jeudi, mai 11, 2006

Lacan & Bataille par Roland Léthier (1)

Ce titre : "Bataille avec Lacan" a deux sources qui vont être explicitées, et le champ du propos sera limité, borné. Les bornes qui limitent ce champ sont au nombre de trois.
La première borne est empruntée à "Corbu", l'architecte révolutionnaire qui­ un peu plus d'un siècle après Claude-Nicolas Ledoux vint redonner à ­l'autonomie des formes en architecture sa portée innovante. A propos de ce ­bijou formel qu'est la villa Savoye à Poissy, Le Corbusier proposait ce ­mode d'approche :





C'est en marchant, en se déplaçant que l'on voit se­ développer les ordonnances de l'architecture. C'est un­ principe contraire à l'architecture baroque qui est­ conçue sur le papier autour d'un point fixe théorique[1].

- La première borne propose donc un parcours sans point fixe théorique au­ départ.


- la seconde borne est la proposition N°7 du Tractatus logico-philosophicus de­ Ludwig Wittgenstein qui s'énonce ainsi :

Ce dont on ne peut parler, il faut le taire[2].

Cette borne indique que ce développement sera marqué par la pratique de "l'honnête dissimulation", pratique qui est la première qualité du ­secrétaire scrupuleux[3].

- La troisième borne peut être illustrée par l'historiette suivante :
"Un élève arrive dans une classe et il se rend compte que toutes les places­ sont prises, il se retrouve sans place et hors-classe".

Post - intro

L'écriture du désastre[4] est l'expression qui convient le mieux pour ­qualifier l'écriture de celui que les historiens de la littérature et les critiques considèrent comme inclassable (il n'est pas tout à fait le ­seul).
Etait-il philosophe, poète, économiste, écrivain, anthropologue, historien­ de l'art ou plus banalement bibliothécaire ?
De son côté Georges Bataille se qualifiait de philosophe, de saint ou ­peut-être de fou, de celui "qui pense comme une fille enlève sa robe. A l'extrémité de son mouvement, la pensée est l'impudeur, l'obscénité­ même."
Ce statut d'inclassable porte déjà en lui une pointe de subversion et, de­ ce fait, fait appel à un autre inclassable pour accueillir sa vérité.
Cet autre inclassable est socialement le nom du psychanalyste du fait de sa ­juste mise à l'écart de l'ordre social.
C'est de ne pas faire partie d'un ordre que le psychanalyste peut­ accompagner le développement de "l'ordre des positions subjectives de­ l'être"[5].

La première source de ce titre "Bataille avec Lacan" tient donc à cette ­qualité commune "d'inclassable" de Bataille et Lacan.

La deuxième source de ce titre tient à l' Histoire de la psychanalyse en­ France; c'est le titre de deux volumes qui portent comme sous-titre: La bataille de cent ans [6]. Ce sous- titre est brièvement explicité dans ­l'avertissement du volume I :

Le temps de la bataille n'est pas celui de la guerre,­ mais d'un moment privilégié de la guerre, où l'histoire d'une doctrine se confond avec celle de ses crises, où les crises témoignent de l'implantation d'une doctrine,­ de ses défaites ou de ses victoires.

Cette démonstration est confondante par sa certitude rhétorique, mais la ­question que pose ce sous-titre, avec la connotation franco-anglaise et­ moyenâgeuse sur laquelle il insiste, c'est d'abord la question de la­ durée, la question de ces "cent ans".
Il n'y a en effet aucune raison pour que cette bataille n'ait duré que cent ­ans et se soit terminée en 1985, sauf peut-être à supposer que l'historienne­ pressentant une fin proche ait déjà enterré la psychanalyse.

La seconde question qu'apporte ce sous-titre, déjà marqué de suspicion,­ concerne l'introduction de ce nom : bataille.
En utilisant ce nom en apposition, en contre-point de l' Histoire de la ­psychanalyse en France , l'historienne a pris le risque d'occulter la ­présence de ce nom dans cette histoire et plus particulièrement dans le ­frayage de Lacan.
La présence du nom commun réduit la présence du nom propre à l'anecdote.
C'est ainsi que ce texte se présente comme une antidote à cette réduction à­ l'anecdote.


Après l' intro : l' impro...

