Documents found
-
391.More information
This article explores what it means to include intellectual disability (ID) in philosophical discourse and in the philosophy classroom. Taking Audre Lorde's claim that “the master's tools will never dismantle the master's house” as a starting point, it asks how certain forms of cognitive ableism have excluded ID from the “philosopher's house.” Drawing upon Michel Foucault's work as a theoretical framework, part one critically examines the ways that ID has been included, excluded, and constructed within philosophical discourse. Part two then considers what it would mean for ID and people with an ID to be included in the philosophy classroom. It offers some examples of how the work in disability studies, philosophies of disability, and philosophy of art can lead to a more inclusive and transformative pedagogy that will generate new critical questions and expand our philosophical dwelling places.
-
393.
-
394.
-
396.More information
Moussa Konaté is an author who takes his readers on a journey from one genre to another, from one universe to another, and whose work seems to be characterized by variety. What do the Kanuden trilogy for children and « Les enquêtes du commissaire Habib » (« The investigations of detective Habib ») have in common ? The addressee, the aesthetic intentions, everything seems a priori different. However, a common thread links the two heroes : both carry a vision of society and an ideology specific to their author. Comparing these two figures in Moussa Konaté's work enables us to understand how his work, beyond its generic diversity, aims toward the same goal : being a mirror of black African societies by addressing their own issues and reflecting on their own singularity, their richness, but also their mental blocks and complex relationship with the West. From fantasy to detective novels, the same themes are found : power, submission, revolt, but also beliefs, traditions and superstition. The heroes, like their creator, are constantly searching for balance between loyalty to a culture and the refusal to be imprisoned by it.
-
397.
-
398.
-
400.More information
Over the past ten years, the rise of digital visual effects has led to the development of a wide range of now totally imperceptible retouching techniques, including beauty work. In part, these aesthetic enhancements to actors' faces are an extension of earlier techniques, starting with the photographic retouching of portraits in the nineteenth century. But beauty work also poses new questions: its presence in big-budget Hollywood productions and even in lower-budget French films grows stronger as the discourse surrounding the practice shrinks. Between narratives of beauty valued for the technico-aesthetic feats they represent, and unofficial beauty, perceived as an easy form of illegitimate cosmetic surgery, beauty work is becoming a trompe-l'oeil so perfect that it no longer exists as such, transforming the slightest imperfection into absolute perfection.