Documents found
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24344.
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24345.More information
In a passage from Mythologies, Barthes writes that plastic toys have no "afterlife." This is because he envisions afterlife in terms of the ghost, the specter, the bodiless soul, functions without matter, rather than in terms of waste, matter without function, a body without a soul. As waste, plastic does have an afterlife that is obscured, eclipsed by an ideology mixing optimism and idealism.The aim of this article is to compare and bring together plastic and AI, to show that both are linked with an optimist idealism that blinds us to their afterlives. It is also a question of how philosophy—which seeks the real but has no empirical domain—can address the environmental crisis and technological transformations. The answer we propose is: through fiction and poetry, but without idealistic optimism.
Keywords: plastique, plastic, artificial intelligence, intelligence artificielle, Barthes, spectre, specter, philosophie, Barthes, philosophy
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24347.More information
Keywords: corps-territoire, femmes, identité, résistance
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24348.More information
This article discusses the presumed relationship between the Chevalier de Saint-Georges and the novelist Alexandre Dumas, and analyzes a novel by one of Dumas’ friends, Roger de Beauvoir, allegedly based on the Chevalier’s life. This novel uses melodramatic tropes to propose a comment on the decadence of the French monarchy, as symbolically mirrored by the mulatto’s rise in Parisian society, as well as on matters of social and racial identity.
Keywords: Alexandre Dumas, Alexandre Dumas, melodrama, mélodrame, Saint-Georges, Saint-Georges, romanticism, romantisme, 19th century, 19e siècle, roman historique, historical novel, exotisme, exoticism
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24349.More information
In this article, I examine the autofictional narrative Whore by Quebec writer Nelly Arcan, demonstrating how the psychoanalytic confession of the "whore" narrator (whom we are tempted to confuse with the author) inserts itself into a project of women's genealogy. Following a symbolic death, the narrator gives birth to her story and succeeds in placing herself within the tradition of écriture au féminin. She wishes to remember the women of past generations who have been subjected to male desire and silenced; however, her very act of appropriating language in the name of women is ambiguous in that she herself is often complicit in their objectification and degradation.