Pub Date : 2019-03-29DOI: 10.4467/23538953CE.19.008.10303
Mathieu Lottiaux
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?
{"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}
Pub Date : 1900-01-01DOI: 10.4467/23538953ce.21.030.14383
Nina Bigot
La Nuit Épuisée, poietic of a collective insomnia La 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.
La Nuit Épuisée(2018)是Antoine d 'Agata和Lea Bismuth发起的一个项目，它来自于一个不眠之夜的集体写作经历;因此，它可以让我们看到夜晚在这本光刻丝网印刷的书上留下的视觉和文字痕迹。通过分析这部作品和他的十二首leporelli中的每一首，我们可以像作者一样，看到只有在夜晚才能察觉到的东西。根据ren Passeron的说法，诗学是艺术家与作品之间动态关系的科学，而他正在努力与之斗争，本文分析了这本书的创作背景(夜总会的集体失眠)，以及它如何影响可塑性和写作一本旨在向我们提出阅读体验的书。
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Pub Date : 1900-01-01DOI: 10.4467/23538953ce.21.025.13997
David Galand
“Little noise remains in our ears”. A reading of Une petite fille silencieuse by James Sacré The 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.
“我们的耳朵里只剩下一点点噪音”。詹姆士·萨卡索(James sacr)为收集他在女儿去世后写的文章而出版的诗集《一个小女孩沉默》(Une petite fille silencieuse)是对死亡的沉默的深刻质疑。诗人在沉默和时间之间建立了复杂的联系，创造了一种主观的、独特的时间性，脱离了时间的规律;此外，他避免断言下一个世界的存在，而希望听到他死去的女儿的声音。这就是为什么他试图从文字中听到沉默，将语言定义为对有意义的沉默的徒劳追求的地方。
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Pub Date : 1900-01-01DOI: 10.4467/23538953ce.20.021.13545
Nadège Langbour
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.
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Pub Date : 1900-01-01DOI: 10.4467/23538953ce.21.027.13999
Erika Natalia Molina Garcia
Thunder and whir. For a musical literature: The case of surrealism By 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.
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Pub Date : 1900-01-01DOI: 10.4467/23538953ce.21.028.14000
E. M. Wierzbowska
Charles de Vivray's Three Concerts Music 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.
查尔斯·德·维弗雷的《三场音乐会》是玛丽·克里辛斯卡整个作品的基石，她首先是一位音乐家。在普遍和谐法则的指导下，她将其完美地实现在音乐作品中，并将其应用于她的诗歌和叙事文本中。克里辛斯卡的小说《欲望的力量》(La Force du dsamsir)在当时主要是作为一部罗马小说来读的。文学人物的背后是真实的人:诗人、作家、女演员、歌手、记者、作曲家。其中一幅肖像特别感人，那是德·维弗雷的肖像，他的真实原型是查尔斯·埃尔哈特·德·西弗里。西弗里是一位音乐家、指挥家、诗人和音乐理论家，他用他的作品迷住了听众。在摘要中，他所有的专业活动都被提及，或多或少地被揭示出来。由于维弗雷的三场音乐会，小说空间变成了音乐空间。
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Pub Date : 1900-01-01DOI: 10.4467/23538953ce.21.029.14001
M. Mrozowicki
Tannhäuser rehabilitted (IV) – « La quatrième »’s image in the parisian press – the decor and the staging The 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.
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