Documents found
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361.More information
Abstract Travel, in the novels of Monique LaRue, is a factor that brings about the derealisation of the world, questioning contemporary myths and false identities. Alternately considered from the point of view of flight and return, travelling acts as a revealing force for the protagonists of Faux fuyants, Copies conformes and La démarche du crabe. This article focuses on the cognitive or, more generally, gnoseologic aspect of movement and change of place, in order to show how the experience of travel in LaRue's work outlines, between flight and return, a variation of the Bildung – a certain way of inhabiting today's world surrounded by prevarication and pretence.
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362.More information
The recent publication of Geschlecht III allows us, for the first time, to synoptically embrace the Geschlecht project and to appreciate its overarching consistency. I choose to read the Geschlecht series as the scene of an inheritance whereby Derrida wrestles with Heidegger's legacy. More specifically, I identify the linchpin of Derrida's critique of gathering (Versammlung), which organizes his reading throughout the series. I then distinguish between two layers within this reading : the first, wherein he stages the refusal of an inheritance deemed metaphysical or suspicious, and the less well-known second, which sets the stage for a shared heritage (gift, promise, economy). The value of gathering thus consecutively appears on one and the other side of these dividing lines, until the legacy's pluralization turns out to be what's at stake in the scene.
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363.More information
Acephala inflict upon the body image the sacrificial amputation of the face and the disturbing presence of a headless figure. The character Acéphale, imagined by Georges Bataille and André Masson in 1936 in Spain and personified by this headless and vigorous creature, describes the universe of confusion and savagery that surrounds them. Acéphale, the emblem of the review established by Bataille, matches up with the Collège de Sociologie's queries from 1937 to 1939, as well as with the rites of a secret society. The artists linked to the Collège de Sociologie, André Masson, Taro Okamato, and Isabelle Waldberg, question the portrayal of a headless human body. Exhibiting an acéphale enables them to question political, sexual, and social identity and to doubt the image's status and traditional iconography. These artists and writers reveal the collapse of the figuration, wishing to show the ambiguous and “headless” part of art in order to celebrate desire, the myth of absence, and the baring of the human body.
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364.More information
AbstractIn analysing two “ stage entrance ” occurences of the libertine, Mozart and Da Ponte's Don Giovanni (1787) and Stravinsky and Auden's The Rake's Progress (1951), the article highlights transformations in the relationship towards death and the dead in Europe. Both operas also represent the rise and fall of the myth of Dom Juan and of this connection between the themes of the inconstancy of love and that of the insult and invitation to the dead.
Keywords: Anthropologie, Europe, Libertin, Mort, musique, Anthropology, death, Europe, libertine, music
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365.More information
On the basis of the historical-ideological fact that determines the photographic apparatus -- its nature and functions -- as a device invented to show what is (“the actual”), and therefore subordinated to the logic of representation (“the documentary”), this paper asserts the possibility, following Vilém Flusser's example, of making a use that runs counter to the apparatus's programme, i.e. a critical use that invites us to see what could be (“the virtual”). Therefore, to think. Thus, by hypothetically asserting the existence of a particular type of image qualified as “pensive”, this paper will synthetically retrace, by underlining the similarities and differences, some theoretical efforts (Jacques Rancière, Gilles Deleuze, Roland Barthes, Régis Durand, Georges Didi-Huberman) made to identify this very singular power of images. The paper will finally ask whether compositing techniques (in the broad sense of the term: collage, patchwork, mosaic, etc.) constitute an effective means to produce these rebellious images that can incite us to think and, consequently, of splitting our image of the world (critique of iconology) to split the world (critique of ideology).
Keywords: image composite, image pensive, image critique, image document, compositing, Gille Deleuze, Lev Manovich, Joan Fontcuberta, Vilém Flusser, photographie, document photographique, composite image, pensive image, critical image, compositing, Gilles Deleuze, Lev Manovich, Joan Fontcuberta, Vilém Flusser, photography, photographic document
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367.More information
Topic, which constitutes an important part of literary studies, concerns all cultural studies. After a brief survey of different traditions (rhetoric, folklore studies, narratology), we examine the definition and the status of the topos, as well as the methodological problems which are at stake as far as its identification, encoding and recontextualisation are concerned. A few examples enable us to think over the connections between literary semantic and ideology.
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368.More information
Cette thèse reconstruit la lecture plotinienne du Thééthète, et elle présente une analyse de l'épistémologie de Plotin qui s'appui sur cette lecture. Le but de ce travail et de montrer que Plotin identifie dans le Thééthète deux arguments contre le scepticisme. Le premier argument est une réponse à une forme de scepticisme radicale, c'est-à-dire à la thèse selon laquelle rien n'est connaissable et le jugement doit être suspendu sur toute chose. Le second argument est une réponse à une forme plus modérée de scepticisme, qui n'appui pas une suspension du jugement universelle, mais maintient quand même qu'on ne peut pas atteindre la connaissance. Le premier chapitre reconstruit la lecture plotinienne de Theaet., 151e-184a, où Socrate analyse la thèse que la connaissance est sensation à la …
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369.More information
Cette thèse propose une réflexion originale sur la construction d’une poétique de l’absence dans le Livro do desassossego (Livre de l’intranquillité) de Fernando Pessoa (1888-1935). Plus grande œuvre en prose de l’écrivain portugais, le Livro est une œuvre inachevée et inachevable, en raison tant de sa forme que de son contenu. En fait, c’est la négation du livre, l’anti-livre. Attribuées par Pessoa à son demi-hétéronyme Bernardo Soares, les centaines de fragments tissent en filigrane une quête vers la compréhension de ce qu’est l’absence et des modalités de sa manifestation. Participe à cette quête la réflexion sur l’absence de l’être, dont l’interrogation mobilise le dialogue avec des sources anciennes, notamment chez Parménide, Héraclite et Augustin. L’absence se manifeste aussi dans le moyen entrepris pour l’investiguer : …