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Association International Lacanian
About the book Treaties political, aesthetic, ethical Baltasar Gracian (trans. Benito Pelegrin, Seuil)
Thierry Florentin - 24/11/2005
Association International Lacanian
About the book Treaties political, aesthetic, ethical Baltasar Gracian (trans. Benito Pelegrin, Seuil)
Thierry Florentin - 24/11/2005
Baltasar Gracian was a English Jesuit moralist of the seventeenth century, author of some moral and political treatises ran Europe ( The Hero, The honest man ,...) and a secular novel El Criticón .
In his collection of aphorisms, some of us remember may have discovered in the early 80s, in a little book edited by Jean Edern Hallier as the Pocket Manual of yesterday for today's politicians and others, and whose title is true "Oracle and manual art of caution," the thought of Baltasar Gracian continues a long tradition of ancient art of living (Seneca, Epictetus Erasmus, Plutarch, Martial, Tacitus ,..), he tries to reconciled with the principles of Christian thought. The university
Benito Pelegrin, who likes to point out that this book would be a favorite of business and finance from New York, took this today translation, which was the first in France since the seventeenth century, a new version, consolidated, revised and corrected, closer to the original language and style of Baltasar Gracian. This collection
which Lacan refers in his lecture of 20 January 1971-Seminar XVIII: From a speech that was not the pretend-collection which was then known in France under the title of his first translator, Amelot de la Houssaie, The courtier (2).
Since its release in 1647, the book was a considerable success, was immediately translated into several languages, "the Hungarian Swedish through the Russian and Latin (B. Pelegrin)", and Gracian was widely taken and plundered in turn by European philosophers and moralists, who, Schopenhauer to Boileau, and Molière to Jankelevitch, owe one of their anchor points.
In "The Freudian thing," Lacan also mentions that "... line of moralists (in which it is naturally take place Freud) ... which is embodied in a tradition of humanistic analysis, milky way to heaven European culture where Baltasar Gracian and La Rochefoucauld make figures out of the first magnitude, a nova and Nietzsche as quickly as lightning back in the darkness "( Writings, p. 407). [...]
But this is not so much by art and cunning stratagems, ably expounded by Gracian who detain us, we willingly give up the golden boys and other devotees of individual success at the expense of others, yet we could without wasting time commenting again the thought of Gracian, including the division, and for example this aphorism 181, pique against Jansenism, where he states that the truth can not be known until mid-: No todas las verdades is pueden Dezire, after what Lacan might be translated as "not-all of truth can be told." For engineering
Baroque Gracian based on the art of aphoristic formula, brief, concise, brilliant, striking, ultimately, where Witz, the joke, what he calls the "concepto" is used to serve the art of preaching whose sole purpose Jesuitism forces, is persuasive effectiveness, where "feel the affect is referred to as the effect".
This particular speaking style has been classified and theorized by Gracian methodical with great accuracy in a book whose reading will be useful to the psychoanalyst, Agudeza Ingenio y arte (Art and the spirit figures). The
Agudeza is "acuity" (3), the figure reveals that the external mind, a trait, a pointed words sharp, biting, stinging, arrow, sharp voice, but can also be found to be a gesture or even silence ...
The joke is, however, never to Gracian, an elegant figure and free of rhetoric (4), but must be entirely at the service or theological mystery is the art of preaching, the unveiling or enigmatic of the human soul. If enjoyment of the joke there, it can not just be purely oral, it must be phallic.
This is just as likely that it will shift work away from those who receive it. "I want you singular, "wrote Gracian highlight the reader's" Heroes, "" and I write short, because you know the long, short, because I am limited and I do not want to arrest you more for you to go over far ".
Specifically it is the elision or addition of one letter, not so easy to render in translation (5) which will trigger the listener the impression of truth by which Gracian dedicate victory Baroque (the sound) on classicism (the idea).
In a key chapter of Agudeza y arte de Ingenio, the speech XXXII, entitled "Figures by paronomasia, puns and wordplay," it says by Example: "It transforms the way in transforming a letter." When this is done with large estates and in harmony with the subject, the line is sublime. "
But the anagram, the arrangement of phonemes, and other figures of paronomasia such as alliteration, assonance, play sound, are equally essential to capture the original style of Gracian.
