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{{Short description|French literary movement}}
{{Use dmy dates|date=July 2023}}
{{French literature sidebar}}
{{French literature sidebar}}


'''Oulipo''' ({{IPA-fr|ulipo}}, short for {{lang-fr|'''Ou'''vroir de '''li'''ttérature '''po'''tentielle}}; roughly translated: ''"workshop of potential literature"'') is a loose gathering of (mainly) French-speaking writers and [[mathematics|mathematicians]] who seek to create works using [[constrained writing]] techniques. It was founded in 1960 by [[Raymond Queneau]] and [[François Le Lionnais]]. Other notable members have included [[novelist]]s [[Georges Perec]] and [[Italo Calvino]], poets [[Oskar Pastior]], [[Jean Lescure]] and poet/mathematician [[Jacques Roubaud]].
'''Oulipo''' ({{IPA|fr|ulipo}}, short for {{langx|fr|Ouvroir de littérature potentielle}}; roughly translated: ''"workshop of potential literature"'', stylized ''OuLiPo'') is a loose gathering of (mainly) French-speaking writers and [[mathematician]]s who seek to create works using [[constrained writing]] techniques. It was founded in 1960 by [[Raymond Queneau]] and [[François Le Lionnais]]. Other notable members have included [[novelist]]s [[Georges Perec]] and [[Italo Calvino]], poets [[Oskar Pastior]] and [[Jean Lescure]], and poet/mathematician [[Jacques Roubaud]].


The group defines the term ''littérature potentielle'' as (rough translation): "the seeking of new structures and patterns which may be used by writers in any way they enjoy."
The group defines the term ''littérature potentielle'' as (rough translation): "the seeking of new structures and patterns which may be used by writers in any way they enjoy". Queneau described Oulipians as "rats who construct the labyrinth from which they plan to escape."


Constraints are used as a means of triggering ideas and inspiration, most notably Perec's "story-making machine", which he used in the construction of ''[[Life A User's Manual]]''. As well as established techniques, such as [[lipogram]]s (Perec's novel ''[[A Void]]'') and [[palindrome]]s, the group devises new methods, often based on mathematical problems, such as the [[knight's tour]] of the [[chess]]-board and permutations.
Constraints are used as a means of triggering ideas and inspiration, most notably Perec's "story-making machine", which he used in the construction of ''[[Life: A User's Manual]]''. As well as established techniques, such as [[lipogram]]s (Perec's novel ''[[A Void]]'') and [[palindrome]]s, the group devises new methods, often based on mathematical problems, such as the [[knight's tour]] of the [[chess]]-board and permutations.


== History ==
== History ==
Oulipo was founded on November 24, 1960, as a subcommittee of the [['Pataphysics|Collège de ‘Pataphysique]] and titled ''Séminaire de littérature expérimentale''.<ref name="bill seaman">{{cite journal |last=Seaman|first=Bill|title=OULIPO VS Recombinant Poetics|journal=Leonardo|date=October 2001|volume=30|issue=5|pages=423–430 |doi=10.1162/002409401753521548}}</ref> At their second meeting, the group changed its name to ''Ouvroir de littérature potentielle'', or Oulipo, at Albert-Marie Schmidt's suggestion.<ref>{{cite web |last=Barry|first=Robert|title=The Exploits And Opinions Of Gavin Bryars, 'Pataphysician|url=http://thequietus.com/articles/08491-gavin-bryars-interview|work=The Quietus|publisher=TheQuietus.com|accessdate=18 November 2012}}</ref> The idea had arisen two months earlier, when a small group met in September at [[Cerisy-la-Salle]] for a colloquium on Queneau's work. During this seminar, Queneau and François Le Lionnais conceived the society.<ref name=Sobelle>{{cite web |last=Sobelle|first=Stefanie|title=The Oulipo|url=http://www.bookforum.com/booklist/4527|publisher=Bookforum|accessdate=18 November 2012}}</ref>
Oulipo was founded on November 24, 1960, as a subcommittee of the [['Pataphysics|Collège de 'Pataphysique]] and titled ''Séminaire de littérature expérimentale''.<ref name="bill seaman">{{cite journal |last=Seaman|first=Bill|title=OULIPO VS Recombinant Poetics |journal=Leonardo |date=October 2001 |volume=30 |issue=5 |pages=423–430 |doi=10.1162/002409401753521548|s2cid=14002965}}</ref> At their second meeting, the group changed its name to ''Ouvroir de littérature potentielle'', or Oulipo, at [[Albert-Marie Schmidt]]'s suggestion.<ref>{{cite web |last=Barry |first=Robert |title=The Exploits And Opinions Of Gavin Bryars, 'Pataphysician |url= http://thequietus.com/articles/08491-gavin-bryars-interview |work=The Quietus |publisher=TheQuietus.com |access-date=18 November 2012}}</ref> The idea had arisen two months earlier, when a small group met in September at [[Cerisy-la-Salle]] for a colloquium on Queneau's work. During this seminar, Queneau and [[François Le Lionnais]] conceived the society.<ref name=Sobelle>{{cite web |last=Sobelle |first=Stefanie |title=The Oulipo |url= http://www.bookforum.com/booklist/4527 |publisher=Bookforum |access-date=18 November 2012}}</ref>