Dans le champ français, les textes de Freud furent accueillis de façon­ féconde et de façon dogmatique, cette dernière façon ne sera pas traitée­ ici.
La façon féconde tient à ce que les textes de Freud ne furent pas pris ­par certains, les plus versés vers l'écriture, comme des leçons mais comme­ le ferment, la levure qui leur permit de donner du souffle à leur écriture.­ Ils apportaient également cette nouveauté stylistique qui peut être ­qualifiée d'improvisation rigoureuse[7].
Les surréalistes, d'emblée, y entendirent un support et un soutien pour ce ­qu'ils avaient à dire [8].
Georges Bataille, qui n'était pas breton mais tout simplement de la campagne ­ou plus précisément encore des vieilles montagnes centrales, ne passa pas à ­côté des textes de Freud qu'il lut dès 1923 (il avait 26 ans). Il ne se­précipita pas à Vienne comme Breton le fit en 1921[9] , en revanche cette ­lecture précédée par celle de Nietzsche l'entraîna dans une écriture d'une ­singulière extrémité.
Parler pour ne rien dire sera le pari à tenir pour approcher la ­particulière proximité de Lacan avec Bataille. C'est également une position ­structurale que de parler pour ne rien dire, il s'agit, alors, de suivre un­ parcours, de suivre ce qui a été dit et comment cela l'a été.

A partir d' Encore

Dans son imposante biographie de Georges Bataille, Michel Surya donne dans ­la bibliographie finale la liste des oeuvres consacrées à Georges Bataille.­ Il note la présence de Georges Bataille dans : Jacques Lacan, Livre XX, Encore, éditions du Seuil, 1975[10]. C'est le seul texte de Lacan cité.
De son côté, Elisabeth Roudinesco dans sa "Bataille de cent ans" cite également ce séminaire :

Ce séminaire est stupéfiant. Il symptomatise l'ultime ­retour, sur la scène française, du grand Lacan baroque­ de la maturité romaine et de la visite manquée au Pape.­ Mais il est aussi un hommage au Bataille de Madame Edwarda, à la figure absolue de la haine et de l'amour­ de Dieu.[11]

Or il est remarquable que dans le séminaire Encore , de 1972-1973,­ pas plus Bataille que Madame Edwarda ne sont cités. Par contre ces deux ­noms sont cités dans un écrit de Lacan mais cela n'est relevé ni par ­M.Surya ni par E.Roudinesco.
Bataille est trouvé là où il n'est pas et il n'est pas repéré là où il est.

Au cours de ce séminaire Encore Lacan traite et retraite d'un certain­ nombre de questions qui ont trait à Dieu, à l'amour, à l'éthique, aux­ mathématiques, à la jouissance, à la lettre, à Rome, au corps, au nom, au­ cafouillage, à l'élégance... il ne saurait être question de résumer ce ­séminaire (pas plus qu'un autre), pas plus qu'il n'est question de rester ­au seuil de sa transcription critique.

Au cours de ce séminaire Encore, le 20 février 1973, Lacan évoque un écho ­à faire :

Il serait, me semble-t-il, dédaigneux de au moins ne­ pas traverser ou faire écho de ce qui, au cours des ­âges, et d'une pensée qui s'est appelée -je dois dire ­improprement philosophique- de ce qui au cours des ­âges, s'est élaboré sur l'amour. Je ne vais pas faire ­ici une revue générale, mais je pense que, vu le genre­ de têtes que je vois ici faire flocon, vous devez quand ­même avoir entendu parler que, du côté de la ­philosophie, l'amour de Dieu dans cette affaire a­ tenu une certaine place et qu'il y a là un fait massif­ dont au moins latéralement le discours analytique ne ­peut pas ne pas tenir compte.[12]

Devant un public qui n'est pas une foule conventionnelle, Lacan ne fait pas ­une "revue générale".
Dans cette revue générale, qu'il ne fait pas, "de ce qui au cours des âges,­ s'est élaboré sur l'amour", Lacan laisse supposer un certain nombre de ­textes et parmi eux, pourquoi pas : Madame Edwarda[13].

Ce petit texte signé Pierre Angélique fut écrit en septembre-octobre 1941 ­(Bataille vivait chez Denise Rollin au 3, rue de Lille à Paris) et parut en décembre 1941 aux éditions du Solitaire avec une fausse date­ d'édition : 1937. A partir de 1956, le texte fut publié par les éditions ­Pauvert avec une préface de Georges Bataille introduite par une citation de­ Hegel [14] :
"La mort est ce qu'il y a de plus terrible et maintenir l'oeuvre de la mort est ce qui demande la plus grande force."

