The sunken ship motif is frequently found in films and artistic installations on migrants, as it symbolizes their perilous crossing. As Michel Foucault asserts, the ship is “the heterotopia par excellence,” and the contemporary fate of migrant barges is quite comparable to that of the ship of fools described by the philosopher in the classical age. The ship is a heterotopic motif which acts as a physical substitute for the body of the castaway, a substitute that makes sense in the maritime world, and that we find in classical paintings, in popular religious art, or even in the ex-votos. The objects that belonged to migrants perished at sea have a memorial character, allowing their history and sometimes their identity somehow to be restored. Giving them back their name is an essential issue so that they can be buried and not wander in a heterotopic space after their death, a heterotopic wandering which also characterizes the experience of their migratory journey.
{"title":"Des corps perdus aux corps-bateaux. L’Art et la manière","authors":"C. Fortier","doi":"10.38003/ccsr.3.5-6.11","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.11","url":null,"abstract":"The sunken ship motif is frequently found in films and artistic installations on migrants, as it symbolizes their perilous crossing. As Michel Foucault asserts, the ship is “the heterotopia par excellence,” and the contemporary fate of migrant barges is quite comparable to that of the ship of fools described by the philosopher in the classical age. The ship is a heterotopic motif which acts as a physical substitute for the body of the castaway, a substitute that makes sense in the maritime world, and that we find in classical paintings, in popular religious art, or even in the ex-votos. The objects that belonged to migrants perished at sea have a memorial character, allowing their history and sometimes their identity somehow to be restored. Giving them back their name is an essential issue so that they can be buried and not wander in a heterotopic space after their death, a heterotopic wandering which also characterizes the experience of their migratory journey.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123652021","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 article explores the specific role of heterotopia in a literary context as a place located in-between reality and fiction, specifically in the light of the autofictional play at work in Charyn’s writing. As both a spatial landmark and imaginary background of a reinvented world, the Bronx intersects both fact and creation. This subjective cartography brings Charyn to reposition different possible first persons along a complex spectrum. Like Jerome Avenue, which cuts Charyn’s former borough in half, the line separating history and story is not wholly uncrossable, but rather a threshold to an affective mode of speech based on idiosyncrasy.
{"title":"Les imbéciles de Jerome Avenue","authors":"M. Cogan","doi":"10.38003/ccsr.3.5-6.8","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.8","url":null,"abstract":"This article explores the specific role of heterotopia in a literary context as a place located in-between reality and fiction, specifically in the light of the autofictional play at work in Charyn’s writing. As both a spatial landmark and imaginary background of a reinvented world, the Bronx intersects both fact and creation. This subjective cartography brings Charyn to reposition different possible first persons along a complex spectrum. Like Jerome Avenue, which cuts Charyn’s former borough in half, the line separating history and story is not wholly uncrossable, but rather a threshold to an affective mode of speech based on idiosyncrasy.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121861322","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}
In applying the notion of heterotopia to domesticity this paper aims to historicize, from the 19th century to today, the vanishing points imagined by those who maintain the interiors where they are assigned to those “good to do everything,” such as nannies and housewives. The inner frame then opens like an Alberti’s window to narrative perspectives which, according to historical configurations, articulate private and public spaces, as well as urban and rural, bourgeois and popular, and national and foreign, to designate counter-spaces of domesticity: the café, ball, square, multimedia installation, beach, and flight. To access the paradoxical nature of these “located utopias,” both hindered and half-open to freedom, it is necessary to use the writers (Octave Mirbeau, Marguerite Duras, Léïla Slimani, Aldous Huxley), artists (Edouard Manet, Lucien Simon, Richard Hamilton, Birgit Jürgenssen), as well as filmmakers (Benoît Jacquot, Alfonso Cuarón). They lay the groundwork for a deconstruction of the matrimonial norm, from which feminine vanishing points radiate, produced by the stereotypes of the servant-whore, the good Bécassine or the housewife, in order to try to thwart them and free themselves from them.