During the subsequent decade, Oulipo (as it was commonly known) was only rarely visible as a group. As a subcommittee, they reported their work to the full Collège de 'Pataphysique in 1961. In addition, [[:fr:Temps Mêlés|''Temps Mêlés'']] {{Fr icon}} devoted an issue to Oulipo in 1964, and [[Belgium|Belgian]] radio broadcast one Oulipo meeting. Its members were individually active during these years and published works which were created within their constraints. The group as a whole began to emerge from obscurity in 1973 with the publication of ''[[La Littérature Potentielle]]'', a collection of representative pieces. In 2012 Harvard University Press published a history of the movement, ''Many Subtle Channels: In Praise of Potential Literature'', by Oulipo member Daniel Levin Becker.
During the subsequent decade, Oulipo (as it was commonly known) was only rarely visible as a group. As a subcommittee, they reported their work to the full Collège de 'Pataphysique in 1961. In addition, ''{{ill|Temps Mêlés|fr}}'' {{in lang|fr}} devoted an issue to Oulipo in 1964, and Belgian radio broadcast one Oulipo meeting. Its members were individually active during these years and published works which were created within their constraints. The group as a whole began to emerge from obscurity in 1973 with the publication of ''{{ill|La Littérature Potentielle|fr}}'', a collection of representative pieces. [[Martin Gardner]] helped to popularize the group in America when he featured Oulipo in his February 1977 [[Mathematical Games column]] in Scientific American.<ref>''[https://old.maa.org/sites/default/files/pdf/abstracts/abstracts/1046/1046-j1-470.pdf Playing with Poetry: using mathematics to discover new verses]'' by JoAnne Growney</ref><ref>[https://old.maa.org/press/maa-reviews/imaginary-numbers-an-anthology-of-marvelous-mathematical-stories-diversions-poems-and-musings Review of Imaginary Numbers by William Frucht] [[Mathematical Association of America]] press release</ref> In 2012 Harvard University Press published a history of the movement, ''Many Subtle Channels: In Praise of Potential Literature'', by Oulipo member [[Daniel Levin Becker]].<ref name="Channels">{{cite book |last1=Levin Becker |first1=Daniel |title=Many Subtle Channels: In Praise of Potential Literature |date=April 2012 |author-link=Daniel Levin Becker |publisher=Harvard University Press |location=Boston |isbn=9780674065772 |url= http://www.hup.harvard.edu/catalog.php?isbn=9780674065772 |access-date=13 May 2017}}</ref>

Oulipo was founded by a group of men in 1960 and it took 15 years before the first woman was allowed to join; this was [[Michèle Métail]] who became a member in 1975 and has since distanced herself from the group.<ref>{{Cite web|title=Michèle Métail|url=https://www.oulipo.net/fr/oulipiens/mm|last=Michèle Métail|date=2013-08-21|website=www.oulipo.net|language=fr|access-date=2020-05-18}}</ref><ref name=":0">{{Cite web|title=An Attempt at Exhausting a Movement|url=https://thenewinquiry.com/an-attempt-at-exhausting-a-movement/|last1=Elkin|first1=Lauren|last2=Esposito|first2=Scott|date=2013-01-17|website=The New Inquiry|language=en-US|access-date=2020-05-18}}</ref> Since 1960 only six women have joined Oulipo,<ref name=":0" /><ref>{{Cite web|title=Who Are the Women of Oulipo?|url=https://www.catranslation.org/blog-post/who-are-the-women-of-oulipo/|date=2017-04-12|website=Center for the Art of Translation {{!}} Two Lines Press|language=en-US|access-date=2020-05-18}}</ref> with [[Clémentine Mélois]] last to join in June 2017.<ref>{{Cite web|title=Clémentine Mélois|url=https://www.oulipo.net/fr/oulipiens/cm|last=Mélois|first=Clémentine|date=2017-06-13|website=www.oulipo.net|language=fr|access-date=2020-05-18}}</ref>


== Oulipian works ==
== Oulipian works ==
[[File:Ambigramme Oulipo (bold pencil).png|thumb|right|[[Ambigram]] Oulipo]]

