Abstract:Ces trois dernières décennies ont vu apparaître un ensemble de pratiques, que l'on pourrait désigner sous le nom de "post-poésie" ou de "poésie action directe," et dont certaines s'engagent dans des formes d'enquête sauvages répondant à ce que j'appellerai une "poétique de la valuation." Cette étude examinera, à travers le cas de l'Agence de notation, la façon dont des pratiques poétiques valuatives créent dans un même geste les conditions d'émergence d'un public par l'enquête poétique et des conditions pour des changements sociaux en interrogeant les valeurs sur lesquelles sont fondés certains mécanismes institutionnels.
{"title":"Poétique de la valuation : Créer les conditions d'émergence d'un public par l'enquête poétique. Le cas de l'Agence de notation","authors":"Nancy Murzilli","doi":"10.1353/esp.2022.0007","DOIUrl":"https://doi.org/10.1353/esp.2022.0007","url":null,"abstract":"Abstract:Ces trois dernières décennies ont vu apparaître un ensemble de pratiques, que l'on pourrait désigner sous le nom de \"post-poésie\" ou de \"poésie action directe,\" et dont certaines s'engagent dans des formes d'enquête sauvages répondant à ce que j'appellerai une \"poétique de la valuation.\" Cette étude examinera, à travers le cas de l'Agence de notation, la façon dont des pratiques poétiques valuatives créent dans un même geste les conditions d'émergence d'un public par l'enquête poétique et des conditions pour des changements sociaux en interrogeant les valeurs sur lesquelles sont fondés certains mécanismes institutionnels.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42236119","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}
Abstract:Cette étude porte attention aux discours qui publient la publication. Quel est le dire de la publication? que publie-t-il, que recèle-t-il lui-même? Comment le champ littéraire se représente-t-il la façon dont il produit, distribue, hiérarchise et aussi bien barre ou compromet la visibilité et la destination des œuvres dans l'espace social? Pour investir ce questionnement, l'article s'appuie sur L'Encyclopédie des guerres de Jean-Yves Jouannais, œuvre transmédiale dont la forme principale consiste en une série de conférences-performances mensuelles, accueillies depuis 2008 au Centre Pompidou. Si cette œuvre illustre le passage "d'un imaginaire du littéraire centré sur un objet-support, le livre à un imaginaire du littéraire centré sur une action et une pratique: la publication" (Ruffel), encore faut-il confronter les discours aux pratiques qu'ils interprètent, en établissant notamment le rôle matériel et symbolique du livre dans cette littérature réputée biblioclaste.
{"title":"Publier, le faire, le dire : L'Encyclopédie des guerres de Jean-Yves Jouannais","authors":"A. Chassain","doi":"10.1353/esp.2022.0003","DOIUrl":"https://doi.org/10.1353/esp.2022.0003","url":null,"abstract":"Abstract:Cette étude porte attention aux discours qui publient la publication. Quel est le dire de la publication? que publie-t-il, que recèle-t-il lui-même? Comment le champ littéraire se représente-t-il la façon dont il produit, distribue, hiérarchise et aussi bien barre ou compromet la visibilité et la destination des œuvres dans l'espace social? Pour investir ce questionnement, l'article s'appuie sur L'Encyclopédie des guerres de Jean-Yves Jouannais, œuvre transmédiale dont la forme principale consiste en une série de conférences-performances mensuelles, accueillies depuis 2008 au Centre Pompidou. Si cette œuvre illustre le passage \"d'un imaginaire du littéraire centré sur un objet-support, le livre à un imaginaire du littéraire centré sur une action et une pratique: la publication\" (Ruffel), encore faut-il confronter les discours aux pratiques qu'ils interprètent, en établissant notamment le rôle matériel et symbolique du livre dans cette littérature réputée biblioclaste.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43073605","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}
Abstract:This article considers ways in which the public can relate to contemporary French poetry outside the book, when all usual markers that help define an artifact as art are absent. Taking the case of Anne-James Chaton, who publishes some of his works on social media, the question is whether poetry is still poetry if not identified as such by the public. While Chaton continues to publish books, he is also part of a double movement in French poetic practice, the movement away from the customary setting of literature – the book page – and the deconstruction of the essentialist view of poetry.
