Documents found
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AbstractThis article focuses on three – politically and socially – mad characters who have prevailed in a body of European writings over the last 15 years, and who have been sketching a theater of madness for our times. In the process, this article presents a socio-critical approach to the comedic elements of contemporary theater. The three characters at issue are the “jester”, the “zombie” and the “simpleton”, each shining a light on a different set of challenges in today's Western societies. The jester, more particularly the Ubuesque one, represents the chasm between power and the indignity of those wielding it, echoing European worries about the fragility of democracy. As the walking dead who gave his insubstantial, fake and subjective life to the lure of consumer goods, the zombie evokes consumerism. Lastly, the simpleton's improbable ingenuousness and his inherent inability to adapt to his surroundings restrict to a minimum his interaction with figures of power, thereby making him the only “madman” in contemporary theater to have retained an ability to express a life force.
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A lithograph (Kodak, by Lelong, 1923, 151 x 100) ‘speaks' to us of photography. This transposition is a metaphor, but it is also a way of not dealing directly with the matter. The author proposes here a reading of this image in a spirit akin to Roland Barthes' semiology. His approach can be situated midway between iconology and mediology.
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« Socrate, dit-on, n’allait pas à la tragédie », écrit Clément Rosset dans son livre Philosophie tragique. Selon la philosophe américaine Martha C. Nussbaum, c’est spécifiquement cette pulsion anti-tragique qui caractériserait la philosophie dès Platon. Au XIXe siècle, le Nietzsche de La naissance de la tragédie avait déjà déclaré le meurtre de la tragédie par la philosophie ; bien que Nussbaum soit généralement en accord avec le diagnostic du philosophe allemand, elle y apporte un élément novateur. De fait, elle voit dans la philosophie aristotélicienne une brèche dans la tradition : un contre-argument à la théorie platonicienne ainsi qu’une continuité de la pensée tragique. Premier penseur de la tragédie, Aristote accordait déjà une part importante à la fortune (tuchè) dans sa théorie éthique. Or, cette …
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John Huston's The Unforgiven (1960), released four years after John Ford's The Searchers (1956), also addresses themes around the family, taboo love and “miscegenation.” Beyond the similarities attributable to the fictional worlds of the homonymous novels by Alan LeMay from which they were adapted, the circulation of motifs and arguments creates an objectifiable dialogue between the two films. This exchange appears to continue on in Ron Howard's The Missing (2002), in which the same elements are present, but displaced and reformulated. This article examines the way in which a figure, understood as a network of motifs and associations, makes possible a kind of implicit remaking, giving rise to complex readings. This circulation of figures is distinct from forms of reflexivity and intertextuality, and from playing with the conventions of generic material. In the genre's imaginary world, the secret and the implicit bring out a meaning that plays on free associations and effects of memory and imagination. What is thus at stake is to inquire into this process of emergence in a framework of thinking about the genealogy of films in a way which would not be limited to their objectified relations of remakes and influences without at the same time neglecting these relations.
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AbstractThis paper explores the traces left by the Cannes Film Festival in the audience's memory via the photographs they take, buy or “ steal ” during this event. Plunged in the dark room of cinema, these pieces of evidence of the real festival emerge as visual scars displayed by different audiences and materialize as deliberately self deceptive spectator behavior. The imaginary world thus captured in these “ souvenir pictures ” of the festival are external proof of the ways and means the ordinary cinema lover uses to convince himself and others of his real participation in the film world. This specific relationship with the Cannes Film Festival reinforces the fetishism already created by the world of cinema and leaves its mark on the spectators' itinerary.
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AbstractIn Adieu, Danièle Sallenave portrays an old man through the eyes of his nephew. During the course of one month, the young man visits his uncle, asks questions and takes snapshots. He sets out the chronicle of their conversations, full of anecdotes, biographical details, witty and mundane remarks. In keeping with the title of the book, the impending death of the old man gives the journal a poignant emotion and adds value to whatever is said or done. The tacit melancholy does not, however, magnify the minute details of everyday life. Sallenave is careful not to legendize the old man who is but an ordinary human being. The sketchy narrative, the extensive use of direct quotation and the constant awareness of the immediate circumstances of speech are an obvious attempt to capture the insignificant aspects of everyday conversation as they are, without giving them mythical status. Between the melancholy of what will inevitably disappear and the matter-of-fact encounters, between the resistant and the insistent narration, the insignificant elicits an examination of the ethical and poetical.
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Through the exploration both of Zappa's polemical reception and the pertinent elements of his work, the author proposes a new way of problematizing Zappa's art. Drawing on the philosophy of Deleuze, this paper outlines a "nomadic" aesthetic, one that casts aside traditional categories and establishes the authority of Zappa's singular style.