Documents found
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1011.More information
This article intends to examine Rainer Werner Fassbinder's and Pier Paolo Pasolini's attempt of problematisation about the agency of transgression in performing arts, and the dramaturgic means the two playwrights use to that purpose. Even though Fassbinder's plays make transgression appear as an emancipatory violence against political as well psychological repressive authorities, their structure reveals that the revolutionary narration is intrinsically tied to the death drive. In others words, performing transgression means also performing destruction. Transgression in Pasolini's political theatre takes part in resisting against the consumer society, since it defies contemporary standardization processes. Moreover, the sacred is explicitly involved in that action, because this one breaks up with the profane sphere of the society of affluence. Yet its scenic performance causes mainly a scandale which in fact only satisfies the audience's need to be offended. In this case, trangression is converted into theatrical formalism. That's why one must not perform trangression: in spite of its political strength it has to remain a pure virtuality.
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1012.More information
AbstractBetween 1945 and 1955, the serialisation of radio literary interviews made them a crucial genre in the mediatisation of literary figures and the crowning of their career. With his Entretiens avec le Professeur Y, published in 1954 and 1955, Louis-Ferdinand Céline used the genre but gave it a peculiar twist through fiction. Even while assuming the “paratextual work” of self-promotion, implicit in the interview, he subverted its logic by posing as a violent clown and making a manifesto of the genre on the “textualisation of orality”.
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1013.More information
The passage from Modernity to the Supermodernity of the computer revolution sanctions a gradual shift from the categories of the visible, permanance and forecasting to those of transparence, lightness and virtuality produced within the context of a temporary flux. The passage from the electrical Eden of the Modern to the electronic Eden of the contemporary draws the lines of four themes that configure images of the city: the opalescent city, the medial city, the evanescent city and the relational city. Overall, these representations of the city tend towards a common lightness.
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