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Le retour « en gâteau » – la recette grotesque de Matéi Visniec “蛋糕”的回归——马蒂·维斯尼克的怪诞食谱
Cahiers ERTA Pub Date : 2019-03-29 DOI: 10.4467/23538953CE.19.003.10298
Sylwia Kucharuk
{"title":"Le retour « en gâteau » – la recette grotesque de Matéi Visniec","authors":"Sylwia Kucharuk","doi":"10.4467/23538953CE.19.003.10298","DOIUrl":"https://doi.org/10.4467/23538953CE.19.003.10298","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"41 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132868169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Le Fantasme du retour : le clonage dans la sciencefiction. Joëlle Wintrebert – Les Olympiades truquées 回归的幻想:科幻小说中的克隆。joelle Wintrebert -被操纵的奥运会
Cahiers ERTA Pub Date : 2019-03-29 DOI: 10.4467/23538953CE.19.008.10303
Mathieu Lottiaux
{"title":"Le Fantasme du retour : le clonage dans la sciencefiction. Joëlle Wintrebert – Les Olympiades truquées","authors":"Mathieu Lottiaux","doi":"10.4467/23538953CE.19.008.10303","DOIUrl":"https://doi.org/10.4467/23538953CE.19.008.10303","url":null,"abstract":"The novel of Joelle Wintrebert talks about a society where cloning is used to build champions. The father of the modern cloning, Bior Malard, is struck by a drama: the death of his woman. But he takes cells and clones her. A child born: Mael. She is a baby, and Bior brings up her. A question appears: who is Mael? His wife? His daughter? This paper deals with some issues like identity, ownership of the body and abilities of the body in a complicated and entangled paradox of the Rme. If a character comes from the past, or if a part of their own body comes from the past, can he build the future, or even be a part of it?","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133474614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Stylistique du passéisme 过去主义的文体
Cahiers ERTA Pub Date : 2019-03-29 DOI: 10.4467/23538953CE.19.007.10302
Vincent Berthelier
{"title":"Stylistique du passéisme","authors":"Vincent Berthelier","doi":"10.4467/23538953CE.19.007.10302","DOIUrl":"https://doi.org/10.4467/23538953CE.19.007.10302","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125218091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La Nuit Épuisée: poïétique d’une insomnie collective 疲惫的夜晚:集体失眠的诗学
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.21.030.14383
Nina Bigot
{"title":"La Nuit Épuisée: poïétique d’une insomnie collective","authors":"Nina Bigot","doi":"10.4467/23538953ce.21.030.14383","DOIUrl":"https://doi.org/10.4467/23538953ce.21.030.14383","url":null,"abstract":"La Nuit Épuisée, poietic of a collective insomnia\u0000\u0000La Nuit Épuisée (2018), project on the initiative of Antoine d’Agata and Lea Bismuth, comes from a collective writing experience which tooks place during a sleepless night; consequently, it allows us to see the visual and textual marks left by the night on this photoliteracy silkscreened book. By analysing this work and each of his twelve leporelli, we can, like its authors, see what it’s only perceptible into the night. As much as poietic is, according to René Passeron, the science of the dynamic relationship between an artist and its artwork while he is struggling with it, this article analyses the context of creation of this book (a collective insomnia in a nightclub) and how it affects the plasticity and the writing of a book which intends to propose us a reading experience.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127132882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
« Peu de bruit nous reste dans l’oreille ». Lecture d’Une petite fille silencieuse de James Sacré “我们的耳朵里几乎没有噪音了。”阅读詹姆斯·sacre的《沉默的小女孩》
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.21.025.13997
David Galand
{"title":"« Peu de bruit nous reste dans l’oreille ». Lecture d’Une petite fille silencieuse de James Sacré","authors":"David Galand","doi":"10.4467/23538953ce.21.025.13997","DOIUrl":"https://doi.org/10.4467/23538953ce.21.025.13997","url":null,"abstract":"“Little noise remains in our ears”. A reading of Une petite fille silencieuse by James Sacré\u0000\u0000The book of poetry Une petite fille silencieuse, published by James Sacré to collect the texts he wrote after the death of his young daughter, is a deep interrogation about the silence of death. The poet establishes complicated links between silence and time, inventing a subjective and singular temporality, departing from the law of chronology ; furthermore, he avoids asserting the existence of the next world while hoping to hear the voice of his dead daughter. This is why he tries to hear the silence in the words themselves, defining language as the very place of a vain pursuit of a meaningful silence.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116173304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Diderot’s synaesthesias: the omnipresence of the hearing in Diderot’s pictorial criticism 狄德罗的联觉:狄德罗绘画批评中听觉的无所不在
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.20.021.13545
Nadège Langbour