在将异托邦的概念应用于家庭生活中，本文旨在将从19世纪到今天，那些维持内心世界的人所想象的消失点历史化，在那里他们被分配给那些“做任何事都很好”的人，比如保姆和家庭主妇。然后，内部框架像阿尔伯蒂的窗户一样打开，叙事视角根据历史配置，清晰地表达私人和公共空间，城市和农村，资产阶级和大众，民族和外国，指定家庭生活的对抗空间:咖啡馆，舞会，广场，多媒体装置，海滩和飞行。为了接近这些“定位乌托邦”的矛盾本质，既阻碍又半开放的自由，有必要使用作家(Octave Mirbeau, Marguerite Duras, Léïla Slimani, Aldous Huxley)，艺术家(Edouard Manet, Lucien Simon, Richard Hamilton, Birgit jrgenssen)，以及电影制作人(benot Jacquot, Alfonso Cuarón)。她们为解构婚姻规范奠定了基础，从婚姻规范中散发出女性消失点，这些消失点是由男妓、优秀的bassacassine或家庭主妇的刻板印象产生的，目的是试图挫败它们，使自己摆脱它们。
{"title":"Hétérotopies domestiques","authors":"Nella Arambašin","doi":"10.38003/ccsr.3.5-6.2","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.2","url":null,"abstract":"In applying the notion of heterotopia to domesticity this paper aims to historicize, from the 19th century to today, the vanishing points imagined by those who maintain the interiors where they are assigned to those “good to do everything,” such as nannies and housewives. The inner frame then opens like an Alberti’s window to narrative perspectives which, according to historical configurations, articulate private and public spaces, as well as urban and rural, bourgeois and popular, and national and foreign, to designate counter-spaces of domesticity: the café, ball, square, multimedia installation, beach, and flight. To access the paradoxical nature of these “located utopias,” both hindered and half-open to freedom, it is necessary to use the writers (Octave Mirbeau, Marguerite Duras, Léïla Slimani, Aldous Huxley), artists (Edouard Manet, Lucien Simon, Richard Hamilton, Birgit Jürgenssen), as well as filmmakers (Benoît Jacquot, Alfonso Cuarón). They lay the groundwork for a deconstruction of the matrimonial norm, from which feminine vanishing points radiate, produced by the stereotypes of the servant-whore, the good Bécassine or the housewife, in order to try to thwart them and free themselves from them.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128934579","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}
From the concept of heterotopia, and in the light of a personal artistic practice, this article proposes an investigation of space and place, of the passage from one space to another which makes it possible to rewrite the world in new other space. As an artist-researcher, my artistic production revolves around hybrid objects, paintings-objects, assemblages-simulacra, and narrative ready-mades, which explore various hanging systems, from the base integrated into the work, to suspension, up to being displayed on the floor or on the wall. A protean work which is characterized by the production of spaces that could be qualified as heterotopic, since each of the works invites a distancing and a heterotopic experience, like each installation forms a discontinuous space, a place welcoming events and reflections: spaces for autonomous experiences. Also, artwork and installation devices can be understood as “other spaces,” since the representation of space necessarily generates the question of heterotopia, through the notion of juxtaposition, fragmentation, and discontinuity: the essential characteristics of visual arts language.
{"title":"Juxtaposition, fragmentation, discontinuité – passage(s) d’un espace à un autre. L’œuvre d’art comme dispositif hétérotopique ?","authors":"Alexandre Melay","doi":"10.38003/ccsr.3.5-6.1","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.1","url":null,"abstract":"From the concept of heterotopia, and in the light of a personal artistic practice, this article proposes an investigation of space and place, of the passage from one space to another which makes it possible to rewrite the world in new other space. As an artist-researcher, my artistic production revolves around hybrid objects, paintings-objects, assemblages-simulacra, and narrative ready-mades, which explore various hanging systems, from the base integrated into the work, to suspension, up to being displayed on the floor or on the wall. A protean work which is characterized by the production of spaces that could be qualified as heterotopic, since each of the works invites a distancing and a heterotopic experience, like each installation forms a discontinuous space, a place welcoming events and reflections: spaces for autonomous experiences. Also, artwork and installation devices can be understood as “other spaces,” since the representation of space necessarily generates the question of heterotopia, through the notion of juxtaposition, fragmentation, and discontinuity: the essential characteristics of visual arts language.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130592976","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}