摘要:这篇文章考虑了公众在书外与当代法国诗歌建立联系的方式,而所有有助于将艺术品定义为艺术的常用标记都不存在。以安妮·詹姆斯·查顿(Anne James Chaton)为例,他在社交媒体上发布了自己的一些作品,问题是,如果公众不认同诗歌,诗歌是否仍然是诗歌。虽然查顿继续出版书籍,但他也是法国诗歌实践中双重运动的一部分,这场运动远离了文学的传统背景——书页——以及对诗歌本质主义观点的解构。
{"title":"Thinking at the Limit of Poetry: Anne-James Chaton, Social Media, and the Post-Public","authors":"Nathalie Wourm","doi":"10.1353/esp.2022.0002","DOIUrl":"https://doi.org/10.1353/esp.2022.0002","url":null,"abstract":"Abstract:This article considers ways in which the public can relate to contemporary French poetry outside the book, when all usual markers that help define an artifact as art are absent. Taking the case of Anne-James Chaton, who publishes some of his works on social media, the question is whether poetry is still poetry if not identified as such by the public. While Chaton continues to publish books, he is also part of a double movement in French poetic practice, the movement away from the customary setting of literature – the book page – and the deconstruction of the essentialist view of poetry.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44831334","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}
Abstract:Les réflexions de la poésie contemporaine française sur son public (réduit et marginal), irréductibles à une simple valeur documentaire, témoignent d'une réflexivité riche d'une portée politique dont le présent article cherche à prendre la mesure. Maurizio Lazzarato a considéré la grève des intermittents du spectacle comme un révélateur d'une administration du travail par l'exploitation des inégalités et la pulvérisation des solidarités. À cette lumière, il est possible de considérer les productions poétiques qui nous intéressent (Christophe Hanna, Sylvain Courtoux, Cyrille Martinez, Patrick Beurard-Valdoye) comme des tentatives de réarticulation de publics que les politiques néolibérales cherchent à atomiser et à démobiliser.
{"title":"Le public des poètes est-il le seul problème public des poètes ? Sociologies autochtones et allégories politiques de la poésie","authors":"Florent Coste, Justine Huppe","doi":"10.1353/esp.2022.0001","DOIUrl":"https://doi.org/10.1353/esp.2022.0001","url":null,"abstract":"Abstract:Les réflexions de la poésie contemporaine française sur son public (réduit et marginal), irréductibles à une simple valeur documentaire, témoignent d'une réflexivité riche d'une portée politique dont le présent article cherche à prendre la mesure. Maurizio Lazzarato a considéré la grève des intermittents du spectacle comme un révélateur d'une administration du travail par l'exploitation des inégalités et la pulvérisation des solidarités. À cette lumière, il est possible de considérer les productions poétiques qui nous intéressent (Christophe Hanna, Sylvain Courtoux, Cyrille Martinez, Patrick Beurard-Valdoye) comme des tentatives de réarticulation de publics que les politiques néolibérales cherchent à atomiser et à démobiliser.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48878877","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}
Abstract:From the 1990s to today, poetic practices in France engage with the forms and languages of public life. These works focus on representations and discourses circulating within the public sphere. Poetic practices turn to public problems, issues that seem to surpass available theoretical tools and demand new conceptual and artistic approaches. In an age of "médiarchie" (Yves Citton), the question of poetic practices and the public raises several lines of inquiry: How does poetry generate new performative modes and forms, and how do poets situate themselves before their public? What are the political stakes of poetry's turn toward the public sphere?
