(Română) REPRÉSENTATION DU MOI À L’ÈRE DU NUMÉRIQUE

Posted On Jul 18 2014 by

The construction of self is very closely linked to image. In studies of the psyche, the “mirror stage” illustrates first awareness of self-image. The perception of this image has thus come to symbolically embody the creation of conscience in the individual. In light of this, we too often forget when we explore the mirror stage that discourse is at the heart of this realisation (we should say more accurately that discourse is at the heart of the image itself).  Actually what happens is that a simple reflection becomes a self-image, conveyed by the discourse of the mother “look, it’s you!”. …


(Română) LE MASQUE, UN ORGANE ARTIFICIEL?

Posted On Jul 18 2014 by

An important part of the contemporary creation placed the mask at the center of its preoccupations. From Claude Cahun’s travesties, to Cindy Sherman’s masquerades, via Gillian Wearing’s silicon masks or Patrick Tosani rigidified pants, everything seems to indicate a constant and ever renewed interest in the meanings of this object, be it on a archetypical, symbolic or transgressive level. However, one might wonder about this « return » to this canonical figure, from where the notions of « person » and « self » originate (Mauss, 1968). The study of the Greek prosôpon and the Latin persona shows a paradoxical aspect: indeed, the mask is, not …


(Română) AUTOPORTRAIT ET ALTÉRITÉ DANS L’ŒUVRE PHOTOGRAPHIQUE DE FRANCESCA WOODMAN

Posted On Jul 18 2014 by

Francesca Woodman’s work is mainly constituted of claimed self-portraits, but also other photos which let appear a faceless body, cut by the picture’s frame or simply hidden by an object. This glance shift could debate Emmanuel Lévinas’s theory of the face epiphany, nevertheless, even when the face doesn’t reveal itself a transcendence takes place. Self-portrait is put in balance in Francesca’s Woodman’s artworks, as her photos let appear an identity under construction, which develops according to the plastic concerns of the artist and her interferences with artistic circles. It is a character in fragmentation, a non-entity (Chris Townsend) appearing as …


(Română) JEAN LE GAC. AUTOPORTRAIT RÉEL ET IMAGINAIRE

Posted On Jul 18 2014 by

Since the 70’, Jean Le Gac – one of the most recognised French painter, and born in 1936 – creates, in a polyphonic and imaginary autobiography, a fictional and key-role character – by copying the images of children’s books from the 30′, and making montage of photos-texts, and artifacts. Those works have been shown at Biennale of Venise, Documenta V. Kassel, Guggenheim MuseumNew York, Museum Art Oxford, Centre Georges Pompidou, FIAC, Paris… L’effraction douce – an exhibition shown in Aix-en-Provence in 2009 – in which Jean Le Gac pays an original and iconoclastic homage to Pablo Picasso – reveals how …


(Română) ROLAND BARTHES PAR LA PHOTOGRAPHIE. DISCOURS SUR SOI, ENGENDREMENT ET FILIATION DANS LA CHAMBRE CLAIRE

Posted On Jul 18 2014 by

La Chambre Claire is a collection of several essays on the essence of photography, organized around several photographs – mostly of unknown characters – most of them taken by professionals.   However, as his reflection develops, his discourse keeps venturing out of the main road. Five years after the publication of his very formal biography (Roland Barthes par Roland Barthes), the writer, exploring the vast field of photography follows an introspective path which leads him, as the text develops, to re-discover himself: discovering new truth about himself, uncovering himself to the reader. So much so that something of an intuition …


(Română) LE SILENCE DE LA PEINTURE, L’AUTRE LANGAGE DE IONESCO

Posted On Jul 18 2014 by

            Towards 1980’s Ionesco starts to distance himself from the theatre in search of another language which translates better the images born from his imagination or from his unconscious own mind. Fully aware of the danger of becoming the prisoner of his own clichés, Ionesco makes out of painting his favourite activity, essential for his interior and spiritual journey. Never really abandoning his writing, Ionesco finds in painting a new form of expressing himself, but one which transforms, little by little, in an equivalent system of expression and becomes only a temporary subterfuge against l’angoisse de …


(Română) LE LANGAGE DE L’ÊTRE ET LES CHEMINS DE L’IMPENSÉE : ENTRE VÉRITÉ / (MEN)SONGE ET (DÉ)CROYANCE ; STYLE DE NIETZSCHE

