Documents found
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Georg Lukàcs' classic utterance on Lost Illusions (1935) forever cast literary critics as “prostitutes exploited” by the capitalist merchandising of literature. In so doing, and while acknowledging both the critic's place in the production cycle of books and his role as mediator of a given literary oeuvre, Lukàcs nonetheless failed to grasp a key component of a critic's role in the 1830s. Back then, laudatory comments were freely bestowed just as easily as they could be bought, whether as an expression of literary camaraderie or as part of a more or less implied exchange of favours between journalist-writers. This article will look at the romantic era's ambivalence in the depiction of literary critics, sometimes venal, sometimes selfless.
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Using the notions of “involvement” and of “frame analysis” as developed by Erving Goffman, this article explores the way certain films mobilize one's sensitivity to the suffering of stigmatized people offering us an opportunity to care for these persons whose existence is presented on screens. Through the means of the direct presence of the stigmatized body (Living in Oblivion, 1995) or through its embodiment by a comedian (Nationale 7 [2000]), these films lead us to sympathize with the difficulties disabled people or minorities meet in their everyday life. Contrary to current academic wisdom regarding the film experience, this paper argues that corporeal involvement of the spectator may assign this experience an emotional efficacy and an ethical meaning that rivals that of face-to-face encounter.
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This article concerns the circulation of money in Putain by Nelly Arcan (2001). Money is paid to the sex-worker by clients for sexual services rendered, and she then pays a part of that money to the agency which rents and maintains the room in which she works. What does she, who claims to be earning “a lot of money,” do with the rest? In order to maintain her value on the high-priced escort market, Cynthia has to invest in the production of femininity, handing over money to other men (owners of large companies, plastic surgeons, etc.). However, the sex-worker also takes on other expenses that lead her to convert her erotic capital into symbolic capital.