By Laurent Gaulet
Un nouveau titre de Laurent Gaulet dans los angeles assortment Petit livre… spécial mauvais esprit ! one hundred fifty idées pour faire tourner en bourrique anonymes ou amis. Glisser un string dans le caddie d’une petite mamie juste avant qu’elle ne passe à l. a. caisse, se garer en biais sur trois areas sur le parking d’Auchan un samedi après-midi, tenir une dialog très intime dans le métro à l’heure de pointe… Un Petit livre essentiel pour sourire à ces idées sournoises ou s’en inspirer en cas de coup dur !
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Additional resources for 150 idées pour emmerder le monde
Sample text
One can descry in the background, I believe, the outlines of the intellectual life of the early Empire. I may to some extent have been subject to a professional vice. My many years of studying poetic texts that adopt a high register have convinced me that the literary sublimeeven if it is mediated in this case by the indirect language of parodyis an important key to an understanding of the Satyricon. " As will become apparent, this volume aims to achieve unity out of opposing forces, since the two aspects are complementary; they are, in fact, held together by a vigorous dialectic that dominates the whole text, supports it and coherently builds it up.
I have not set myself the wearying task of trying to construct tables of correspondence, to find out how Gérard Genette, Mieke Bal or Jaap Litvelt would have expressed the same idea. Naturally, each one would have found a different, and more complex, way of expressing it, and the terminology would have multiplied out of control. I was afraid that even in the attempt to rid myself of what was superfluous, I would be confronting a Lernaean Hydra: every "instance of focalization'' amputated might result in two more threatening instances.
The reader cannot help adopting the bona mens, that common sense which is so often invoked in the Satyricon as the significant missing element. I have described as the "hidden author" the implied self-image that Petronius creates as author of his text. The ideal reader too, by forming exactly this image of the author, that is by agreeing to it, takes shape in the text as a set of values in opposition to those of Encolpius and closer to normality. By making faces as it were behind the narration of Encolpius, the author first ensures that the protagonist and narrator reveals himself and his own naïveté and then leaves him without the protective illusions that the narrator has constructed for himself: in this way he secures for himself the reader's conniving response.