Index

Abysses, Les (Papatakis), 98

Ackerman, Chantal, 113

Akalaitis, Joanne, 156n.32

À la recherche du temps perdu (Proust), 81

Allegories of Reading (de Man), 149n.2

Arafat, Yasir, x

Aristotle, 37, 38, 125

Artaud, Antonin: Aristotelian tradition as viewed by, xiv, xv; Genet compared to, 131; influence on Genet of, xv, 96, 114; “theater of cruelty” as viewed by, xiv, 131; theatrical “language” as viewed by, xiv–xv, 141n.7

Aurélia (Nerval), 81

Austin, John: discourse as viewed by, 120, 147n.20; effects vs. production as viewed by, 72; performatives as viewed by, 71, 73, 119–20, 122, 147n.19; poetics as viewed by, 120; subject as viewed by, 118, 120–21

“Autobiography and the Case of the Signature” (Todd), 143n.17

Bakhtin, Mikhail: censorship of works of, 33, 34, 145n.3; discourse as viewed by, 33–34, 36–37, 42, 48; Dostoevsky as viewed by, 34; double as viewed by, 36; Genet compared to, 34, 67; heteroglossia as viewed by, 36; laughter as viewed by, 57; linguistic standardization as viewed by, 51; literature as viewed by, 34; masks and masquerades as viewed by, 57, 66; meaning as viewed by, 70; merging of representational modes as viewed by, 148n.37; narrative as viewed by, 36, 44, 60; Propp compared to, 36; Ricoeur compared to, 70; and Russian Formalism, 33, 35, 145n.3; text as viewed by, 33

Balcon, Le (Genet): Bishop in, 126, 128, 129; Captif amoureux compared to, 140; Chantal in, 127; Chant d’amour compared to, 127; desire and passion in, 126, 128; doubled discourse in, 127; fantasies in, 124; film version of, 98; General in, 126, 128, 129; Irma in, 126–27, 128, 129; Judge in,126, 128, 129; metaphors in, 129; mirrors in, 127, 128; Nègres compared to, 136; photography in, 128–29; Police Chief in, 127–28, 129, 136; revolution in, 127, 128, 129; ritual in, 126; Roger in, 127, 129; sadomasochism in, 124, 126; sound effects and verbal clues in, 127; spectator in, 126, 127, 129–30; unities in, 125, 126, 127, 128; voyeurism in, 129

Balzac, Honoré de, 39, 147n.18

Barbézat, Marc, 34

Barthes, Roland, 23, 38, 144n.24, 147n.15

Baudelaire, Charles, 95, 96

Baudry, Jean-Louis, 104

Bazin, André, 104

Beckett, Samuel, xiii, 66, 110, 115

Benveniste, Emile: deixis as viewed by, 121; discourse as viewed by, 6, 130, 147n.16, 149n.8; narration as viewed by, 6; “person” vs. “non-person” as viewed by, 25; Rimbaud as viewed by, 31; semiotics as viewed by, 31, 72, 122, 155n.23; subject as viewed by, xv-xvi, 108, 119, 147n.14

Blin, Roger, 124

Boisdeffre, Pierre de, 48, 49, 91, 147n.24

Bonnefoy, Claude, 141n.3

Bonnes, Les (Genet): background of, 113; Claire in, 124, 126, 136; film version of, 98; irony in, 61; Madame in, 61, 124; mirrors in, 126; murder in, 13, 126; Nègres compared to, 136; role-playing in, 124, 126; sadomasochism in, 126; Solange in, 124, 126; staging of, 43; unities in, 125

Breton, André, 84

Brewster, Ben, 153n.11

Brooks, Peter, 124, 154n.44

Captif amoureux, Un (Genet), 138; authorship of, ix-x; autobiographical elements in, 139, 149n.38; background of, 139; Balcon compared to, 140; metaphors in, 140; mime-play in, 140; narrator in, 140; politics in, 139, 140; revolutionary groups in, ix, 130, 139, 140, 148n.32; structure of, 139; versions of, X; women in, 144n.21

