By Claude Simon
En peinture, on appelle triptyque une œuvre composée de trois volets.
Si les activities ou les personnages mis en scène peuvent avoir entres elles et entre eux des liens plus ou moins étroits (par exemple plusieurs épisodes d’une même légende), d’autres fois les sujets de chacun des volets sont différents. Mais, ainsi ou autrement, l’ensemble de l’œuvre constitue un tout indissociable, et par l’unité de l. a. facture, et par los angeles façon calculée dont se répondent d’un volet à l’autre et s’équilibrent les différentes formes et les différentes couleurs.
La composition de Triptyque s’inspire de ces principes. Trois histoires (une noce qui tourne mal, l. a. noyade accidentelle d’une enfant, un fait divers dans une station balnéaire) s’y entrelacent, se superposent parfois, se nourrissent l’une de l’autre et, finalement, s’effacent…
Triptyque est paru en 1973.
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Additional resources for Triptyque
See Chr. Lorenz, De constructie van het verleden (Amsterdam, Meppel 1998, 5th edition), pp. 135–6 and B. ’ [Historical writing – a true story or the truth about stories], in F. R. Ankersmit et al. (eds), Op verhaal komen: over narrativiteit in de mens- en cultuurwetenschappen [A narrative pause: narrativity in the humanities] (Kampen 1990), pp. 83-107. I especially agree with Verschaffel’s statement that the historian not only narrates but also argues and that his colleagues must have access to the manner in which he develops his conception of the past.
The opposition between modernist systems thought and postmodern anti-systems thought is not completely justified. Foucault, presented here as a postmodernist, was also a systematic thinker, even a very rigid one. Foucault, for example, leaves little room for intentions, while intentional relations can play an important role in my conception of systems. Furthermore, it should be remembered that the philosophy of language has been strongly influenced by the systems thought of De Saussure. Systems thought also has anti-positivist and therefore anti-modernist elements, as we shall see; it is therefore curious that so little research has been done in postmodernism with regard to systems thought itself.
171–82. 23. See, for an excellent analysis of these issues: J. Rüsen, ‘Rhetoric and aesthetics of history: Leopold von Ranke’, History and Theory 29 (1990): 190–204; and A. Megill and D. McCloskey, ‘The rhetoric – 24 – Introduction 24. 25. 26. 27. 28. 29. of history’, in J. Nelson, A. Megill and D. McCloskey (eds), The rhetoric of the human sciences. Language and argument in scholarship and public affairs (Madison, WI 1987). It should be noted here that McCloskey has tended more to an aesthetic–narrative approach in the 1990s (see also Chapter 4, paragraph 5 ‘Systems theories and chaos theories’ of this monograph); also B.