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FROM PARTICIPATORY AND ‘STRIKE ART’ TO THE POSTDIGITAL
The article examines the concept of contemporary community as commoning, at the intersection of action, performance or participatory art, place, site-specific, and (post)digital poetry. This involves a brief review of traditional avant-gardes, 20th century engaged art, and recent political-art movements. In the process of this analysis, the participatory emerges as a subtler, more nuanced, and less predictable phenomenon than usually accepted. Also, performative subjectivity is traced as either the source of anticommunal community (in French theory), or mere Christian-capitalist construct (in communist philosophy). Agamben’s theory of the coming community is therefore examined as possible response to both these stances, with its relevance to contemporary movements, including post-Occupy. Commoning – paralleled to placing in poetry – turns out to be of critical importance in present-day community especially with correlatives such as displacement and undecidablility. Place, space, and map(ping) are therefore radically redefined in the context, and contemporary poetry appears to be indissolubly related to the process: the poem of place is the place, and poetry becomes the site of the com(mon)ing community. Site (and discourse)-specificity in poetry occasions a shift in focus to digital space, its sonic economy, and the communities and floating locations/ sites thereof. Site and discourse fluidity have brought about a paradigm in which the poem and its related apps tend to expand and turn into digital space itself, while in more recent postdigital evolutions, a new political concern for the ‘real’ reshape community, site, and performance/ participatory art or poetry in a continuous interactivity and interdependence.
More...BETWEEN SUBMISSION AND SUBVERSION
The present article is dedicated to the guiding theme of “Collective Authorship” in its diverse contexts and notional meanings. Mapping the intellectual stakes and conceptual propositions of recent scholarship represents one of the main aims of the paper. Focusing on two important junctures, the historical perspective is complemented by a state of the art review covering several disciplinary fields. Finally, I will define two types of authorship: submissive and subversive. Authorship studies are undergoing major changes today, marking the shift from the romantic understanding of the author towards the construction of what I’ve called an authorial ecosystem which, in its turn, can be understood as being part of a larger (and circular) dynamic entity.
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After the famous “Linguistic Turn”, labeled as such by the philosopher Richard Rorty in the 1980s, the cultural spins, mutations or, simply, the cultural “turns” of the past few decades have largely been the result of debates with aesthetic or ethical stakes, but also ways in which the political has found artistic expression and has been translated into “cultural objects”, in an anthropological sense. The “Pictorial Turn” and, then, the “Literary Turn” or, no less, the “Performative Turn”, the “Ekphrastic Turn” or the “Rhetorical Turn” have represented, ever since the 1970s and the 1980s, privileged methodological frameworks for research conducted in the humanities area, in which interpretative styles that are complementary or polemically pitted against one another are vying for supremacy. They may symptomatically succeed one another or appeal to researchers at one and the same time, but they most often operate with convergent concepts. The various interpretive communities that uphold them may come to interfere with one another or create entire transnational networks of interpretation.
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Reconsidering Victor Turner’s concept of communitas, my study aims to analyze its history,applicability and limits, focusing on the specific case of the Cluj Jewish group. Based on theinterpretation of empirical material, collected through intensive fieldwork, my approach contributes toan anthropological understanding of “interpretive communities”. The experiences of anxieties,traumatic memories, nostalgia and the ways they determine specific group coagulation strategies aretopics of main interest, permanently analyzed in my study. Viewed both at the individual andcommunitarian levels, constituted as thresholds or liminal stages, they have an important role in theprocess of identity construction and representation of the Cluj Jewish group. Empirical data gatheredthrough applying qualitative research methods (mostly life-histories, semi-structured and in-depthinterviews), put in a neo-interpretive framework, structure my approach.
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The Fish’s notion of interpretive Communities aims to demonstrate hermeneutic nature of knowledge. This concept is useful to explain the legal phenomenon. In legal field, there are different interpretive Communities in accordance with cultural traditions, with professional lawyers or lay(wo)men. Inside the interpretive Communities, the social players perform legal operations to establish legal answers. Judicial cases show the influence of interpretive Communities’s performance.
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Starting from Jean-Luc Nancy’s explanation of literature as both community-making and interrupter of community myths, this paper discusses Kuisma Korhonen’s notion of “textual community”. Textual community refers to the interaction between reader and text as a form of open, virtual cooperation that avoids the essentialism of political or religious communities. Trying to locate historically and culturally the propositions of the two scholars, this paper reads two distant, yet connected authors in Romanian literature, the 19th century classic Ion Luca Caragiale and the contemporary author Radu Cosaşu in their dealings with communities and their unmaking in their respective texts. Caragiale presents how nationalist rhetoric can be divisive rather than unifying when paired with personal pride and stupidity. Cosașu analyses the moral failure of writers’ solidarity in the face of communist totalitarianism. Both are using irony as the overarching technique to dissolve fraudulent communities and forge on their ruins a new, textual community.