“Catégories du récit littéraire” (Todorov), 146n.14

Cetta, Lewis, 141n.3

Chambre claire, La (Barthes), 156n.40

Chant d’amour, Un (Genet): alienation in, 100, 103; background of, 98–99; Balcon compared to, 127; banning of, 99; camera shots in, 110–11, 112, 117; castration in, 112; cross-cutting in, 100, 101, 103–104, 109, 110–11; doubled discourse in, 111–12, 113; eroticism in, 99, 101, 103; fantasies in, 102, 103; flowers in, 100, 103; frustrated desire in, 100; gender in, 112–13; indexation in, 97, 99; irony in, 99, 113; light vs. dark in, 103; masks and masquerades in, 109; metaphors in, 151n.28; metonymy in, 100; Miracle de la rose compared to, 102; narrator in, 111–12, 113; Notre-Dame-des-fleurs compared to, 102; perversion in, 99–100, 101–102, 103, 104, 107, 108, 112, 127; plot of, 100–101, 102–103; Pompes funèbres compared to, 100; pornographic elements in, 99, 103; prison in, 151n.28; Sang d’un poète compared to, 101; spectator in, 99, 100, 103, 108–109, 111, 112–13, 127; structure of, 100; symbols in, 99–100; voyeurism in, 101–102, 103–104, 111, 112–13, 127

Chien Andalou, Un (Buñuel and Dali), 84

Cocteau, Jean, xn.1, 98–99, 113

Сое, Richard, 141n.3

Comédie humaine, La (Balzac), 147n.18

“Condamné à mort, Le” (Genet), 98

Corneille, Pierre, 124–25, 132

Cruelle raison poétique, La (Blanchot), xiv–xv

Daney, Serge, 112

Dauzat, Albert, 6, 144n.33

Derrida, Jacques: Artaud as viewed by, xvi, 141n.7, 142n.14, 143n.14; Austin as viewed by, 119–20, 128; auto-affection as viewed by, 4; différance as viewed by, 4, 131, 136; Genet as viewed by, 7; Husserl as viewed by, 2–3, 4; idealization as viewed by, 4; Lacan compared to, 142n.5; Mallarmé as viewed by, xvi; metaphor as viewed by, 87–88; metaphysical reduction as viewed by, 144n.19; mime-play as viewed by, xvi, 152n.39; names as viewed by, 6, 23, 143n.14; Notre-Dame-des-fleurs as viewed by, 23; Plato as viewed by, 125; reader and spectator as viewed by, 123; subject as viewed by, 1, 3, 4, 5, 142n.5; t text as viewed by, 130; “theater of cruelty” as viewed by, 156n.44; unnamable as viewed by, 7, 143n.15, 145n.34

Desire in Language (Kristeva), 123

“Discours des trois unités” (Corneille), 124–25

Dissemination (Derrida), xvi, 123

Dostoevsky, Fyodor, 34, 48

“Double Session, The” (Derrida), 152n.39

Duras, Marguerite, 66; as filmmaker, 113, 114; merging of representational modes in works of, xiii, 115; reader and spectator as viewed by, 110, 113; writer as viewed by, 56

Eco, Umberto: indexation as viewed by, 76, 79; metaphor as viewed by, 76; semiotics as viewed by, 105, 122, 155n.24; signs as viewed by, 120, 150n.13

Elam, Keir, 30–31, 142n.11, 144n.23

“Envy and Gratitude” (Klein), 147n.22

Esslin, Martin, 148n.36

Figures II (Genette), 38

Formalism. See Russian Formalism

Formal Method in Literary Scholarship, The (Bakhtin), 145n.3

“Forme et le sens dans le langage, La” (Benveniste), 149n.8

Foucault, Michel, 155n.30

Freud, Sigmund, 15, 107, 153n.23

“Frontières du récit” (Genette), 37, 150n.25

“Genet—A Hall of Mirrors” (Esslin), 148n.36

Genet, Jean: and Arafat, x; Artaud compared to, 131; Artaud’s influence on, xv, 96, 114; background of, 20, 141n.3; Bakhtin compared to, 34, 67; Baudelaire compared to, 95, 96; death of, xiii; film as viewed by, 114, 154n.44; homosexuality of, 141n.3; Jarry compared to, 151n.29; John of the Cross compared to, 56; Jung’s influence on, 141n.3; letters of, 66–67, 152n.40; in Middle East, 142n.20; as outsider, xiii, 45, 46, 48, 60, 67, 68, 77, 88, 96; Pirandello’s influence on, 148n.34; in prison, 34, 45; Proust compared to, 68, 149n.1; revolutionary groups as viewed by, 130, 139, 140, 148n.32; Romanticism as viewed by, 85, 91; son of, 142n.20; terrorism as viewed by, 59, 148n.32; women as viewed by, 11