Some examples of Oulipian writing:
Some examples of Oulipian writing:
* Queneau's ''[[Exercises in Style|Exercices de Style]]'' is the recounting ninety-nine times of the same inconsequential episode, in which a man witnesses a minor altercation on a bus trip; each account is unique in terms of tone and style.
* Queneau's ''[[Exercises in Style|Exercices de Style]]'' is the recounting ninety-nine times of the same inconsequential episode, in which a man witnesses a minor altercation on a bus trip; each account is unique in terms of tone and style.
* Queneau's ''[[Hundred Thousand Billion Poems|Cent Mille Milliards de Poèmes]]'' is inspired by children's picture books in which each page is cut into horizontal strips that can be turned independently, allowing different pictures (usually of people: heads, torsos, waists, legs, etc.) to be combined in many ways. Queneau applies this technique to poetry: the book contains 10 [[sonnet]]s, each on a page. Each page is split into 14 strips, one for each line. The author estimates in the introductory explanation that it would take approximately 200 million years to read all possible combinations.
* Queneau's ''[[Hundred Thousand Billion Poems|Cent Mille Milliards de Poèmes]]'' is inspired by children's picture books in which each page is cut into horizontal strips that can be turned independently, allowing different pictures (usually of people: heads, torsos, waists, legs, etc.) to be combined in many ways. Queneau applies this technique to poetry: the book contains 10 [[sonnet]]s, each on a page. Each page is split into 14 strips, one for each line. The author estimates in the introductory explanation that it would take approximately 200 million years to read all possible combinations.
* Perec's novel ''[[La disparition]],'' translated into English by Gilbert Adair and published under the title ''[[A Void]]'', is a 300-page novel written without the letter "e," an example of a lipogram. The English translation, ''A Void'', is also a lipogram. The novel is remarkable not only for the absence of "e," but it is a mystery in which the absence of that letter is a central theme.
* Perec's novel ''[[La disparition]],'' translated into English by [[Gilbert Adair]] and published under the title ''[[A Void]]'', is a 300-page novel written without the letter "e", an example of a [[lipogram]]. The English translation, ''A Void'', is also a lipogram. The novel is remarkable not only for the absence of "e", but it is a mystery in which the absence of that letter is a central theme. Perec would go on to write with the inverse constraint in ''Les Revenents'', with only the vowel “e” present in the work. [[Ian Monk]] would later translate ''Les Revenents'' into English under the title ''The Exeter Text.''
* ''[[Singular Pleasures]]'' by [[Harry Mathews]] describes 61 different scenes, each told in a different style (generally poetic, elaborate, or circumlocutory) in which 61 different people (all of different ages, nationalities, and walks of life) masturbate.
* ''[[Singular Pleasures]]'' by [[Harry Mathews]] describes 61 different scenes, each told in a different style (generally poetic, elaborate, or circumlocutory) in which 61 different people (all of different ages, nationalities, and walks of life) masturbate.


== Constraints ==<!-- This section is linked from [[Constraint]] -->
== Constraints ==<!-- This section is linked from [[Constraint]] -->


Some Oulipian constraints:<ref name="CB">{{cite web |url=http://www.criminalbrief.com/?p=7124|title=L'Oulipo|last=Lundin|first=Leigh|author2=Grassiot-Gandet|date=2009-06-07|publisher=Criminal Brief|accessdate=2009-06-10}}</ref>
Some Oulipian constraints:<ref name="CB">{{cite web |url=http://www.criminalbrief.com/?p=7124|title=L'Oulipo|last=Lundin|first=Leigh|author2=Grassiot-Gandet|date=2009-06-07|publisher=Criminal Brief|access-date=2009-06-10}}</ref>


; '''S+7''', sometimes called '''N+7''' : Replace every noun in a text with the seventh noun after it in a dictionary. For example, "[[Moby-Dick|Call me Ishmael. Some years ago...]]" becomes "Call me islander. Some yeggs ago...". Results will vary depending upon the dictionary used. This technique can also be performed on other lexical classes, such as verbs.
; S+7{{nobold|, sometimes called}} N+7 : Replace every noun in a text with the seventh noun after it in a dictionary. For example, "[[Moby-Dick|Call me Ishmael. Some years ago...]]" becomes "Call me Ishmael. Some yes-men ago...". Results will vary depending upon the dictionary used. This technique can also be performed on other lexical classes, such as verbs.


; '''[[Chaterism|Snowball]]''' : A poem in which each line is a single word, and each successive word is one letter longer.
; [[Chaterism|Snowball]]{{nobold|, or a}} Rhopalism : A poem in which each line is a single word, and each successive word is one letter longer.


; Stile: A method wherein each “new” sentence in a paragraph stems from the last word or phrase in the previous sentence (e.g. “I descend the long ladder brings me to the ground floor is spacious…”). In this technique the sentences in a narrative continually overlap, often turning the grammatical object in a previous sentence into the grammatical subject of the next. The author may also pivot on an adverb, prepositional phrase, or other transitory moment.
⚫
; '''[[Lipogram]]''' : Writing that excludes one or more letters. The previous sentence is a lipogram in B, F, J, K, Q, V, Y, and Z (it does not contain any of those letters).


⚫
; [[Lipogram]] : Writing that excludes one or more letters. The previous sentence is a lipogram in B, F, J, K, Q, V, Y, and Z (it does not contain any of those letters).
⚫
; '''Prisoner's constraint''', also called '''Macao constraint''' : A type of lipogram that omits letters with [[Ascender (typography)|ascenders]] and [[descender]]s (b, d, f, g, h, j, k, l, p, q, t, and y).


⚫
; Prisoner's constraint{{nobold|, also called}} Macao constraint : A type of lipogram that omits letters with [[Ascender (typography)|ascenders]] and [[descender]]s (b, d, f, g, h, j, k, l, p, q, t, and y).
⚫
; '''[[Palindromes]]''': Sonnets and other poems constructed using palindromic techniques.


⚫
; [[Palindromes]]: Sonnets and other poems constructed using palindromic techniques.
⚫
; '''[[Univocalism]]''': A poem using only one vowel letter. In English and some other languages the same vowel letter can represent different sounds, which means that e.g. "born" and "cot" could both be used in a univocalism. Words with the same vowel sound, represented by different vowel letters in English, could not be used - e.g. "blue" and "stew".

⚫
; [[Univocalism]]: A poem using only one vowel letter. In English and some other languages the same vowel letter can represent different sounds, which means that, for example, "born" and "cot" could both be used in a univocalism. (Words with the same American English vowel sound but represented by different 'vowel' letters could not be used – e.g. "blue" and "stew".)

; [[Pilish]]: A method of writing wherein one matches the length of words (or number of words in a sentence) to the digits of pi.

