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Klossowski, who had originally started as a religious seeker of truth in his younger years, will – after his « reversal » – feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicité d'une force "démonique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (Wahnbild).
Sophocle sur Netflix
(2023)
The paper focuses on two recent occurrences of a Sophoclean drama on screen, Electra in the romantical movie Marriage Story, and Philoctetes in an episode of the mainstream medical series New Amsterdam, both productions currently available on the popular streaming service Netflix. The case studies explore the mechanisms of the use of these dramas and their significance in both productions, showing that they are partly used for their “classical” authority, are deeply integrated within the scenarios, and help to design the narratives, the characters and their (social and personal) relationships.
Le Président de la République française, Emmanuel Macron, a prononcé le 26 septembre 2017 dans le grand auditorium de l’Université de la Sorbonne devant un public composé d’étudiants et de responsables politiques un ambitieux discours sur l’Europe. Parmi ses « initiatives pour l’Europe » figure la création d’universités européennes.
L’objectif de cette étude est de mettre en lumière l’héritage et les apports français et allemands dans ce nouveau modèle de partenariat européen en construction. Quel est le rôle joué par le niveau ministériel en France et en Allemagne dans le cadre de la mise en œuvre de l’initiative ? Quel est le degré et quelle est la nature d’intervention des Agences nationales Erasmus dans chacun des deux pays ? Quel est le positionnement de l’Université franco-allemande par rapport à ces nouvelles alliances ainsi que sa contribution ? À partir de trois exemples, à savoir les alliances ECIU, EPICUR et FORTHM, nous illustrons comment la coopération franco-allemande ainsi que les relations transfrontalières développées au sein de réseaux préexistants alimentent ces « réseaux des réseaux ».
Ce mémoire puise ses principales sources de 15 entretiens semi-directifs, menés entre août 2020 et janvier 2021 auprès d’acteurs allemands, français et européens. La richesse de leur expertise nourrit la conclusion dans laquelle nous tentons de mettre en exergue la dimension franco-allemande de cette initiative. Avec un regard franco-allemand, nous proposons un résumé des actuelles forces, opportunités, faiblesses et menaces qui favorisent ou entravent le développement de cette nouvelle initiative.
Der Präsident der französischen Republik, Emmanuel Macron, hielt am 26. September 2017 im großen Hörsaal der Universität Sorbonne vor einem Publikum aus Studenten und Politikern eine ambitionierte Rede zu Europa. Zu seinen "Initiativen für Europa" gehört die Schaffung von Europäischen Hochschulnetzwerken.
Das Ziel dieser Masterarbeit besteht darin, das deutsch-französische Erbe sowie die Beiträge beider Länder in diesen neuen Modellen zu untersuchen :.Welche Rolle spielt die ministerielle Ebene in Frankreich und Deutschland bei der Umsetzung der Initiative? In welchem Umfang und auf welche Art und Weise beteiligen sich die nationalen Erasmus-Agenturen in beiden Ländern ? Welche Position nimmt die Deutsch-Französische Hochschule in Bezug auf diese neuen Allianzen ein und welche Unterstützung bietet sie? Anhand von drei Beispielen, den Allianzen ECIU, EPICUR und FORTHM, wird beschrieben, welche Beiträge die deutsch-französische Zusammenarbeit sowie grenzüberschreitende Kooperationen leisten.
Die Hauptquellen für diese Masterarbeit stellen 15 semidirektive Experteninterviews dar, die zwischen August 2020 und Januar 2021 mit deutschen, französischen und europäischen Akteuren geführt wurden. Der Reichtum ihrer Expertise fließt in die Schlussfolgerung ein, in der wir versuchen, die deutsch-französische Dimension dieser Initiative hervorzuheben. Mit einer deutsch-französischen Perspektive versuchen wir, die Stärken, Chancen, Schwächen und Bedrohungen zusammenzufassen, die die Entwicklung dieser neuen Initiative begünstigen oder behindern.
The President of the French Republic, Emmanuel Macron, gave an ambitious speech on Europe to an audience of students and politicians in the large lecture hall of the Sorbonne University on 26 September 2017. Among his "Initiatives for Europe" is the creation of European University Networks.
