Documents found
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345.More information
The aim of this short essay is to provide a reason for writing. To reflect upon the meaning of literary experience - i.e. upon what it is to create and what it is that is created - is also to problematise this reflection. The first two parts of the essay ( le rapport critique, le rapport génétique) concern this issue. The third part ( le rapport ontologique), which radiates out from the notion of the solitude of being, posits a single meaning for literary experience from the point of view of language (writing) and of reality (the work produced).
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AbstractWe try here to show how and why it is that the question of God should have become more clearly than ever the question among questions, and to bring out the most remarkable contributions, in that regard, of contemporary science and the arts, as well as of common human experience and philosophical thought, while underscoring their links with classical thought on this most urgent of matters.
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This paper aims to problematize what could be considered as a post-hominization imaginary, by exposing its formal contents as it appears in biotech art works. Regarding this imaginary, we explore the potential alteration of the human identity boundaries as they can occur in a times of technoscience. In order to illustrate the hypothesis of a technical genesis of human evolution, we introduce some summary tables, with particular types of artistical forms of potential body (cyborgs, clones, bio-mutant self-hybrid) in relation with 1. paradigmatic cases in engineering, genetics and medicine that weave the imagination of artists biotech, 2. the technologies most often used, 3. the fields of biology and related non-biological. Finally, we consider the close relationship between scientists and artists that implies this specific kind of art.
Keywords: art biotech, imaginaire, post-homisation, corps, technoscience, biotech art, imagination, post-hominization, body, technoscience, arte biotecnológico, imaginario, post hominización, cuerpo, tecnociencia
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349.More information
The relationship between law and theatre is complex and marked by a reciprocal mistrust that can, in some instances, be transformed into hate and produce a form of antitheatre and antilaw. The law's hatred of theatre is made manifest in its censorship of freedom of expression. This has been a threat to theatre at all times and in all places, requiring playwrights to justify and sometimes expurgate their texts, often for reasons of morality or religious provocation. Theatre's hatred of the law is embodied in some authors' ferocious satire of the legal world, as seen for example in the works of Aristophanes, Racine, Molière, Brecht and Shakespeare. It is possible, however, to go beyond this reciprocal hatred to consider the question of responsibility, especially in the present day, marked by the constructive commitment of playwrights and directors such as Thomas Ostermeier and Lina Prosa.
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