레이몽 크노와 에크리튀르의 혁신: 「문체연습」을 중심으로

Abstract

‘L’Ouvroir de littérature potentielle’, generally referred to by its acronym OuLiPo, is a group of literary writers and mathematicians who defined themselves as “rats who build their own labyrinth which they propose to get out.” The members of the OuLiPo meet to reflect on the notion of “coercion” and produce new structures of creation. Queneau’s Hundred Thousand Billion Poems and Exercises in Style are representative works. In this study, we investigate the writing renovation of Raymond Queneau,focusing on Exercises in Style. It consists of 99 Writing exercises, which are supposed to repeat the same episode every time by varying processes. They are a shining example of a constraint as a literary creative engine and as such is a precursor of movement OuLiPo text which Raymond Queneau is a founder. Queneau denies the myth of originality, inspiration that enhances the author. Lipogram is a text in verse or prose in which the author has emerged so as to omit the words without a certain letter. Now, in “lipogram” there has inevitably to be an E. Making this text a lipogram in E is equivalent to breaking the unity under-exercise. In our opinion, this is why the union has established Queneau Exercises in style by slipping an E. For “Translation” Queneau chooses the “method lescurienne S+7” which replaces every noun in a text (denoted by “S”) by yet another common name that follows in the dictionary. And “Translation” is treated as “S+6”. In addition, some exercises of style use foreign languages like English, Italian and Latin. They are written in both French and in a foreign language, in a rather complex manner, which refers specifically to the famous “Ortograf Fonetik” (phonetic spelling) invented by Queneau. The attempt to transplant Queneau in the French language the sound characteristics of the foreign language creates a cryptic language. In Queneau’s Exercises in Style, there is not the 100th exercise. If a reader assumes its own utterance, he is a player-author. In drafting the 100th exercise, he completes the work and thus justifies the literary process of Queneau. The reader-author participates in the potentiality of literature proposed by Queneau.