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1955. Cours de linguistique générale. Paris: Payot. Schwob, Marcel. 1895. “L’art de la biographie”, préface aux Vies imaginaires. Repr. in Schwob 1920: 119. ——. 1920. Spicilège. Paris: Au Sans Pareil. Starobinsky, Jean. 1971. Les Mots sous les mots. Les anagrammes de Ferdinand de Saussure. Essai. Paris: Gallimard. Chapter 4 Irresponsabilité dadaïste et surréaliste1 Timo Kaitaro Si l’on examine la façon dont à Paris le surréalisme s’est distingué et détaché du dadaïsme, il apparaît que les surréalistes ont été mieux disposés à faire ce que Tzara a refusé au procès de Barrès: “se placer sur le plan social”, s’expliquer et prendre ainsi la responsabilité de ses actes et de ses écrits (Breton 1992: 420–6).

Textual Politics from Cubist and Futurist to Concrete and Digital Poetics. PhD thesis. University of Edinburgh. —— and Roberts, Andrew Michael. 2006. e. 5 (July 2006). pdf. Schwitters, Kurt. 1973. Das literarische Werk 1: Lyrik. Cologne: DuMont Schauberg. Chapter 3 Comment, autour de DADA, construction de la “modernité” et Description – Révolution – Révélation – Subversion de la langue s’articulèrent Marc Décimo L’art est à l’opposé des idées générales, ne décrit que l’individuel, ne désire que l’unique.

Stirner” in DADA 2006: 914. Dufournet, Jean. 1975. “Tzara et les anagrammes de Villon” in Europe 555–6: 113– 14. Gandon, Francis. 2002. De dangereux édifices. Saussure, lecteur de Lucrèce. Les Cahiers d’anagrammes consacrés au De Rerum Natura. Louvain/Paris: Peeters, bibliothèque de l’information grammaticale. Genette, Gérard. 1976. Mimologiques, Voyage en Cratylie. Paris: Le Seuil. Gourmont, Remy de. 1923. Le Chemin de Velours. Paris: Mercure de France. Henry, Victor. 1883. Etude sur l’analogie en général et sur les formations analogiques de la langue grecque.

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