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251.More information
We usualy think of Mallarmé's view of « Ideas » as a kind of Hegelianism, which was familiar to his friend Villiers de l'Isle-Adam. As a matter of fact, some statements like « Le Verbe, à travers l'Idée et le Temps qui sont "la négation identique à l'essence" du devenir, devient le Langage » seem to belong to German idealism, namely to Hegel's theory of « negativity ». But we cannot reduce Mallarmé's eidetics to this general abstract principle. The Idea, according to the author of Igitur, is not an abstract entity; it is a kind of « figure » or «gesture » - « la figure que demeure l'Idée », « les gestes de l'Idée » about which he asserts that we can reach it only by our senses : « par la seule sensation ». He also compares Ideas with « mental plays », « spiritual scenes », regarded as the locus where the Forms (in a Platonic sense) of words and things meet together. This paper discusses, according to several excerpts of his work,the way Mallarmé thinks about the eidos (Ideas as Forms) not only in the frame of the classical interpretation of Plato's philosophy, mostly based on the Republicor Cratylus, but from the viewpoint of the Platonic philosophy of Nature, exposed in Timaeus, where we can observe that Forms are closely linked with perception and sensation. Thus, Mallarmé's philosophy of Ideas is not typically an idealism, but a kind of neo-realism based on believing in a perceptible and sensible existence of Forms, embodied, for instance, in the forms of language and mostly of poetry.
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252.More information
A pioneer in the transition to post-modernism, Michel Longtin integrates musical languages from various sources (modal music, folklore, ‘film') into his composer's palette. His rupture from the avant-garde milieu of the 1980s seems a fundamental gesture in many ways akin to Gustav Mahler's efforts in the early 20th century to introduce into ‘grand' symphonic music elements borrowed from ‘popular' music. An analysis of three major symphonic works by the Québec composer: La route des pèlerins reclus (1984), Quaternions (1997), … et j'ai repris la route (2006) support this hypothesis. Taking Jean Molino's tripartite perspective (poetic, neutral and aesthetic levels), this analysis compares Longtin's symphonic work with that of Mahler, in light of Theodor Adorno's remarkable work on the Viennese composer
Keywords: Longtin, Mahler, postmodernité musicale, modalité, Longtin, Mahler, musical post-modernity, modality
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Geographers are interested in understanding how mythical thought influences spatial practices rather than how it plays a role in mythical narrative structure. Starting from the platonian perspective, this article ends up modifying the latter's perspective. In fact, it is based on a strict conception of myth and it claims that mythical thought is a fundamental tool for understanding geography as a useful human construct. It draws attention to the loss of theoretical and methodological meaning which arises from the withdrawal of myth from the explanation of territorial processes in Western Geography, especially at the particular turning point of its history when the discipline was institutionalized. Finally, the article underlines the benefits to contemporary geography coming from the rediscovery of mythical thought for interpreting territoriality in the context of the great processes at work on the international scène.
Keywords: pensée mythique, territorialisation, pensée géographique, institutionnalisation disciplinaire, culture de l'altérité, mythical thought, territorialization, geographical thought, disciplinary institutionalization, culture of otherness
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This article attempts to describe the main features of an aesthetic of flow, namely the aesthetic deployed by artists such as Grégory Chatonsky, Reynald Drouhin, Leonardo Sola, Alexandra Saemmer, etc. The aesthetic of flow is based on the use of computer systems and devices that generate a stream of images, sounds and words. These data, present in cyberspace, are diverted through complex processes and used to form original figures, which are essentially unpredictable and unstable, constantly shifting. As spectators, we must learn to understand these streams of images and sounds, and to give them meaning. We will begin by describing cyber-space and the specific experience it proposes. We will then try to distinguish the three basic modes of representation it gives rise to (trace, presence and flow). Finally, we will try to better understand the notion of flow, before describing some of the hypermedia art that exploits its various manifestations. The aesthetic of flow poses significant problems in terms of reading or interpretation, and we will try, in conclusion, to identify at least one of these issues.
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AbstractThe Hologram of Poetry and the Prism of Poetics. Landscapes. Possible Worlds. The Language of Thought — A rereading of poetics-rhetorics is proposed here, in light of recent developments in literary theory and of certain aspects of cognitive science. Poetry is approached more precisely in the relationship between possible worlds, as well as translation-transduction, a theory reintegrating intensional and extensional semantics in literary analysis. However, modern poetry cannot be reduced to this philosophico-logical analysis. The complexity of poetic language obliges poetry to be envisioned from the point of view of thought and language (mentalese), articulated not only on the cortical and cerebral, but on intuition and sensations as well (the limbic).