Documents found
-
1061.
-
1063.More information
The fantasy text Truismes (1996), by Marie Darrieussecq, the magic realism of Espèces (2010), by Ying Chen – the science fiction of Catherine Dufour in Le goût de l'immortalité (2005) and of Sylvie Bérard in La Saga d'Illyge (2011) – all show feminine bodies that correspond to the nomadic subject and the process of becoming, ideas developed by Gilles Deuleuze and Félix Guattari and further investigated by Rosi Braidotti. Through its becoming-animal or the becoming-cyborg, the female body questions discourses related to women, social machines, and gender.
Keywords: devenir, science-fiction, fantastique, Deleuze, corps
-
1064.More information
Artistic performance enables in a very unique way to use the body as a tool and a medium of creativity. As it emerged simultaneously to women's movements, it is interesting to study how feminist artists currently explore it. Thanks to the punk subculture and its ramifications, performance naturally became a political force for those willing to liberate their bodies and, thus, creating a common cultural heritage.
Keywords: performance, féminisme, queer, punk, art militant
-
1068.
-
1069.More information
In 431 A.D. the Church condemned the belief in the millenium as a heresy. By this decree, it opposed a conception much too material of a christian ideal and took by the same token a political and religious position. The marginalization of millenarist thought is the result of a complex interpretation to which took part the most prominent Founders of the Church. In this article, I will describe St. Augustine's interpretation of St. John's Book of Revelation, which appears both in his De Doctrina Christiana and in City of God. In these, St. Augustine arguments against the belief in a concrete and foreseeable millenium and proclaims the spiritual reign of the Church. Le messie de la mancha.
-
1070.More information
When video art speculates on the question of the spectacle, it questions the history of technological development and its role in the constitution of modern subject. Diana Thater's video installations must be seen as a practice which depresses the (post)modern relationship between subjectivity and technology. Two main objectives underlie the present In this article we propose to shed light upon certain modalities at work in the “ théâtre de l'image ”, in an attempt to understand how this theatre, creator of multi-dimensional images, is altering drastically the spectators' viewing process and their traditional relationship with the performance. To do so, we will draw upon examples from Vinci, a play emblematic of the work of author, director, filmmaker and actor, Robert Lepage, well-known in Quebec as a veritable “ faiseur d'images ”. Our choice is based on the fact that this is a work by a prolific and versatile artist that is not only representative of the new poetics that seem to spring from the computer age and the media culture, but that provides as well a fertile site for an evaluation of the epistemological consequences of an intersection of media in contemporary cultural production and of the way in which the “ théâtre de l'image ” participates in a renewal of the process of writing and of thinking.