{"title":"Diderot’s synaesthesias: the omnipresence of the hearing in Diderot’s pictorial criticism","authors":"Nadège Langbour","doi":"10.4467/23538953ce.20.021.13545","DOIUrl":"https://doi.org/10.4467/23538953ce.20.021.13545","url":null,"abstract":"To respond to an order from his friend Grimm who publishes the Correspondance littéraire, Diderot writes, between 1759 and 1781, nine accounts of the painting and sculpture exhibitions taking place at the Louvre. In his art critic, Diderot often uses the vocabulary of music and noise. Sometimes he evokes the hubbub of colors, sometimes he evokes their harmony. Then, he questions the definition of painting as “silent poetry”. The use of this vocabulary is not only metaphorical. Diderot’s sensualist aesthetics and philosophy encourage him to use the vocabulary of the auditory to establish correspondences between the visual and auditory sensations. So, he developes synaesthesias that announce those of Baudelaire.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122613133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Tonnerre et bourdonnement. Pour une littérature musicale : le cas du surréalisme 雷声和嗡嗡声。音乐文学:以超现实主义为例
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.21.027.13999
Erika Natalia Molina Garcia
{"title":"Tonnerre et bourdonnement. Pour une littérature musicale : le cas du surréalisme","authors":"Erika Natalia Molina Garcia","doi":"10.4467/23538953ce.21.027.13999","DOIUrl":"https://doi.org/10.4467/23538953ce.21.027.13999","url":null,"abstract":"Thunder and whir. For a musical literature: The case of surrealism\u0000By exploring Deleuze’s theory of the creative act, I suggest in the first part of this article that all art forms can achieve a generalized musicality. This musicality denotes a region of perception that goes beyond ordinary senses, with which we can come into contact either by creating or by witnessing art. In the second part, I illustrate the possibility that this doctrine opens for a musical literature, i.e. a literature able to achieve the generalized musicality, with some fragments of surrealist literature. I conclude with the idea that the doctrine at hand could constitute an evolution and a radicalization of surrealist aesthetics.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114754001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Les trois concerts de Charles de Vivray 查尔斯·德·维维雷的三场音乐会
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.21.028.14000
E. M. Wierzbowska
{"title":"Les trois concerts de Charles de Vivray","authors":"E. M. Wierzbowska","doi":"10.4467/23538953ce.21.028.14000","DOIUrl":"https://doi.org/10.4467/23538953ce.21.028.14000","url":null,"abstract":"Charles de Vivray's Three Concerts\u0000Music is a keystone in the entire work of Marie Krysinska, who was first and foremost a musician. Guided by the rule of universal harmony, the perfect realisations of which are musical compositions, she applies it in her poems as well as in her narrative texts. Krysinska's novel, La Force du désir [The Force of Desire], was read in its time primarily as a roman à clef. Behind the literary characters are real people: poets, writers, actresses, singers, journalists, composers. One of the portraits is particularly touching, that of de Vivray whose real-life prototype was Charles-Erhardt de Sivry. A musician, conductor, poet and music theorist, de Sivry charmed listeners with his compositions. In the diegesis, all his professional activities are mentioned, more or less revealed. Thanks to Charles de Vivray's three concerts, the novelistic space transforms into a musical space.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126536390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Filiations postcoloniales
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.19.029.11553
Oana Panaïté
{"title":"Filiations postcoloniales","authors":"Oana Panaïté","doi":"10.4467/23538953ce.19.029.11553","DOIUrl":"https://doi.org/10.4467/23538953ce.19.029.11553","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121364813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Tannhäuser réhabilité (IV) – « La quatrième » devant la presse parisienne – les décors et la mise en scene tannhauser恢复(IV) -“第四”在巴黎媒体面前-布景和舞台设计
Cahiers ERTA Pub Date : 1900-01-01 DOI: 10.4467/23538953ce.21.029.14001
M. Mrozowicki
{"title":"Tannhäuser réhabilité (IV) – « La quatrième » devant la presse parisienne – les décors et la mise en scene","authors":"M. Mrozowicki","doi":"10.4467/23538953ce.21.029.14001","DOIUrl":"https://doi.org/10.4467/23538953ce.21.029.14001","url":null,"abstract":"Tannhäuser rehabilitted (IV) – « La quatrième »’s image in the parisian press – the decor and the staging\u0000The article is devoted to the presentation of various aspects of the Tannhäuser’s fourth performance on the Parisian stage on May 13th, 1895, conducted by Paul Taffanel and directed by Alexander Lapissida. The author, following the reviews that appeared in many Parisian journals after this performance, describes the most characteristic elements of the scenery made by Dauphin Amable Petit, known as Amable (the first tableau of the first act), Marcel Jambon (the second tableau of the first act and the third act) and Eugène Carpezat (the second act). All the reviewers underlined the enthusiastic reactions of the audience that were not only provoked by the brilliant interpretation of the Wagner’s opera by the artists in 1895 but first off all by its intention to efface the compromising recollections of the Parisian Tannhäuser’s premiere in 1861.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131276948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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