Genet, Jean, works of: argot in, 35, 39, 45, 53; Christian elements in, 91–92; communication breakdowns in, 53; death in, 2, 6, 8, 66, 135–36; différance in, 131; discourse as action in, 39, 147n.19; doubled discourse in, xvii, 44, 45, 66, 67, 113, 114, 126, 148n.35; dualities in, 148n.35; eroticism in, 100; film projects, 98, 154n.44; foreign languages in, 39; gender in, 8, 84–85; hallucinations in, 81, 151n.27; indexation in, 152n.38; irony in, 113; masks and masquerades in, xiii, 38, 40, 57, 65, 66, 67, 130; merging of representational modes in, xiii, xvii, 115, 123, 134, 137, 141n.3; metaphors in, 73, 78–79, 84–85; mime-play in, 123–24; mise-en-scène in, 125; naming in, 2, 5, 8, 143n.17; narrator in, 7, 38, 39, 44, 45, 65–66, 67, 113, 114, 130, 134; passion in, 124, 130; personal identity in, 2, 5, 6; personal idiolects in, 39; perversion in, ix; prison in, 155n.30; profane language in, 35; proper names in, 2; reader in, 67, 113; role-playing in, 24, 66; sobriquets in, 7, 8; spectator in, 114, 118; standard French in, ix, 39, 48, 53; surrealism in, 84, 151n.29; “theater about theater” in, xv, 94, 114, 152n.40; “theater of the double” in, xiii, xvii, 33, 38, 40, 113–14; translations of, ix; unities in, 125–26, 130; women in, 43. See also specific works

Genetic Approach to Structures in the Work of Jean Genet, A (Naish), 144n.26, 148n.35

Genette, Gérard: diegesis as viewed by, 38, 144n.18; Jakobson compared to, 75; metaphor as viewed by, 69; metonymy as viewed by, 75; mimesis as viewed by, 38; narration as viewed by, 46; “poétique du langage” as viewed by, 150n.20; poetry as viewed by, 37; Proust as viewed by, 75, 143n.16; reader as viewed by, 145n.35; reported speech as viewed by, 38, 150n.25; “signe poétique” as viewed by, 69; signifier and signified as viewed by, 23, 144nn.27, 30; sound vs. meaning as viewed by, 38, 146n.14

Girard, René, 156n.34

Glas (Derrida), 7, 23

Godard, Jean-Luc, 113

Guiraud, Pierre, 52, 147n.17

Haute Surveillance (Genet), 113

Heath, Stephen, 97, 98, 106–107

Hedges, Inez, 151n.30

Henning, Sylvie Debevec, 156n.34

“Here and Now for Bobby Seale” (Genet), 148n.32

Hjelmslev, Louis: codes as viewed by, 118; form vs. meaning as viewed by, xv; influence on Metz of, 116; semiotics as viewed by, 116, 122; text as viewed by, 33

How to Do Things with Words (Austin), 119, 147n.19

Hugo, Victor, 39, 147n.18

Huillet, Danielle, 113

Husserl, Edmund, 2–3, 143n.6

Imaginary Signifier, The (Metz), 97, 99, 105, 117

“Introduction à l’analyse structurale des récits” (Barthes), 147n.15

“Ironies comme mentions, Les” (Sperber and Wilson), 147n.23

Jakobson, Roman: baptismal names as viewed by, 23; Genette compared to, 75; grammar vs. rhetoric as viewed by, 70; indexation as viewed by, 149n.10; influence on Russian Formalism of, 35; metonymy as viewed by, 75; personal pronouns as viewed by, 23; “poetic function” of language as viewed by, 69, 120

