Pub Date : 2021-10-05DOI: 10.4000/sillagescritiques.11220
Anne-Laure Fortin-Tournès
As a complex fragmented and “syncopated” hypertext, Patchwork Girl by Shelley Jackson interpellates its reader to place hze in the position of multiple, interconnected subject whose task is to piece together the creature in and of the text, through the physical action of clicking on the hyperlinks. Piecing the female body and the body of the text together in order to read “herstory” forces the reader to adopt a position that ceases to be one of mastery and domination traditionally associated with the reading of print fiction. Rather, Patchwork Girl prompts the reader into adopting a gaze that is “modular and fragmentary” and facilitates her active participation in the textual criticity inherent in the rhizomatic form of the hypertext. By appealing to the reader’s demiurgic powers of imagination, the hypertext replaces the identity paradigm with the performance paradigm. The patched body of the monstrous female serves as a powerful metaphor for the hypertext itself and its capacity as a “feminine form” (Jackson) to deconstruct the binaries and boundaries introduced by modern science at the service of male hybris, which Mary Shelley’s Frankenstein, one of the key intertexts of Patchwork Girl, forcefully denounced. Thanks to its paradoxical materiality, the hypertext equates the female creature’s body with the monstrous form generating it. Thus, the technological medium makes it possible for Jackson to graft the text as body onto the body as text to deconstruct the logic of male-dominated technocapitalism. Engaging with the hypertext implies for the reader the letting go of the binaries (text/body, text/sex, text/technology) structuring traditional reading. Thus Patchwork Girl sollicits a “cyborg” approach (Hayles) which welcomes and performs multiple, hybrid forms of interconnectedness allowing for the creation of new subjective modalities in and of the text.
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Pub Date : 2021-10-05DOI: 10.4000/sillagescritiques.11014
Anne-Laure Fortin-Tournès
Si le sujet individuel et societal ne peut se penser sans la technique, sa definition s’enracine egalement dans le corps comme origine et prolongement de l’objet. Corps et technologie sont en effet au cœur de la definition de l’humain, homo faber avant d’etre homo sapiens (Bergson 100). L’apparition de l’humain coincide avec l’invention de l’outil, c’est-a-dire de la technique. C’est la technique qui le fait rentrer dans l’histoire et lui permet de se faconner lui-meme en faconnant la nature....
{"title":"Introduction : Corps et technologie, au-delà de l’humain","authors":"Anne-Laure Fortin-Tournès","doi":"10.4000/sillagescritiques.11014","DOIUrl":"https://doi.org/10.4000/sillagescritiques.11014","url":null,"abstract":"Si le sujet individuel et societal ne peut se penser sans la technique, sa definition s’enracine egalement dans le corps comme origine et prolongement de l’objet. Corps et technologie sont en effet au cœur de la definition de l’humain, homo faber avant d’etre homo sapiens (Bergson 100). L’apparition de l’humain coincide avec l’invention de l’outil, c’est-a-dire de la technique. C’est la technique qui le fait rentrer dans l’histoire et lui permet de se faconner lui-meme en faconnant la nature....","PeriodicalId":56234,"journal":{"name":"Sillages Critiques","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42153452","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 : 2021-10-05DOI: 10.4000/sillagescritiques.11263
Anaïs Guilet
The Cat, the Reverend and the Slave is a documentary directed by Alain Della Negra and Kaori Kinoshita (2010). It portrays three users of Second Life and offers an unprecedented view on an interfaced, mediated way of life. In the film, the cinema screen opens on the connected screen in a staging symbolizing this interface. The screen is the place where users of Second Life and spectators alike can observe how interactions with the technical device (the avatar) but also with others, materialize. If the body is not obsolete yet, the documentary manages to alternate online and offline perspectives. It offers a tragicomic view of these dual beings, these distributed-selves and questions how digital technology reconfigures our modes of presence to ourselves, to others, and to the world. The film literally re-incarnates these avatars, which are both traces of a presence to oneself as well as a tool enabling communication. The connected screen seems to be so in more ways than one since it appears in the film as a vector of social linking.
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Pub Date : 2021-10-05DOI: 10.4000/sillagescritiques.11043
E. Marion, Yohan Trichet
In the film by Spike Jonze, Her (2013), Theodore, the main character, who becomes single after a painful separation, “meets” a woman's voice. It is a voice whose timbre and words sound just like a young woman’s. In reality, it is the voice of software programmed to answer the user's requests. But this voice arouses Theodore's desire and love. In this article, we will study within a psychoanalytical perspective what this film teaches us about the contemporary issue of new addictions to connected objects. What place, what function do these objects take in the character’s relationship to the body, to drive and to language? It will more particularly focus on the voice as an object, the “most original” object of desire according to Lacan.