The aim of this Master's thesis is to examine the Franco-German heritage and the contributions of both countries in these new models :.What is the role of the ministerial level in France and Germany in the implementation of the initiative? To what extent and in what way do the national Erasmus agencies in both countries participate ? What is the position of the Franco-German University in relation to these new alliances and what support does it offer? Using three examples, the ECIU, EPICUR and FORTHM alliances, the contributions of Franco-German cooperation and cross-border cooperation are described.
The main sources for this Master's thesis are 15 semi-directive expert interviews conducted with German, French and European actors between August 2020 and January 2021. The wealth of their expertise feeds into the conclusion, in which we try to highlight the Franco-German dimension of this initiative. With a Franco-German perspective, we try to summarise the strengths, opportunities, weaknesses and threats that favour or hinder the development of this new initiative.
From the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women’s fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion’s worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word “fashion” are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion.
Whether you open a manga, a French-language comic strip or a North-American comic strip with Classic subject, it seems normal to the reader to encounter many representations of sculptures, paintings or object of daily life from this period throughout the story.
These images are taken from catalogues notably available online. The artists also seem to have drawn their inspiration from museum publications or directly from the collections exhibited by these cultural institutions. This article will review the masterpieces used in comic strips and the reasons why they are chosen. Depending on the formats and cultures that stage them, these works do not constitute decorative elements of an ancient past but contribute to the narrative.
Ringing trumpets announcing the arrival of a Roman emperor, an oriental flowing and delicate harp reverberating inside the intimate palace of an Egyptian queen, a rude aulos singing in a bucolic Greek landscape: where are these familiar sound images coming from? Are these creations inspired by archaeological data or built after modern fantasy? The scarcity of ancient musical data necessitated, in fact, to reinvent the films’ soundscape taking place in the Ancient world. It is therefore a question of seeing on which models a peplum’s soundtrack is conceived and what it can reveal on our way of perceiving the ancient and contemporary world. Far from wanting to gauge the historicity of the sound backgrounds offered to the spectator of dark rooms, it is rather a question of seeing the imitation phenomena that can appear from the sound clichés created by the peplum itself and of also deducing from them thought patterns which, contextualized, influence these compositions. This article will focus on post-2000 productions.
Très peu d’originaux nous permettent de connaître la statuaire grecque ancienne. Eu égard à la grande production de statues en bronze, un nombre très limité d’oeuvres a été sauvé de la fureur du temps et des hommes. Le reste nous est connu de manière partielle et imparfaite par les copies romaines en marbre ou par des notes rapides d’auteurs anciens, qui mentionnent des artistes et des oeuvres dont le seul nom demeure. La découverte de statues en bronze de production grecque est donc un événement exceptionnel d’un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, dès leur découverte en 1972, une immense influence dans la culture populaire, que nous allons aborder dans cet article sous l’angle des Reception Studies, en essayant d’intégrer ces réflexions au débat sur leur perception dans le monde contemporain, déjà abordé par deux volumes sortis en 1986 et 2015 (Gli eroi venuti dal mare/Heroes from the sea et Sul buono e sul cattivo uso dei Bronzi di Riace1), en portant une attention particulière au Web et aux réseaux sociaux.
1 Je remercie Maurizio Paoletti et Fabien Bièvre-Perrin pour la relecture de cet article ; Domenico Benedetto D’Agostino pour m’avoir fait connaître, il y a quelques années, le poème de Felice Mastroianni dédié au Bronzes de Riace ; l’Archivio du Musée Archéologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu’ils ont partagées.
This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 – 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.
Laocoon Relooké
(2021)
This article focuses on the reception of the ancient statue of Laocoon in the arts and popular culture of the 21st century. It looks into why this icon has remained continuously present in the public’s collective imagination and covers, in particular, the recapturing of this motif by four contemporary painters : Richard Wallace (2002), Ron Milewicz (2005), Gilles Chambon (2008), Kent Monkman (2008). The article examines as well the new meanings associated with its treatment and finally explores the way our contemporary world deals with the notion of monument and the concept of academicism.