Jean-Pierre Brisset
From The Art and Popular Culture Encyclopedia
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| '''Jean-Pierre Brisset''' (La Sauvagère, ''Orne'' [[1837]] – La Ferté-Macé, ''Orne'' [[1919]]) was a [[France|French]] writer born of peasant farmers. | '''Jean-Pierre Brisset''' (La Sauvagère, ''Orne'' [[1837]] – La Ferté-Macé, ''Orne'' [[1919]]) was a [[France|French]] writer born of peasant farmers. | ||
| - | He was an [[Outsider_art|outsider writer]], much like [[Henri Rousseau]] was an outsider artist. His writings are in publication as of 2004. He is a saint on the [['Pataphysics]] calendar. | + | He was an [[Outsider_art|outsider writer]], much like [[Henri Rousseau]] was an outsider artist. He is a saint on the [['Pataphysics]] calendar. He was featured in Breton's ''[[Anthology of Black Humour]]''. |
| His writings are in publication as of 2004. Most of his work was self-published. He has a theory that man descended from [[frog]]s. | His writings are in publication as of 2004. Most of his work was self-published. He has a theory that man descended from [[frog]]s. | ||
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Jean-Pierre Brisset (La Sauvagère, Orne 1837 – La Ferté-Macé, Orne 1919) was a French writer born of peasant farmers.
He was an outsider writer, much like Henri Rousseau was an outsider artist. He is a saint on the 'Pataphysics calendar. He was featured in Breton's Anthology of Black Humour.
His writings are in publication as of 2004. Most of his work was self-published. He has a theory that man descended from frogs.
His best-known poem is Les dents, la bouche, a poem which is untranslatable due on its reliance on paronymy.
La grande loi ou la clef de la parole
Il existe dans la parole de nombreuses Lois, inconnues jusqu'aujourd'hui, dont la plus importante est qu'un son ou une suite de sons identiques, intelligibles et clairs peuvent exprimer des choses différentes, par une modification dans la manière d'écrire ou de comprendre ces noms ou ces mots.
Toutes les idées énoncées avec des sons semblables ont une même origine et se rapportent toutes, dans leur principe, à un même objet. Soit les sons suivants:
Les dents, la bouche.
Les dents la bouchent,
l'aidant la bouche.
L'aide en la bouche.
Laides en la bouche.
Laid dans la bouche.
Lait dans la bouche.
L'est dam le à bouche.
Les dents-là bouche.
Paronymy
La fameuse «grande Loi» établie par Brisset ne tient en fait compte que de la paronymie. C'est cette approximation, cette inconséquence épistémologique qui séduiront Duchamp. Un à-peu-près est le plus sûr moyen, à moindre frais, de projeter un ailleurs de la langue, de susciter un exotisme, un extérieur radical aux lois syntaxiques qui nous gouvernent et nous conditionnent. Et puis il y a ce coup d'audace surtout, qui introduit au cœur d'un corpus fantasmé comme scientifique des matériaux littéraires qui relèvent plus explicitement des Monologues de Coquelin-Cadet ou des blagues de l'Almanach Vermot. --http://www.lespressesdureel.com/extrait.php?id=9&menu= [Aug 2005]
Steven Shaviro on Brisset
- "Jean-Pierre Brisset as an antidote to the anthropocentric structuralisms of Saussure, Lacan, and Chomsky. Brisset maintains that human beings are immediately descended from frogs. He supports his claim with exhaustive linguistic analyses. Our speech, he shows, is a hypostasis of frogs' croaking in the mudflats; our writing conserves the traces of their obscure hatreds, jealousies, and battles. Brisset, much like McLuhan, affirms the tactility of language, its oral and aural density, its rich, viscous materiality. He "puts words back in the mouth and around the sexual organs." Language arises out of orgasmic screams and bodily spasms. There's no clear dividing line between body and thought, or nature and culture, just as there is none between the water and the land. Language and sexuality are not the clean, abstract structures the so-called "human sciences" have long imagined them to be. Rather, they are forces in continual agitation in the depths of our bodies. --DOOM PATROLS, Chapter 4, Michel Foucault, Steven Shaviro [1995-1997] via http://www.dhalgren.com/Doom/ch04.html [Aug 2005]
