Documents found
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115.More information
Post-apocalyptic films plunge survivors into a situation in which recourse to the symbolic references underlying their Western culture is impossible. In the post-apocalyptic “zone,” survivors immediately experience the destruction of their world while they are at the same time faced with the material and living remnants of a social reality of which only the abyss has been preserved by the catastrophic event. This abyss is that of the real, as theorized by Jacques Lacan. The real is what resists meaning while at the same time owing its attractive continuance to a culture which seeks only to repress its underlying poverty. In an uncertain future, the post-apocalyptic survivor thus wanders in a repressed miserablism in which the traumatic image of a now-impossible Western culture persists. This impossibility is the negative centre of social reality, its share of the real. The post-apocalyptic horror film establishes the narrative economy of this impossibility by personifying the traumatic image of Western culture in the form of the zombie, an image of the repression of the socialized subject. By introducing the abyss into the realm of iconicity the post-apocalyptic horror film narrates the impossibility inherent in social reality and on which the attraction of an original and repressed monstrousness rests.
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118.More information
AbstractThis article on Copies conformes deals with the representation of reality by analyzing the story-within-a-story effect produced by the rewriting of Dashiell Hammett's novel, The Maltese Falcon. The article also considers the enigma as a privileged form of reflection on fiction and on the relation between truth and lies.
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119.More information
If there are few formal differences between the analog and the digital, when interactivity and other dynamics of the digital text are added, fundamental structural differences occur. Putting the electronic document on the screen augments human reading, according to the McLuhanesque notion of extention, but the potential of the digital edition doesn’t stop there. In digitizing the poetry of Mallarmé, as in the Mallarmé Hypertext project, one finds potential in the encounter between the text and the mark-up. From there, it is possible to reinvent the text by finding new conceptual models of Mallarméean textuality. However, the mediality in Mallarmé highlights the limits of the digital apparatus, and hypermedial reading necessitates a hybrid perspective. The goal is to find new models whilst discerning the limits of these models, in order to see what it means to read in the singularity of the technological.
Keywords: intermédialité, Mallarmé, numérisation, mise en page, internet, hyperlien