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In his last writings Rousseau attempts to understand the events of his life as the products of fate. This essay analyzes the valences of fate in relation to concepts such as fatality and Providence. Rousseau engages with a diverse and at times contradictory corpus of ideas (stoicism, epicureanism, materialism, Protestantism) and an eclectic set of anecdotes (visit to the Invalides, personal memories of times spent with Madame de Warens) that aim to console him in his misfortunes. Only philosophizing and consolations allow Rousseau to ultimately free himself from the influence of his adversaries.
Keywords: Rousseau, Lumières, stoïcisme, épicurisme, matérialisme, protestantisme, Providence, fatalité, Rousseau, Enlightenment, stoicism, epicurism, materialism, Protestantism, Providence, fatality
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32.More information
Cette thèse tente de conjuguer une création littéraire et une recherche en théorie de la création. Elle ne comporte pas une partie réservée à la réflexion théorique et une autre à des textes de création, ce qui la distingue d'une thèse de création littéraire. L'objectif de cette thèse n'est pas de réfléchir, d'une part, sur le processus de la création alors que, d'autre part, s'écrit une œuvre de création. Son but est de réfléchir en théorie de la création en même temps que s'invente une forme d'écriture appropriée à la réflexion théorique en train de se développer. Ce genre d'écriture théorique a reçu le nom d'« essai comme forme ». Il a été théorisé principalement par Georg Lukács et Theodor Adorno, et mis en pratique …
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AbstractCan theories on the transmission and creation of meaning shed light on the vision of beauty (and its counterpart, ugliness) in Normand Chaurette's play Provincetown Playhouse, juillet 1919, j'avais 19 ans? Just as the process of detection works within a system based on relations of substitution, the play's aesthetic vision works through metaphoric thought. Thus, the creation of meaning and the creation of feeling would appear to be aspects of a single awe-inspiring process.
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Keywords: net art.
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AbstractThe sensation of time is very particular in the films of John Cassavetes. One might say that time is stretched, suspended. This “suspense,” to use this term in a special way, is often shaped by the expectation of a catastrophe to come; rather than being manifest by an action in the strong sense of the term, it is signalled by the breakdown of characters on the border of a crisis, by the chaotic movement of the camera, as well as by the sounds and imprecise words that seem to accompany this crisis. This article undertakes an analysis of this subjective apocalypse or “small apocalypse” to use the title of a novel by Tadeus Konwicki, through Husbands (1970) and The Killing of a Chinese Bookie (1976).
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With the possible exception of New York City, Paris is one of cinema's most beloved “characters”. From the Lumière brothers to New Wave heroes, from Debord's psychogeography to Rohmer's emotional cartography, from the 1965 Six in Paris and the 1985 Japanese takes on the city to the 2006 Paris je t'aime, no other city has graced film and influenced filmmakers so often as Paris. Of general interest is the evolution of that city in contemporary Asian filmography and, in particular, the 2008 Night and Day by Hong Sang-soo, the only movie he shot outside his native South Korea. In keeping with his obsession with paring down locales (coffee shops, bars, apartments), neighbourhoods and events (drunken binges, love triangles, holidays), Night and Day is restricted to a familiar take on the city's 14th arrondissement. Focussed not so much on culture clash or encounters as on the city itself, Night and Day zooms in on the most trivial sights, the most ordinary settings, the drudgery of daily life and the paths trodden by the main character (who ends up meeting mostly South Koreans). Much like in Tsai Ming-liang's 2001 What Time Is It Over There? or 2009 Visage, or Hou Hsiao-hsien's 2007 Flight of the Red Balloon, the appropriation of Paris owes much to movie-making culture. Rohmer's influence on Hong Sang-soo is a case in point and this essay will look at how and through which cultural references the latter appropriates Paris in his movie.