{"title":"Les Dessins trans-conscients de Stéphane Mallarmé par Ernest Fraenkel : une méthode originale","authors":"A. Samson, Serge Chamchinov","doi":"10.4000/coma.8240","DOIUrl":"https://doi.org/10.4000/coma.8240","url":null,"abstract":"","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124633358","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}
{"title":"Introduction au numéro « mots et images »","authors":"Kora Véron, Yves Chemla","doi":"10.4000/coma.8665","DOIUrl":"https://doi.org/10.4000/coma.8665","url":null,"abstract":"","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132720456","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}
1 In Aimé Césaire’s essay on Wifredo Lam’s art from the mid-1940s, he signals both the universal reach and particular location of Lam’s work 1 . He first describes the universal gift of Lam’s work as follows: « Dans une société où la machine et l’argent ont démesurément agrandi la distance de l’homme aux choses, Wifredo Lam fixe sur la toile la cérémonie pour laquelle toutes existent : la cérémonie de l’union physique de l’homme et du monde 2 . » In this formulation, Césaire ascribes to Lam’s painting a reparative quality to the alienation imposed by modernity. Lam’s art as ceremony restores the unity fractured by modernity. Lam’s particular location (or locus of enunciation) for this kind of work is as important, and Césaire positions it in a poetic formulation: « Et que c’est au nom de ces hommes, au nom de ces rescapés du plus grand naufrage de l’histoire, que parle Wifredo Lam 3 . » The move is subtle, and Césaire is not specific here about which peoples exactly Lam paints in the name of , but the context of Césaire’s reading of Lam includes the history of empire in the Caribbean that shapes both artists, including the history of chattel slavery, the lack of restitution for the formerly enslaved upon abolition, the regime of indentured labor that succeeded from it, and the continued racialized character of dispossession throughout the Caribbean and beyond. While Césaire writes about Lam, we might also understand Césaire’s work as a universal restoration of the world enacted in the name of the survivors of history’s greatest shipwreck. The ceremony of Lam’s work, like that of Césaire’s, starts from the alienation of the survivors of history and takes flight from the distortions of history’s violence to the edge ( au bout ) of its beyond, where the This essay examines a little-studied aesthetic collaboration between Aimé Césaire and Wifredo Lam to depict doves and a bird of prey (called “menfenil”) in text and image. “Colombes et menfenil” was the title of a selection of poems by Césaire that was published in Hémisphères magazine in 1944 with an illustration by Wifredo Lam. Both birds also appear in Césaire’s Cahier d’un retour au pays natal and Lam’s illustrations of the of the Spanish translation of this poem published in Cuba the previous year. They go on to recur in later paintings by Lam: “Menfenil” (1947), “Lunguanda yembe” (1950), and “La colombe noire” (1959). The birds in question have archetypical significance as symbols of peace and war that connect to the history of colonialism. I propose with this essay a critical dialogue with Césaire and Lam’s work on these birds to diffuse the conquest-thinking that informs the symbolic economy and contributes to normalizing the persistence of racialized hierarchies embedded in the history of colonial dispossession and exploitation. In their collaborative aesthetic recasting of these archetypal bird figures, I argue that both poet and painter symbolically take them over to take flight from conqu
1在aime cesaie关于40年代中期威尔弗雷多·拉姆艺术的文章中，他指出了拉姆作品的普遍范围和特定位置。He first /人(universal gift of Lam’s work as avance:«在一个社会里,机器和金钱过分放大了人权的事情,距离Wifredo Lam固定仪式,所有网上存在的仪式:肉体和世界人权联盟2》。在这个公式中，cesaire认为lam的绘画是对现代性强加的异化的一种补偿。拉姆的艺术作为仪式恢复了被现代性破坏的统一。Lam对这类工作的特殊位置(或表达地点)是如此重要，cesaire用诗意的措辞表达了这一点:“Wifredo Lam以这些人的名义，以历史上最大沉船的幸存者的名义说。塞萨尔»(The move is微妙,and is not特定here about which皮珀到底Lam油漆in The name of The context of Césaire’s目的,reading of The history of empire in The Caribbean Lam与联合国提议把that shape The history of artists,包括动产都好,奴隶制,返还for The lack of The upon巴特勒的废除它,The regime of indentured labor that from it, and The meme racialized character of有幸在广州(The Caribbean and beyond。当cesaire写关于Lam的文章时，我们也可以理解cesaire的作品是世界的普遍修复，以历史上最伟大的沉船幸存者的名义进行。切拉of The Lam’s work like that of Césaire’s、开始from The history and takes幸存者alienation of The flight from The扭曲(to The edge of history’s暴力尽头)of its beyond The This essay查了,或者从little-studied aesthetic协作between艾梅and Wifredo Lam to当吹嘘and a bird of prey (called“menfenil”)“text和形象。“Colombes et menfenil”是cesaire的诗歌选集的标题，该选集于1944年发表在hemispheres杂志上，插图由Wifredo Lam绘制。这两种鸟也出现在凯撒的《回到祖国的笔记本》和拉姆去年在古巴出版的这首诗的西班牙语翻译插图中。他们继续研究林林后来的画作:《门菲尼尔》(1947)、《伦甘达·耶姆贝》(1950)和《黑鸽子》(1959)。The birds in as symbols of peace and have archetypical问题,war that connect to The history of colonialism)。在这篇文章中，我提出与cesaire和lam关于这些鸟类的著作进行批判性对话，以传播为象征经济提供信息的征服思想，并有助于使殖民剥夺和剥削历史中根深蒂固的种族主义等级制度的持续存在正常化。在他的合作中，我认为诗人和画家都象征着征服的飞行。这些鸟代表了和平与战争的原型，与殖民主义的历史有关。在这篇文章中，我建议与cesaire和Lam关于这些鸟的工作进行批判性的对话，以检验一种征服思想，这种思想产生了一种象征性的经济，有助于认可植根于殖民剥夺和剥削历史的持久的种族等级制度。在他们共同的美学改造中，诗人和画家都用这些原型鸟作为逃离征服的手段。