Dans ce texte il y a deux occurrences de l'adverbe "encore" :
- lorsque l'homme monta dans la chambre avec Madame Edwarda, il est noté :­
"Le délire d'être nue la possédait : cette fois encore, elle écarta les­ jambes et s'ouvrit;
l' âcre nudité de nos deux corps nous jetait dans le ­même épuisement du coeur."(p. 22).
- au moment de partir avec le taxi,­ Madame Edwarda dit :
" ...pas encore...qu'il attende..."(p. 28).
Dans le séminaire Encore ni l'auteur, ni le titre de ce texte ne sont­ donc explicitement cités.

Bataille qui était employé par l'administration française avait, pour éviter tout ennui, signé ce petit récit du nom de Pierre Angélique.
Lors de la première séance de Encore, le 21 novembre 1972, Lacan­ introduit une décomposition de l'adjectif "étrange" :

Seulement, en voilà de dit pour ce qui est de la­ jouissance, en tant qu'elle est sexuelle. La jouissance est marquée d'un côté par ce trou qui ne l'assure que­ d'autre voie que de la jouissance phallique, est-ce que­ de l'autre côté, quelque chose ne peut s'atteindre,­ quelque chose qui nous dirait comment ce qui ­ jusqu'ici n'est que faille, béance dans la jouissance,­ serait réalisé ?
C'est ce qui, chose singulière, ne peut être suggéré ­que par les aperçus très étranges. Etrange est un mot­ qui peut se décomposer : "l'être-ange", c'est bien­ quelque chose contre quoi nous met en garde ­l'alternative d'être aussi bête que la perruche de tout­ à l'heure (la perruche de Picasso). Mais néanmoins,­ regardons de près ce que nous inspire l'idée que, dans­ la jouissance des corps, la jouissance sexuelle ait ce­ privilège de pouvoir être interrogée comme étant ­spécifiée, au moins, par une impasse[15].

Les références textuelles qui permettent de lier Madame Edwarda et le ­séminaire Encore sont donc dans cette discrète référence à l'ange de ­Pierre Angélique, et dans les deux occurrences :
" ... : cette fois encore,...", et l'indication au chauffeur de taxi, "-...pas encore...qu'il attende...".

De façon provocante, nous pouvons aussi signaler que lors de la dernière séance de Encore, (26 juin 1973) Lacan parle du rat : "On ne se demande absolument ce qui peut soutenir l'être du rat...", cette histoire de rat n'est pas complètement étrangère à Bataille[16]. Dans Encore, il y a l'ange au départ et le rat à la fin.

Cette façon de décomposer "étrange" en "être ange", en novembre 1972, vient­ un mois après la conférence de Louvain au cours de laquelle un jeune homme ­révolté, qui s'en prenait à la cravate de Lacan, fut nommé par celui-ci : "C'est un ange"[17].

On peut noter également qu'en 1944, Bataille avait publié aux éditions ­Messages, L'Archangélique, dont la première partie était parue en 1943 sous­ le titre La douleur.
En s'en tenant strictement aux références textuelles il est donc difficile de ­soutenir que le séminaire Encore est "aussi un hommage au Bataille de ­Madame Edwarda", d'autant plus que la dame en question ne se présente pas­ comme "la figure absolue de la haine et de l'amour de Dieu", mais pire que ­ça, dans le premier dialogue avec l'homme elle dit :

-Tu vois, dit-elle, je suis DIEU...[18].

Lacan a écrit un hommage[19], il l'a fait à Marguerite Duras, celle qui 42 ­ans après Bataille a également écrit La douleur.[20]

Comment alors situer et nommer cette présence de Bataille dans Encore ?
Les références textuelles que nous avons pu relever porteraient à parler de ­clin d'oeil, de ce genre de petit signe, de petite marque qu'utilisent ceux­qui sont dans une certaine complicité.

