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According to Kristeva, the avant-garde was the main event that profoundly marked the European literary experience for the less century : literature's encounter with the impossible. It implies not only that the avant-garde was a creative will to renew literary values by becoming isolated from the existing world, but also that an esthetic revolution always runs toward the horizon of the impossible along with the political revolution in order to change the whole world including our literature and lives. The French avant-garde movements, the expression of being absolutely new and isolated, occurred twice: the first one was surrealism led by Breton and Aragon in the 1920s right after the World War I and the second the one led by Tel Quel in the time of the students revolution in 1968.
Bourdieu pointed out that evaluating literary works depends not only on literary qualities but also on many other factors such as publication, editing, and literary education. Therefore, he asserted that the real producer of literary works is not a writer but a literary field. As confirmed in Bourdieu's theory, La Revolution Surrealiste, a surrealistic journal, came out in France, standing against the NRF, a representative journal of conservative literature published by Gide. In 1960, Sollers' Tel Quel, began to lead its path against Les Temps Modernes, a journal representing Sartre's existentialism which had dominated the literary field since the World War II. Tel Quel downplayed Sartre's works by considering them less important.
Then, what can we tell about the relationship between surrealism, which proclaims the rupture, transgression, and subversion from previous literature, and avant-garde movements expressed in Tel Quel? There are similarities as well as differences as follows: Firstly, surrealists wrote based on Freud's free association, ‘ecriture automatique’ in other words. They had to face the reality where they should have some fictional elements to make text readable against their original intention. The accidental and somehow mysterious encounters people experienced while walking around downtown of Paris had to take some narrative forms and eventually Freud left only as a reminiscent of myths. On the other hand, Tel Quel's ‘ecriture textuelle’, the theory of text in other words, got an integral prospect of prominent scholars such as Freud, Marx, and Saussure who speculated within history and society and succeeded in leading all the post-isms including post-marxism, post-feminism, post-structuralism, and post-modernism. As a result, it gave a birth to a new literary theory, “intertextualite”. in which a group of transgressive writers like Bataille, Artaud, and Roussel were recognized as the main subjects of writing. Tel Quel was then perceived as a laboratory of reading and interpretation later. Secondly, although surrealists admitted the importance of psycho- analysis, it evaluated the analysis of Jung better than that of Freud, and emphasized the subconscious more than the unconscious. On the other hand, Tel Quel clarified the relationship between the unconscious and the language by employing Lacan's theory of desire. Lastly, despite its efforts, neither Tel Quel's avant-garde movement nor surrealism could coexist with communism where revolution of thoughts should always be premised on social revolution. Tel Quel had to repeat the failure of surrealism.
If the discrepancy between arts and political movements made all the people who participated in avant-garde movements frustrated, have avant-garde movements finally ended for good as Sollers pointed out? Have they already become one of the historical concepts that were disappeared, buried, and surpassed just like Russian formalism, futurism, and French surrealism? If not, Tel Quel was gone, but do its dreams will be revived in the next generation as it was revived before, as Suleiman remarked? Avant-garde movements, where they dreamed about changing the life as Rimbaud said and about transforming the world as Marx said, are yet alive with us in the present time although it always runs toward the horizon of the impossible.
Bourdieu pointed out that evaluating literary works depends not only on literary qualities but also on many other factors such as publication, editing, and literary education. Therefore, he asserted that the real producer of literary works is not a writer but a literary field. As confirmed in Bourdieu's theory, La Revolution Surrealiste, a surrealistic journal, came out in France, standing against the NRF, a representative journal of conservative literature published by Gide. In 1960, Sollers' Tel Quel, began to lead its path against Les Temps Modernes, a journal representing Sartre's existentialism which had dominated the literary field since the World War II. Tel Quel downplayed Sartre's works by considering them less important.
Then, what can we tell about the relationship between surrealism, which proclaims the rupture, transgression, and subversion from previous literature, and avant-garde movements expressed in Tel Quel? There are similarities as well as differences as follows: Firstly, surrealists wrote based on Freud's free association, ‘ecriture automatique’ in other words. They had to face the reality where they should have some fictional elements to make text readable against their original intention. The accidental and somehow mysterious encounters people experienced while walking around downtown of Paris had to take some narrative forms and eventually Freud left only as a reminiscent of myths. On the other hand, Tel Quel's ‘ecriture textuelle’, the theory of text in other words, got an integral prospect of prominent scholars such as Freud, Marx, and Saussure who speculated within history and society and succeeded in leading all the post-isms including post-marxism, post-feminism, post-structuralism, and post-modernism. As a result, it gave a birth to a new literary theory, “intertextualite”. in which a group of transgressive writers like Bataille, Artaud, and Roussel were recognized as the main subjects of writing. Tel Quel was then perceived as a laboratory of reading and interpretation later. Secondly, although surrealists admitted the importance of psycho- analysis, it evaluated the analysis of Jung better than that of Freud, and emphasized the subconscious more than the unconscious. On the other hand, Tel Quel clarified the relationship between the unconscious and the language by employing Lacan's theory of desire. Lastly, despite its efforts, neither Tel Quel's avant-garde movement nor surrealism could coexist with communism where revolution of thoughts should always be premised on social revolution. Tel Quel had to repeat the failure of surrealism.
If the discrepancy between arts and political movements made all the people who participated in avant-garde movements frustrated, have avant-garde movements finally ended for good as Sollers pointed out? Have they already become one of the historical concepts that were disappeared, buried, and surpassed just like Russian formalism, futurism, and French surrealism? If not, Tel Quel was gone, but do its dreams will be revived in the next generation as it was revived before, as Suleiman remarked? Avant-garde movements, where they dreamed about changing the life as Rimbaud said and about transforming the world as Marx said, are yet alive with us in the present time although it always runs toward the horizon of the impossible.
목차
Ⅰ. 머리말
Ⅱ. 아방가르드의 정의
Ⅲ. 『NRF』에서 『초현실주의 혁명』으로
Ⅳ. 사르트르의 『현대』에서 솔레르스의 『텔켈』로
Ⅴ. 『텔켈』의 부정성의 미학
Ⅵ. 맺음말
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