{"title":"And science created… the virtual Woman","authors":"E. Marion, Yohan Trichet","doi":"10.4000/sillagescritiques.11043","DOIUrl":"https://doi.org/10.4000/sillagescritiques.11043","url":null,"abstract":"In the film by Spike Jonze, Her (2013), Theodore, the main character, who becomes single after a painful separation, “meets” a woman's voice. It is a voice whose timbre and words sound just like a young woman’s. In reality, it is the voice of software programmed to answer the user's requests. But this voice arouses Theodore's desire and love. In this article, we will study within a psychoanalytical perspective what this film teaches us about the contemporary issue of new addictions to connected objects. What place, what function do these objects take in the character’s relationship to the body, to drive and to language? It will more particularly focus on the voice as an object, the “most original” object of desire according to Lacan.","PeriodicalId":56234,"journal":{"name":"Sillages Critiques","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48673106","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 : 2021-10-05DOI: 10.4000/sillagescritiques.11305
Isabelle Choinière
La mediation du corps performatif souleve la question de la reevaluation du corps vecu lie a certains phenomenes de recreation, recomposition impliquant le corps sensible et somatique lorsqu’il est touche par la technologie et qu’il incorpore les effets de la technologie. Pour comprendre ce phenomene, cet essai suggere d’examiner l’interrelation des notions de corporalite (notion qui concerne le corps physique dans sa materialite, soit le corps anthropomorphique), de corporeite et d’incarnation (embodiment) dans une approche transdisciplinaire et en tant qu’ancrage a une dynamique d’auto-organisation. La philosophie de Merleau-Ponty sous-tendant les fondements memes de ces recherches, elle permettra de reflechir sur le nouveau statut du corps contemporain dans le contexte technologique. Deux notions seront principalement utilisees. La « corporeite », en tant que forme du corps vecu et concept transdisciplinaire, et l’incarnation (embodiment) en tant qu’acte d’integration par le corps – ici dans un environnement maintenant technologique. Dans l’evolution de l’interrelation entre le corps et l’environnement en modification, les deux sont en transrelation, une transformation se produit du fait de la relation entre le corps et son environnement. Pour conclure, nous proposons d’analyser ces nouvelles « realites » dans une approche d’interconnexion merleau-pontienne et nietzscheenne, soit par une philosophie du devenir (of becoming), philosophie qui passe par le corps : etre un corps, faire, risquer et creer – une philosophie qui entre en resonance avec cette transformation.
{"title":"CODA : Processus de recherche-création — retour sur l’expérimentation de la médiation phénoménale d’un corps collectif performatif","authors":"Isabelle Choinière","doi":"10.4000/sillagescritiques.11305","DOIUrl":"https://doi.org/10.4000/sillagescritiques.11305","url":null,"abstract":"La mediation du corps performatif souleve la question de la reevaluation du corps vecu lie a certains phenomenes de recreation, recomposition impliquant le corps sensible et somatique lorsqu’il est touche par la technologie et qu’il incorpore les effets de la technologie. Pour comprendre ce phenomene, cet essai suggere d’examiner l’interrelation des notions de corporalite (notion qui concerne le corps physique dans sa materialite, soit le corps anthropomorphique), de corporeite et d’incarnation (embodiment) dans une approche transdisciplinaire et en tant qu’ancrage a une dynamique d’auto-organisation. La philosophie de Merleau-Ponty sous-tendant les fondements memes de ces recherches, elle permettra de reflechir sur le nouveau statut du corps contemporain dans le contexte technologique. Deux notions seront principalement utilisees. La « corporeite », en tant que forme du corps vecu et concept transdisciplinaire, et l’incarnation (embodiment) en tant qu’acte d’integration par le corps – ici dans un environnement maintenant technologique. Dans l’evolution de l’interrelation entre le corps et l’environnement en modification, les deux sont en transrelation, une transformation se produit du fait de la relation entre le corps et son environnement. Pour conclure, nous proposons d’analyser ces nouvelles « realites » dans une approche d’interconnexion merleau-pontienne et nietzscheenne, soit par une philosophie du devenir (of becoming), philosophie qui passe par le corps : etre un corps, faire, risquer et creer – une philosophie qui entre en resonance avec cette transformation.","PeriodicalId":56234,"journal":{"name":"Sillages Critiques","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47998451","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 : 2021-10-05DOI: 10.4000/sillagescritiques.11114
J. Lecercle
Il s’agit de penser le contraste entre le corps post-humain machinise et le corps souffrant de l’homme precarise, dont l’exemple le plus frappant est le travailleur immigre sans papiers. On le fera par un detour par la litterature, d’abord sous la forme d’une jeremiade dystopique, la nouvelle de H. G. Wells, The Time Machine, puis par une analyse du corps du monstre de Frankenstein, en se demandant pourquoi le monstre est monstrueux. La reponse suggeree, dans les termes de la theorie althusserienne de l’ideologie, est qu’il l’est par ratage de l’interpellation qui doit faire de lui un sujet. On abordera alors la question des vies precaires des travailleurs immigres pour montrer que, quoique victimes d’interpellations deleteres ou d’un manque d’interpellation, ils sont neanmoins des sujets, capables de contre-interpeller les institutions qui les excluent. On s’appuiera pour ce faire sur l’ethique de la liberation d’Enrique Dussel.