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This article aims to question the role that literature plays in the construction of a new, critical image of the nation after 1989. The communist regime was the catalyst for a particular type of interpretive community and also of particular figures of the collectivity and representations of interactions between individual and community. After 1989, these figures seemed to fade out in the public and literary discourse, and community itself, as a concept, met with crisis. However, even if the failure of communism definitively interrupted the myth of community, the idea of community could not simply disappear, and instead generated new representations of its fractured reality. Is there a particular stylistics at work in the Romanian novels after 2000 dealing with communitarian representations? If so, does it have an intrinsically political or ethical dimension? Finally, can literature be considered not only a space for imagi-nation, but also a medium of circulation for collective representations and, consequently, the space for establishing a new community connection?
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The present paper investigates the emergence of an interpretive community brought to the fore by a social crisis as well as this community’s characteristics in terms of purpose (content, theme), place (platform, technology), and discourse (linguistic articulation of ideas and interactions stemming from them). We focused on the group of commenters active on Gândul website and on the way they reacted to the news reports about the “Colectiv” case between 30 October and 30 November 2015. The 16253 comments inventoried formed a corpus of approximately 1.13 million words. The specificities of our object of research enabled us to apply a methodology based on new media approaches, lexical semantics, and corpus analysis tools. The interpretation of data led to the delineation of five topics of debate within the community’s interactions: 1. human solidarity and compassion; 2. the Orthodox Church and its position in society; 3. the “restart” of Romanian politics; 4. nationalism, xenophobia, and the people’s heroes; 5. public policies: smoking in closed areas, emergencies, and natural disasters. We found out that the tragedy acted as a trigger that rekindled the people’s interest in some previously untapped or less tackled problems of Romanian society, which are dispersed within the corpus in a reticular form. Therefore, the five mirrors of anger reflect not only the common people’s discontent with this precise case, but also with the actual state of affairs in Romania.
More...LE RÔLE DES REVUES DANS LA RADICALISATION D’UN IMAGINAIRE POLITIQUE
On the basis of Antonio Gramsci’s praxis philosophy, taken up by André Tosel, and Cornelius Castoriadis’ works on radical imaginary, this article analyses the debate about Marxism, during the year 1946, between two intellectual reviews: Les Temps Modernes and Critique. If the creation of those reviews is deeply related to a social context and an interdiscourse influenced by the political and ideological rise of extreme left – particularly the French Communist Party –, their project consists in a critical questioning of communist discourses, returning to Marx’s and Hegel’s texts. References to these philosophies induce different rhetorical and argumentative particularities that we intend to study in order to understand the complex relations between the rhetoric of a sociohistorical interdiscourse and his ideological substructure.
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What we are aiming for is a comparative analysis of two representations of the political community in the texts of Romanian writers. Ilarie Voronca and Ion Biberi are, in turn, one an avant-garde poet, the other one a novelist, the author of the first Joycean Romanian novel. The community fantasies which they propose do exhibit a strong affinity, although dating from different epochs and developed within different cultural spaces: one in Paris, in the 1930s, the other one in Bucharest during the 1970s. Both have little in common with the representations of the era that produces them. Outlining the political community as a mass that is installed in the street, with an emphasis on body dynamics and the autonomy of individuals in the crowd, they relate better to recent “Occupy”-type manifestations. Instead of functioning as an empathetic environment, where individuals are in sync and all follow the same rhythm, the crowd becomes a revealing element of both the differentiation and of the positive irreductability. On the other hand, this crowd abandons the unique position of discourse (the "we" belonging to a common cause). Instead of slogans, it proffers spontaneous individual speeches, in turn singularized. The political community is illustrated as a community of poets, idealizing a literary life experience.
More...ESQUISSE D’UNE LECTURE ANARCHISTE
Known mostly for its social critique, for its preaching of insurgency or for its so-called utopian imagining of the future stateless communities, anarchism has always been involved in the literary and theoretical discussions of its time. It should be of no surprise then that anarchism has developed with and out of its extremely prolific literary production. Of course, we cannot speak of literary anarchism as of one unitary or coherent body of work. However, we can speak of it in the sense of a deleuzian minor literature. The study tries to illustrate, on one hand, the specific understanding that anarchism has regarding literature as a method and as an ethic engagement; and, also, its understanding of literature in relation to community. The examples are taken mainly from 19th century French anarchist literature and critique. The paper does not aim to an exhaustive presentation, but rather wishes to formulate some possible further research directions. On the other hand, using some of the concepts presented by Jean-Luc Nancy concerning community and literature, we propose a reading of anarchist theory and literature, underlining the possible contact and translation points with Nancy’s perspective and direction of thought.
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Contrary to its origins and areas of applicability, always “very” local and localized, literary theory aimed at reaching the status of a universal discourse on literature, a discourse that would identify and showcase in a display box the invariants beyond the cultural, historical, and geographical variables. As the anthropologist James Clifford ironically acknowledged in his manifesto “Notes on Travel and Theory” (Inscriptions, 5), “Localization undermines a discourse’s claim to ‘theoretical’ status”. The very history of literary theory as a (still) recent human science has incorporated and disguised local heritages while also highlighting in the process their transferable virtue, their mobile and generalizing capacity. The various narratives that accounted for theory’s beginnings, from the organicist ones such as R. Wellek’s History of Modern Criticism to those that value the breaking point as the constitutive motive of evolution (such as the introductions signed by Jonathan Culler, Terry Eagleton, or Antoine Compagnon, to name but a few), they all discreetly unify the variables of theoretical reflection into the apparently glorious perspective of a knowledge that makes its way through accumulating and filtering its data; a knowledge that is dubiously similar to the “hard” scientific one.
