly affirmative, tactile, and embodied practice of poetic performance in the latter half of his career. It investigates how this shift is prompted by a conceptual change that Bonnefoy undergoes in writing Dans le leurre du seuil (1975) as he comes to perceive finitude not merely as a force of dissolution but as a dynamic of opening and exposure. Analysing how this transformation convinces the poet of the generative nature of the act of relation, this study examines how Bonnefoy no longer perceives the poem as an isolated body that reaches out to the material world from a distance but presents it as an ontological performance: an exploration of the dynamics by which linguistic, corporeal, and material forces reverberate side by side and by which worldly existence opens up in and through the poem. Using Jean-Luc Nancy’s philosophical writings to cast new light on this practice of poetic performance, this book explores how the poet and the philosopher both stress the immersive nature of this kind of textual experimentation. It investigates how they insist that the text does not speak about the world but experiments with its creative force from within, exploring the spacious dynamics of exposition that bring the poem into being, asking us to situate ourselves within these dynamics and to be opened up by them, to reimmerse ourselves in an endlessly mobile and relational world.