; Mathews' Algorithm: Elements in a text are moved around by a set of predetermined rules<ref>[http://markwolff.name/wp/research/mathewss-algorithm/ rules for the algorithm]</ref><ref>{{Cite book|url=https://books.google.com/books?id=7DVE6oOsqGAC&q=Algorithm+Mathews&pg=PA27|title=The Maltese Touch of Evil: Film Noir and Potential Criticism|last1=Clute|first1=Shannon Scott|last2=Edwards|first2=Richard L.|date=2011|publisher=UPNE|isbn=978-1611680478|language=en}}</ref>


== Members ==
== Members ==
Line 39: Line 51:
===Founding members===
===Founding members===
The founding members of Oulipo represented a range of [[intellectual]] pursuits, including writers, [[university]] [[professor]]s, mathematicians, [[engineer]]s, and "[[pataphysics|pataphysicians]]":
The founding members of Oulipo represented a range of [[intellectual]] pursuits, including writers, [[university]] [[professor]]s, mathematicians, [[engineer]]s, and "[[pataphysics|pataphysicians]]":

⚫
* [[Noël Arnaud]]
{{div col|colwidth=12em}}
⚫
* {{ill|Noël Arnaud|fr}}
* [[Jacques Bens]]
* [[Jacques Bens]]
* [[Claude Berge]]
* [[Claude Berge]]
* [[Jacques Duchateau]]
* [[Marcel Duchamp]]
⚫
* {{ill|Jacques Duchateau|fr}}
* [[Latis (writer)|Latis]] (Emmanuel Peillet)
* {{ill|Emmanuel Peillet|fr}} ("Latis")
* [[François Le Lionnais]]
* [[François Le Lionnais]]
* [[Jean Lescure]]
* [[Jean Lescure]]
Line 49: Line 64:
* [[Jean Queval]]
* [[Jean Queval]]
* [[Albert-Marie Schmidt]]
* [[Albert-Marie Schmidt]]
{{Div col end}}


===List of Members===
===Living members===
{{div col|colwidth=12em}}
Note that Oulipo members are still considered members after their deaths.
⚫
* [[Noël Arnaud]] †
* [[Michèle Audin]]
* [[Michèle Audin]]
* [[Valérie Beaudouin]]
* {{ill|Valérie Beaudouin|fr}}
* [[Marcel Bénabou]]
* [[Marcel Bénabou]]
⚫
* [[Jacques Bens]] †
⚫
* [[Claude Berge]] †
* [[Eduardo Berti]]
* [[Eduardo Berti]]
⚫
* [[André Blavier]] †
⚫
* [[Paul Braffort]]
⚫
* [[Italo Calvino]] †
⚫
* [[François Caradec]] †
* [[Bernard Cerquiglini]]
* [[Bernard Cerquiglini]]
⚫
* {{ill|Frédéric Forte|fr}}
⚫
* [[Ross Chambers]]
⚫
* [[Stanley Chapman]] †
* [[Marcel Duchamp]] †
⚫
* [[Jacques Duchateau]] †
⚫
* [[Luc Etienne Périn|Luc Etienne]] †
⚫
* [[Frédéric Forte]]
* [[Paul Fournel]]
* [[Paul Fournel]]
* [[Anne F. Garréta]]
* [[Anne F. Garréta]]
⚫
* [[Michelle Grangaud]]
* [[Jacques Jouet]]
* [[Jacques Jouet]]
* [[Latis (writer)|Latis]] (Emmanuel Peillet) †
⚫
* [[François Le Lionnais]] †
* [[Hervé Le Tellier]]
* [[Hervé Le Tellier]]
* [[Étienne Lécroart]]
* [[Étienne Lécroart]]
⚫
* [[Jean Lescure]] †
* [[Daniel Levin Becker]]
* [[Daniel Levin Becker]]
* {{ill|Clémentine Mélois|fr}}
⚫
* [[Harry Mathews]] †
* [[Michèle Métail]]
* {{ill|Michèle Métail|fr}}
* [[Ian Monk]]
* [[Ian Monk]]
* {{ill|Olivier Salon|fr}}
⚫
* [[Oskar Pastior]] †
⚫
* {{ill|Pablo Martín Sánchez|fr}}
⚫
* [[Georges Perec]] †
{{Div col end}}
⚫
* [[Raymond Queneau]] †

⚫
* [[Jean Queval]] †
===Deceased members===
{{div col|colwidth=12em}}
⚫
* {{ill|Noël Arnaud|fr}}
⚫
* [[Jacques Bens]]
⚫
* [[Claude Berge]]
⚫
* [[André Blavier]]
⚫
* {{ill|Paul Braffort|fr}}
⚫
* [[Italo Calvino]]
⚫
* {{ill|François Caradec|fr}}
⚫
* {{ill|Ross Chambers|fr}}
⚫
* [[Stanley Chapman]]
* {{ill|Jacques Duchateau|fr}}
⚫
* [[Luc Etienne Périn|Luc Etienne]]
⚫
* [[Michelle Grangaud]]
* {{ill|Emmanuel Peillet|fr}} ("Latis")
⚫
* [[François Le Lionnais]]
⚫
* [[Jean Lescure]]
⚫
* [[Harry Mathews]]
⚫
* [[Oskar Pastior]]
⚫
* [[Georges Perec]]
⚫
* [[Raymond Queneau]]
⚫
* [[Jean Queval]]
* [[Pierre Rosenstiehl]]
* [[Pierre Rosenstiehl]]
* [[Jacques Roubaud]]
* [[Jacques Roubaud]]
* [[Olivier Salon]]
* [[Albert-Marie Schmidt]]

