Filtern
Erscheinungsjahr
Dokumenttyp
- Wissenschaftlicher Artikel (238) (entfernen)
Sprache
- Französisch (238) (entfernen)
Schlagworte
- Marguerite Duras (10)
- französische Literatur 20. Jh. (10)
- Philosophie (8)
- philosophy (8)
- Anthropologie (3)
- anthropology (3)
- Globalisierung (2)
- Guillaume-Thomas Raynal (2)
- Humboldt (2)
- Laocoon (2)
- L’Histoire des deux Indes (2)
- Transzendenz (2)
- antiquity (2)
- 1799-1804 (1)
- 21st century (1)
- Archiv (1)
- Bande dessinée (1)
- Berlin-Brandenburgische Akademie der Wissenschaften (1)
- Bibliothèque Jagellonne (le Fonds Berlinois) (1)
- Biographie (1)
- Briefkorrespondenz (1)
- Briefwechsel (1)
- Bronzes de Riace (1)
- CLES (1)
- CLIUT (1)
- Common European Framework of Reference for Languages (CEFR) (1)
- Cornelius de Pauw (1)
- Danil Golovkin (1)
- English as a foreign language (1)
- Examen critique (1)
- Fashion Studies (1)
- Futur (1)
- Georg Forster (1)
- Georges Canguilhem (1)
- Greek tragedy (1)
- Hans Blumenberg (1)
- Henri Bergson (1)
- Imperfekt (1)
- Instituts Universitaires de Technologie (IUT) (1)
- Iran (1)
- Jacques Derrida (1)
- Kent Monkman (1)
- Korspuslinguistik (1)
- Kriegsreportagen (1)
- Linguistique d´intervention (1)
- Martin Heidegger (1)
- Mathias Énard (1)
- Max Scheler (1)
- Mexiko (1)
- Michel Foucault (1)
- Museo Archeologico Nazionale Reggio Calabria (1)
- New Amsterdam (1)
- Phänomologie (1)
- Pierre-Simon Laplace (1)
- Politik (1)
- Recherches philosophiques sur les Américains (1)
- Reise in die Äquinoktial-Gegenden des Neuen Kontinents (1)
- Reise um die Welt (1)
- Relativisme linguistique (1)
- Richard Wallace (1)
- Russland-Reise (1)
- Sophocles’ Electra (1)
- Sophocles’ Philoctetes (1)
- TOEIC (1)
- Tagebuch (1)
- Temporalität-Aspektualität-Modalität (1)
- Turkey (1)
- Verbalflexion (1)
- Voyage dans les Régions équinoxiales du Nouveau Continent (1)
- Vénus de Milo (1)
- academicism (1)
- agence nationale d’assurance qualité en Guinée (1)
- anachronism (1)
- antisemitism (1)
- arab (1)
- art antique (1)
- art contemporain (1)
- aspectualité (1)
- camp (1)
- caricature (1)
- catégories sémantique-fonctionnelles (1)
- classical reception (1)
- comics (1)
- contemporary art (1)
- culture de la qualité (1)
- culture populaire (1)
- devoir (1)
- diagnostic competence (1)
- didactique participative (1)
- didaktisch verwendbare Klassifikation der französischen Verben (1)
- enseignement et apprentissage d'une langue étrangère en ligne (1)
- error as intentional (1)
- fashion (1)
- fièvre jaune (1)
- foreign language certification (1)
- futur (1)
- gay (1)
- icône (1)
- imparfait (1)
- incommunicable phantasm (1)
- islam (1)
- langues romanes (1)
- le Patrimoine d’Alexander von Humboldt (1)
- l’assurance qualité dans l’enseignement supérieur guinéen (1)
- manga (1)
- manuscrits (1)
- marriage story (1)
- modalité (1)
- multilevel analysis (1)
- music (1)
- muslim (1)
- national multiplication training (1)
- néohumboldtiens (1)
- otherness (1)
- painting (1)
- peplum (1)
- phenomenology (1)
- politique (1)
- pop culture (1)
- publicité (1)
- quality assurance system (1)
- queer (1)
- reception studies (1)
- relation historique (1)
- romanische Sprachen (1)
- réception (1)
- rédaction de projets (1)
- sculpture (1)
- semantisch-funktionelle Kategorien (1)
- simulacre (1)
- simulation (1)
- sociology (1)
- structures d’assurance qualité (1)
- système d'apprentissage hypermédia (1)
- temporalité (1)
- trancendence (1)
- transcendence (1)
- travail de corpus (1)
- unique sign (1)
- vision linguistique du monde (1)
- édition critique (1)
- évaluation de la qualité (1)
Institut
- Institut für Romanistik (143)
- Historisches Institut (17)
- Extern (14)
- Department Musik und Kunst (10)
- Bürgerliches Recht (6)
- Department Erziehungswissenschaft (5)
- Institut für Anglistik und Amerikanistik (5)
- Institut für Germanistik (5)
- Institut für Jüdische Studien und Religionswissenschaft (5)
- Department Sport- und Gesundheitswissenschaften (4)
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.
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).
Cet article explore les débats sur la formation autodidacte dans le contexte d’une constellation franco-allemande autour de 1800. Il met en évidence les interférences fécondes qui ont existé entre les Lumières françaises, notamment par l’intermédiaire de Mirabeau, et l’Aufklärung allemande, en particulier les cercles berlinois autour de la Mittwochsgesellschaft et Wilhelm von Humboldt. Il analyse par ailleurs la dimension politique de l’autodidaxie à la veille de la Révolution française.
Divorce à l’allemande
(2022)
Avec la création de l’Académie de sociologie (AS), le champ sociologique allemand compte désormais une nouvelle association professionnelle qui s’ajoute à la Société allemande de sociologie (DGS), établie de longue date. Cet article passe en revue les principales positions discursives, les sujets de controverse majeurs ainsi que les grandes lignes de fracture qui ont conduit à ce schisme. Les conflits contemporains sont interprétés au travers d’une représentation empirique du champ de la sociologie allemande. De manière générale, la sociologie allemande contemporaine apparaît une fois de plus dominée par deux camps opposés, arbitrairement définis mais puissants, qui se partagent la domination d’une discipline, pourtant réellement pluraliste.
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.
The Laocoön group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. “queer gaze” and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using “anachronisme raisonné” (Loraux”) and “écart” (Dupont), this article focuses on case studies from the 2010’s: 1. The untold gay history of Vatican guided tour; the music video Falling, by the “queer cowboy” Drew Beckman. 2. Paintings by Richard Wallace (esp. Laocoön); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.
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.
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.