{"title":"“Colombes et Menfenil” in Text and Image: Taking Flight From Conquest in Aimé Césaire and Wifredo Lam’s Collaborative Aesthetics","authors":"K. Seligmann","doi":"10.4000/coma.8544","DOIUrl":"https://doi.org/10.4000/coma.8544","url":null,"abstract":"1 In Aimé Césaire’s essay on Wifredo Lam’s art from the mid-1940s, he signals both the universal reach and particular location of Lam’s work 1 . He first describes the universal gift of Lam’s work as follows: « Dans une société où la machine et l’argent ont démesurément agrandi la distance de l’homme aux choses, Wifredo Lam fixe sur la toile la cérémonie pour laquelle toutes existent : la cérémonie de l’union physique de l’homme et du monde 2 . » In this formulation, Césaire ascribes to Lam’s painting a reparative quality to the alienation imposed by modernity. Lam’s art as ceremony restores the unity fractured by modernity. Lam’s particular location (or locus of enunciation) for this kind of work is as important, and Césaire positions it in a poetic formulation: « Et que c’est au nom de ces hommes, au nom de ces rescapés du plus grand naufrage de l’histoire, que parle Wifredo Lam 3 . » The move is subtle, and Césaire is not specific here about which peoples exactly Lam paints in the name of , but the context of Césaire’s reading of Lam includes the history of empire in the Caribbean that shapes both artists, including the history of chattel slavery, the lack of restitution for the formerly enslaved upon abolition, the regime of indentured labor that succeeded from it, and the continued racialized character of dispossession throughout the Caribbean and beyond. While Césaire writes about Lam, we might also understand Césaire’s work as a universal restoration of the world enacted in the name of the survivors of history’s greatest shipwreck. The ceremony of Lam’s work, like that of Césaire’s, starts from the alienation of the survivors of history and takes flight from the distortions of history’s violence to the edge ( au bout ) of its beyond, where the This essay examines a little-studied aesthetic collaboration between Aimé Césaire and Wifredo Lam to depict doves and a bird of prey (called “menfenil”) in text and image. “Colombes et menfenil” was the title of a selection of poems by Césaire that was published in Hémisphères magazine in 1944 with an illustration by Wifredo Lam. Both birds also appear in Césaire’s Cahier d’un retour au pays natal and Lam’s illustrations of the of the Spanish translation of this poem published in Cuba the previous year. They go on to recur in later paintings by Lam: “Menfenil” (1947), “Lunguanda yembe” (1950), and “La colombe noire” (1959). The birds in question have archetypical significance as symbols of peace and war that connect to the history of colonialism. I propose with this essay a critical dialogue with Césaire and Lam’s work on these birds to diffuse the conquest-thinking that informs the symbolic economy and contributes to normalizing the persistence of racialized hierarchies embedded in the history of colonial dispossession and exploitation. In their collaborative aesthetic recasting of these archetypal bird figures, I argue that both poet and painter symbolically take them over to take flight from conqu","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116154095","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}
{"title":"Patrice Nganang, « homme-numérique » à la croisée du littéraire et du politique","authors":"Claire Ducournau","doi":"10.4000/coma.8685","DOIUrl":"https://doi.org/10.4000/coma.8685","url":null,"abstract":"","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114509317","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}
This essay considers the collaborative projects of Cuban artist Wifredo Lam and French poet René Char as thematizing an imbrication between two different ends of the world: the end of the colonial world through decolonization and the end of terrestrial life in nuclear war. This connection, I argue, is pursued by Lam and Char through a set of socio-ecological commitments in which the relation between humanity and the earth heralds an apocalyptic vision of planetary crisis. I proceed to my argument by reconstructing Char and Lam’s investments in a political aesthetics of inter-species and earthly habitation, beginning in the 1950s. By the mid-1960s, the threat of nuclear destruction transforms the meaning of the earth , especially in Char’s poetics. At the center of my analysis is their collaborative book, Contre une maison sèche , which I read in continuity with late 1960s anti-nuclear struggles. Finally, I suggest that we think formal decolonization and anti-nuclear ecology together as a point of historical reference for the current ecological crisis. What I call “the rumor of the Earth,” after Lam’s 1950 painting, names the possible but as-yet undiscovered forms of inhabiting the Earth and of making new relations at all levels of the general ecology. de mon analyse se trouve leur livre collaboratif, Contre une maison sèche , que je lis dans la continuité des luttes antinucléaires à la fin des années 1960. Enfin, je propose de penser ensemble la décolonisation formelle et l’écologie anti-nucléaire comme point de référence historique de la crise écologique actuelle. Ce que j’appelle « la rumeur de la Terre », d’après le tableau de Lam de 1950, nomme les formes possibles mais encore inconnues d’habiter la Terre et d’établir de nouvelles relations à tous les niveaux de l’écologie générale.
