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561.More information
Comments are always construed as a higher-plane reference text centered on the opposition between man and God, the “me” and the “you”. Their identity is derived from the (theo)logical focus on language that characterises religious authority. The generic nature of the Text at the root of the comments gives rise to a genealogy chronicling the folding of the One into the Many (finite versus infinite). This transformation takes place at the level of both timeline and identity, showing an individual with a well-established self to be a deeply set aggregation of numerous different meanings. This internal diversity translates into an external homogeneity, however, since the sum of all heresies makes up the “universe” as (self-) defined for a given time and location.
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565.More information
Michel de Certeau's studies of mysticism ended up in a reflection on the practice of history and on the status of the historian. This reflection led, in turn, to interrogations of an epistemological order on the articulation of thought and action. As elaborated by de Certeau, it is put into the perspective of an anthropological approach of the daily. He does not hesitate to speak of “histories of the daily” (the fortuitous practices of social actors taken as a whole), of all that is ordinary in human action. His enterprise is not the search for meaning, but rather the attentive examination of what is done and undone in daily practices. Often the words used will designate forms of resistance in the face of the imperious power of social order : poaching, tactics, ruse, wig, etc. These arts of the tactical refer to a poetics of acting articulated with social practices.
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566.More information
In 2015, Johanna Bienaise, contemporary dancer, and Anne-Sophie Rouleau, theater director, initiated a creation process in their studio aimed at mixing their fields of practice. In this article, they revisit their experience by analyzing how their work dynamic entailed what they call a poïétique du pli (poietic of fold). Invoking, in turn, Gilles Deleuze, Michel Bernard, Aurore Després and Henri Meschonnic, they examine how, by folding, unfolding and refolding the same material almost obsessively, the notion of fold enabled them to master a perpetually unfinished shape in constant evolution, thereby blurring the boundaries of their respective disciplines. From the folds of the material to the unfolding of meaning, the fluidity unique to a poietic of fold invites us into the labyrinth of the dancetheatre continuum.
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567.More information
AbstractTaking as a starting point Ovide's fable read as a small treatise on poetics, I consider the echo as a formal constraint and a stylistic device based on repetition. Leaving thus aside hypertextual evocations which also have to do with echo, I examine repetition devices in a novel of Raymond Queneau, Saint Glinglin where, more precisely, a rather trivial talk takes place three times, each time with some variations. Reading this small talk about the weather as another small treatise on poetics, my aim is to show how Queneau renews the echo device by repeating and altering everyday words which are themselves constantly repeated. In doing so, he tightly – and problematically – joins formalism and realism together.
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568.More information
AbstractMy goal here is to look at the pros and cons of one hypothesis according to which all thinking and expression (including philosophy) broke away from the initial Tale. That tale, according to Vernant, used to harbour in its mythical (pre-Socratic) source not only the history of gods and heroes but also those ingredients required for scientific, and even philosophical, discourse. I delve into the two components of this hypothesis. I begin with the unstructured meshing of thought and narrative that underlies tales. Then, and foremost, I seek to determine whether thought still shows traces, however faint, of its narrative origin. One can then wonder if this consubstantial debt has any bearing on the nature and relevancy of its propositions.
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