Ce n'est pas vraiment la présence d'un code établi dans les messages, c'est­ discrètement des petites choses intimement partagées qui se manifestent par ­petites touches, par certains tics de langage qui laissent ceux qui ne sont­ pas dans le coup juste un peu perplexes.
Les autres sentent bien qu'il se passe quelque chose qui leur échappe sans ­pouvoir le nommer.
Ces petites astuces langagières, soulignant la complicité, ­portent avec elles ce message juste un peu irritant pour l'entourage et que­ Boby Lapointe a pertinemment formulé :

Je dis que l'amour,
Même sans amour,
C'est quand même l'amour
Comprend qui peut ou comprend qui veut![21]

A partir d'Encore, puisque c'est la piste que nous ont proposée Michel ­Surya et Elisabeth Roudinesco, nous avons pu relever un rapport textuel ­discret (dit-secret,
dit-se-crée) entre Madame Edwarda de Georges Bataille et ce qu' énonce Lacan dans Encore, en particulier avec ce clin d'oeil à ­l'ange de Pierre Angélique.
Il y a donc encore du chemin à faire pour approcher cette proximité de­ Bataille avec Lacan.
Pour ce faire nous allons relever les occurrences, les références, les croisements repérables et tenter (comme le diable) de les­ faire parler ou plus simplement de situer leur raison.

De 1916 à 1962 Georges Bataille n'a pas cessé d'écrire et il serait­ réducteur de dire que ses travaux, constitués de récits, d'articles et­ d'études théoriques furent une suite de variations à partir de ce triptyque ­: l'érotisme, le sacré, la mort.
Pour écrire son dernier texte, Les larmes d'Eros, qui parut chez J.J.­ Pauvert en juin 1961, Bataille, atteint d'une maladie incurable, jeta ses­ dernières forces. Ce petit livre est d'une extrème clarté, il présente dans­ un style concis, sans emphase la présence de l'érotisme dans l'histoire de ­l'humanité. Les arguments sont soutenus et étayés par des reproductions ­photographiques de fresques rupestres, de sculptures, de dessins,
de ­tableaux.
Ce texte illustré arrive après de nombreuses études et récits au cours ­desquels cette thématique fut développée puis épurée. Dans ce travail­ Bataille fut soutenu et accompagné par la psychanalyse et des­ psychanalystes (nous aurons à préciser que la psychanalyse et les psychanalystes sont des mots qui peuvent se référer à des entités différentes).

Peu après la parution de L'érotisme en 1957 aux éditions de Minuit,­ Bataille écrivit à Roger Caillois pour lui soumettre un projet de revue qui­ s'intitulerait "Genèse" (cette revue ne vit jamais le jour !).
La revue "Genèse" devait traiter de sexologie, de psychanalyse et de ­philosophie de la sexualité, elle devait faire suite aux activités du ­Collège de sociologie.

Nous voudrions que GENESE contribue à porter la lumière sur les aspects de ­ l'homme les plus secrets et les plus difficiles à connaître.

Pour cette revue Bataille s'était assuré la collaboration de Mauss,­ Caillois, Sartre, Merleau-Ponty, Michaux, Blanchot, Beckett...
Dans sa lettre à Caillois, Bataille développait l'état de ses élaborations:

Les travaux de Freud ont permis de savoir que les ­impulsions sexuelles se traduisent aussi bien dans nos ­aspirations élevées : elles s'expriment en particulier­ dans la religion et, finalement, dans l'art et la ­littérature. Nous sommes ainsi, du fait de la ­psychanalyse, aux antipodes de la manière de voir ­ancienne, pour laquelle la sexualité est la tare congénitale d'une créature aspirant à la perfection.
Si les résultats de la psychanalyse sont à la base de ­la connaissance moderne de la sexualité, il y a lieu­ aujourd'hui, sans les négliger, d'aller plus loin.
Nous pouvons retrouver la signification de l'érotisme­ sur le plan où se plaçait jadis la religion. Peut-être ­allons-nous de cette façon au-devant de l'une des ­ découvertes les plus certaines de notre temps. C'est­ dans ce sens du moins que nous pouvons accéder aux ­dernières conséquences de notre révolution sexuelle.
Voici ce qu'aujourd'hui nous pouvons avancer :
DANS SA VERITE FONDAMENTALE, L'EROTISME EST SACRE,­ L'EROTISME EST DIVIN.
Réciproquement, le sacré, le divin, s'ils se peuvent éloigner de l'érotisme, à la base ont sa violence et ­son intensité, à la base participent de la même ­ impulsion.
L'humanité profonde se révèle à nous seulement si nous ­reconnaissons l'unité du sentiment divin -du­ tremblement sacré- et de l'érotisme détaché de l'image ­ grossière imposée par la pudibonderie traditionnelle.[22]

