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The work of the French literary review, intellectual grouping, and publishing team Tel Quel had a profound impact on literary and cultural debate in the 1960s and '70s. THE TEL QUEL READER presents, for the first time in English, many of the key essays written by the Tel Quel group. The collection filled a much-needed gap in the literature available on the postculturalist movement.
* The first full-length study in any language of one of the most important elements in post-war French intellectual and cultural life. The journal Tel Quel was the focus of much of the intense theoretical activity of Paris in the 1960s and 1970s and played a vital role in the development of the key thinkers of the time: Roland Barthes, Michel Foucault, Louis Althusser, Jacques Lacan, Julia Kristeva, and Philippe Sollers. Patrickffrench traces its history, across the 'time of theory' and the catastrophe of May 1968, to the review's controversial affirmation of literature as akin to theology in the late 1970s. Beyond its documentary and historical significance, the book maps a 'genealogy' of theory, from its structuralausterity and 'terror' to a new time 'after theory'.
"A comprehensive encyclopedia of literary and cultural theory. Covers Literary Theory from 1900 to 1966, Literary Theory from 1966 to the present, and Cultural Theory. This encyclopedia provides accessible entries on the important concepts, theorists and trends in post-1900 literary and cultural theory. With explanations of complex terms and important theoretical concepts, and summaries of the work and ideas of key figures, it is a highly informative reference work for a multi-disciplinary readership"-- Nota de l'editor.
A rare and unique publication of Roland Barthes' notebooks from his travels in China. The notebooks document Barthes' thoughts during his 1974 visit to China, just as the last campaign of the Cultural Revolution was getting underway.
A radically new philosophy of experience and speculation, based on a reading of Whitehead's Process and Reality.
No text has its meaning alone; all texts have their meaning in relation to other texts. Since Julia Kristeva coined the term in the 1960s, intertextuality has been a dominant idea within literary and cultural studies leaving none of the traditional ideas about reading or writing undisturbed. Graham Allen's Intertextuality outlines clearly the history and the use of the term in contemporary theory, demonstrating how it has been employed in: structuralism post-structuralism deconstruction postcolonialism Marxism feminism psychoanalytic theory. Incorporating a wealth of illuminating examples from literary and cultural texts, this book offers an invaluable introduction to intertextuality for any students of literature and culture.
Both Jacques Derrida and Julia Kristeva have made an enormous impact throughout the humanities with their work on signification, identity and difference, and yet the nature of the relation between their theories seems oddly indeterminate: they have sometimes been regarded as more or less indistinguishable and sometimes as incompatible This book aims at establishing precisely how Kristeva's and Derrida's writings may be articulated, tracing intersections and divergences, parallels and discontinuities between them. But how do you compare two theories of the production of difference? What conception of difference do you use to go about it? Any search for a dividing line between Derrida and Kristeva already engages with their preoccupations. Should the juxtaposition of these practices be conceived as a face-to-face confrontation or rather a gap, a hiatus? Could it be a dialectic? or a diff rance? Should it be thought of in terms of Kristeva's work . . . or Derrida's? Accessible and lively, this book studies the theories on their own terms, in terms of one another, and with regard to the literary text, a privileged object of their attention. It demonstrates that the articulation of the theories shifts under different discursive conditions such that a Derridean reading of the relation is unlikely to coincide with a Kristevan interpretation. It shows why there is no single answer to the question of how the two fit together. And it investigates what is at stake in the strategic uses to which their work is put, whether separately or together.
Roland Barthes (1915-1980) was a major French writer, literary theorist and critic of French culture and society. His classic works include Mythologies and Camera Lucida. Criticism and Truth is a brilliant discussion of the language of literary criticism and a key work in the Barthes canon. It is a cultural, linguistic and intellectual challenge to those who believe in the clarity, flexibility and neutrality of language, couched in Barthes' own inimitable and provocative style.
Julia Kristeva's blend of the literary with the psychoanalytic places her work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis. Her profound understanding of the dynamics of intention and creativity mark her out as one of the leading theoreticians of desire. Each essay in this volume offers new insight into the many aspects that make up Kristeva's thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature.
During the 1960's and 1970's, the eruption of theory was presented as an epistemic break, reorganizing the field of questioning both prospectively and retrospectively. In the forefront of this new movement was the influential journal Tel Quel, which both canonized a body of preferred avant-garde texts (both literary and theoretical) and nullified prominent figures from preceding generations. In a broad remapping of French modernism, this book shows how the milieu of Tel Quel transferred myths of the powers of literature inherited from Bataille, Sartre, Valéry, and Breton to theory, in the process erasing the traces of these myths and their common ground. The author analyzes cultural and theoretical positions—pure art, automatism, engagement, and transgression—that structured the literary and critical field from the 1920's to the 1950's to show their strong impact on the formulation and elaboration of theoretical issues in more recent decades. Focusing on the question of relations between poetry and action, she reexamines these positions and uncovers proximities between them that significantly displace theoretical issues. These proximities emerge when a philosophical subtext of Bergson—antiphilosopher and nondialectical thinker—is revealed to operate alongside the more obvious subtext of Hegel. The discourse of Bergson shifts the category of action central to these literary polemics and revalues the visual register, suggesting a reconsideration of Surrealism. The book concludes by examining the ideological pressures associated with the eclipse of the discourse of Bergson as well as some of the effects of this erasure on our understanding of the modern as distinct from the postmodern.