Since Menstruationsfilm (1966-67), the pivotal work of Valie Export, many contemporary artistic creations highlight the menstrual value of “gendered blood,” to use the term of Mary Jane Lupton in Menstruation and Psychoanalysis (1993: 3). In the form of painting, performance, installation and video, these creations apply “menstrual blood” in a feminist context, as was the case with the first works made with this type of blood. This article will focus on the crucial link between these works and the concept of heterotopia. On the one hand, we will show in what sense these works can constitute heterotopias and/or how they integrate this concept of by their subversive dimension. On the other hand, we will seek to understand how these works contribute to the extension of heterotopias, both in mental spaces, than in those of the real in our time
{"title":"Les hétérotopies perturbatrices","authors":"Rezvan Zandieh","doi":"10.38003/ccsr.3.5-6.3","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.3","url":null,"abstract":"Since Menstruationsfilm (1966-67), the pivotal work of Valie Export, many contemporary artistic creations highlight the menstrual value of “gendered blood,” to use the term of Mary Jane Lupton in Menstruation and Psychoanalysis (1993: 3). In the form of painting, performance, installation and video, these creations apply “menstrual blood” in a feminist context, as was the case with the first works made with this type of blood. This article will focus on the crucial link between these works and the concept of heterotopia. On the one hand, we will show in what sense these works can constitute heterotopias and/or how they integrate this concept of by their subversive dimension. On the other hand, we will seek to understand how these works contribute to the extension of heterotopias, both in mental spaces, than in those of the real in our time","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127896893","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 paper questions the concept of the possible heterotopia of cinema by making a creative reading of a corpus of contemporary experimental science-fiction films. We think heterotopia in direct relation to utopia. If utopia can be linked to a form of thought, then heterotopia would be a form of realised or achievable utopia. Heterotopian action would then allow us to experiment subversive, if not new social configurations, where utopian thought allows us to dream of better (or at least other) societies. We propose to look at these issues starting from experimental science-fiction films. The aesthetic and narrative resorts as well as the modes of production of works like Slow Action and Urth by Ben Rivers, Meteor by Mathias Müller and Christoph Girardet, Momoko Seto’s Planet Series or Jérôme Cognet’s Guerilla Hubble, indeed offer us with an audiovisual experience that invites us to re-evaluate our human relation to the world by appealing to our capacity for imagination and by stimulating our free will, notably through their staging of historicity and multiplicity.
{"title":"Experimental science-fiction films as filmic heterotopia","authors":"Mathilda Holloway","doi":"10.38003/ccsr.3.5-6.7","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.7","url":null,"abstract":"This paper questions the concept of the possible heterotopia of cinema by making a creative reading of a corpus of contemporary experimental science-fiction films. We think heterotopia in direct relation to utopia. If utopia can be linked to a form of thought, then heterotopia would be a form of realised or achievable utopia. Heterotopian action would then allow us to experiment subversive, if not new social configurations, where utopian thought allows us to dream of better (or at least other) societies. We propose to look at these issues starting from experimental science-fiction films. The aesthetic and narrative resorts as well as the modes of production of works like Slow Action and Urth by Ben Rivers, Meteor by Mathias Müller and Christoph Girardet, Momoko Seto’s Planet Series or Jérôme Cognet’s Guerilla Hubble, indeed offer us with an audiovisual experience that invites us to re-evaluate our human relation to the world by appealing to our capacity for imagination and by stimulating our free will, notably through their staging of historicity and multiplicity.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132128341","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}
On October 28, 2021, the Facebook company decides to rename itself publicly as “Meta,” democratizing at the same time the eponymous subject, “metaverses,” digital and permanent virtual worlds in which users are physically immersed and able to interact. This paper, presented in first instance to the University of Besançon during the summer of 2021, tries to put itself in the place of a living Michel Foucault, in the 21st century: how would he have understood the synchrony of our western culture today? By crossing the notion of heterotopology by Foucault (1984) with the concept of “civilization of access” by Michel Serres (2012) and studies on virtual reality (Fuchs 2018), we use the anachronism in order to bring out new ideas on virtual reality “counter-spaces.”