⚫
* [[Pablo Martín Sánchez]]
{{Div col end}}
* [[Albert-Marie Schmidt]] †


==See also==
==See also==
*[[Anticipatory plagiarism|Anticipatory Plagiarism]]
*[[One-letter word]]
*[[Constrained writing]]
*[[Constrained writing]]
*[[E-Prime]]
*[[Modernist poetry]]
*[[Ouxpo]]
*[[Ouxpo]]
*[[Outrapo]]
*[[Outrapo]]
Line 101: Line 127:


==References==
==References==
{{reflist}}
{{Reflist}}


==Further reading==
==Further reading==
* Mathews, Harry & Brotchie, Alastair. ''Oulipo Compendium''. London: Atlas, 1998. ISBN 0-947757-96-1
* Mathews, Harry & Brotchie, Alastair. ''Oulipo Compendium''. London: Atlas, 1998. {{ISBN|0-947757-96-1}}
* Motte, Warren F. (ed) ''Oulipo: A Primer of Potential Literature''. [[University of Nebraska]] Press, 1986. ISBN 0-8032-8131-5.
* Motte, Warren F. (ed) ''Oulipo: A Primer of Potential Literature''. [[University of Nebraska]] Press, 1986. {{ISBN|0-8032-8131-5}}.
* Queneau, Raymond, Italo Calvino, et al. ''Oulipo Laboratory''. London: Atlas, 1995. ISBN 0-947757-89-9
* Queneau, Raymond, Italo Calvino, et al. ''Oulipo Laboratory''. London: Atlas, 1995. {{ISBN|0-947757-89-9}}
* ''The State of Constraint: New Work by Oulipo''. San Francisco: [[Timothy McSweeney's Quarterly Concern|McSweeney's Quarterly Concern]] Issue 22 (''Three Books Held Within By Magnets''), 2006. ISBN 1-932416-66-8
* ''The State of Constraint: New Work by Oulipo''. San Francisco: [[Timothy McSweeney's Quarterly Concern|McSweeney's Quarterly Concern]] Issue 22 (''Three Books Held Within By Magnets''), 2006. {{ISBN|1-932416-66-8}}
* Marc Lapprand, Poétique de l’Oulipo., Amsterdam, Rodopi, coll. « Faux Titre », 1998, 142e éd.
* Marc Lapprand, Poétique de l’Oulipo., Amsterdam, Rodopi, coll. « Faux Titre », 1998, 142e éd.
* Warren Motte, Oulipo: A primer in potential literature, University of Nebraska Press, 1988
* Warren Motte, Oulipo: A primer in potential literature, University of Nebraska Press, 1988
* Daniel Levin Becker. ''Many Subtle Channels: In Praise of Potential Literature''. Harvard University Press, 2012.
* Daniel Levin Becker. ''Many Subtle Channels: In Praise of Potential Literature''. Harvard University Press, 2012.
* Lauren Elkin and Scott Esposito. ''The End of Oulipo? An Attempt to Exhaust a Movement''. Zer0 Books, 2013.
* Lauren Elkin and Scott Esposito. ''The End of Oulipo? An Attempt to Exhaust a Movement''. Zer0 Books, 2013.
* Ian Monk and Daniel Levin Becker (translators), ''All That Is Evident Is Suspect: Readings from the Oulipo: 1963 - 2018'', McSweeney's, 2018.
* (fr) Jean-Jacques Thomas, La langue, la poésie - essais sur la poésie française contemporaine : Apollinaire, Bonnefoy, Breton, Dada, Eluard, Faye, Garnier, Goll, Jacob, Leiris, Meschonnic, Oulipo, Roubaud, Lille, Presses Universitaires de Lille, coll. « problématiques », 1989
* (fr) Jean-Jacques Thomas, La langue, la poésie - essais sur la poésie française contemporaine : Apollinaire, Bonnefoy, Breton, Dada, Eluard, Faye, Garnier, Goll, Jacob, Leiris, Meschonnic, Oulipo, Roubaud, Lille, Presses Universitaires de Lille, coll. « problématiques », 1989
* (fr) Christelle Reggiani et Georges Molinié (dir.), La rhétorique de l'invention de Raymond Roussel à l'Oulipo, thèse de doctorat (nouveau régime), Université de soutenance : Paris-Sorbonne, 1997
* (fr) Christelle Reggiani et Georges Molinié (dir.), La rhétorique de l'invention de Raymond Roussel à l'Oulipo, thèse de doctorat (nouveau régime), Université de soutenance : Paris-Sorbonne, 1997
Line 120: Line 147:
*(fr) Christophe Reig, Anne Chamayou (dir.) et Alastair Ducan (dir.), L’Oulipo sur la scène internationale : ressorts formels et comiques, PUP, 2010 / Actes du Colloque « Le rire européen - échanges et confrontations »
