The notion of the everyday is at the heart of modern French cultural and Anglo-American cultural studies. Since the 1960s numerous writers, artists, philosophers, and social theorists have tried to home in on the patterns and rhythms of our daily activities. This book provides a detailed map of this territory, linking the pioneering work of such key figures as Georges Perec and Michel de Certeau, to currents in Surrealism, ethnography, fiction, film, and photography.

In his lectures at the Collège de France in 1978–1979, Barthes focuses at length on the activity of ‘la notation’ (in English, notation): grabbing a fleeting event or impression as it happens, and registering it in your notebook. This article explores the ramifications of notation, as outlined in the lectures (where it is associated with haiku, Joycean epiphany and Proustian impressionism), linking it to Barthes’s longstanding interest in the ontology of modes of signification. Allied to his concept of the ‘third (...) meaning’, and to later terms such as the incident and the romanesque, notation is seen to be central to the preoccupation with affect, subjectivity and individuality we associate with Barthes’s later work. Linked with the fantasy of writing a novel, notation also chimes with the “fantasmatic pedagogy” of Barthes’s lectures where ideas are explored in a highly personal way through the accumulation of discontinuous traits. Through notation the affect-driven, decentred Barthesian subject finds its voice. (shrink)

In his lectures at the Collège de France in 1978–1979, Barthes focuses at length on the activity of ‘la notation’ (in English, notation): grabbing a fleeting event or impression as it happens, and registering it in your notebook. This article explores the ramifications of notation, as outlined in the lectures (where it is associated with haiku, Joycean epiphany and Proustian impressionism), linking it to Barthes’s longstanding interest in the ontology of modes of signification. Allied to his concept of the ‘third (...) meaning’, and to later terms such as the incident and the romanesque, notation is seen to be central to the preoccupation with affect, subjectivity and individuality we associate with Barthes’s later work. Linked with the fantasy of writing a novel, notation also chimes with the “fantasmatic pedagogy” of Barthes’s lectures where ideas are explored in a highly personal way through the accumulation of discontinuous traits. Through notation the affect-driven, decentred Barthesian subject finds its voice. (shrink)

Ce texte a déjà paru dans Temps zéro, nº 1, 2007. Nous remercions Michael Sheringham de nous avoir autorisé à le reproduire ici. Résumé : Si l'expérience de la quotidienneté, qui préoccupe un philosophe comme Henri Lefebvre ou un écrivain comme Georges Perec, semble résister à l'emprise du roman, Michel de Certeau a pu mettre une réflexion sur le récit au cœur de son essai fondamental, L'invention du quotidien. En effet, les notions de « récits délinquants » ou d'« énonciations (...) piétonnières », chez Certeau, (...) - Poétique et Études littéraires – GALERIE – Nouvel article. (shrink)

In his lectures at the Collège de France in 1978–1979, Barthes focuses at length on the activity of ‘la notation’ (in English, notation): grabbing a fleeting event or impression as it happens, and registering it in your notebook. This article explores the ramifications of notation, as outlined in the lectures (where it is associated with haiku, Joycean epiphany and Proustian impressionism), linking it to Barthes’s longstanding interest in the ontology of modes of signification. Allied to his concept of the ‘third (...) meaning’, and to later terms such as the incident and the romanesque, notation is seen to be central to the preoccupation with affect, subjectivity and individuality we associate with Barthes’s later work. Linked with the fantasy of writing a novel, notation also chimes with the “fantasmatic pedagogy” of Barthes’s lectures where ideas are explored in a highly personal way through the accumulation of discontinuous traits. Through notation the affect-driven, decentred Barthesian subject finds its voice. (shrink)

In his lectures at the Collège de France in 1978–1979, Barthes focuses at length on the activity of ‘la notation’ (in English, notation): grabbing a fleeting event or impression as it happens, and registering it in your notebook. This article explores the ramifications of notation, as outlined in the lectures (where it is associated with haiku, Joycean epiphany and Proustian impressionism), linking it to Barthes’s longstanding interest in the ontology of modes of signification. Allied to his concept of the ‘third (...) meaning’, and to later terms such as the incident and the romanesque, notation is seen to be central to the preoccupation with affect, subjectivity and individuality we associate with Barthes’s later work. Linked with the fantasy of writing a novel, notation also chimes with the “fantasmatic pedagogy” of Barthes’s lectures where ideas are explored in a highly personal way through the accumulation of discontinuous traits. Through notation the affect-driven, decentred Barthesian subject finds its voice. (shrink)