IDENTIFYING BEING AND REPRESENTING BY ACTING: NEW NARRATIVE TECHNIQUES IN ANNA DEAVERE SMITH

Posted On Oct 15 2018 by

Mobilized by pre-war anxieties, post-war disillusionment and the need to define the new world order, American theatre took an important turn with the rise of influential modernist styles (such as neo-realism, naturalism, expressionism, impressionism, the theatre of the absurd, Dadaism, surrealism to name only a few) during the first half of the twentieth century. The following decades witnessed the emergence of new theatre groups and playwrights of diversity beyond the established tradition as well as extensive theatrical experimentation. With the Civil Rights Movement in the 1960s, political tensions across the country reached an intense degree. Theatre practitioners and critics felt …


LE LUDIQUE COMME FORME D’ACTION ET DE REPRÉSENTATION SUR LA TOILE

Posted On Oct 15 2018 by

The new media technology and the contemporary forms of numerical communication are spaces in which the ‘I’ playfully reveals itself and this leads the subject to detach himself from a reality which he considers primordial. We are interested in highlighting an argumentative way of acting based on the effects of comic, of irony, of humour, generally in a depersonalised environment, in which the enunciator is split in three directions: being, acting and representing.


A LEADER’S IMAGE AND REPRESENTATION IN THE ROMANIAN PUBLIC SPACE

Posted On Nov 11 2015 by

Starting from the social representation theories, our paper proposes to identify some typologies of the leader in the current Romanian public space. The aim of this paper is to associate these typologies with the way citizens perceive and appreciate their leaders. According to Abric “representation is a guide for action, orienting facts and social relations, a pre-codified system of reality as it determines a set of anticipations and expectations” (Abric, 1994: 13). Viewed as forms of symbolization and interpretation, expression and construction, the social representations attributed to the leaders recompose and redefine the social reality determining changes at the level …


IMAGE AND REPRESENTATION. THE UNLIMITED POWER OF VISUAL IMAGE

Posted On Nov 11 2015 by

The aim of my paper is to path the way to further debates on the blueprint of an aesthetical epistemology, that is, of a theory of knowledge at whose hearts lies the visual image. My thesis is that visual images are the real “engine room” of representations; appearing as unconscious “items”, phantasms, “guiding-images”, or as “clips”, they decide what is happening at the first level of knowledge, the one of representations. Implicitly, the visual images influence ideologies, as well as scientific theories. That’s the reason why I consider visual images as having a strategic place in a culture: they are …


CULTURAL REPRESENTATIONS IN TRANSLATION

Posted On Nov 11 2015 by

Conventionally, translation depends on the western philosophical notions of reality, representation, and knowledge. Reality is seen as something unproblematic, ‘out there’; knowledge involves a representation of this reality; and representation provides direct, unmediated access to a transparent reality. Moreover, the notion of representation has played an important place in the study of culture. Representation links meaning and language to culture.  Many have asked themselves: “What does representation have to do with culture and meaning?” In answering this question, we gathered a number of samples from the Romanian literature and attempted to translate them into English.


THE IMAGE OF RACIAL MINORITIES AND THEIR REPRESENTATION IN AMERICAN DEMOCRACY: AFRICAN- AND NATIVE AMERICANS

Posted On Nov 11 2015 by

The rights of the minorities to assert the individuality of their own cultures, is now flourishing in various forms in the United-States. These newly empowered minorities may also be led to display the hegemonic tendencies generally exhibited by the established culture. Thus, cultural independence cannot be preserved for the subordinate, racial or ethnic minorities under the dominant white culture, because society is always structured in dominance. There is, at least, structural inequality based on race or ethnicity (Billington, 1993:87-99). Dominant culture brings threat of inequality based on the minority in this sense. The cultural devices of American subordinate, ethnic, native …


(Română) UNE ANAMORPHOSE REVELEE PAR LE LANGAGE DES DOIGTS CHEZ SIMON VOUET

Posted On Nov 11 2015 by

We know that the catoptromancy concerns all the techniques of divination by reflective surfaces. Well, in his Perspective curieuse from 1638, Jean-François Nicéron regrets that, in some cases, the prodigious effects of the catoptrics are used in abusive way inside such practices. Based on mathematic principles of perspective, this illusionist art tries to give a signification to an informal representation, in the aim to reconstruct the deliberately distort image, by means of a phantomlike reflection. When, in the end of his Italian period, French painter Simon Vouet realizes a sanguine drawing, representing a catoptric device, he becomes the ambassador of …


(Română) LES IMAGES PRODUITES PAR LES ARCHITECTES LORS DE LA CONCEPTION : QUELLE PLACE LAISSÉE À L’IMAGINAIRE ?

