novel as a whole: a figuration of madness that is steeped in opacity on the one hand, and the centrality of the figuration of voice as a non-binary, strange, and fraught phenomenon on the other. These lines
{"title":"Mad Afro-feminist Phonographies as Dis/abled Worldmakings in Marie-Célie Agnant's The Book of Emma","authors":"Cae Joseph-Masséna","doi":"10.1353/esp.2021.0050","DOIUrl":"https://doi.org/10.1353/esp.2021.0050","url":null,"abstract":"novel as a whole: a figuration of madness that is steeped in opacity on the one hand, and the centrality of the figuration of voice as a non-binary, strange, and fraught phenomenon on the other. These lines","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48341037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shaping Bodies, Reimagining the World: Sartorial Prosthesis in L'isle des hermaphrodites (1605)","authors":"K. Long","doi":"10.1353/esp.2021.0052","DOIUrl":"https://doi.org/10.1353/esp.2021.0052","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48538488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THE CARICATURE ON THE COVER of this issue of L’Esprit Créateur figures in a letter that painter Henri de Toulouse-Lautrec wrote to his uncle, Charles, in 1881, when he was about seventeen. By this time, salon painter René Princeteau had been training Toulouse-Lautrec for a decade and had helped him gain entrance to Léon Bonnat’s studio, which he would join the following year. Contributor Alexandra Courtois de Viçose notes that, at this point, Toulouse-Lautrec still aspired to be a salon painter and figures himself here learning through the relentless copying of ideal proportions, forms, and poses. In the sketch, Princeteau works on one of his chasse à courre (hunting) paintings, while in front of him Toulouse-Lautrec sketches the statue looming over him, its angle and positioning arguably signaling Toulouse-Lautrec’s internalized sense that he couldn’t live up to these standards, either in terms of his artistic skill or his own physique. The artists’ stances are virtually identical and their attire strikingly similar, while salient features of each are exaggerated: Princeteau is comically tall and angled while Toulouse-Lautrec is comically short and stout. Both are stylish, even jaunty, and absorbed in their work. As figured here, neither reflects the ideals and harmony inherent in the statue. Although less obvious, both are disabled. Princeteau, deaf since birth, communicated primarily through sign language. As a result of genetic disease, Toulouse-Lautrec experienced leg fractures that resulted in stunted growth, chronic pain, and a marked limp, prompting him to use a cane. Courtois de Viçose characterizes their relationship and the mutual influence that Toulouse-Lautrec captures here in their mirrored stance. “Such osmosis occurred between teacher and apprentice that, to this day, curators at the Princeteau museum occasionally hesitate in their attributions.”1 The sketch thus tacitly and explicitly inserts disability between us, the viewers, and the statue. Poking fun at these ideals, the sketch includes a dog’s wagging tail in the bottom right corner of Princeteau’s canvas; the statue itself better resembles a diver poised to jump in the water than any sort of classical ideal. Paying homage to his beloved teacher, Toulouse-Lautrec represents him here exactly as Princeteau most often represented himself. Joy and delight dapple the landscape of their shared workspace, highlighting the sympathies that existed between the two artists and challenging directly the other charge
1881年，画家亨利·德·图卢兹-罗特列克给他的叔叔查尔斯写了一封信，当时他大约17岁。此时，沙龙画家雷诺·普林塞托已经训练图卢兹·罗特列克十年了，并帮助他进入了莱姆森·博纳的工作室，次年他将加入该工作室。撰稿人Alexandra Courtois de viose指出，在这一点上，图卢兹-罗特列克仍然渴望成为一名沙龙画家，并通过不懈地复制理想的比例，形式和姿势来学习自己。在这幅素描中，普林塞托正在创作他的一幅狩猎画，而在他面前，图卢兹-罗特列克正在画一尊雕像，它的角度和位置可以说是图卢兹-罗特列克内心的感觉，他无法达到这些标准，无论是在他的艺术技巧还是他自己的身体上。两位艺术家的姿态几乎一模一样，他们的着装也惊人地相似，但每个人的显著特征都被夸张了:普林塞托滑稽地高而有棱角，而图卢兹-罗特列克滑稽地矮而结实。两人都很时髦，甚至还很活泼，都很专注于自己的工作。正如这里所描绘的，两者都没有反映出雕像固有的理想与和谐。虽然不那么明显，但两者都是残疾的。普林塞托自出生以来就耳聋，主要通过手语交流。由于遗传疾病，图卢兹-罗特列克经历了腿部骨折，导致发育迟缓，慢性疼痛和明显的跛行，迫使他使用手杖。Courtois de viose描绘了他们的关系和相互影响，图卢兹-罗特列克在他们的镜像立场中捕捉到了这一点。这种渗透在师徒之间发生，直到今天，普林塞托博物馆的策展人偶尔还会犹豫到底是谁画的。因此，这幅素描在我们、观众和雕像之间含蓄而明确地插入了残疾。这幅素描取笑了这些理想，在普林塞托画布的右下角画了一只狗摇尾巴;这座雕像本身更像一个准备跳入水中的潜水员，而不是任何一种古典理想。为了表达对他敬爱的老师的敬意，图卢兹-罗特列克在这里表现了他的老师，就像普林塞托经常表现自己一样。欢乐和喜悦点缀着他们共享的工作空间，突出了两位艺术家之间存在的同情，并直接挑战了另一项指控