Thus God's example, English, SUN-OS: I gave you ... (Life, children, property, health, land, sky, being, grace, myself ...), providing the pun says Pelegrin, "through the exaltation of divine name, his moral and religious. "
We are thus faced with a work composed in the seventeenth century, and posing with a lot of "acuity" the issue of the letter and its fall, bringing with it the fall or the assumption of a signifier still unbelievable to the reader, presenting a new light on the question of desire and truth, and on the question of the object a.
Note that this last question always arises inevitably in a moral treatise, which necessarily fall in line on one side the desire and enjoyment, and other prohibited and repression.
We regret that this item also fairly complete, since it offers in addition to "The Oracle", and "Art and the spirit of Figures," "Hero," "The honest man" and other more minor texts, does not understand "The Criticon "which is full of wonderful examples of this type, but had already been presented by Benito Pelegrin in a previous book (" The Criticon "Baltasar Gracian, translated anthology, presented and noted by Benito Pelegrin, Ed.Le Treader, Nantes, 1993, where comments and ratings may represent a work in its own right).
Benito Pelegrin, who likes to point out that this book would be a favorite of business and finance from New York, took this today translation, which was the first in France since the seventeenth century, a new version, consolidated, revised and corrected, closer to the original language and style of Baltasar Gracian. This collection
which Lacan refers in his lecture of 20 January 1971-Seminar XVIII: From a speech that was not the pretend-collection which was then known in France under the title of his first translator, Amelot de la Houssaie, The courtier (2).
Since its release in 1647, the book was a considerable success, was immediately translated into several languages, "the Hungarian Swedish through the Russian and Latin (B. Pelegrin)", and Gracian was widely taken and plundered in turn by European philosophers and moralists, who, Schopenhauer to Boileau, and Molière to Jankelevitch, owe one of their anchor points.
In "The Freudian thing," Lacan also mentions that "... line of moralists (in which it is naturally take place Freud) ... which is embodied in a tradition of humanistic analysis, milky way to heaven European culture where Baltasar Gracian and La Rochefoucauld make figures out of the first magnitude, a nova and Nietzsche as quickly as lightning back in the darkness "( Writings, p. 407). [...]
But this is not so much by art and cunning stratagems, ably expounded by Gracian who detain us, we willingly give up the golden boys and other devotees of individual success at the expense of others, yet we could without wasting time commenting again the thought of Gracian, including the division, and for example this aphorism 181, pique against Jansenism, where he states that the truth can not be known until mid-: No todas las verdades is pueden Dezire, after what Lacan might be translated as "not-all of truth can be told." For engineering
Baroque Gracian based on the art of aphoristic formula, brief, concise, brilliant, striking, ultimately, where Witz, the joke, what he calls the "concepto" is used to serve the art of preaching whose sole purpose Jesuitism forces, is persuasive effectiveness, where "feel the affect is referred to as the effect".
This particular speaking style has been classified and theorized by Gracian methodical with great accuracy in a book whose reading will be useful to the psychoanalyst, Agudeza Ingenio y arte (Art and the spirit figures). The
Agudeza is "acuity" (3), the figure reveals that the external mind, a trait, a pointed words sharp, biting, stinging, arrow, sharp voice, but can also be found to be a gesture or even silence ...
The joke is, however, never to Gracian, an elegant figure and free of rhetoric (4), but must be entirely at the service or theological mystery is the art of preaching, the unveiling or enigmatic of the human soul. If enjoyment of the joke there, it can not just be purely oral, it must be phallic.
This is just as likely that it will shift work away from those who receive it. "I want you singular, "wrote Gracian highlight the reader's" Heroes, "" and I write short, because you know the long, short, because I am limited and I do not want to arrest you more for you to go over far ".
Specifically it is the elision or addition of one letter, not so easy to render in translation (5) which will trigger the listener the impression of truth by which Gracian dedicate victory Baroque (the sound) on classicism (the idea).
In a key chapter of Agudeza y arte de Ingenio, the speech XXXII, entitled "Figures by paronomasia, puns and wordplay," it says by Example: "It transforms the way in transforming a letter." When this is done with large estates and in harmony with the subject, the line is sublime. "
But the anagram, the arrangement of phonemes, and other figures of paronomasia such as alliteration, assonance, play sound, are equally essential to capture the original style of Gracian.
Thus God's example, English, SUN-OS: I gave you ... (Life, children, property, health, land, sky, being, grace, myself ...), providing the pun says Pelegrin, "through the exaltation of divine name, his moral and religious. "
We are thus faced with a work composed in the seventeenth century, and posing with a lot of "acuity" the issue of the letter and its fall, bringing with it the fall or the assumption of a signifier still unbelievable to the reader, presenting a new light on the question of desire and truth, and on the question of the object a.