{"title":"Introduction: Poetic Practice and the Public","authors":"Jeff Barda, Eric S. Lynch","doi":"10.1353/esp.2022.0000","DOIUrl":"https://doi.org/10.1353/esp.2022.0000","url":null,"abstract":"Abstract:From the 1990s to today, poetic practices in France engage with the forms and languages of public life. These works focus on representations and discourses circulating within the public sphere. Poetic practices turn to public problems, issues that seem to surpass available theoretical tools and demand new conceptual and artistic approaches. In an age of \"médiarchie\" (Yves Citton), the question of poetic practices and the public raises several lines of inquiry: How does poetry generate new performative modes and forms, and how do poets situate themselves before their public? What are the political stakes of poetry's turn toward the public sphere?","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48439094","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}
Abstract:In this interview with Jeff Barda and Eric Lynch, Emmanuelle Pireyre discusses her poetic practice in relation to the issue of the public. She stresses how performance and experimentation with other fields of knowledge are key to investigating and addressing public issues. The importance of the audience and the question of form are also addressed, as are ideas concerning literary action in the contemporary period.
{"title":"Interview avec Emmanuelle Pireyre","authors":"E. Pireyre, Jeff Barda, Eric Lynch","doi":"10.1353/esp.2022.0009","DOIUrl":"https://doi.org/10.1353/esp.2022.0009","url":null,"abstract":"Abstract:In this interview with Jeff Barda and Eric Lynch, Emmanuelle Pireyre discusses her poetic practice in relation to the issue of the public. She stresses how performance and experimentation with other fields of knowledge are key to investigating and addressing public issues. The importance of the audience and the question of form are also addressed, as are ideas concerning literary action in the contemporary period.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44418623","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}
Abstract:Since the 1990s, poetic practices have been revitalized in France through the incorporation of performance and new technologies, leading to the creation of new publics and an altered sense of poetry as a significant social action. The work of Jérôme Game and Sandra Moussempès is representative of this seachange in recent French poetry. Both poets employ strategies of defamiliarizing and recycling to recontextualize, play with, and question the sociopolitical status quo. Through formal and linguistic experimentation, they create "OVNIs" ("objets verbaux non identifies"). Game's 2017 text Salle d'embarquement and Moussempès's 2021 collection Cassandre à bout portant exemplify this new poetics.
{"title":"Defamiliarizing and Recycling: The Contemporary Poetic OVNIs and OFNIs of Jérôme Game and Sandra Moussempès","authors":"J. C. Stout","doi":"10.1353/esp.2022.0004","DOIUrl":"https://doi.org/10.1353/esp.2022.0004","url":null,"abstract":"Abstract:Since the 1990s, poetic practices have been revitalized in France through the incorporation of performance and new technologies, leading to the creation of new publics and an altered sense of poetry as a significant social action. The work of Jérôme Game and Sandra Moussempès is representative of this seachange in recent French poetry. Both poets employ strategies of defamiliarizing and recycling to recontextualize, play with, and question the sociopolitical status quo. Through formal and linguistic experimentation, they create \"OVNIs\" (\"objets verbaux non identifies\"). Game's 2017 text Salle d'embarquement and Moussempès's 2021 collection Cassandre à bout portant exemplify this new poetics.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45277163","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}
Abstract:This article takes confinements and lockdowns as a point of departure for examining how contemporary poetry turns its back on the public. I diagnose the poetic landscape as overrun by a case of the blahs, and turn my attention to new and recent poetry by Amandine André, Andréa-Fatima Touam, and Liliane Giraudon. The three poets fold back over poetry's recursive history, conventions, and dominations, like the dispositif in relationship to poetic discourse in french. The super-apparatus, the archi-dispositif of reading Touam, André, and Giraudon alongside each other suggests that lassitude and near-but-not-quite surrender find their realization through the simplest of utterances or verbal gestures. Blah.
