Poetic writing in contemporary French scientific thought

The article is devoted to modern theoretical approaches to the study of poetic writing. ‘French theory’ developed in dialogue with the works of Freud, Husserl, Heidegger, Merleau-Ponty, Benveniste and Saussure. Criticism of Saussure's dualism of the sign and logocentric models can be found in Merleau-Ponty, Benveniste and Meschonnic. Meschonnic's works on the anthropological theory of rhythm are not well known in our country. The aim of this article is to arouse the reader's interest in the anthropological theory of sound by pointing out its Russian sources and integrating it into the conceptual apparatus of philosophy (Derrida, Merleau-Ponty) and linguistics (Benveniste, Saussure). The key concepts for Meschonnic are the subjectivity and historicity of writing, which allows her to study the processes of signification (writing and interpretation) in the light of the anthropological turn in science. The concepts of trace, writing, voice, and presence are analysed on the basis of a comparative analysis of the texts of Debray's "Mediology", Derrida's "Freud and the Writing Scene", and Meschonnic and Dessons's "A Treatise on the Rhythm of Poetry and Prose", among others. The field of interdisciplinary research of writing as a transmission and preservation of experience is supplemented by raising the question of the material medium. For the first time an attempt is made to combine the conceptual apparatus of mediology (communication and transmission), phenomenology (trace, presence, voice, phusis-writing, logos-writing) and anthropological theory of rhythm (rhythm, subjectivity, historicity). For French verse studies (sillabic), the novelty of Meschonnic's approach lies in the analysis of the system of accents and sound repetitions, genetically connected with the works of Russian formalists (in particular, the comparativist E. Polivanov). This component of Meschonnic's works paradoxically complicates its reception in Russia, as it creates the illusion of familiar material. The results obtained help to fit Meschonnik's theory into the Russian and European scientific apparatus and show its novelty and effectiveness in combining the theory of rhythm with the consideration of the register of transmission.

contemporary poetic writing, trace, anthropological rhythm theory, Meschonnic, phusis, signifying modes, phenomenology, historicity, subjectivity, voice