Roland Barthes, author of "Le plaisir du texte " (title Italianate in "The pleasure of the text"), affirms the existence of a science of the pleasures of language, that is writing, but first it is necessary to reveal a difference between enjoyment and pleasure. Pleasure is a fulfillment, and enjoyment is as a sort of faintness, loss. If you judge a text according to the pleasure, you can not say that it is good or bad, you can not make no criticism and no list, because "for me" is neither subjective nor essistenziale but is Nietzschean. A text is never a dialogue, then there is no risk of possible attacks, blackmail, it establishes only a kind of island, displays the asocial nature of pleasure and enjoyment of the shocking glimpse of the truth. Behind a text are not passive figures (readers) and active figures (writers), much less a subject and an object. The text has a human form, is a part of our erotic body. It chooses us, we want, through a series of invisible patterns (such as vocabulary, readability, etc.). And communicates to us was a calm and excluded. In the midst of it there is always the author, like his presence and I need his figure. The pleasure is not an element of the text, but it is a drift, that is something revolutionary and asocial that can not be adopted by any community. E ' outrageous as it is atopic, not because it is immoral. The pleasure of the text is outrageous and atopic eczema, is not spoken, a fiction. All the lyrics I write have to want, should give me proof of want, and it is the writing, the science of the pleasures of language, its Kama Sutra. But remember that a French person in two does not read and therefore deprived of reading not only renounces those canons of ideal beauty and perfection expressed by greek and Roman civilization, but especially one devoid of pleasure.
"If it were possible to imagine an aesthetic pleasure of the text, include: writing out loud" (Roland Barthes, The pleasure of the text, p. 65).
"Writing aloud is not expressive scope is not the dramatic inflections, intonations malignant accents complacent, but the grain of the voice, which is a mixture of erotic tone and language, and therefore may be too 'it, like the diction, the field of art: the art of conducting his own body "(p. 65).
Writing aloud is phonological and phonetic but his goal is obviously the language, a text that has a chance to feel the grain of the voice with all the sensuality of consonants and vocali.Bisogna ensure that feel the breath, we see the magnificent movement of the lips in order that the voice and writing is fresh. For Barthes, "the voice, the embodiment of speaking, lies in the articulation of body and speech." The task of heading is to act as an intermediary, from articulation of body and speech. Each report is necessarily love his voice, because there is no science that can exhaust our voice. The grain of the voice is that indefinable quality that makes each item unique because it brings track of the body that produces it, of our lives. The words must be spoken and understood especially, listen, without passing through the ear.
ancient rhetoric included a forgotten part: the actio, given the dominant factor in the efficacy of expression of the speaker. Cicero, in the world of Latin, is the greatest theorist of saying. The purpose of oratory, are probate, the delectare and Flectar , for which prefigures the purposes of the research of persuasion and consensus may be, from a social point of view and political agreement as a true instrument of domination, that is, as the technique of manipulation of consensus and persuasion. The rhetoric is two operzioni through the mind and the soul of the audience: to convince (fidem facere ) and move ( animun movere ). In fact, with the probe the speaker tends to prove the truth of his thesis, in short, tends to convince the listener, and the means of communication best suited to perform this action is to adopt a simple style, floor, resigned and discursive. The delectare , however, is designed to delight for which the speaker tends to captivate the listener with aesthetic messages, and then to produce conivolgimento consent. For this reason, the speaker tends to use an ornate, that is rich in figures of speech. With Flectar, Finally, the speaker tends to bend the minds arousing strong emotions in the audience using a style sublime, pathetic, engaging and captivating. In addition, a speaker, in addition to holding these styles and know how to use it appropriately, it must be in possession of a large culture. Cicero was a master in the art of modulating the tone of voice and gestures change, which appeared spontaneous, but that had been studied carefully.
Elvira Bags
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