Documents found

  1. 171.

    Article published in Québec français (cultural, collection Érudit)

    Issue 98, 1995

    Digital publication year: 2010

  2. 172.

    Saouter Caya, Catherine and Sohet, Philippe

    L'histoire par la bande

    Article published in Nuit blanche, le magazine du livre (cultural, collection Érudit)

    Issue 22, 1986

    Digital publication year: 2010

  3. 173.

    Hébert, Louis-Philippe

    La Fuck You

    Article published in XYZ. La revue de la nouvelle (cultural, collection Érudit)

    Issue 119, 2014

    Digital publication year: 2014

  4. 174.

    Article published in Séquences : la revue de cinéma (cultural, collection Érudit)

    Issue 323, 2020

    Digital publication year: 2021

  5. 176.

    Article published in ETC (cultural, collection Érudit)

    Issue 33, 1996

    Digital publication year: 2010

  6. 177.

    Article published in Frontières (scholarly, collection Érudit)

    Volume 16, Issue 1, 2003

    Digital publication year: 2020

    More information

    Socrates, before dying, addresses a surprising petition to Crito, “we owe a cock to Asclepius”. It is this enigmatic statement that is explored with recourse to Plato and Nietzsche in this paper. With the Phaedo, Plato offers us the chance to be present on the last day of Socrates's life and to participate, in spirit, in the dialogue with his disciples. The cult of Asclepius, god of medicine, venerated in Epidauros, provides us with the key to the symbolism of the cock. After presenting the interpretation of the death of Socrates by Nietzsche, we will contrast two perspectives for dealing with death: one by Socrates, through the justifications of reason and one by Nietzche, truth according to the body.

    Keywords: mort, corps, Socrate, Nietzsche, death, body, Socrates, Nietzsche

  7. 178.

    Article published in Ciné-Bulles (cultural, collection Érudit)

    Volume 16, Issue 1, 1997

    Digital publication year: 2010

  8. 179.

    Article published in Études françaises (scholarly, collection Érudit)

    Volume 24, Issue 3, 1988

    Digital publication year: 2006

  9. 180.

    Article published in Transcr(é)ation (scholarly, collection Érudit)

    Volume 3, Issue 1, 2023

    Digital publication year: 2023

    More information

    In 2013, Giancarlo De Cataldo and Carlo Bonini published the novel Suburra. Between 2017 and 2020, streaming platform Netflix releases its first original Italian series, Suburra. La serie, a free adaptation of the book of the same name. Directed by Michele Placido, Andrea Molaioli and Giuseppe Capotondi, the three seasons are characterized by a dense script that interweaves complex plots around a triple criminal polarization: the interests of Roman traffickers, local political figures and high-ranking Vatican dignitaries are inextricably intertwined around the acquisition of land in Ostia, geographical symbols of hegemonic power. This article shows how, through the narrative choices made by its authors, the serial adaptation of Suburraconstitutes a richer and more ethically accomplished version than the original literary work. Indeed, the series challenges the crystallization of representations that characterized the novel, locking the characters into a good/evil dichotomy around which each of their actions was structured. Shaking up the systemic arrangement of the original diegesis, the series subtly works on interpersonal and institutional relationships, to open up a more human and ethical narrative of crime and the contemporary world.

    Keywords: Subarra, Subarra, Rome, Rome, mafia, mafia, criminality, criminalité, De Cataldo, De Cataldo