Documents found
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331.More information
In the context of the Second International Conference on Humanistic Discourse, this text introduces Ching-hsien Wang's "Cheng Hsuan Awakened from a Dream" and reports on the central concerns that emerged in its discussion.
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332.More information
This paper analyzes William Basinski's album The Disintegration Loops (2002) and argues that its aesthetic rendition of temporality and finitude is relevant in view of the relation between technology and the human perception of time for three reasons. First, the technological apparatus responsible for its creation mirrors the Derridean concepts of the spacing of time and autoimmunity. Second, the album's affective appeal illustrates Martin Hägglund's notion of chronolibido. Third, the music gives rise to a temporal media experience that exists at odds with the media experience afforded by what Mark B.N. Hansen has described as twenty-first-century media. Together, these three dimensions make The Disintegrations Loops an object that allows for an empirical grounding of the discussed theorizations of time and media.
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333.More information
Lise Tremblay's fiction is teeming with characters and narrators whose daily life is shaped by the experience of shame. A specific feature of La pêche blanche and La danse juive is that they locate the origin of shame in childhood: it arises from the father's disdainful way of looking at the child's body—at a lame, scrawny (“chétif”) son or an obese daughter. Through the traumatic experience of this specific affect, subjects are required to embrace their image under someone else's gaze—an image that is not what they want, but that will nonetheless determine who they are. Tremblay's work presents fathers whose gaze and voice define real and imaginary boundaries that constrain subjects both in their bodies and in space. Using a psychoanalytical view of identification, this article analyzes a specific poetic articulation of shame, the father figure and the body set out in the work of Lise Tremblay, one that enables us to read the murder of the father in La danse juive as the extension of a parricidal fantasy already expressed in La pêche blanche.
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335.More information
This article examines the classic definitions of ruins through reading of key authors of the theory of ruins in order to understand if their interpretation are valid for the contemporary ruins produced by the wars, by the terrorism or by natural disasters. It emerges that the model of reading of this past event which characterizes the ruin doesn't fit to the ongoing ruins. The permanence of the destructive phenomenas of the environment or of the human that are broadcasted by the mediarecalls that the beauty, the meditation on our future and on our death, these universals of the aesthetics and the metaphysics of ruins, doesn't make sense when confronted with economic and geostrategic stakes producing ruins and chaos.The aesthetics of ruins and their representations in the art, the literature, the photography, as well as their capacity to embody the major metaphysical questions of the human fate, or to stimulate the imagination are no more valid for the contemporary which results from violent and sudden destructions, destroying as completely as possible any living space, history and environment. To classical ruins came to be added an immediate ruin caused by destruction and an "helped" ruin included in advance into any construction.
Keywords: Esthétique des ruines, destruction, temps des ruines, présentisme, Aesthetics of ruin, destruction, time ruins, presentism
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337.More information
Keywords: Exposer la photo
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338.More information
The essay tries to plea for incorporating concepts of evolutionary and animal imagery into an open theory of the image, that extends beyond the realm of human artifice and must no longer be viewed with an anthropocentric focus. Turning to images that are not human-made, we try to explore different image phenomena and connect them to non-human concepts of “Beauty” as historically developed by Charles Darwin's underappreciated theory of “Sexual Selection” and, before him, trailblazed by William Hogarth.
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339.More information
This article analyses the contribution to the monthly literary magazine La Table Ronde of French writers Antoine Blondin, Jacques Laurent and Roger Nimier from the founding of the revue in January 1948 to the publication of an article in December 1952 by the young critic, Bernard Frank. In Les Temps Modernes, a concurrent publication, Frank grouped the three writers together, referring to them as “Hussards.” After a brief study of the conditions which made the Blondin, Laurent and Nimier collaboration possible, this article examines their impact on the La Table Ronde's tables of contents, engaged as the journal was in a war with other periodicals and literary groups over the notion of “liberté de l'esprit” (freedom of thought). Finally, the role of texts written by the Hussards and published in La Table Ronde is interrogated in terms of their “collective writing” and of their specific manner of adhering to the literary.