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Keywords: création, métamorphose, peinture, cinéma, réel, imaginaire, musée, survie, faux, authentique, histoire, guerre, décontextualisation, Walter Benjamin, André Malraux, Jacques Derrida, Alain Badiou, Farid Uddin (Al-Din) Attar, Jean-Claude Carrière, Peter Brook
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While grammatical comment is not a genre per se, it is governed by traditional rules that give a certain patina of sameness to the various examples we can now compare. Can such a set category of writing cast a light on the author ? Can such comments teach us what the author was like and how he viewed his role as a scholiast ? This article seeks to answer these questions through Servius' comments on the works of Virgil. Here, we compare these comments to other such works – including the Servius Danielis – in the hope of identifying those essential traits of the famed Grammaticus.
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On December 2, 1959, on the occasion of the 145th anniversary of the death of the Marquis de Sade, the Canadian artist Jean Benoît performed a ceremony of expiation, during which he branded himself both physically and symbolically with Sade's name. This occured in Paris, in the context of the 8th International Surrealist Exposition. As a result of this episode we analyze the imaginary place the Marquis de Sade had in the surrealist movement and the importance of Jean Benoît's theatrical performance.