*(fr) Christophe Reig, Anne Chamayou (dir.) et Alastair Ducan (dir.), L’Oulipo sur la scène internationale : ressorts formels et comiques, PUP, 2010 / Actes du Colloque « Le rire européen - échanges et confrontations »
*(fr) Christophe Reig, Henri Béhar (dir.) et Pierre Taminiaux (dir.), Oulipo-litiques : Poésie et Politique au XX° siècle, Paris, Hermann, 2011 / Actes du colloque de juillet 2010, Centre Culturel International de Cerisy
*(fr) Christophe Reig, Henri Béhar (dir.) et Pierre Taminiaux (dir.), Oulipo-litiques : Poésie et Politique au XX° siècle, Paris, Hermann, 2011 / Actes du colloque de juillet 2010, Centre Culturel International de Cerisy
*(fr) Anne Blossier-Jacquemot et Florence Dupont (dir.), Les Oulipiens antiques : pour une anthropologie des pratiques d'écriture à contraintes dans l'Antiquité, Université Paris Diderot - Paris 7, [[Atelier national de reproduction des thèses]], 2010
*(fr) Anne Blossier-Jacquemot et [[Florence Dupont]] (dir.), Les Oulipiens antiques : pour une anthropologie des pratiques d'écriture à contraintes dans l'Antiquité, Université Paris Diderot - Paris 7, [[Atelier national de reproduction des thèses]], 2010
* (fr)/(en) « Oulipo@50/L'Oulipo à 50 ans », Revue Formules - revue des créations formelles, n° 16, Presses universitaires du Nouveau Monde, New Orleans, juin 2012
* (fr)/(en) « Oulipo@50/L'Oulipo à 50 ans », Revue Formules - revue des créations formelles, n° 16, Presses universitaires du Nouveau Monde, New Orleans, juin 2012
*Exhibition at UCL Rm 131 Foster Court - Department of French Prof. Timothy Mathews and Artist in Residence Margarita Saad 'Translation, Transcription, Oulipo Art from French to English' June 2015
*Exhibition at UCL Rm 131 Foster Court - Department of French Prof. Timothy Mathews and Artist in Residence Margarita Saad 'Translation, Transcription, Oulipo Art from French to English' June 2015
Line 126: Line 153:
== External links ==
== External links ==
* [https://web.archive.org/web/20060612223506/http://www.oulipocompendium.com/ Excerpts from the Oulipo Compendium]
* [https://web.archive.org/web/20060612223506/http://www.oulipocompendium.com/ Excerpts from the Oulipo Compendium]
* [http://www.drunkenboat.com/db8/oulipo/feature-oulipo/index.html A special Oulipo folio], ''Drunken Boat''
* [http://d7.drunkenboat.com/db8/oulipo/feature-oulipo/index.html A special Oulipo folio], ''Drunken Boat''
* [http://poets.org/viewmedia.php/prmMID/5916 Monica de la Torre, "Oulipo"], Poets.org Website
* [https://web.archive.org/web/20060908104721/http://www.poets.org/viewmedia.php/prmMID/5916 Monica de la Torre, "Oulipo"], Poets.org Website
* [http://www.bevrowe.info/Poems/QueneauRandom.htm Queneau, ''Cent Mille Milliards de Poèmes''], BevRowe, interactive version in French and English
* [http://www.bevrowe.info/Poems/QueneauRandom.htm Queneau, ''Cent Mille Milliards de Poèmes''], BevRowe, interactive version in French and English
* [http://www.spoonbill.org/n+7/ The N+7 Machine]
* [http://www.spoonbill.org/n+7/ The N+7 Machine]
* {{fr icon}} [http://www.oulipo.net/ Official Oulipo Website]
* {{in lang|fr}} [http://www.oulipo.net/ Official Oulipo Website]
* {{fr icon}} [http://quatramaran.ens.fr/mailman/listinfo/oulipo/ Oulipo mailing list]
* {{in lang|fr}} [https://web.archive.org/web/20021016103903/http://quatramaran.ens.fr/mailman/listinfo/oulipo Oulipo mailing list]
* {{fr icon}} [http://oulipojeux.free.fr/ Oulipo Games Website]
* {{in lang|fr}} [http://oulipojeux.free.fr/ Oulipo Games Website]
* [http://amr.obook.org ''Absurdist Monthly Review''], The Writers Magazine of The New Absurdist Movement
* [http://amr.obook.org ''Absurdist Monthly Review''], The Writers Magazine of The New Absurdist Movement


