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Si l’on y songe donc, le regard technique, phonéticien et linguistique, en se concentrant davantage sur les sons, change l’approche de la langue à ce tournant de siècle ; la langue est aussi un enjeu idéologique et politique permanent, l’objet de désir et de répression sociale. Ainsi, précisément, lorsque poètes symbolistes, post-symbolistes, certaines comètes de la littérature (Roussel et Brisset), futuristes (italiens et russes) et dadaïstes orientent leur pratique vers la “déconstruction”, le sabotage de la langue, pour vanter volontiers l’éclat du son (le signifiant phonique) et de la lettre (le signifiant graphique) et y préférer, parfois même, le silence, il n’y rien là d’absolument incompatible.

In this essay, the much discussed psychoanalytical dimension of her work will be neglected for the sake of the idea of the inherent politics of form, the notion that the boundaries of the subject and society can be burst open and transformed by means of a specific treatment of the material signifier. Kristeva’s psychoanalytical models are of course inextricably tied up with her concept of the political or potentially revolutionary nature of certain textual practices – after all, Kristeva’s revolutionary function is essentially a psychological one, her revolution is effectuated on the terrain of the subject, and can only later permeate and affect social structures by way of the transformed individual.

Ball, Hugo. 1992. Flucht aus der Zeit. Zurich: Limmat. Barthes, Roland. 1994. “Erté ou A la lettre” in Œuvres complètes II. 1966-1973. Paris: Éditions du Seuil. Bürger, Peter. 1974. Theorie der Avantgarde. Frankfurt am Main: Suhrkamp. ). 1981. Dada. Zurich – Paris. Paris: Édition Jean-Michel Place. Greenberg, Allan C. 1985. “The Dadaists and The Cabaret as Form and Forum” in Foster, Stephen C. ). Dada/Dimensions. Ann Arbor, Michigan: UMI Research Press. Hausmann, Raoul. 1977. “Dada empört sich, regt sich und stirbt in Berlin” in Riha (1977): 10–11.

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