{"title":"Blah","authors":"Yasser Elhariry","doi":"10.4016/24528.01","DOIUrl":"https://doi.org/10.4016/24528.01","url":null,"abstract":"Abstract:This article takes confinements and lockdowns as a point of departure for examining how contemporary poetry turns its back on the public. I diagnose the poetic landscape as overrun by a case of the blahs, and turn my attention to new and recent poetry by Amandine André, Andréa-Fatima Touam, and Liliane Giraudon. The three poets fold back over poetry's recursive history, conventions, and dominations, like the dispositif in relationship to poetic discourse in french. The super-apparatus, the archi-dispositif of reading Touam, André, and Giraudon alongside each other suggests that lassitude and near-but-not-quite surrender find their realization through the simplest of utterances or verbal gestures. Blah.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48406213","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":"Troubles dans la communication, recréer la possibilité du dialogue dans les situations de handicap où la fonction du langage est perturbée","authors":"A. Chabert","doi":"10.1353/esp.2021.0044","DOIUrl":"https://doi.org/10.1353/esp.2021.0044","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":"42221624","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}
Expanding on his La condition handicapée (2017), as well as numerous other publications, Henri-Jacques Stiker clarifies disability as a condition in existentialist terms and locates its significance in current social justice concerns. Drawing extensively on personal narratives and methodologies from philosophy, psychoanalysis, history, sociology, and anthropology, Stiker meticulously defines and evaluates the stakes of this conversation. Stiker qualifies the disabled condition as a stigmatized experience that is the Other to ‘normal’ embodiment but shared among diverse groups of individuals. In Chapter One, Stiker relies on Pap Ndiaye’s studies of black identities to define disability as a prescribed identity that may become self-appropriated. The firsthand narratives he employs in Chapters Two and Three describe the importance of the disabling event that fractures disabled lived experience. In Chapter 4, he concludes that this simultaneous remembered past, current struggle, and imagined future is experienced as a haunted life, a palimpsest. In Chapter 5, Stiker recounts the history of the gradually expanding legal definitions of “handicapé,” a term with which he and his sources struggle. He considers various terms for “disabled,” landing ultimately on the Québécois term, “personnes avec des incapacités,” which implies other capacities. In Chapter 6, he affirms that a cultural shift needs to be made to focus on individuals’ capabilities. Despite its current stigmatized status, Stiker notes that people living with la condition handicapée overwhelmingly reject pity, categorization, commodification or a socially prescribed identity. In Chapter 7, he instead explores the value of knowledge production based on the narratives of disabled people or their loved ones. As a methodology, critical disability studies can be a useful lens for any scholar, disabled or not, with an inclusive “attitude d’esprit” (78). Nonetheless, the disabled condition is marginalized, requiring a movement towards social inclusion that Stiker asks in Chapter 8 his readers to begin immediately. He argues that it is a grave injustice that disabled people are effectively denied full citizenship and participation in society. All members of society must be recognized as unique and equal, with identities that cannot be broken down into bodies, minds or other fragmented pieces. What Stiker is calling for is thus nothing less than a paradigm shift, philosophically and socially, in mainstream conceptions of humanity and justice. His call for this “Quiet Revolution” seems especially significant in the context of COVID19, due to the virus’s heightened threat to some disabled individuals and many individuals’ deepened understanding of isolation and lack of economic productivity. At stake is not only the integration of marginalized members of society but the recognition of everyone’s individual humanity, outside of their seeming productive value. Stiker’s short work approaches the borderline
