By Dennis Hollier
During the last 30 years the writings of Georges Bataille have had a profound impression on French highbrow idea, informing the paintings of Foucault, Derrida, and Barthes, between others. opposed to structure bargains the 1st critical interpretation of this not easy philosopher, spelling out the profoundly unique and radical nature of Bataille's paintings.
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Additional resources for Against Architecture: The Writings of Georges Bataille
The entire text functions in this mode, which is regressive; it is dominated by the maternal image, one restoring continuity and reducing externality. Continuity is even part of the style of this text. Or rather, it is a text (doubtless the only one Bataille wrote) that multiplies stylistic effects, style being precisely, as Barthes once defined it, this sort of homoge neous varnish spread uniformly on a text to mask its discontinuities to mask, that is, the work of writing. The lyrical tone, the pseudo medieval vocabulary, each in turn adds a binding agent of effusion and spirituality; while the syntax, after every punctuation, starts in again on the great uninterrupted flood of meditation.
In his thesis Marx recalled Epicurus's claim that he was an enemy of grammar. Around the thirties, writers indeed make more and more grammatical errors, they invent words that belong to no diction ary. No one understands them any more. Portmanteau words, glos solalia, badly constructed sentences, no more punctuation: the Tower of Babel. And in this context several mock dictionaries appear. 1 . The first is Glossaire: j'y serre mes gloses by Michel Leiris (appearing first in April 1 925 in La Revolution surrealiste) .
One should not seek among her stones something belonging to the past and to death. In her awful silence flickers a light that transfigures her vision ; it is the flickering light of hope. Of course, she is stretched out like a corpse in the midst of plains that are a vast cemetery-without peace. But I realized that within her there was a great shout of resurrection. She is too sublime, too lofty in her frenzied soaring to give death's filth a hold on her, and she cries out to all the surrounding dead that it is in light that they are buried.
Against Architecture: The Writings of Georges Bataille by Dennis Hollier