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Pub Date : 2021-10-05DOI: 10.4000/sillagescritiques.11548
Anthony Remy
Dans Theories of Forgetting, la volonte des protagonistes de mettre par ecrit leurs reflexions a la fois personnelles et existentielles est revelatrice des troubles psychiques et psychosomatiques dont ils sont tous trois victimes, bien qu’a des degres d’intensite differents. A travers l’observation de ces processus d’ecriture, Lance Olsen met en lumiere un texte de metafiction contemporaine lui-meme en crise. En interrogeant des concepts tels que le conscient et l’inconscient, ou encore l’importance de la memoire, individuelle ou collective, dans la construction identitaire de l’individu, l’auteur souligne le fait que tout tend finalement vers l’effacement. De maniere paradoxale, cet effacement devient un geste de production auctoriale dans Theories of Forgetting, reflete par le topos de la spirale.
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Pub Date : 2021-10-05DOI: 10.4000/sillagescritiques.11483
J. Pham
This article looks at three contemporary British speculative plays – Dawn King’s Foxfinder (2011), Stef Smith’s Human Animals (2016) and Alistair McDowall’s X (2016) – to show how their approach to the theme of transmission interrogates the simplified forms of contagion based on binary categories such as present/absent, before/after, cause/symptom, human/nonhuman. It is my belief that these plays’ conception of contagion, not as a mere epidemiological fact but as a metaphor for disruption and relationality, transformation and conformity, invokes a distinct utopian method of the twenty-first century, which is best characterised by uncertainty.
{"title":"Dramaturgies of Contagion in Contemporary British Speculative Theatre","authors":"J. Pham","doi":"10.4000/sillagescritiques.11483","DOIUrl":"https://doi.org/10.4000/sillagescritiques.11483","url":null,"abstract":"This article looks at three contemporary British speculative plays – Dawn King’s Foxfinder (2011), Stef Smith’s Human Animals (2016) and Alistair McDowall’s X (2016) – to show how their approach to the theme of transmission interrogates the simplified forms of contagion based on binary categories such as present/absent, before/after, cause/symptom, human/nonhuman. It is my belief that these plays’ conception of contagion, not as a mere epidemiological fact but as a metaphor for disruption and relationality, transformation and conformity, invokes a distinct utopian method of the twenty-first century, which is best characterised by uncertainty.","PeriodicalId":56234,"journal":{"name":"Sillages Critiques","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48865874","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 : 2021-10-05DOI: 10.4000/sillagescritiques.11455
Anna Street
Through selected close readings from plays by Arthur Adamov and Samuel Beckett, this article examines how language is herein used against itself to expose the impossibility of meaninglessness. By replacing significance with mere surface sounds, language emerges from these plays as a carrier of unexpected—and inescapable—meaning. Tracing a series of comic reversal techniques common to both Adamov and Beckett, famously grouped together under the moniker Theater of the Absurd, the author demonstrates how the attempt to deprive words of sense-making is repetitiously usurped by other sensory elements which doggedly invest the striving for senselessness with profound ambiguity, against all odds.
{"title":"Comedy’s Double Negation of Meaning in Post-war European Theater","authors":"Anna Street","doi":"10.4000/sillagescritiques.11455","DOIUrl":"https://doi.org/10.4000/sillagescritiques.11455","url":null,"abstract":"Through selected close readings from plays by Arthur Adamov and Samuel Beckett, this article examines how language is herein used against itself to expose the impossibility of meaninglessness. By replacing significance with mere surface sounds, language emerges from these plays as a carrier of unexpected—and inescapable—meaning. Tracing a series of comic reversal techniques common to both Adamov and Beckett, famously grouped together under the moniker Theater of the Absurd, the author demonstrates how the attempt to deprive words of sense-making is repetitiously usurped by other sensory elements which doggedly invest the striving for senselessness with profound ambiguity, against all odds.","PeriodicalId":56234,"journal":{"name":"Sillages Critiques","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45975962","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 : 2020-12-01DOI: 10.4000/SILLAGESCRITIQUES.10012
Daniel Katz
This article begins by considering Duncan’s Stein writings as a criticism of highly invested modernist suppositions regarding originality and mastery, these latter exemplified by Wyndham Lewis’s view of Hemingway as castrated and belittled by his inability not to imitate Gertrude Stein. It continues to examine Duncan’s mobilisation of syllepsis in his Stein writings, and to relate this figure to the Poundian conception of logopoeia, first elaborated in relation to the writings of Mina Loy and Marianne Moore. This allows for a recontextualisation of Stein within the history of Anglo-American modernist poetry by women, and a consideration of its consequences. The paper ends with a brief examination of the relationship of Duncan and Spicer in their shared but distinct projects of challenging essential tenets of modernist lyric ideology, a project for which Stein proves a crucial resource to Duncan, not least in offering a form of “permission” for the exploration of certain forms of “bad” writing.
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