Le rythme étranger et la catalyse ponctuelle de la culture. Dialogues possibles entre Barthes et Lotman

Signata

卷:6

关键词: sciences of culture;    practices;   

DOI  :  10.4000/signata.1160

来源: DOAJ

【 摘 要 】

Lotman and Barthes created two different, critically oriented semiotic traditions. Both of them witnessed an evolution in their thought, moving from the systematic organization to the living transformations in cultural systems. This allowed them to carry a bilateral critique of codes and identities in favor of either anonymous hybridity (Lotman 1993) or neutrality (Barthes 1953, 1978), where retained heterogeneity becomes a principle of creative “disorder”. Though quite different with regards to their theoretical production, both masters meet in their refusal of turning descriptive practices (studium) into a model of any other form of behavior, considering that the determination of textual or institutional perimeters isn’t always clear. In short, Barthes and Lotman anticipated current research trends on the semiotics of practices ; the first because of a sort of self-reflexion on the behavior of the interpreter in front of an object (Barthes 1973, 1980), and the second, through his analytic interest in attitudes and ways of living (Lotman 1975). Barthes’s view on writing (1966a) essentially reaches Lotman’s conception of culture as a “collective person” (Lotman, Uspenskij 1977) : we are looking for the traces of breathing in the life of signs. More precisely, we can assert that, in the view of both scholars, inscribing speech events in history problematizes the dynamic and asynchronous relation between the structural frame of a culture and its textual heritage (Lotman, Uspenskij 1977). The rhythm of fashion (Barthes 1966b ; Lotman 1993) isn’t a side topic in their researches, but rather, it’s the clearest exemplification of a dialectic between structural projection from the outside and local introjection of forms, depending on the conditions that make a difference.

【 授权许可】

Unknown