Posted On Jul 18 2014 by

Nietzsche’s answer is affirmative and so clear. Why concepts are subjects to genesis? What conditions must clarify their meanings? The philosopher explains the concepts not from the legends, myths or fables as stories built from scratch but from a reactive genealogy which receives the force of the concept itself. It’s the beautiful, the nasty, the right, the sincere. The philosophy of history is tasked to explain a type opposite to that world of metaphysics and divinity. It is embodied in a conceptual sense with rigorous research which would be as a craft of the concept. The spirit of Nietzsche’s thought …


(Română) L’ÉLOQUENCE DES SENS. POUR UNE SOCIOSÉMIOTIQUE GASTRONOMIQUE

Posted On Jul 18 2014 by

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(Română) PARLER AUTREMENT. LE LANGAGE CODÉ DERRIÈRE LES ALLÉGORIES

Posted On Jul 18 2014 by

The allegory has a double meaning in its representations either in literature or in arts. Often used in mythological texts, it was later brought to life in medieval poetry, in fairy tales, fables or proverbs. Consequently, this figure of speech bears a double meaning: the denotative meaning – a direct one specific to the narrated story – and the connotative meaning – a subsidiary one, usually bearing a code in it. Symbols are often defined as implicit or explicit allegories, since we are dealing with a discourse which has its own meaning, but at the same time which allows the …


(Română) L’AUTODÉSIGNATION DANS LE DISCOURS LITURGIQUE ORTHODOXE

Posted On Jul 18 2014 by

In this paper we aim to study several discursive forms of self designation used by the ministers and by the lay people in a few liturgical orthodox texts in French. We will refer to the prayers pronounced by the celebrating priest during the Eucharistic liturgy (during the precise moment of the Great Entrance and during the consecration of the sacred mystery) by the lay people before the communion and also to two spirituality books (Le Père Cléopas and Propos d’un moine orthodoxe). We mean here by liturgy the whole liturgical texts, prayer books, patristic and spiritual literature. We will also analyse …


(Română) EFFACEMENT ÉNONCIATIF ET REPRÉSENTATION BIAISÉE DE SOI DANS LE DISCOURS

Posted On Jul 18 2014 by

The enunciatory effacement presupposes the existence of linguistic and discursive lines of action by means of which a speaker feigns withdrawal from enunciation, by dissimulating its source. Thus, the impression is created that the discourse is imposed from the outside and that the speaker only witnesses it. This method is utilized in literature, by the use of free indirect style, in order to create certain stylistic and pragmatic effects: dissimulating the enunciatory source determines a dilution of responsibility, the loss of reference points, and the modification of the viewpoints. In this paper, we will be examining some of the consequences …


(Română) « OÙ EST JE ? » : PRÉSENCE ET ABSENCE DU MOI EN LANGUE ET EN DISCOURS

Posted On Jul 18 2014 by

In the language system, person and personal marks supposedly refer to the speech participants and leave traces in discourse. Not all grammatical traditions consider the speaker, referred to by I, to be the central first person, as opposed to a non-participant third person outsider. Moreover, I does not automatically represent the actual speaker and may be used as a mask for different fictitious characters or even objects. Lyrical utterance may blur the standard speaker vs addressee opposition. Finally, language diversity shows that beyond the self-representation of speaking subjects, grammatical persons may represent missing or non-existent speakers, merge speaker and addressee, …


(Română) EUGÈNE IONESCO ENTRE LES INFLUENCES ET LES SILENCES

Posted On Jul 18 2014 by

What can Eugène Ionesco’s selection and way of reading reveal about his drama conceptions? Ionesco reader profile interests us because it makes the point to the consideration about author’s (self) representation that sees himself in other’s works: Flaubert by l’Éducation sentimentale, for example, is a confessed influence because of the derision and the “satire of the received ideas”, according to the author’s words, that the writer uses in the novel construction. On the other side, Antonin Artaud is rarely mentioned in Notes et contre-notes, even if when we read le Théâtre et son double the common points that guide both …


(Română) ÊTRE DE DISCOURS/ÊTRE DU MONDE OU DIALOGUE DE MONSIEUR AVEC MONSIEUR DANS LE THÉÂTRE DE TARDIEU

Posted On Jul 18 2014 by

Contemporary with the theater of the absurd, the dramatic creation of Jean Tardieu oscillates between the empty space, the zero degree of the theatrical writing (as in his poem to play Voix sans personne) and the representation of the being of the world struggling with the being of the speech (as it appears in Monsieur Moi, ou Dialogue de Monsieur avec un brillant partenaire). We will try to capture the mechanisms by which, under the pen of the author of the Théâtre de chambre, the theatrical signs build an anamorphic mirror because the language (La comédie du langage), adopting the …


(Română) « SAVÉS POUR QUOI J’AI MON ABIT CANGIET ? » ADAM DE LA HALLE OU LA MISE EN SCÈNE D’UNE UTOPIE PERSONNELLE

Posted On Jul 18 2014 by

In Le Jeu de la Feuillée, the author Adam de la Halle becomes the central character of his work. The beginning of the play surprises him taking his leave from his friends and the people in Arras. The poet wants to leave his hometown to start a new life. The change of “abit” that he mentions should be considered as a change of his way of thinking. When the personal values system begins to contrast with that of the social values, the poet dreams of a journey of “self-knowledge”. 


