Blue at Noon by Georges Bataille is a fascinating avant garde novel. In this essay I would like to deconstruct the way in which women are portrayed. Most of the Women except his wife and Desire are sluts. The prominent whores featured in his novel are dirty (Dorothea) and Xenia. The entanglements of the protagonist with these women are symptomatically pathological. The protagonist betrays devastating hidden oedipal fantasies. The relationships with these women are more intricate and denser than remuneration for occupying the pleasures of the bed. The protagonist takes great pleasure in the disgusting and the revolting. For example: Dirty is drunk and puking and at the same time she exposes herself nude. Sometimes the protagonist becomes an archetypal feminine. For example he sobs: when he gets a letter from his wife. All his relationships with sluts are erotic a melancholia, a fantasy of longing which ceases to be fulfilled. He portrays whores as tender, loving oedipal objects on which he can gratify his emptiness, his angst. The novel takes places in three places, England, France and Spain. In France he encounters Xenia. He is very ill at that time. Xenia though a whore goes to a great extent of nursing him back. The amazing thing is that he does not feel grateful but treats her with intense repulsion. In Spain he encounters Desire. The Spanish revolution is going on there and she has intense communist views. Though he becomes close to Desire, he treats her like a wretch. He has no interest in her intellectual proclivities. There are no scenes in the novel which are sexually graphic. Drunkenness, puking and nudeness become orgies for the mind of the protagonist. Though the novel is experimental, the narrative is straight forward and goes on from the beginning to the end. The protagonist is an erotic Sisyphus who is tormented by the weight of his sexual entanglements and finds release of his emotion through sheer repugnance. The pleasure of the bed has become a narcotic stone which is rolled down by him in mental stupor. The protagonist is always in state of psychological fornication. As a work of Art he is Picasso’s bull who is limpid and strangulated by his own emotions. The author creates whores who are fond of him. The creation represents a maternal, oedipal reaching out. Is it a kind of oedipal narcissism that the author suffers from? There is no political consciousness for the protagonist. He maintains a stormy silence when Desire discusses ideas about communism. The creation of the psychology for the whores in his novel is a dystopian archetype. The women are his ideal and yet they are repugnant to him. Eroticism for the narrator is one of morbid loathing and ironically a state of ecstatic pleasure. I as a reader, I am totally ignorant how whores interact or behave. Of course I have had my chances but I have failed to follow upon them. Yes in the end, I feel whores are humane and can have genuine feelings.
The assumption of this writing starts from the view that all signs are Signifiers. A signifier is a tangible reality with a sense of meaning. I have divided the post-structural assemblage of the sign into various categories.
Semantoria refers to the phonic and graphic content of the letter. Here the letter of the language metamorphizes into a primary content of meaning which can be a spoken one or a written one. The presence or absence of meaning as implied by deconstruction can be considered as implying sensibilities. The essence of connotation can only be an implication of construction.
In semantics verbs are performative, that is they perform an action. A verb such as swim is a signifier and it performs the action of swimming. For words to be the symptom of Verboria, they can form an idea that is sensible and not an abstract one like love, passion or kindness. For example: in a sentence: she dances, the meaning becomes complete and that state of completion is called verboria. Writing of Verboria taken in the grammatological sense of Derrida’s Deconstruction fails to become a deconstructive entity.
Logoria is a state of forming a sign from a signifier and a signified. It was Saussure who introduced it into language. A signifier is a tangible entity and belongs to the sensate realm. For e.g. let’s take odor. Odor belongs to the sensate realm and it can be felt. Here Odor is a Signifier. If I say: the odor is nauseating, nauseating becomes a signified or a connoted idea. Nauseating becomes the Signified. Post-structuralists use deconstruction to deconstruct signs. When there is a presence in a sign, there is also an absence. Post-Structuralists argue that a sign privileges presence and marginalizes an absence. For example if I say that colored people cannot be intellectuals, I am privileging the presence of White and marginalizing the presence of the colored. For Derrida the stability of signs in a language is an articulated hegemony. Language by its very structure when prone to articulation becomes victim of structural inconsistencies. It is the duty of deconstruction to articulate critical readings to autonomic democracy.
A Metoria is an effect of reading tropes or figures of speech. Let’s take a metaphor as an example. For example Palestine is a Volcano. The meaning implied here is Palestine’s political climate is very volatile. Palestine is the tenor the denoted part of the sentence and Volcano is the vehicle which carries the tenor. A metaphor can have a realism of meaning which is mere semantic content. At a secondary level, the meaning of a metaphor implies an aesthetic effect. The reader gets to appreciate the content of meaning created by the metaphor. For a reading of metaphor there is also a tertiary level of meaning and meaning becomes an ideology, a meta-narrative or a grand-narrative. For example: Palestine is a volcano suggests that it is nation longing for being recognized to an absolute status as a nation-entity. The opponents of this view might claim that Palestine is inducing terrorist activities and rampant unlawful behavior. The tertiary level of reading a metaphor can be deconstructive that is undoing the privileged status of meaning.
Mathematical and Scientific symbols fall into this category. For example the word DNA Deoxyribonucleic acid falls into the symbolic category of meaning. The structural presence of meaning is always one of being abstract and being in transformation.
It was the renowned Philosopher of Russia, Michael Bakhthin who propounded the Philosophy of the Carnivelsque. He analyzed the Carnivelsque from the Novels of Dostoevsky. According to him the Novels of Dostoevsky have a conversational part of the character as distinct from the novels of Tolstoy. The novels of Tolstoy infringe on the characters with his knowledge, philosophy and what not and blah blah. Dostoevsky has freed this element of the novel and has produced characters that are possessed with the subliminal of the interiority and the consciousness of projection of external sensory events into a puzzle of living for existentialism. Now what would Bakhthin’s dialogic mean to us in everyday life? In Bakhthin’s thought it would mean epiphanazing about everyday occurrences. May be while shitting, you had an epiphany. May be while crossing the road, you met a stranger that was blind, and you helped him to cross the way. May be you jotted life’s harsh experience into tropes of satisfaction. That would be conversational as the Dialogic. May be you are successful, yet you aspire to make readers come closer to your hedge. That would be a dialogical conversation.