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Tattoo removal could be understood as an erasure: erasing one's past could be the way to start from scratch, to find an original skin and to give new meaning to one's skin. If salt has been used unsuccessfully, new techniques are subject to evaluation and evolution.But the erasure techniques are so invasive and their sequelae so important that tattoo removal appears as a form of disengagement which is both assumed and risky: from the point of view of the state of the torn skin, which never recovers the state of blank canvas on which one could rewrite immediately, as well as from a physiological perspective which would like to renew the skin's age.We demonstrate that there is not an arrangement with the skin but an “agenrement” to operate to give back a style and a type to a body discredited by what would now be a defect to eliminate.
Keywords: Détatouage, effacement, vivacité, remords, Tattoo Removal, Erasure, Vivacity, Remorse
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For most of us, modern Czech literature began with Jaroslav Hašek's The Good Soldier Åoevejk, a pillar of Central Europe's literary anarchism. This article seeks to dispel such a perception by revealing the prolific yet tense interplay between anarchism of the political and literary varieties that took place from the 1890s to the 1920s. (The concept of literary anarchism came to be as a result of the close dependency of esthetical thinking on political discourse.) To that end, this article dwells on relevant analogies from other literary genres, and questions the radical nature of the modernity brought upon by these anarchists. Despite the initial misleading notion, this concept can prove quite useful to qualify certain literary values and practices: the ambitious transposition of socio-political ideals to the field of aesthetics, or a more general acknowledgement of another dependency, that of the artistic quest on a thirst for tradition and a spiritual absolute, at least going back to the romantic apophasis.
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Being a feminist in the contemporary Canadian context, post-Ghomeshi, can lead to existential crises. In this paper I investigate this relationship of feminist activism and reality, men’s rights activism (MRA) and surrealism, and the Absurd via the work of surrealist novelist Franz Kafka. While Kafka’s The Trial is popularly understood as an allegory for the alienation and pains of bureaucracy and modernity, I posit a new interpretation of the story as a men’s rights perspective of sexual assault allegations. I use Shoshana Felman’s theory of integrated literary and legal visions to read Kafka’s The Trial against men’s rights discourses regarding sexual assault allegations. I find this theory of evidence and repetitions across the disciplines of art (Kafka) and law (the Ghomeshi trial) useful as analytical sites for critically engaging with men’s rights discourses about sexual assault allegations. I demonstrate how The Trial can be interpreted as a representation of the phenomenon of sexual assault allegations according to men’s rights discourses, and demonstrate how these discourses are just as surreal as Kafka’s story. Through the Ghomeshi verdict I will demonstrate how these surrealist fantasies impact real-world sexual assault accusations, trials, and court decisions.
Keywords: feminism, interdisciplinary law, Kafka, literature, sexual assault
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In Départ dans la nuit and Non-lieu, the constituent elements of Emmanuel Bove's narrative diptych, may be traced vestiges of the author'sJewish ancestry on his father's side. Starting with an ostensible "act of omission" -the letter B erroneously supplied as the initial of the hero's patronymic in Départ- this article examines how the novelist's text actualizes the conflict between the protagonist and the father figure, by juxtaposing the name Bobovnikoff and the pseudonym Bove. In the process, the hero's Jewish identity is itself called into question, culminating in a parricidal repudiation of the father and Bove's assumption of the attitude of the religious outsider.