(Română) ELSA MORANTE: LA MÉMOIRE COMME EXAMEN PATOMORPHOLOGIQUE DES MENSONGES ROMANESQUES

Posted On Jul 18 2014 by

The article brings into discussion the grand „topic” of the modern world: the non-identity with oneself of the individual invaded by the other and by the knowledge offered by the other/others through fable, invention, representation, illusion, fiction, artifice, creation. In other words, the literature views as a lie and its opposite – the  defying  through self-illusion, witchery, make-up, „conjuration” of the tales told since the birth of humanity. The parallel world of the „dream in wake” rivals the reality and substitutes it duet o an excessive complexity of what we attempt to grasp. The interchangeability of the fiction and reality, …


(Română) AUTOREPRÉSENTATION IRONIQUE DANS LES ROMANS FRANÇAIS DE MILAN KUNDERA

Posted On Jul 18 2014 by

Kundera’s French novels often blur the delimitation of the several voices of the text (author, narrator, reader, characters) because of the evasiveness of their criteria. The characters thus display more mobility and flexibility in a shifting narrative textual space. This clever game of masks (a reflection of virtual evolutions of our present world), is handled by a masterly irony which reduces possibilities of getting a hold on these ultra-modern identities. But, paradoxically, such identities must originate in some in some powerful, highly productive matrix. As some writers would use metaphor or cryptic writing, Kundera’s irony places a mask over an …


(Română) AUTOFICTION, OBLIQUITÉ ET AUTRES «ÆNCRAGES» DANS LA REPRÉSENTATION DISCURSIVE DU MOI INTIM

Posted On Jul 18 2014 by

This study focuses on the fundamental strategies in Georges Perec’s literary representations of his aching inner self. The French writer relates himself to reality throughout rhetoric artifacts essentially based on the ambivalent hide-and-seek between the real world and its multiple-faced embodiment in writing, between the truth and the surrogate, between memory and void in order to build up a word fortress while facing the terror of confession. Writing a fragmentary autobiography throughout autofiction and self-reference, Georges Perec proves to be the master of disguise in the confrontation to the History that has painfully marked him with a mutilation of his …


(Română) AUTOPORTRAIT, AUTOBIOGRAPHIE ET AUCTORIALITÉ EN DÉRISION

Posted On Jul 18 2014 by

Would Jean-Pierre Verheggen hide behind the uncountable plays on words, the puns, the spoonerism, with which are stuffed his texts? All the masks which he shows would they constitute his appropriate and deep nature? The “poetry” of this contemporary trouvère joins not only in the socio-historic, socio-literary, sociocultural reality, which he realizes a real chamber of echo, but it is in connection with the autobiographical reality of the Belgian poet. What is thus the exact nature of the link weaved between the multiple phonic and semantic distortions, of which consists the main part of his poetic work, and the self-image …


(Română) LA FICTION DIOGÉNIQUE ET BURLESQUE DE DASSOUCY : UN ESPACE DE MENTIR-VRAI

Posted On Jul 18 2014 by

Dassoucy’s self-journey in Adventures plays with the autobiographical concept and pleads for justification of unfair persecution. Using masks, it assumes self representation through the diogenic posture of an author favoring the ambiguous and oblique expression of a deceitful intimate reality which cannot be told in straightforward fashion. Its cynical and buffoon fiction thus creates a true lie dimension. Beyond the apparent falsity of the pretense of veracity in the autobiographical agreement, the obliqueness of the detour final aim is to confer genuine self expression


(Română) LA CORPORALITÉ IMPERSONNELLE DE L’INTELLECT DANS LA POÉSIE CONTEMPORAINE

Posted On Jul 18 2014 by

The origins of poetry were traditionally linked with the emotional and intuitive life of the poet and with his power of linguistic expression. Modernism, however, created an entirely different vision which turned upside down the poetic systems of previous centuries. At the beginning of the 20th century, romantic emotion was replaced by language games which were often hermetic and, consequently, generators of anxiety. The formal experiments of modernist poetry that had begun with Apollinaire’s Calligrammes, were continued in the postmodernist literary discourse by trends such as visual, concrete or conceptual poetry. We propose to analyse the strategies of texts belonging …