{"title":"\"Car le monde est à créer\": Disability's Worldmaking, Pasts and Futures","authors":"Tammy Berberi","doi":"10.1353/esp.2021.0043","DOIUrl":"https://doi.org/10.1353/esp.2021.0043","url":null,"abstract":"THE CARICATURE ON THE COVER of this issue of L’Esprit Créateur figures in a letter that painter Henri de Toulouse-Lautrec wrote to his uncle, Charles, in 1881, when he was about seventeen. By this time, salon painter René Princeteau had been training Toulouse-Lautrec for a decade and had helped him gain entrance to Léon Bonnat’s studio, which he would join the following year. Contributor Alexandra Courtois de Viçose notes that, at this point, Toulouse-Lautrec still aspired to be a salon painter and figures himself here learning through the relentless copying of ideal proportions, forms, and poses. In the sketch, Princeteau works on one of his chasse à courre (hunting) paintings, while in front of him Toulouse-Lautrec sketches the statue looming over him, its angle and positioning arguably signaling Toulouse-Lautrec’s internalized sense that he couldn’t live up to these standards, either in terms of his artistic skill or his own physique. The artists’ stances are virtually identical and their attire strikingly similar, while salient features of each are exaggerated: Princeteau is comically tall and angled while Toulouse-Lautrec is comically short and stout. Both are stylish, even jaunty, and absorbed in their work. As figured here, neither reflects the ideals and harmony inherent in the statue. Although less obvious, both are disabled. Princeteau, deaf since birth, communicated primarily through sign language. As a result of genetic disease, Toulouse-Lautrec experienced leg fractures that resulted in stunted growth, chronic pain, and a marked limp, prompting him to use a cane. Courtois de Viçose characterizes their relationship and the mutual influence that Toulouse-Lautrec captures here in their mirrored stance. “Such osmosis occurred between teacher and apprentice that, to this day, curators at the Princeteau museum occasionally hesitate in their attributions.”1 The sketch thus tacitly and explicitly inserts disability between us, the viewers, and the statue. Poking fun at these ideals, the sketch includes a dog’s wagging tail in the bottom right corner of Princeteau’s canvas; the statue itself better resembles a diver poised to jump in the water than any sort of classical ideal. Paying homage to his beloved teacher, Toulouse-Lautrec represents him here exactly as Princeteau most often represented himself. Joy and delight dapple the landscape of their shared workspace, highlighting the sympathies that existed between the two artists and challenging directly the other charge","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43787093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Joë Bousquet, crip exemplaire? Poétique et éthique de la blessure de guerre","authors":"Kaliane Ung","doi":"10.1353/esp.2021.0051","DOIUrl":"https://doi.org/10.1353/esp.2021.0051","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43070618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Elle aurait dit 'non'\": Sexuality, Intellectual Disability, and Disidentification in French Fairy Tales","authors":"J. Row","doi":"10.1353/esp.2021.0046","DOIUrl":"https://doi.org/10.1353/esp.2021.0046","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41385081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Happiness and Disability: Emilie Du Châtelet's Adaptive Worldbuilding","authors":"Tracy L Rutler","doi":"10.1353/esp.2021.0053","DOIUrl":"https://doi.org/10.1353/esp.2021.0053","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IN THIS ARTICLE we use our experiences of co-creating creative audio descriptions at the Musée du quai Branly in Paris to suggest that the worldmaking practices of challenge, collaboration, action, and dialogue offer a means to call into question the traditional ways of accessing museum and gallery content that still prevail in (French) society.1 We define “disability’s worldmaking” in the museum or art gallery as a two-part process. First, we challenge the ‘givenness’ of the hierarchies, relationships, and assumptions that govern visitor experience in the museum. Second, we offer an alternative model of visitor engagement where active and dialogic co-creation provides an inclusive alternative to ocularcentric museum experiences. Together, these acts of worldmaking promise an alternative mode of being in the museum that suggests a new politics of access. By going beyond current understandings of ‘inclusion,’ our project does not limit itself to giving disabled people a museum experience analogous to that of non-disabled people. Instead, it explores and celebrates alternative modes of engaging with art that do more than merely echo normative museum experiences and which, more broadly, open up a new way of making society. Our definition of worldmaking is a counterpoint to Jacques Rancière’s concept of “le partage du sensible” and is informed by the concept of “blindness gain.” In Rancière’s words, le