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• W21781148 abstract "While it is usually considered a trivial slip of the tongue, the lowly spoonerism nonetheless has its place in contemporary dictionaries of rhetorical devices.(1) Indeed, the spoonerism, as well as similar playful practices,(2) has had remarkable endurance as a favorite device of French writers for centuries. To be sure, the kind of playfulness that characterizes a text such as Robert Desnos's Selavy, for example, is not new to the French literary tradition. However, the fascination and the persistence of the spoonerism, which has a notable presence in the work of certain surrealists (Desnos's Selavy, Michel Leiris's Glossaire: j'y serre mes gloses) and continues to fascinate more contemporary writers as well (Jacques Roubaud's 1977 Autobiographie, chapitre dix), deserves special consideration, especially in the theoretical context which has granted it a more than trivial status. How can we account for the popularity of the spoonerism as a literary device, and what are the implications posed by its modern appropriations? In her exhaustive studies of the matter in Desnos's work, Marie-Claire Dumas inscribes the playful spoonerisms of within a surrealist theoretical linguistics. Specifically, she situates the surrealist perspective on wordplay in the tradition of Jean Paulhan's Jacob Cow le pirate ou si mots sont signes. Wordplay, writes Paulhan, demonstrates that les phrases . . . sont de meme pate que idees and that one merely need reverse the order of words to produce mille combinaisons etonnantes.(3) The primary implication of Paulhan's work, according to Dumas, is that alors apparait a fragilite d'une pensee qui lie son sort a sa formulation and that langue et la pensee sont deux series differentes. Paulhan's essay first appeared in Litterature and can hence be considered as characteristic of reflexion sur le langage et la litterature (Etude 32) of the then embryonic Surrealist group. Indeed, Andre Breton, in his essay Mots sans rides, specifically names Paulhan, along with Paul Eluard and Francis Picabia, as those engaged in des recherches dont participerent aussi l'oeuvre de Ducasse, Un Coup de Des . . . Ia Victoire et certains calligrammes d'Apollinaire.(4) Breton thereby includes Paulhan's theorizations within the domain of surrealism in both its contemporary and historical manifestations, including Rimbaud's experimental verse: C'est en assignant une couleur aux voyelles que pour la premiere fois, de facon consciente et en acceptant d'en supporter consequences, on detourna le mot de son devoir de signifier (132). However, according to Breton, such experimental wordplay had thus far only emptied words of meaning. They did not become des createurs d'energie (133) until the publication of Marcel Duchamp's texts, which first appeared in Litterature in October, 1922 (Dumas, Exploration 304). For Breton, words do what was expected of them (133) in the methodical play of Duchamp's Selavy: Certes, six > publies dans l'avant- dernier numero de Litterature sous la signature de m'avaient paru meriter la plus grande attention . . . du fait de ces deux caracteres bien distincts: d'une part leur rigueur mathematique (deplacement de lettre a l' interieur d'un mot, echange de syllabe entre deux mots, etc.), d'autre part l'absence de l'element comique . . . C'etait, a mon sens, ce qui depuis longtemps s'etait produit de plus remarquable en poesie (133). Historically, then, the six jeux de mots written by Duchamp (Abominables fourrures abdominales [Dumas, Exploration 305]) and appearing in Litterature under the name Rrose Selavy were the first experiments in a wordplay that Desnos was to appropriate with far greater prodigiousness. Copying the Duchamp original, Desnos published 138 texts in Litterature in December, 1922. …" @default.
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• W21781148 date "1996-03-01" @default.
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• W21781148 title "Spoonerism as Literary Device in Desnos, Leiris, and Robaud" @default.
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