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[[Category:Oulipo| ]]
[[Category:1960 establishments in France]]
[[Category:1960 establishments in France]]
[[Category:Cultural organizations in France]]
[[Category:French writers' organizations]]
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[[Category:French literature]]
[[Category:Literary societies]]
[[Category:'Pataphysics]]
[[Category:'Pataphysics]]
[[Category:Constrained writing]]
[[Category:Constrained writing]]

Latest revision as of 04:27, 30 December 2024

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Oulipo (French pronunciation: [ulipo], short for French: Ouvroir de littérature potentielle; roughly translated: "workshop of potential literature", stylized OuLiPo) is a loose gathering of (mainly) French-speaking writers and mathematicians who seek to create works using constrained writing techniques. It was founded in 1960 by Raymond Queneau and François Le Lionnais. Other notable members have included novelists Georges Perec and Italo Calvino, poets Oskar Pastior and Jean Lescure, and poet/mathematician Jacques Roubaud.

The group defines the term littérature potentielle as (rough translation): "the seeking of new structures and patterns which may be used by writers in any way they enjoy". Queneau described Oulipians as "rats who construct the labyrinth from which they plan to escape."

Constraints are used as a means of triggering ideas and inspiration, most notably Perec's "story-making machine", which he used in the construction of Life: A User's Manual. As well as established techniques, such as lipograms (Perec's novel A Void) and palindromes, the group devises new methods, often based on mathematical problems, such as the knight's tour of the chess-board and permutations.

History

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Oulipo was founded on November 24, 1960, as a subcommittee of the Collège de 'Pataphysique and titled Séminaire de littérature expérimentale.[1] At their second meeting, the group changed its name to Ouvroir de littérature potentielle, or Oulipo, at Albert-Marie Schmidt's suggestion.[2] The idea had arisen two months earlier, when a small group met in September at Cerisy-la-Salle for a colloquium on Queneau's work. During this seminar, Queneau and François Le Lionnais conceived the society.[3]

During the subsequent decade, Oulipo (as it was commonly known) was only rarely visible as a group. As a subcommittee, they reported their work to the full Collège de 'Pataphysique in 1961. In addition, Temps Mêlés [fr] (in French) devoted an issue to Oulipo in 1964, and Belgian radio broadcast one Oulipo meeting. Its members were individually active during these years and published works which were created within their constraints. The group as a whole began to emerge from obscurity in 1973 with the publication of La Littérature Potentielle [fr], a collection of representative pieces. Martin Gardner helped to popularize the group in America when he featured Oulipo in his February 1977 Mathematical Games column in Scientific American.[4][5] In 2012 Harvard University Press published a history of the movement, Many Subtle Channels: In Praise of Potential Literature, by Oulipo member Daniel Levin Becker.[6]

Oulipo was founded by a group of men in 1960 and it took 15 years before the first woman was allowed to join; this was Michèle Métail who became a member in 1975 and has since distanced herself from the group.[7][8] Since 1960 only six women have joined Oulipo,[8][9] with Clémentine Mélois last to join in June 2017.[10]

Oulipian works

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Ambigram Oulipo

Some examples of Oulipian writing:

  • Queneau's Exercices de Style is the recounting ninety-nine times of the same inconsequential episode, in which a man witnesses a minor altercation on a bus trip; each account is unique in terms of tone and style.
  • Queneau's Cent Mille Milliards de Poèmes is inspired by children's picture books in which each page is cut into horizontal strips that can be turned independently, allowing different pictures (usually of people: heads, torsos, waists, legs, etc.) to be combined in many ways. Queneau applies this technique to poetry: the book contains 10 sonnets, each on a page. Each page is split into 14 strips, one for each line. The author estimates in the introductory explanation that it would take approximately 200 million years to read all possible combinations.
  • Perec's novel La disparition, translated into English by Gilbert Adair and published under the title A Void, is a 300-page novel written without the letter "e", an example of a lipogram. The English translation, A Void, is also a lipogram. The novel is remarkable not only for the absence of "e", but it is a mystery in which the absence of that letter is a central theme. Perec would go on to write with the inverse constraint in Les Revenents, with only the vowel “e” present in the work. Ian Monk would later translate Les Revenents into English under the title The Exeter Text.
  • Singular Pleasures by Harry Mathews describes 61 different scenes, each told in a different style (generally poetic, elaborate, or circumlocutory) in which 61 different people (all of different ages, nationalities, and walks of life) masturbate.

Constraints

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Some Oulipian constraints:[11]

S+7, sometimes called N+7
Replace every noun in a text with the seventh noun after it in a dictionary. For example, "Call me Ishmael. Some years ago..." becomes "Call me Ishmael. Some yes-men ago...". Results will vary depending upon the dictionary used. This technique can also be performed on other lexical classes, such as verbs.
Snowball, or a Rhopalism
A poem in which each line is a single word, and each successive word is one letter longer.
Stile
A method wherein each “new” sentence in a paragraph stems from the last word or phrase in the previous sentence (e.g. “I descend the long ladder brings me to the ground floor is spacious…”). In this technique the sentences in a narrative continually overlap, often turning the grammatical object in a previous sentence into the grammatical subject of the next. The author may also pivot on an adverb, prepositional phrase, or other transitory moment.
Lipogram
Writing that excludes one or more letters. The previous sentence is a lipogram in B, F, J, K, Q, V, Y, and Z (it does not contain any of those letters).
Prisoner's constraint, also called Macao constraint
A type of lipogram that omits letters with ascenders and descenders (b, d, f, g, h, j, k, l, p, q, t, and y).
Palindromes
Sonnets and other poems constructed using palindromic techniques.
Univocalism
A poem using only one vowel letter. In English and some other languages the same vowel letter can represent different sounds, which means that, for example, "born" and "cot" could both be used in a univocalism. (Words with the same American English vowel sound but represented by different 'vowel' letters could not be used – e.g. "blue" and "stew".)
Pilish
A method of writing wherein one matches the length of words (or number of words in a sentence) to the digits of pi.
Mathews' Algorithm
Elements in a text are moved around by a set of predetermined rules[12][13]

Members

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Founding members

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The founding members of Oulipo represented a range of intellectual pursuits, including writers, university professors, mathematicians, engineers, and "pataphysicians":