这篇文章认为古巴艺术家Wifredo Lam和法国诗人ren Char的合作项目是世界两个不同尽头之间的一个主题:通过去殖民化结束的殖民世界和核战争结束的地球生命。我认为，这种联系是拉姆和查尔通过一系列社会生态承诺来追求的，在这些承诺中，人类与地球之间的关系预示着地球危机的末日景象。我通过重建查尔和林在20世纪50年代开始的跨物种和地球居住的政治美学方面的投资来继续我的论点。到20世纪60年代中期，核毁灭的威胁改变了地球的意义，尤其是在夏尔的诗学中。我分析的核心是他们的合作著作《反核之家》(Contre une maison s)，这本书是我在20世纪60年代末反核斗争的延续中阅读的。最后，我建议我们把正式的非殖民化和反核生态学结合起来，作为当前生态危机的一个历史参考点。我称之为“地球的谣言”(the rumor of the Earth)，以林奕麟1950年的作品命名，命名了可能但尚未被发现的居住在地球上的形式，以及在一般生态的各个层面上建立新关系的形式。“我分析一下我们的生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作，我们的家庭生活协作。”最后，我提出了一个建议，即:将所有的薪金和其他薪金作为交换条件，将所有的薪金和其他薪金作为交换条件，将所有的薪金和其他薪金作为交换条件。从1950年开始，在“地球上的数据”和“地球上的数据”中，有两种可能的形式，一种是“地球上的数据”，另一种是“新的数据”，一种是“新的数据”，一种是“新的数据”，一种是“新的数据”，一种是“新的数据”，一种是“新的数据”，一种是“新的数据”。
{"title":"The Rumor of the Earth: Anti-nuclear Ecologies in Lam and Char’s Contre une maison sèche","authors":"Jackqueline Frost","doi":"10.4000/coma.8294","DOIUrl":"https://doi.org/10.4000/coma.8294","url":null,"abstract":"This essay considers the collaborative projects of Cuban artist Wifredo Lam and French poet René Char as thematizing an imbrication between two different ends of the world: the end of the colonial world through decolonization and the end of terrestrial life in nuclear war. This connection, I argue, is pursued by Lam and Char through a set of socio-ecological commitments in which the relation between humanity and the earth heralds an apocalyptic vision of planetary crisis. I proceed to my argument by reconstructing Char and Lam’s investments in a political aesthetics of inter-species and earthly habitation, beginning in the 1950s. By the mid-1960s, the threat of nuclear destruction transforms the meaning of the earth , especially in Char’s poetics. At the center of my analysis is their collaborative book, Contre une maison sèche , which I read in continuity with late 1960s anti-nuclear struggles. Finally, I suggest that we think formal decolonization and anti-nuclear ecology together as a point of historical reference for the current ecological crisis. What I call “the rumor of the Earth,” after Lam’s 1950 painting, names the possible but as-yet undiscovered forms of inhabiting the Earth and of making new relations at all levels of the general ecology. de mon analyse se trouve leur livre collaboratif, Contre une maison sèche , que je lis dans la continuité des luttes antinucléaires à la fin des années 1960. Enfin, je propose de penser ensemble la décolonisation formelle et l’écologie anti-nucléaire comme point de référence historique de la crise écologique actuelle. Ce que j’appelle « la rumeur de la Terre », d’après le tableau de Lam de 1950, nomme les formes possibles mais encore inconnues d’habiter la Terre et d’établir de nouvelles relations à tous les niveaux de l’écologie générale.","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121419234","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}
{"title":"Corps perdu d’Aimé Césaire et de Pablo Picasso, un recueil de guerres et de paix","authors":"Kora Véron","doi":"10.4000/coma.8082","DOIUrl":"https://doi.org/10.4000/coma.8082","url":null,"abstract":"","PeriodicalId":226755,"journal":{"name":"Continents manuscrits","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132370359","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：