partage du sensible as a political concept is “ce système d’évidences sensibles qui donne à voir en même temps l’existence d’un commun et les découpages qui y définissent les places et les parts respectives.”2 Elsewhere, he elaborates on this definition, describing it as “la façon dont les formes d’inclusion et d’exclusion qui définissent la participation à une vie commune sont d’abord configurées au sein même de l’expérience sensible de la vie.”3 In other words, according to Rancière, there is “une esthétique de la politique”: the assignment of a place to each person in society is manifested through the sensory experience itself, and, for him, particularly in a division between visibility and invisibility; audibility and inaudibility: those who participate in public life are visible and audible, while those who do not are invisible and inaudible (kept hidden and silent within the private sphere). Given that, for Rancière, the realm of art is a privileged place of sensory experience, it is therefore also a privileged place for le partage du sensible, which expresses who has a place in society and who does not. We argue that, nowadays, it is in the museum
{"title":"\"Blindness Gain\" as Worldmaking: Audio Description as a New \"partage du sensible\"","authors":"Marion Chottin, Hannah Thompson","doi":"10.1353/esp.2021.0045","DOIUrl":"https://doi.org/10.1353/esp.2021.0045","url":null,"abstract":"IN THIS ARTICLE we use our experiences of co-creating creative audio descriptions at the Musée du quai Branly in Paris to suggest that the worldmaking practices of challenge, collaboration, action, and dialogue offer a means to call into question the traditional ways of accessing museum and gallery content that still prevail in (French) society.1 We define “disability’s worldmaking” in the museum or art gallery as a two-part process. First, we challenge the ‘givenness’ of the hierarchies, relationships, and assumptions that govern visitor experience in the museum. Second, we offer an alternative model of visitor engagement where active and dialogic co-creation provides an inclusive alternative to ocularcentric museum experiences. Together, these acts of worldmaking promise an alternative mode of being in the museum that suggests a new politics of access. By going beyond current understandings of ‘inclusion,’ our project does not limit itself to giving disabled people a museum experience analogous to that of non-disabled people. Instead, it explores and celebrates alternative modes of engaging with art that do more than merely echo normative museum experiences and which, more broadly, open up a new way of making society. Our definition of worldmaking is a counterpoint to Jacques Rancière’s concept of “le partage du sensible” and is informed by the concept of “blindness gain.” In Rancière’s words, le partage du sensible as a political concept is “ce système d’évidences sensibles qui donne à voir en même temps l’existence d’un commun et les découpages qui y définissent les places et les parts respectives.”2 Elsewhere, he elaborates on this definition, describing it as “la façon dont les formes d’inclusion et d’exclusion qui définissent la participation à une vie commune sont d’abord configurées au sein même de l’expérience sensible de la vie.”3 In other words, according to Rancière, there is “une esthétique de la politique”: the assignment of a place to each person in society is manifested through the sensory experience itself, and, for him, particularly in a division between visibility and invisibility; audibility and inaudibility: those who participate in public life are visible and audible, while those who do not are invisible and inaudible (kept hidden and silent within the private sphere). Given that, for Rancière, the realm of art is a privileged place of sensory experience, it is therefore also a privileged place for le partage du sensible, which expresses who has a place in society and who does not. We argue that, nowadays, it is in the museum","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49157398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Black Melancholy in the Early French Atlantic","authors":"Ashley M. Williard","doi":"10.1353/esp.2021.0049","DOIUrl":"https://doi.org/10.1353/esp.2021.0049","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43768675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On Disability and Carework in Lestoire de Merlin","authors":"A. Hicks-Bartlett","doi":"10.1353/esp.2021.0047","DOIUrl":"https://doi.org/10.1353/esp.2021.0047","url":null,"abstract":"","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42796627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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