Pour une nouvelle perspective de l'Informité chez Bataille

We can utterly assert that the aim of our analysis has lead, throughout the balancing/ a balancement of a philosophical hermeneutic and a literature analysis, to the delineation of an informal subjectivity in Georges Bataille’s thought. Afore the achievement of our theoretical demonstration, we will be glad to onset a brief parenthesis over the first commenters who had set a debate over the Formless, to enhance, thanks to them, our assumption. Commencing from the work Documents (1929/30), reprinted by the will of Dennis Hollier in 1995. we will understand why its main analysis have secluded the debate into the esthetical- figurative corner, effectively closing the debate to other possible postulations. In this perspective, the formless has lost its subversive tendencies to gain/obtain the pityfull status of «museal knick knack» implied into the artistical domain. Afterward having drafted the meaning of formeless by new, and given to it a contemporary perspective, we could start to settle a confrontantion with his philosophical roots: Nietzsche and Hegel. It is only due to the parallel with them both and to the overhaul of their theories, which we could assert that Bataille has in a way reached the true meaning of formeless. The same formeless that is deeply rooted in his erotical novels. It is also through these passages that we could understand the real meaning of parody in the bataillean sense, that is is an inversion of the moral values that the author has applied as a souverain and deforming lecture of his works. The manicheism that the autor recour to use to divise the whole reality into two exact parts of positive and negative,will be a peculiar aspect that leads to the comprehension of his entire work. This disorder wil be procured, by the inversion of the moral values which are divided into an “high” and a “low”, and as consequent, the higher polarity will be related to the a positive value, and the low, to its tcontrary. Their upheaval will produse an ethical swap of their positions, in a second stance this will lead to a real deformation of every kind of preassumption in his novels and of course in the characters, a rupture taken against every kind of normalization or reduction to the norms. In the last part of our research, before going through the application the formless theory, we will briefly argumentate about the major inversion that had prevailed upon our author, obliging him to take the distance from the Bildungsroman and to oppose to it a Verbildungsroman. Only after conceived the global valorial inversion, we will arrive to this “Game of polarities”m which will lead to the constitution of a informal character. Starting from there, effectively, we eill see that the character will become a formless that manifest itself thanks to the narration, the same invisible and terrifing subjectivity that we have already met in the first part of our work. Consacrating ourselves to the Bataille’s works, will signify, not only trying to understand the character born under a formless will, but even also- how this formless could be gained far distant from the mores applayed into the university. Our demonstration, will be constructed to have a new eye: the formless will be conceived to be à “becoming” that can’t be, that is aphone and unpronounceable, but so forth, it is a right alternative to the “Deleuzian’s becoming”, to the Z.O.O and of the subjects that are trying to force a reconfiguration of an autonomous space, of the fluid sexualities: and is for these reasons that we evinct that the formless needs a new recalibration, far from the aesthetical intuitions, in need to re-orienting itself to a new dialogical horizon, and to put itself to the extreme sens of a destructive immanence.