Living members

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Deceased members

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See also

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References

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  1. ^ Seaman, Bill (October 2001). "OULIPO VS Recombinant Poetics". Leonardo. 30 (5): 423–430. doi:10.1162/002409401753521548. S2CID 14002965.
  2. ^ Barry, Robert. "The Exploits And Opinions Of Gavin Bryars, 'Pataphysician". The Quietus. TheQuietus.com. Retrieved 18 November 2012.
  3. ^ Sobelle, Stefanie. "The Oulipo". Bookforum. Retrieved 18 November 2012.
  4. ^ Playing with Poetry: using mathematics to discover new verses by JoAnne Growney
  5. ^ Review of Imaginary Numbers by William Frucht Mathematical Association of America press release
  6. ^ Levin Becker, Daniel (April 2012). Many Subtle Channels: In Praise of Potential Literature. Boston: Harvard University Press. ISBN 9780674065772. Retrieved 13 May 2017.
  7. ^ Michèle Métail (21 August 2013). "Michèle Métail". www.oulipo.net (in French). Retrieved 18 May 2020.
  8. ^ a b Elkin, Lauren; Esposito, Scott (17 January 2013). "An Attempt at Exhausting a Movement". The New Inquiry. Retrieved 18 May 2020.
  9. ^ "Who Are the Women of Oulipo?". Center for the Art of Translation | Two Lines Press. 12 April 2017. Retrieved 18 May 2020.
  10. ^ Mélois, Clémentine (13 June 2017). "Clémentine Mélois". www.oulipo.net (in French). Retrieved 18 May 2020.
  11. ^ Lundin, Leigh; Grassiot-Gandet (7 June 2009). "L'Oulipo". Criminal Brief. Retrieved 10 June 2009.
  12. ^ rules for the algorithm
  13. ^ Clute, Shannon Scott; Edwards, Richard L. (2011). The Maltese Touch of Evil: Film Noir and Potential Criticism. UPNE. ISBN 978-1611680478.

Further reading

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  • Mathews, Harry & Brotchie, Alastair. Oulipo Compendium. London: Atlas, 1998. ISBN 0-947757-96-1
  • Motte, Warren F. (ed) Oulipo: A Primer of Potential Literature. University of Nebraska Press, 1986. ISBN 0-8032-8131-5.
  • Queneau, Raymond, Italo Calvino, et al. Oulipo Laboratory. London: Atlas, 1995. ISBN 0-947757-89-9
  • The State of Constraint: New Work by Oulipo. San Francisco: McSweeney's Quarterly Concern Issue 22 (Three Books Held Within By Magnets), 2006. ISBN 1-932416-66-8
  • Marc Lapprand, Poétique de l’Oulipo., Amsterdam, Rodopi, coll. « Faux Titre », 1998, 142e éd.
  • Warren Motte, Oulipo: A primer in potential literature, University of Nebraska Press, 1988
  • Daniel Levin Becker. Many Subtle Channels: In Praise of Potential Literature. Harvard University Press, 2012.
  • Lauren Elkin and Scott Esposito. The End of Oulipo? An Attempt to Exhaust a Movement. Zer0 Books, 2013.
  • Ian Monk and Daniel Levin Becker (translators), All That Is Evident Is Suspect: Readings from the Oulipo: 1963 - 2018, McSweeney's, 2018.
  • (fr) Jean-Jacques Thomas, La langue, la poésie - essais sur la poésie française contemporaine : Apollinaire, Bonnefoy, Breton, Dada, Eluard, Faye, Garnier, Goll, Jacob, Leiris, Meschonnic, Oulipo, Roubaud, Lille, Presses Universitaires de Lille, coll. « problématiques », 1989
  • (fr) Christelle Reggiani et Georges Molinié (dir.), La rhétorique de l'invention de Raymond Roussel à l'Oulipo, thèse de doctorat (nouveau régime), Université de soutenance : Paris-Sorbonne, 1997
  • (fr) Oulipo poétiques : Actes du colloque de Salzburg, 23-25 avril 1997 / édités par Peter Kuon ; en collaboration avec Monika Neuhofer et Christian Ollivier, Tübingen : Gunter Narr Verlag, 1999
  • Peter Consenstein, Literary memory, consciousness, and the group Oulipo, Amsterdam, Rodopi, 2002
  • (fr)Carole Bisenius-Penin, Le roman oulipien, Paris, l'Harmattan, 2008
  • Alison James, Constraining chance  : Georges Perec and the Oulipo, Evanston, Ill. : Northwestern University Press, 2009
  • (fr) Christophe Reig, Anne Chamayou (dir.) et Alastair Ducan (dir.), L’Oulipo sur la scène internationale : ressorts formels et comiques, PUP, 2010 / Actes du Colloque « Le rire européen - échanges et confrontations »
  • (fr) Christophe Reig, Henri Béhar (dir.) et Pierre Taminiaux (dir.), Oulipo-litiques : Poésie et Politique au XX° siècle, Paris, Hermann, 2011 / Actes du colloque de juillet 2010, Centre Culturel International de Cerisy
  • (fr) Anne Blossier-Jacquemot et Florence Dupont (dir.), Les Oulipiens antiques : pour une anthropologie des pratiques d'écriture à contraintes dans l'Antiquité, Université Paris Diderot - Paris 7, Atelier national de reproduction des thèses, 2010
  • (fr)/(en) « Oulipo@50/L'Oulipo à 50 ans », Revue Formules - revue des créations formelles, n° 16, Presses universitaires du Nouveau Monde, New Orleans, juin 2012
  • Exhibition at UCL Rm 131 Foster Court - Department of French Prof. Timothy Mathews and Artist in Residence Margarita Saad 'Translation, Transcription, Oulipo Art from French to English' June 2015
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