{"title":"Pour une actualisation de la notion hétérotopique à l’ère du numérique","authors":"Léa Dedola","doi":"10.38003/ccsr.3.5-6.6","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.6","url":null,"abstract":"On October 28, 2021, the Facebook company decides to rename itself publicly as “Meta,” democratizing at the same time the eponymous subject, “metaverses,” digital and permanent virtual worlds in which users are physically immersed and able to interact. This paper, presented in first instance to the University of Besançon during the summer of 2021, tries to put itself in the place of a living Michel Foucault, in the 21st century: how would he have understood the synchrony of our western culture today? By crossing the notion of heterotopology by Foucault (1984) with the concept of “civilization of access” by Michel Serres (2012) and studies on virtual reality (Fuchs 2018), we use the anachronism in order to bring out new ideas on virtual reality “counter-spaces.”","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116616561","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}
In the work of Georges Perec, the novel W or the Memory of Childhood (1975) is an attempt, halfway between autobiography and detective novel, to reveal the greatest enigma of the existence of the writer, namely the tragic fate of his mother who was deported to Auschwitz from where she would never return. In order to be able to outline the ignominy of the concentration camps, Perec refers to a story that he himself had invented during his childhood: one on the island of W. Based on the Olympic ideal, its residents are athletes who must endure a series of inhuman challenges. The monstrous dystopia of the Island of W thus echoes the historical facts of the Second World War, which directly affected Perec, although he did not witness them in person. In the perspective of a study of the island of W, the concept of heterotopia forged by Michel Foucault will set the theoretical perspective for this work. This article will also analyze how the places – both the spaces of the everyday life and heterotopias, other spaces which very often play an allegorical role (Ellis Island, to which Perec dedicated a book, is also an example), as the island of W does – occupy a prominent place in Perec’s works. This stresses out the metonymic power generated by the creation of spaces, whether entirely invented or borrowed from reality, since they always tell something other than merely showcase themselves and install a mirror game between fiction and reality.
{"title":"La dystopie W pour dire l’horreur des camps de concentration. Une étude sur les hétérotopies de Perec","authors":"Samuel Holmertz","doi":"10.38003/ccsr.3.5-6.9","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.9","url":null,"abstract":"In the work of Georges Perec, the novel W or the Memory of Childhood (1975) is an attempt, halfway between autobiography and detective novel, to reveal the greatest enigma of the existence of the writer, namely the tragic fate of his mother who was deported to Auschwitz from where she would never return. In order to be able to outline the ignominy of the concentration camps, Perec refers to a story that he himself had invented during his childhood: one on the island of W. Based on the Olympic ideal, its residents are athletes who must endure a series of inhuman challenges. The monstrous dystopia of the Island of W thus echoes the historical facts of the Second World War, which directly affected Perec, although he did not witness them in person. In the perspective of a study of the island of W, the concept of heterotopia forged by Michel Foucault will set the theoretical perspective for this work. This article will also analyze how the places – both the spaces of the everyday life and heterotopias, other spaces which very often play an allegorical role (Ellis Island, to which Perec dedicated a book, is also an example), as the island of W does – occupy a prominent place in Perec’s works. This stresses out the metonymic power generated by the creation of spaces, whether entirely invented or borrowed from reality, since they always tell something other than merely showcase themselves and install a mirror game between fiction and reality.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129686911","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}
Almost three decades span the release of Paris is Burning (1990), Jennie Livingston’s arthouse documentary on the late-1980s New York ballroom scene, and its fictional revisiting in the TV series Pose (2018-21), created by Ryan Murphy and now a global phenomenon thanks to its presence on streaming services. Paris is Burning and Pose have both gone on to be highly successful commercially, and stand as landmark moments of non-white queer visibility. Appearing at critical junctures in the history of racial non-heteronormative sexualties, they have occasioned, in their wake, a rethinking of the epistemological foundations of gender identity and the generic codes underpinning trans representation. As such, these visual texts and the world they represent can be also be read as queer heterotopias — “other spaces” where dominant values and practices are at once mirrored and challenged — as they invite both an endorsement and a queering (or “transing”) of the norms with which they engage.
{"title":"Between Subversion and Submission","authors":"M. Gillespie","doi":"10.38003/ccsr.3.5-6.4","DOIUrl":"https://doi.org/10.38003/ccsr.3.5-6.4","url":null,"abstract":"Almost three decades span the release of Paris is Burning (1990), Jennie Livingston’s arthouse documentary on the late-1980s New York ballroom scene, and its fictional revisiting in the TV series Pose (2018-21), created by Ryan Murphy and now a global phenomenon thanks to its presence on streaming services. Paris is Burning and Pose have both gone on to be highly successful commercially, and stand as landmark moments of non-white queer visibility. Appearing at critical junctures in the history of racial non-heteronormative sexualties, they have occasioned, in their wake, a rethinking of the epistemological foundations of gender identity and the generic codes underpinning trans representation. As such, these visual texts and the world they represent can be also be read as queer heterotopias — “other spaces” where dominant values and practices are at once mirrored and challenged — as they invite both an endorsement and a queering (or “transing”) of the norms with which they engage.","PeriodicalId":233649,"journal":{"name":"Cross-cultural studies review","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128042535","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}
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