Jameson, Frederic, 148n.29

Jarry, Alfred, 151n.29

Jean Genet (Knapp), 144n.25

John of the Cross, Saint, 56

Jokes and Their Relation to the Unconscious (Freud), 3–4

Juilland, Alphonse, 148n.27

Jung, Carl, 141n.3

Kalb, Jonathan, 154n.32

Kant, Immanuel, 1

Kawin, Bruce, 154n.33

Kelman, Ken, 112

Klein, Melanie, 106, 147n.22, 153n.23

Knapp, Bettina, 144n.25

Kristeva, Julia, 123

Lacan, Jacques, 97–98, 105, 142n.5

Langage et cinéma (Metz), 116, 117

Leonard, John, 152n.37

Lheureux, Albert-André, 98

MacMahon, Joseph, 68, 141n.3, 148nn. 1, 33

Mademoiselle (Richardson), 98

Mallarmé, Stéphane, 123

Man, Paul de, 149nn. 2, 4

Marxism and the Philosophy of Language (Bakhtin), 145n.3

Marxist theater, 131

Medvedev, P. N., 145n.3

Mekas, Jonas, 99

Melcher, Edith, 148n.34

Métaphore vive, La (Ricoeur), 68

“Métonymie chez Proust” (Genette), 144n.18

Metz, Christian: avant-garde vs. conventional authors as viewed by, 118; film as viewed by, 99, 104–106, 110, 111, 112, 116–17, 153n.11; Hjelmslev’s influence on, 116; Lacan’s influence on, 105; metonymy vs. syntactic alignment as viewed by, 150n.17; spectating subject as viewed by, 97

Miles, Christopher, 98

Miracle de la rose (Genet): analogies in, 79–80; argot in, 39, 51–52, 53–54, 55; autobiographical elements in, 22, 150n.27; background of, 22; Beauvais in, 53; Bishop of Tours in, 50, 51; Bois-de-rose in, 18, 19, 20; Bulkaen in, 18, 20, 21; burial in, 20; censorship of, 91; Chant d’amour compared to, 102; Charlot in, 18, 54–55; Christian elements in, 20, 92; communication breakdowns in, 49, 50, 51–52, 54–55; death in, 19–20, 21; doubled discourse in, 60; eroticism in, 18, 52, 91, 93; flowers in, 90, 92–93, 100; freedom in, 55–56; Gallimard edition of, 47, 52; gender in, 17–18, 52, 90, 93; hallucinations in, 81, 90, 151n.27; Harcamone in, 19, 20, 90, 92, 93, 100, 102; hypocoristics in, 17, 21; indexation in, 79, 83; irony in, 49, 50–51, 93; Lou-du-Point-du-Jour in, 18, 19–20; love in, 20; metaphors in, 79, 80–81, 83–84, 90, 92, 93; metonymy in, 79; “miracle” scene in, 92; mirrors in, 21, 22; naming in, 5, 18; narrator in, 16, 17, 18, 20, 21–23, 35, 39, 40, 47, 48, 49, 50, 51, 52, 54–56, 60, 80–81, 100, 102; Notre-Dame-des-fleurs compared to, 17, 49, 51; patronyms in, 16–17, 18, 19, 21, 22–23; poem in, 91, 151n.36; rape in, 47–48; Roman de la rose’s influence on, 93; setting of, 17; sobriquets in, 17–18, 19; standard French in, 39; symbols in, 91, 93; versions of, ix; Villeroy in, 52, 53–54; women in, 12

Misérables, Les (Hugo), 147n.18

Mitry, Jean, 99

Moraly, Jean-Bernard, хn.1

Morhien, Paul, хn.1

Mukarovsky, Jan, 115–16, 118–19

Naish, Camille, 144n.26, 148n.35, 150n.22, 151n.29

Najda (Breton), 151n.29

Nègres, Les (Genet): Archibald in, 132, 133; Balcon compared to, 136; Bonnes compared to, 136; Court in, 131, 133, 135, 136; Diouf in, 134; Félicité in, 134–35; irony in, 132; masks and masquerades in, 131, 135, 136; master-slave relationship in, 130–31, 133; mirrors in, 135; mise-en-scène in, 134; murder in, 124; Notre-Dame-des-fleurs compared to, 132; passion in, 130; setting of, 131; sobriquets in, 132; spectator in, 136; unities in, 125, 132; Vertu in, 134, 135; Village in, 131, 132, 133–34, 135