(Română) REPRÉSENTATION DU MOI DANS LES POÈMES DE DEUIL DE DENISE LEVERTOV

Posted On Jul 18 2014 by

In the work of Denise Levertov, the writing of self-representation is the laboratory of a vision of the world, as well as of a poetic language serving as a vector for this innovating vision. If one can find instances of self-portraits thrughout most of her poetry, we will be focusing on a short cycle of texts, the « Olga Poems». These poems, written in 1964, only a few months after the early death of Olga Levertoff, the poet’s sister, are an essential step in the development of levertovian aesthetics. In this paper we will begin by exposing the importance of …


(Română) CATHERINE SAFONOFF OU UNE VISION ROMANDE CONTEMPORAINE FRAGMENTÉE

Posted On Jul 18 2014 by

Without being autobiographies, the texts with autobiographical tendency of Catherine Safonoff particularize themselves mostly by a fragmented composition; she prefers sequences more dense in the novels and more spaced elsewhere, in the manner of diary or especially of essay. Her writing, very concerted, wants to counterbalance the weight of the existence and the self; she turns the sentimental flux of consciousness into blanks which let place to the non-being and which are as much occasions for toughts reflecting  itinerances into oneself and in the world, like Montaigne and Rousseau, as well programmatic, but in her way. She asserts her intellectual …


(Română) LA VIE PRIVÉE DE MICHEL TOURNIER À TRAVERS SES ROMANS

Posted On Jul 18 2014 by

Michel Tournier is a well-known novelist and he is famous for his originality and his depth in his romantic creation. From his first novel, Friday or the Limbs of the Pacific up to his last one Eléazar or the Source and the Bush, he presents a very interesting adventure both inFrance and all over the world. He was a person (maybe the only one) who knew how to transform an unexpected failure in the aggregation of philosophy into a literary success. The romantic work of Tournier amounts in three dimensions which have direct relation with his own life. The first …


(Română) MICHEL TOURNIER ET « LE MIROIR À DEUX FACES » : PORTRAIT OBLIQUE D’UN ÉCRIVAIN AU CROISEMENT DU DIRE ET DE L’ÊTRE

Posted On Jul 18 2014 by

Michel Tournier has always expressed his lack of interest in writings of intimacy and denies having found inspiration in his own life. He highlights the contrast between the “inward-looking” writers and the fictional writers, maintaining that he is one of the latter. Tournier insists on the fictional nature of his works and strongly contradicts critics who attempt to find in his life the models that he used in order to create literary characters. After the failure experienced with Vent Paraclet (1977) -his intellectual autobiography that reinforced his little interest for this genre- he reaffirms his refusal of this writing style …


(Română) ET L’AMBIGUÏTÉ DU REGARD SUR SOI

Posted On Jul 18 2014 by

Torn between his native and adoptive country, between a French mother and a Romanian father, between two languages, two cultures, between past and present, Eugene Ionesco entertained concurrently two apparently different passions: his love for theatre and the one for confession. His Ego exhibits his anxieties and restlessness either in Journal en miettes, Présent passé, passé présent or in La Quête intermittente, it also displays his existential crises, it writes down the thoughts, dreams and reading impressions; all these are to be found in texts which transgress the limits imposed by the diaristic genre. Our paper aims at identifying the …


(Română) TRACES AUTOFICTIONNELLES DANS L’ŒUVRE DE JONAS HASSEN KHEMIRI

Posted On Jul 18 2014 by

Jonas Hassen Khemiri is a Swedish author whose work is currently receiving more and more attention and appreciation. In his second novel, Montecore. The Silence of the Tiger (2011, the Swedish original was published in 2006), the author engages in a play of masks by means of a fictitious e-mail correspondence between an alter ego (sharing his name with the author) and someone pretending to be a close friend of his father’s, in the end seeming to represent the father himself. The text retraces the father’s life, the two correspondents both claiming the right of interpretation of this existence. While …


(Română) L’AUTOFICTION EN SUÈDE. LES STRATÉGIES AUTOFICTIONNELLES DE DEUX ÉCRIVAINES CONTEMPORAINES : KERSTIN EKMAN ET BIRGITTA STENBERG

Posted On Jul 18 2014 by

Sorry, this entry is only available in Romanian.