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Postface

Roger Caillois or Aesthetics according to Sisyphus

Published online by Cambridge University Press:  28 February 2024

P.-E. Dauzat
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Extract

From the jumping bean controversy, through his jousts with Malraux, to his charge against Picasso, Roger Caillois's attitude remained the same: a fear of the seductions of misunderstood originality, a condemnation of the fear of influence that characterized the moderns, and praise for imitation, conceived as the only true school of art. Originality, according to the formula he was fond of repeating time and again in the most varied contexts, consists not in refraining from imitating anyone else, but rather in beine inimitable.

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Type
Research Article
Information
Diogenes , Volume 46 , Issue 183 , September 1998 , pp. 117 - 118
Copyright
Copyright © 1998 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

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References

1. "Dialogue André Malraux - Roger Caillois," in J.-Cl. Lambert (ed.), Roger Cail lois, Paris: La Différence, 1991.

2. Roger Caillois, "Picasso, le liquidateur," in Le Monde, 28 November 1975, reprinted in Le Nouveau Commerce, Fall 1994, no. 92/93.

3. "L'Apostat," in Pierres réfléchies, Paris: Gallimard, 1975.

4. All of these titles were published in Paris by Gallimard.

5. Paris: Hermann, 1978.

6. Gallimard, 1970 for the first text; Diogenes, no. 69, January-March 1970 for the second.

7. Paris: Flammarion, 1970. Published in English as The Writing of Stones, trans. Barbara Bray, Charlottesville, 1985.