Nerval, Gérard de, 151n.27

Nin, Anaīs, 99

Notre-Dame-des-fleurs (Genet): Alberto in, 14; ambiguity in, 25; analogies in, 94–95, 96; argot in, 39, 40, 41, 42–43, 45–47, 55; autobiographical elements in, 22; background of, 22; beauty in, 10–11; bells in, 12; castration in, 13, 14; Chant d’amour compared to, 102; Christian elements in, 10–11, 12, 13, 14–15, 85–86; death in, 10–11, 12, 13, 14, 15, 16; Divine in, 7, 8–10, 12–13, 14–16, 41, 42, 45; doubled discourse in, 43, 44, 60, 85; Ernestine in, 42–44, 51, 61; eroticism in, 9, 45–46, 85; expiation in, 15; flowers in, 11, 12, 89; Frechtman translation of, 7–8, 9; Gallimard edition of, 11; gender in, 8, 9, 11,41, 42–43, 85, 86, 89; guilt in, 15; hallucinations in, 85–86, 102; irony in, 44; love in, 15; masks and masquerades in, 44; metaphors in, 78, 86–87, 89–90, 96; Mignon-les-Petits-Pieds in, 7–10, 11, 40–41, 45, 85; Miracle de la rose compared to, 17, 49, 51; mirrors in, 9; murder in, 12; naming in, 5, 8, 12, 16, 17, 22; narrator in, 7, 8, 10, 12, 15–16, 22, 24, 34–35, 39–40, 45–47, 49, 55, 60; Nègres compared to, 132; Notre-Dame-des-fleurs in, 7, 8, 10, 11, 12, 85–86; patronyms in, 16; Pompes funèbres compared to, 24, 25, 61; queens in, 41, 42; rape in, 13, 14, 15; role-playing in, 41; similes in, 95; sobriquets in, 7–9, 10, 12, 16, 22, 24, 25, 132; standard French in, 39, 40, 46; suicide in, 12, 15–16; symbols in, 86–87, 89–90, 95; versions of, ix; violin in, 13–14; women in, 11

Oeuvres complètes (Genet), ix, 11, 34, 91. See also specific works

Of Grammatology (Derrida), xvi, 123, 136

Ostranenij, 116. See also Russian Formalism

Papatakis, Nico, 98

Paravents, Les (Genet), 131

“Parole Soufflée, La” (Derrida), 141n.7, 143n.14

Pauvert, Jacques, 66, 152n.40

Pavis, Patrice, 122

Peirce, Charles Sanders, 105, 121, 149n.10

Performance, 138

Phèdre (Racine), 156n.38

“Pirandellism of Jean Genet, The” (Melcher), 148n.34

Pirandello, Luigi, 148n.34

Pirandello and the French Theater (Bishop), 148n.34

Plato, 37, 38, 125, 146n.12

Poetics (Aristotle), 37

Pompes funèbres (Genet): argot in, 58, 59–60, 61–62; autobiographical elements in, 22; background of, 22; baptismal names in, 22, 23, 24, 27; Chant d’amour compared to, 100; death in, 6, 28, 29, 75; doubled discourse in, 65; Erik in, 24, 25–26, 27–28, 29, 58–59, 63; eroticism in, 28, 59, 75; frustrated desire in, 103; gender in, 28; German language in, 61, 62; hallucinations in, 82–83; Hitler in, 28, 58, 65; indexation in, 75, 76, 77, 82; irony in, 59; Jean D. in, 26–27, 28, 58; Madam D. in, 27, 60–61; masks and masquerades in, 25, 27–28, 29, 30, 44, 57–58, 65; metaphors in, 73–75, 76–78, 82–83; mirrors in, 65; murder in, 25–26; Najda compared to, 151n.29; naming in, 5, 6, 23, 27; narrator in, 23–24, 25–26, 27–29, 30, 35, 39, 40, 58–59, 63–65, 109; Notre-Dame-des-fleurs compared to, 24, 25, 61; patronyms in, 27; Paulo in, 27, 28, 29; personal pronouns in, 22, 23, 24, 25–26; politics of representation in, 60; reader in, 29–30, 77; Riton in, 28, 58, 60, 61–64, 148n.33; role-playing in, 24, 28, 64–65; sobriquets in, 22; standard French in, 61, 62, 63; unnamable in, 29; versions of, ix; women in, 11–12

