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There are forms of enjoyment in Catullus that cannot be understood within the norms of pleasure as opposed to pain or unpleasure. This is an enjoyment that Freud would claim is beyond the pleasure principle, and thus integrally related to aggression, violence, and death: an enjoyment that is at once abject and sublime. Taking off from Mario Telò’s Archive Feelings, this paper examines these forms of enjoyment and how they function within the aesthetic structure of four poems by Catullus.

« La fiction consiste donc non pas à faire voir l’invisible, mais à faire voir combien est invisible l’invisibilité du visible. » (Foucault : 24) Cet article vise à redéfinir la notion d’espace littéraire, à partir de Blanchot lui-même et, plus précisément, à partir de la manière dont Foucault comprend l’espace littéraire de Blanchot comme « pensée du dehors », en mettant en évidence le rapport que cette lecture entretient avec le concept de « sublime objet », tel que Lacan le formule dans sa...

La notion d'espace littéraire, proposée naguère par Maurice Blanchot, est reprise ici dans une perspective comparatiste et épistémologique, pour tenter une lecture géocritique de la production littéraire dans un monde en voie de globalisation. L'espace littéraire peut-il apporter une réponse au cloisonnement des espaces culturels d'une part et à la concurrence des champs littéraires d'autre part ? Le splendide isolement de l'espace littéraire, qui en constitue pour Blanchot l'un des aspects, est également une disponibilité totale à l'incessante rumeur du monde. Cette notion, parce qu'elle dégage la littérature de l'emprise de l'énonciation, ouvre des perspectives nouvelles aux études postcoloniales, si attentives à ce qui cherche à s'écrire à l'écart des discours dominants.

Written during the early years of Augustus’s consoli-dation of power at Rome (the period sometimes, though misleadingly, called the beginning of the empire), many of Horace’s Epodes display an aggressive combi-nation of sexual, political, and social humor with connections reaching back to the archaic period of Greek poetry. Among the objects of invective in the collection is a certain Canidia, who is attacked in Epodes 3, 5, and 17 (she is attacked, also, in Satires 1.8, 2.1, and 2.8).1 In two other Epodes, 8 and 12, Horace writes about his own impotence, caused, he says, by the agency of an unnamed old woman (anus). I suggest that this anus can be associated with Canidia. If that’s true, the consequence is that Epodes 3, 5, 8, 12, and 17 make a single sequence in which attacks on the putative other are inseparable from confessions of impo-tence, both sexual and otherwise. Canidia, the ultimate target of Horace’s iambic venom,2 is not the symbol of his poetic power (as Lycambes is for Archilochus and Bupalus for Hipponax) so much as the ironic reflection of his powerlessness — symbol-ized, here, by his castration.3 The collection ends with Horace’s sudden surrender to the superior power of Canidia’s mala car-mina and her declaration that she will not refrain from tak-ing her vengeance lest all her power be held in vain (17.37–41, 74–81). This network of associations, in turn, extends beyond the series to the other poems in the collection, which are linked to it through a variety of textual and thematic echoes as well as through direct juxtaposition.