在他的La condition handicap(2017)以及许多其他出版物的基础上,亨利-雅克·斯蒂克(Henri-Jacques Stiker)将残疾澄清为存在主义术语中的一种条件,并定位其在当前社会正义问题中的重要性。从哲学、精神分析、历史、社会学和人类学中广泛引用个人叙述和方法,斯蒂克一丝不苟地定义和评估了这次对话的利害关系。Stiker将残疾状况定性为一种被污名化的经历,它是“正常”的体现,但在不同的个人群体中共享。在第一章中,斯蒂克依靠Pap Ndiaye对黑人身份的研究,将残疾定义为一种可能成为自我占有的规定身份。他在第二章和第三章中使用的第一手叙述描述了使生活经历破碎的残疾事件的重要性。在第四章中,他总结说,这种同时被记忆的过去,当前的挣扎,和想象的未来是一种困扰的生活,一种重写。在第五章中,斯蒂克叙述了“残障人士”的法律定义逐渐扩大的历史,这是他和他的资料来源一直在努力解决的一个术语。他考虑了“残疾”的各种说法,最终选择了quacimbsamcois这个词,“persones avec des incapacitsamis”,这意味着其他能力。在第6章中,他确认需要进行文化转变,以关注个人能力。Stiker指出,尽管目前残障人士的身份被污名化,但他们绝大多数拒绝同情、分类、商品化或社会规定的身份。在第七章中,他转而从残疾人及其亲人的叙述出发,探讨了知识生产的价值。作为一种方法论,批判性残疾研究对于任何学者,无论是否残疾,都是一个有用的视角,具有包容性的“精神态度”(78)。尽管如此,残疾人的状况还是被边缘化了,需要一场社会包容的运动,斯蒂克在第8章中要求他的读者立即开始。他认为,残疾人实际上被剥夺了充分的公民身份和参与社会的权利,这是一种严重的不公正。必须承认所有社会成员都是独特和平等的,其身份不能被分解为身体、思想或其他碎片。因此,斯蒂克所呼吁的,无非是在哲学和社会上,在主流的人性和正义概念中进行范式转变。在2019冠状病毒病的背景下,他对“安静革命”的呼吁显得尤为重要,因为该病毒对一些残疾人的威胁加剧,许多人对孤立和缺乏经济生产力的理解加深。利害攸关的不仅是社会边缘成员的融合,而且是对每个人在其表面上的生产价值之外的个人人性的承认。斯蒂克的简短作品接近激进主义和学术之间的界限。鉴于解决社会不公正问题的明显紧迫性,他的工作将引起对身份、社会正义和批判性残疾研究的跨学科问题感兴趣的学者的兴趣。SALLY M. KESSLER明尼苏达大学双城分校
{"title":"(New) Fascism: Contagion, Community, Myth by Nidesh Lawtoo (review)","authors":"B. Chaouat","doi":"10.1353/esp.2021.0056","DOIUrl":"https://doi.org/10.1353/esp.2021.0056","url":null,"abstract":"Expanding on his La condition handicapée (2017), as well as numerous other publications, Henri-Jacques Stiker clarifies disability as a condition in existentialist terms and locates its significance in current social justice concerns. Drawing extensively on personal narratives and methodologies from philosophy, psychoanalysis, history, sociology, and anthropology, Stiker meticulously defines and evaluates the stakes of this conversation. Stiker qualifies the disabled condition as a stigmatized experience that is the Other to ‘normal’ embodiment but shared among diverse groups of individuals. In Chapter One, Stiker relies on Pap Ndiaye’s studies of black identities to define disability as a prescribed identity that may become self-appropriated. The firsthand narratives he employs in Chapters Two and Three describe the importance of the disabling event that fractures disabled lived experience. In Chapter 4, he concludes that this simultaneous remembered past, current struggle, and imagined future is experienced as a haunted life, a palimpsest. In Chapter 5, Stiker recounts the history of the gradually expanding legal definitions of “handicapé,” a term with which he and his sources struggle. He considers various terms for “disabled,” landing ultimately on the Québécois term, “personnes avec des incapacités,” which implies other capacities. In Chapter 6, he affirms that a cultural shift needs to be made to focus on individuals’ capabilities. Despite its current stigmatized status, Stiker notes that people living with la condition handicapée overwhelmingly reject pity, categorization, commodification or a socially prescribed identity. In Chapter 7, he instead explores the value of knowledge production based on the narratives of disabled people or their loved ones. As a methodology, critical disability studies can be a useful lens for any scholar, disabled or not, with an inclusive “attitude d’esprit” (78). Nonetheless, the disabled condition is marginalized, requiring a movement towards social inclusion that Stiker asks in Chapter 8 his readers to begin immediately. He argues that it is a grave injustice that disabled people are effectively denied full citizenship and participation in society. All members of society must be recognized as unique and equal, with identities that cannot be broken down into bodies, minds or other fragmented pieces. What Stiker is calling for is thus nothing less than a paradigm shift, philosophically and socially, in mainstream conceptions of humanity and justice. His call for this “Quiet Revolution” seems especially significant in the context of COVID19, due to the virus’s heightened threat to some disabled individuals and many individuals’ deepened understanding of isolation and lack of economic productivity. At stake is not only the integration of marginalized members of society but the recognition of everyone’s individual humanity, outside of their seeming productive value. Stiker’s short work approaches the borderline","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":"46855588","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}