La Bonheur

Through the ages, the pursuit of Happiness has been at the heart of the needs and desires each individual would seek to fulfill, while as a concept, Happiness has always resonated strongly in poetic as well as philosophical, sociological and psychological contexts. But what about Happiness today, in a world dominated by technology, driven by productivity and dictated by efficiency? Does Happiness still feature in contemporary fiction in any significant way? Or has it perhaps gone underground, adopting different guises? Would we still call that “duty of happiness” that Pascal Bruckner saw as “present at the second half of the twentieth century” a relevant force today? Or has it waned perceptibly? The articles brought together in this volume seek to work out answers to these and similar questions, creatively addressing the imminent risks but also eagerly following up the intriguing possibilities one encounters when interrogating Happiness in the contemporary novel. Originally based on an international conference organized at the University of Haifa, Israel, in May 2010, the volume is structured around the axes we found useful as a basis for the various approaches towards Happiness in Europe and the historical and social events that influenced the writing of Happiness as they defined the 20th century and have impacted on the 21st: the Holocaust, the Soviet dystopia, consumerism, postmodernism, “everyday life,” the various as yet unarticulated new modes of life they have given rise to, and so on. A new writing of happiness then? At the very least this volume targets the contemporary novel without wanting to solidify works, instead taking into account the fluctuations Happiness has been subjected to, and the diversity and especially the paradoxes it has created, while we have been keen to preserve a “precise” reading of the texts and have felt compelled to respect and preserve the particular features that make the writings of the authors we focus on stand out. Thème philosophique aussi bien que poétique, sociologique et psychologique, le bonheur s’édifie à la mesure de chacun. « N’est-il pas vrai que, nous autres hommes, nous désirons tous être heureux ? » (Platon). Or dans notre monde actuel dominé par la technique, la recherche à outrance du productif et de l’efficacité, qu’en est-il du bonheur ? Est-il encore présent aux écritures romanesques contemporaines ? Sous quelles formes se présenterait sa recherche ? Ce « devoir de bonheur propre à la deuxième moitié du XXe siècle » dont parle Pascal Bruckner, continue-t-il toujours à être d’actualité ? S’est-il renforcé ou, au contraire, s’est-il affaibli? Le projet d’un questionnement du bonheur dans le roman contemporain comportait de gros risques, mais il offrait en même temps des possibilités stimulantes. A la suite du colloque international organisé à l’université de Haïfa en mai 2010, les textes réunis dans ce livre, cherchent à élaborer des éléments de réponse à ces questions. Le volume offre un état des lieux du bonheur dans le roman depuis 1980 et présente une large diversité d’approches, de définitions, d’interrogations sur l’écriture du bonheur sur trois décennies. Le recueil s’articule autour d’axes qui ont servi de base aux différentes approches du bonheur en Europe et d’événements historiques et sociaux qui ont pu influencer l’écriture du bonheur aux différentes périodes du XXe et XXe siècles, telles que l’Holocauste, la dystopie en Russie, le postmodernisme et le consumérisme, le quotidien, les différents paradoxes du bonheur, les nouveaux modes de vie. Nouvelle écriture du bonheur? Du moins, ce volume vise-t-il le contemporain sans figer les œuvres, tout en tenant compte des fluctuations du sujet, de sa diversité, de ses paradoxes surtout, tout en conservant la lecture précise des textes et en respectant la particularité de l’écriture des auteurs traités.

Objectif de vie pour tout un chacun, démonstration de puissance pour l’État, le bonheur fait l’objet de nombreux classements. Les indicateurs utilisés résultent toutefois de constructions fondées sur différentes idées du bonheur, incluant de manière variable la préservation du vivant. Le bien-être des sociétés occidentales en particulier repose sur un imaginaire consumériste peu en phase avec les préoccupations écologiques. Mais est-il possible aujourd’hui d’être heureux sans se soucier des limites planétaires ? Est-il envisageable d’indexer le bonheur sur d’autres récits, davantage axés sur l’émotion que sur la possession, la comparaison et leurs effets délétères ? Cet ouvrage interroge le rôle que ces palmarès du bien-être et les mesures sur lesquelles ils s’appuient jouent dans la prise en compte de l’environnement. En faisant le tour des liens entre mesures du bonheur et empreinte écologique, il sonde notre rapport au vivant là où on s’y attend le moins, au coeur même de notre quête du bonheur.

The Straw Man is a 1957 novel by the French writer Jean Giono. Its French title is Le Bonheur fou, which means "the mad happiness". The story is set in the 1840s and follows Angelo Pardi as he is caught up in plots leading up to the Italian revolution of 1848. The novel is a standalone sequel to The Horseman on the Roof, which is set earlier and also features Pardi as the main character. Several standalone sequels followed in what is known as the Hussar Cycle. The Straw Man was published in English in 1959, translated by Phyllis Johnson.

Now a major motion picture starring Simon Pegg, Rosamund Pike, Toni Collette, and Christopher Plummer The international bestseller with more than two million copies sold “Once upon a time there was a young psychiatrist called Hector who was not very satisfied with himself. . . . And so he decided to take a trip around the world, and everywhere he went he would try to understand what made people happy or unhappy.” Hector travels from Paris to China to Africa to the United States, and along the way he keeps a list of observations about the people he meets. Combining the winsome appeal of The Little Prince with the inspiring philosophy of The Alchemist, Hector’s journey around the world and into the human soul is entertaining, empowering, and smile-inducing—as winning in its optimism as it is wise in its simplicity.

The death of God in the West was the prelude to a formidable metaphysical soap opera that continues to this day. Christianity’s masterstroke was to combine a fierce belief in the individual with the promise of eternal participation in the Absolute. When that dream evaporated, various attempts were made to offer the individual a minimum of being. The latest of these attempts is advertising, which seeks to arouse desire and transform the subject into a docile phantom doomed to follow advertising’s every whim. But, like all previous attempts, this skin-deep, superficial participation in the world fails, and unhappiness and depression continue to spread. However, we can all produce a cold revolution in ourselves by stepping outside the flow of information and advertising. We need to take some time out, unplug the television, turn off our iPhones, stop buying stuff, stop wanting to buy stuff, temporarily detach ourselves and adopt an aesthetic attitude to the world. We just need to stay still for a few seconds. This is one of the key themes developed by Michel Houellebecq in this collection of his texts and interviews from the last three decades. Here he explains and elaborates his point of view, discusses his novels and addresses a wide range of topics from politics, religion and literature to suicide, euthanasia and paedophilia. An indispensable book for anyone interested in the work of one of the most widely read and controversial novelists of our time.