A Transposing a Meadow's Silence (Ponge and Guillevic)

A Transposing a Meadow's Silence (Ponge and Guillevic) Steven Winspur Transposing a Meadow's Silence (Ponge and Guillevic) Et le silence, s'il est bien le dernier mot dont ait à nous faire part la réalité, n'apparaît jamais de manière si éloquente que lorsque le réel est précisément en train de parler. Clément Rosset1 When understood as the absence of signs, silence is all too often considered a verbal phenomenon. As such it occurs, for example, in the pauses between utterances, or in the blank spaces between groups of lines in modern poetry, with the result that particular instances of silence take on a meaning from the verbal units that frame them. There is, however, another type of silence that does not depend on words for its appearance or significance: namely, the state of being that is exemplified by a natural landscape. Such a calm is in fact often made up of sounds (those of the wind on leaves and branches, or of passing animals), but what makes it even more different from the first type of silence is that its modulated forms and effects exclude human speech. They are impervious to any translation into words that one might attempt, primarily because they convey no message whatsoever. Francis http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

A Transposing a Meadow's Silence (Ponge and Guillevic)

French Forum, Volume 29 (2) – Nov 15, 2004

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Publisher
University of Nebraska Press
Copyright
Copyright © 2004 by French Forum, Inc.
ISSN
1534-1836
Publisher site
See Article on Publisher Site

Abstract

Steven Winspur Transposing a Meadow's Silence (Ponge and Guillevic) Et le silence, s'il est bien le dernier mot dont ait à nous faire part la réalité, n'apparaît jamais de manière si éloquente que lorsque le réel est précisément en train de parler. Clément Rosset1 When understood as the absence of signs, silence is all too often considered a verbal phenomenon. As such it occurs, for example, in the pauses between utterances, or in the blank spaces between groups of lines in modern poetry, with the result that particular instances of silence take on a meaning from the verbal units that frame them. There is, however, another type of silence that does not depend on words for its appearance or significance: namely, the state of being that is exemplified by a natural landscape. Such a calm is in fact often made up of sounds (those of the wind on leaves and branches, or of passing animals), but what makes it even more different from the first type of silence is that its modulated forms and effects exclude human speech. They are impervious to any translation into words that one might attempt, primarily because they convey no message whatsoever. Francis

Journal

French ForumUniversity of Nebraska Press

Published: Nov 15, 2004

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