Note that this last question always arises inevitably in a moral treatise, which necessarily fall in line on one side the desire and enjoyment, and other prohibited and repression.
We regret that this item also fairly complete, since it offers in addition to "The Oracle", and "Art and the spirit of Figures," "Hero," "The honest man" and other more minor texts, does not understand "The Criticon "which is full of wonderful examples of this type, but had already been presented by Benito Pelegrin in a previous book (" The Criticon "Baltasar Gracian, translated anthology, presented and noted by Benito Pelegrin, Ed.Le Treader, Nantes, 1993, where comments and ratings may represent a work in its own right).
(1) political treaties, aesthetics, ethics, Baltasar Gracian, trans. Benito Pelegrin, Seuil, 2005.
(2) "Someone whose example should be one day someone will load, Baltasar Gracian, who was a distinguished Jesuit, who wrote these things among the most intelligent that we can write "
(3) Note that for M. Gendreau, and P. Massaloux Laurens, the Agudeza is rather Pointe (see title translation: The Point of Art or Engineering, Ed L'Age d'homme, Lausanne. 1983. But such a choice does not perhaps sufficient account of precisely the magnitude of these figures in mind, except to the Treaty, Pelegrin denounces a "hardware studded." See note 4.
(4) Curiously, this aspect, which concerns at the highest point the psychoanalyst, does not seem to retain our contemporaries. It reads from the pen of Roger-Pol Droit, in the World of Books 14 October 2005: "The only question is whether such distractions have a future. Or if they are things of the past" This does not detract from the pleasure of reading, he concluded, of course, but that reflects the overall decline of the Freudian reference, especially in the realm of literary criticism.
(5) For example, 5 of the aphorism "The Oracle manual Art and Prudence": "No hare el numen that el lo dora, sino el lo adora that" (not which gilds but love, which is the idol) or "if no eres Casto is Cauto" (if you're horny, do not be heading). This is where the art of translation exercise of Pelegrin glue as close to the style of Gracian, hitherto unheard of for the French reader. Demonstrated again the aphorism 125, alluding to the rebuilding frenzy by the Inquisition, the genealogy of the new Christians, Jews or Marranos ex-converts, who would not present the entire "limpieza de sangre," purity of blood appropriate. Where Gracian wrote "In estas materias, el más Escarbas that, más enloda is" Pelegrin translated "In these sewers, more excavation, more is defiled. "This aphorism also shows, if needed, that Gracian was a Jesuit at least unusual, which will therefore be concerned throughout his life.
(2) "Someone whose example should be one day someone will load, Baltasar Gracian, who was a distinguished Jesuit, who wrote these things among the most intelligent that we can write "
(3) Note that for M. Gendreau, and P. Massaloux Laurens, the Agudeza is rather Pointe (see title translation: The Point of Art or Engineering, Ed L'Age d'homme, Lausanne. 1983. But such a choice does not perhaps sufficient account of precisely the magnitude of these figures in mind, except to the Treaty, Pelegrin denounces a "hardware studded." See note 4.
(4) Curiously, this aspect, which concerns at the highest point the psychoanalyst, does not seem to retain our contemporaries. It reads from the pen of Roger-Pol Droit, in the World of Books 14 October 2005: "The only question is whether such distractions have a future. Or if they are things of the past" This does not detract from the pleasure of reading, he concluded, of course, but that reflects the overall decline of the Freudian reference, especially in the realm of literary criticism.
(5) For example, 5 of the aphorism "The Oracle manual Art and Prudence": "No hare el numen that el lo dora, sino el lo adora that" (not which gilds but love, which is the idol) or "if no eres Casto is Cauto" (if you're horny, do not be heading). This is where the art of translation exercise of Pelegrin glue as close to the style of Gracian, hitherto unheard of for the French reader. Demonstrated again the aphorism 125, alluding to the rebuilding frenzy by the Inquisition, the genealogy of the new Christians, Jews or Marranos ex-converts, who would not present the entire "limpieza de sangre," purity of blood appropriate. Where Gracian wrote "In estas materias, el más Escarbas that, más enloda is" Pelegrin translated "In these sewers, more excavation, more is defiled. "This aphorism also shows, if needed, that Gracian was a Jesuit at least unusual, which will therefore be concerned throughout his life.
November 24, 2005
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