“Possession du condamné” (Lheureux), 98

Prague School, 35, 116, 146n.9

Prison House of Language, The (Jameson), 148n.29

Problems in General Linguistics (Benveniste), xv

Propp, Vladimir, 35, 36

Proust, Marcel, 68, 69, 148nn.1, 35, 150n.21

Querelle de Brest (Genet), 66

Rabelais and His World (Bakhtin), 145n.3

Read, Herbert, 150n.23

Republic (Plato), 37, 146n.12

Richardson, Tony, 98

Ricoeur, Paul: Bakhtin compared to, 70; form vs. meaning as viewed by, 69; Genet as viewed by, 68; indexation as viewed by, 70; “making visible” as viewed by, 149n.5; metaphor as viewed by, 68, 69–70, 71, 72–73, 77, 87, 150n.19; metonymy as viewed by, 70; speaking subject as viewed by, 69; syntagmatic alignment as viewed by, 70

Rigolot, François, 144n.27

Rimbaud, Arthur, 31–32, 109, 119

Robbe-Grillet, Alain, xiii, 66, 114, 115

Roman de la rose (Lorris), 93

Romanticism, 84, 85, 91

Russian Formalism: and Bakhtin, 33, 35, 145n.3; characteristics of, 34, 60, 116, 146n.7; Jakobson’s influence on, 35

Saint Genêt (Sartre), ix, xiii; Genet as outsider in, 45, 48; title of, 1

Saison en enfer, Une (Rimbaud), 119

Sang d’un poète, Le (Cocteau), 101

Sarraute, Nathalie, xiii-xiv

Sartre, Jean-Paul: argot as viewed by, 53; Genet as viewed by, 1, 2, 45, 48, 94, 124, 141n.3, 151n.27, 152n.38; reader as viewed by, 145n.36

Saussure, Ferdinand de, xv, 136

Savona, Jeannette, 151n.29, 155n.30

Schechner, Richard, 124, 138

Schreber, Dr. (patient of Freud), 15

Searle, John, 71, 143n.6, 149n.11

Semiotics. See specific headings

Semiotics of Theater and Drama (Elam), 144n.23

Serpieri, Alessandro, 120–23

Shklovsky, Viktor, 35, 146n.7

Simon, Claude, xiii-xiv

Socialist Realism, 34, 60

Sperber, Dan, 147n.23

Steiner, Peter, 146n.7

Straub, Jean-Marie, 113

Strawson,P. F., 71

Strick, Joseph, 98

Sue, Eugène, 39

Surrealism, 84

Surveiller et punir (Foucault), 155n.30

Théâtre et son double, Le (Artaud), xiv

Thody, Philip, 141n.3

Todd, Jane Mary, 143n.17

Todorov, Tzvetan, 38, 48, 146n.14

Tomashevsky, Boris, 35

Ubersfeld, Anne, 155n.22, 156n.38

Veltrusky, Jiri, 116

“Violence et brutalité” (Genet), 148n.32

Violence et le sacré, La (Girard), 155n.34

“Violence et métaphysique” (Derrida), 144n.19

Voix et le phénomène, La (Derrida), 2–3, 4, 145n.34

Volochinov, V. N., 145n.3, 146n.9

Voyage au bout de la nuit (Céline), 148n.27

“White Mythology: Metaphor in the Text of Philosophy” (Derrida), 87

Wilson, Deirdre, 147n.23

Zich, Otakar, 116, 118, 119