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AbstractLabelled at the time as representative of the “new plight of the century” as defined in 1924 by Arland in La Nouvelle revue française, Soupault's novels delve on adventure to illustrate how impossible it is for the modern man to embrace his world: in it, the white man finds only boredom; from it, escape is never completely possible once trapped by the sequence of memories captured by the author. The latter can only wonder at the black man's energy. The novelist not only adds another relationship with time and place to narrative prose but, in so doing, also unsettles writing by fragmenting it: rather than diluting reality with memories and boredom, prose successfully returns its defining opacity.

AbstractThe objective of this article is to verify the hypothesis that violence constructs territory. To this end, the mechanisms of territorial construction by violence are described as a function of the dynamics of territorialisation. The structure of the interface combining violence and an appropriate terrestrial space is outlined, and a theoretical diagram used to demonstrate that violence is a vector of territorial construction. Two examples follow that serve to test the viability of the proposed tool. An awareness of these constructions and mechanisms should make it possible for our societies to partially avoid the consequences of the dynamics of territorialisation precipitated by violence.

Keywords: Territoire, violence, territorialisation, humanisme, transdisciplinarité, géosociologie, phénomène, interface humanité / espaces terrestres, Territory, violence, territorialisation, humanism, transdisciplinarity, geosociology, phenomenon, interface humanity / terrestrial spaces

AbstractOver the last two decades academic, political and individual discourse on sex has become more frequent. The discourse on sexuality and its reality are however not synonymous. To apprehend the content of various sources — written documents, audiocassettes and ethnographic observation — is compared. The private correspondence between Fantine, a prostitute and Jeanne, a young journalist, are the starting point. Fantine's letters are compared with those of some of her colleagues written to elected politicians during their recent mobilization in France. The two collections reveal some partly opposing facets. Jeanne, however, in letters sent to her lover, exposes all the dimensions of her life. But the complexity and the paradoxes in her correspondence is echoed by a sort of exhibited coherence in the political framework or exposed to sociologists. Fantine and Jeanne also reveal the plurality of private confidence depending on recipient or recipients. They oblige social science to question the status of proof and to multiply methods so as to attempt to re-construct the puzzle of sex. Thus these written documents are an opportunity to debate on the content and the limits inherent in the various sources used by the social sciences to treat sexuality. The choice of the populations studied (the most often minorities) and the approach used are the basis of a project of knowledge curtailed by the categories of contemporary thought. In face of scientific scattering and dogma, the association of two women with apparently such differing profiles then takes on the value of a real performance.

Detective novels are generally perceived as being over-coded, including in the construction of the female character, reduced to a type or stereotype (the prostitute and the vamp, in particular). Is this also the case in the detective novels of Moussa Konaté ? This article aims to show that several character types do indeed appear in Konaté's work, but that they are the object of a strategy of appropriation of the genre in which inventiveness often prevails over the canon. Thus, these detective novels generate a plurality of female character profiles that occupy multiple functions.

In this article, artist-researcher Claudia Bernal approaches, from an autopoietic perspective, the use of literary text as “plastic material” in the creation of an interdisciplinary work. She analyzes different strategies for adapting and integrating three short stories by Gabriel García Márquez (from his 1974 collection, Ojos de perro azul; Des yeux de chien bleu, 2005) into her performative installation L'envers des îles blanches (2014). These strategies mainly involve the visual, sound and performative transposition of the text based on the dialogue between the author's writing and that of the visual artist, an encounter which is grounded in the latter's personal experience.

Keywords: interdisciplinarité, arts visuels, performance, littérature, autopoïétique, Gabriel García Márquez

This essay uses a comparative analysis of three representations by three women artists who push the limits of the project of self sexual objectification as artwork. The paper begins with an analysis of Madeleine Berkhemer's photograph, Molly in Blue (2000), wherein the artist represents herself rigged out in nylons in a classic pin-up pose. Next, Jemima Stehli's Strip Series (1999-2000) is an artistic project that combines both photography and performance. The artist undresses herself in front of different men who have powerful positions in the art world. Lastly, the essay explores Andrea Fraser's work, Untitled (2003), in which the artist has sexual intercourse with an art collector that is paid and filmed. Paradoxically, by endorsing in an extreme way the status of sexual object/art object, these three women claim a creative sexuality that is highly subversive.

Keywords: art contemporain, pornographie, post-pornographie, femmes artistes, queer

Journal du dehors by Annie Ernaux is an atypical diary: instead of exploring the self, the enunciating subject concentrates on "the other" as seen in large super-markets, in the "no man's land" (Ernaux) of a Parisian suburb which transforms individuals into anonymous crowd, and in commuter trains. Her gaze penetrates this mass and singles out those who usually go unnoticed: a cashier, an older woman lost in the mall, beggars etc. By selecting andjuxtaposing scenes of marginal people ant their counterparts — those who, supposedly, belong to the intellectual, political, or economic "elite" — the observer's own subjective positioning emerges slowly: writing (about) the other is always also writing (about) the self.