Il se trouve donc que c'est dans le cadre d'une thématique large, dans le ­sens d'un large tour d'horizon, que l'oeuvre de Bataille vient s'inscrire ­dans ce que Lacan préconise de ne pas dédaigner.
Le raccord entre Madame Edwarda et Encore peut donc, en première ­approche, s'écrire comme textuellement discret et dans le cadre de la large­ thématique "de ce qui au cours des âges, s'est élaboré sur l'amour".
Les textes de l'auteur de Histoire de l' oeil [23] n'ont pas été commentés­ par Lacan pendant plusieurs mois comme ce fut le cas pour le Banquet et Hamlet. Juste il leur est fait un clin d'oeil, dix ans (disant) après la mort de leur auteur.­ Cette sympathie, post-mortem, atteste. Elle rend témoignage de ce que ­certains humains ont pu soutenir de cette position éthique qui se formule ­ainsi :" l'ami t'y es et tu le restes".




[1] Emil Kaufman, De Ledoux à Le Corbusier, Origine et développement de ­l'architecture autonome, Paris, L'équerre, 1981.
[2] Ludwig Wittgenstein, Tractacus logico-philosophicus, Paris, Gallimard, collection Tel, 1988, p. 107.
[3] Torquato Accetto, De l'honnête dissimulation, Paris, Verdier, 1990.

[4] Maurice Blanchot, L'écriture du désastre, Paris, Gallimard, 1980.
[5] "l'ordre des positions subjectives de l'être" titre que Lacan avait gardé secret et qu'il voulait donner au séminaire : Problèmes cruciaux­ pour la psychanalyse.
"L'ordre des positions subjectives de l'être, qui était le vrai sujet, le titre secret de la seconde année d'enseignement que j'ai faite ici sous le nom de Problèmes cruciaux... ".
Séance du 15 novembre 1967, sténotypie.

[6] Elisabeth Roudinesco, Histoire de la psychanalyse en France I et II, Paris, ­Ramsay, 1982, p. 13 et Paris, Seuil, 1986.


[7] E.Roudinesco, Histoire de la psychanalyse en France.II, Chapitre I "Le­ surréalisme au service de la psychanalyse", Paris, Seuil, 1986, pp. 19-49.

[8] Roland Léthier, "L'intervention des surréalistes, un moment fécond pour la ­folie, l'introduction d'une dissymétrie entre Freud et Lacan", in­ Artefacto 4, "La Locura", Mexico, E.P.E.E.L.E, 1993.
[9] André Breton,"Interview du Professeur Freud", O.C., Paris, Gallimard, La Pléïade, 1988, p. 255.

[10] Michel Surya, Georges Bataille - La mort à l'oeuvre, Paris, Garamont­ Librairie Séguier, 1987, p. 536.
[11] E.Roudinesco, Histoire de la psychanalyse en France II, op.cit., p. 528.

[12] Jacques Lacan, Séminaire Encore, 20 février 1973, sténotypie.
[13] G.eorges Bataille, Madame Edwarda, O.C. Tome III, Paris,­Gallimard, 1971, pp. 9-31.
[14] En allemand, l'ange se dit : Der Engel, nous relevons la proximité ­homophonique avec Hegel.
[15] J. Lacan, Séminaire Encore, 21 novembre 1972, sténotypie.

[16] G. Bataille, Histoire de rats, Paris, Editions de Minuit, 1947.
[17] J.Lacan, conférence à Louvain, 13-10-1972, bande-vidéo.
[18] G. Bataille, Madame Edwarda, op. cit., p.21.
[19] J.Lacan, "Hommage fait à Marguerite Duras du ravissement de Lol V. Stein", Cahiers Renaud- Barrault, n°52, Paris, Gallimard, 1965, pp. 7-15.
[20] Marguerite Duras, La douleur, Paris, P.O.L., 1985.

[21] Boby Lapointe, "Comprend qui peut", Paris, Chappel S.A., 1970.
[22] G. Bataille "La signification de l'érotisme", O.C., tome X, Paris,­Gallimard, 1987, p. 632.
[23] G. Bataille, Histoire de l'oeil, O.C. Tome I, Paris, Gallimard, 1973, ­pp. 9-78.

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