Posted On Nov 10 2015 by

During the design process, architects produce images to shape buildings projects and communicate. We question the space of the imagination in representations produced by two international architects depending on the tools used. We will see what are the consequences to interpret them. The comparison of two practices is interesting because different meanings are given to images. While Peter Zumthor uses charcoal to create “the desire of the real presence” leaving the viewer “infiltrate [his] imagination” (Zumthor 2008: 18), Jean Nouvel uses digital tools whose the objective is the “total hyperrealism” (Siret, Baly, Monin, 2004: 129) that means produce representations of …


(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) 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 …


SIGNIFYING WITHIN AND BEYOND BORDERS: TRAVEL WRITING

Posted On Jul 27 2012 by

This paper focuses on a long ignored signifying practice, travel writing, and aims at investigating the complex relations between writing and travel. The paper first emphasises the extrinsic relations between travel and writing as social and cultural signifying practices and subsequently analyses the intrinsic connections between travel and writing as mutually reflective processes of signification within and beyond literal and conceptual borders, with a view to highlighting the semiotic mechanism by which travel writing represents the world and itself.


LES DIDASCALIES : LE TEXTE MODE D’EMPLOI ?

Posted On Jul 27 2012 by

L’analyse des didascalies[1] met en évidence le rôle de cette partie du texte théâtral dans le processus de production de sens nécessaire à la construction de la représentation. Eléments porteurs d’informations et de réflexions qui orientent généralement la mise en scène, chez Ionesco, les didascalies sont assez souvent des facteurs d’ambiguїté et n’assurent plus, dans leur qualité de co-éléments de l’énonciation des personnages, la compréhension des messages émis par ceux-ci. [1] Eléments indispensables à la production de sens, les didascalies sont analysables, selon Thierry Gallèpe (Didascalies. Les mots de la mise en scène, Paris, L’Harmattan, 1997) à partir de deux …


REFLECTIONS ON SOME REPRESENTATIONS OF LOVE IN POSTMODERN CAROUSEL-TIME

Posted On Jul 27 2012 by

Starting with the observation that the symbolic change in postmodern spirituality seems to be from the world of Logos to the world of Imago, my article aims to emphasize some representations of love in contemporary interpersonal relations, as they appear in Julia Kristeva’s post-Freudian psychoanalysis, in the same spirit of other philosophical views which I find relevant for the topic. The main question raised by different approaches, as I believe, is whether our civilization faces new pathologies, or just the manners of understanding them are new? This question will be analyzed in order to try to offer some interpretations and …


LES CONTRAINTES DU JEU SCÉNIQUE: LES DIDASCALIES. POUR UNE DÉFINITION

Posted On Oct 17 2011 by

Les diverses descriptions et taxinomies des didascalies chez les différents spécialistes témoignent des perspectives adoptées: la perspective purement formelle, incapable à elle seule de rendre compte du fonctionnement des didascalies, la perspective énonciative et pragmatique, la perspective poétique. Considérées comme des éléments subalternes du texte, les didascalies commencent, avec l’intérêt qui leur est accordé, par une analyse linguistique, plus précisément énonciative et pragmatique, à gagner leur statut d’éléments de base dans la production du sens du texte théâtral.


“THE LIFE OF HUGH O’NEILL CAN BE TOLD IN MANY WAYS”: THE POLITICS OF INTERTEXTUALITY IN THOMAS KILROY’S THE O’NEILL AND BRIAN FRIEL’S MAKING HISTORY

Posted On Oct 17 2011 by

The historical persona of Hugh O’Neill, Earl of Tyrone, who led the last Gaelic rebellion against the Tudor re-conquest of Ireland, has accrued contradictory meanings from the late 16th-century onwards. Vilified in Anglo-Irish chronicles as traitor and rebel, he was construed as a mythic hero by the nationalist discourse. Given the persistence of this ambiguity in colonial writings, contemporary Irish playwrights attempt to dismantle traditional representations of the Ulster chieftain, re-constructing him in accordance to a post-colonial agenda. Both Thomas Kilroy’s The O’Neill and Brian Friel’s Making History employ intertextuality in order to question the mechanics of historical definition through which previous texts like …