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Theory, in the broad field of the Humanities, Literature and the Arts, should be understood as both an intensive examination and a travelling, comparative point of view. It is akin to parody, due to its displaced, ironical and re-creative character, that it shares with interlinguistic and transmedial translation. It cannot and should not be firmly rooted in a particular place or historical moment without dying in the form of doctrine or dogma. But the exercise of theoretical power also depends on the relative stability of its institutions. From the 1980s onwards, the Centre called ‘Paris’ lost this power because it ignored both the de-centred appropriations it unwillingly made possible and the exotic origins of its own emergence. This de-theorization is nevertheless dangerous, because the place it leaves vacant is managed by the brainless and insensitive law of ‘the market’. Theory is not ideology, it is the responsible self-consciousness of the interests involved in comparing and linking. Formerly marginalized cultures, such as those of Eastern Europe, India, China or Latin America have the need and appetite for theory that should allow them to build an alternative network of theoretical shuttles able to re-think the functions of the local in a globalized world.
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The term “thing theory” was coined in 2001 by the American Bill Brown who was trying to speak out in favor of things as a possible alternative to endless abstraction. This essay claims that thing theory not only opens up the possibility of a fresh approach to literature but also to some extent accounts for why literature is attractive. After briefly exploring the roots of thing theory in the work of Viktor Shklovsky and Martin Heidegger, I propose that readers are drawn to literature not just because literary texts are character- or plot-driven but also because they are thing-driven. I claim that Shklovsky’s long-standing emphasis on plot (inextricably intertwined with character) is at odds with the Russian Formalist’s own famous statement about art allowing us to feel the stoniness of the stone, and I suggest a parallel between Shklovsky’s contention that literature makes the stone stoney and Heidegger’s celebration of literature as guarding against the loss of “thingness.” The contention that works of literature provide a platform on which things may be allowed to speak their own “being” is then traced through three works of fiction by Gustave Flaubert, Alain Robbe-Grillet, and José Saramago.
More...MODERNITY AS A TRAVELING SPHERE OF OPTIONS
There are two dominant explanations for the global reach of modernization processes. On the one hand, we have the representation of a vast network of mainly economic interests, centered in the highly developed Western world that gradually covers the whole planet. On the other hand, the global span of modernization is seen as the gradual imitation and internalization by marginal cultures and civilizations of a consistent system of emancipatory values that emerged in Western Europe and North America. Even if severely opposed, these two doctrines share an essential assumption: modernity and modernization derive from a set of positive, non-conflictual beliefs. But modernity can be understood, in complete opposition to „consistency-theories”, as a social and cultural process which essentially expands at a global scale the intellectual contradictions of modernity: liberty versus equality, responsibility versus solidarity, cooperation versus competition, innovation versus conservation, historical teleology versus historical skepticism, moral absolutism versus moral relativism. At the same time, modernity is the process of elaborating ways of coping with structural social and cognitive indetermination, and the virtual sphere that contains all possible patterns of response. Once we re-draw the picture of modernity as a global process along these lines, the distinction center-periphery, at least for intellectual processes, loses much of its grip. My main argument is that irrespective of its place of insertion in a presumed hierarchical network of civilizational influences, the theoretical mind is confronted with, and responsible for, finding plausible, even if vulnerable and transitory answers to essentially the same cognitive and ethical conundrums.
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The paper focuses on several conceptual nuances which I consider that could enter into a hermeneutical dialogue and, thus, they could become complementary modes of reinterpreting certain topics of literary and aesthetic theory. These dynamic concepts are to be analyzed from the viewpoint of certain theoretical narratives, around which they seem to gather and to nourish a few epistemological instruments and perspectives: the secondary (a concept proposed by a “travelling theorist”, situated in-between cultures, Virgil Nemoianu), the political and historical turn in the literary studies (in this respect, New Historicism being a main critical perspective and direction of thought) and, conversely, the “literary turn” in political and social thought. Such comprehensive syntagms, which coagulate around important hermeneutical narratives of the 20th century and of the first decade of the 21st century, might prove relevant for reassessing the social and anthropological influence of literary theory and of aesthetic epistemology. My argument will follow some critical reenactments of the seconday – and the dialogue, either subtle or radically polemical, or the rupture between the secondary and the principal – within the literary turn of the nineties and then within the “digital turn” and the approaches indebted to “distant reading” (Franco Moretti) in the years 2000.
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Dans Sous le pont Mirabeau, Madeleine Bourdouxhe raconte l’histoire d’une femme qui fuit avec la petite fille qu’elle vient de mettre au monde, vers le sud à travers la Belgique et la France, à la suite de l’invasion de la Belgique par les Allemands. La lecture proposée ici montrera comment cette histoire associe dans le récit, la réalité quotidienne des civils et l’exceptionnalité de la guerre. Au lieu de représenter les horreurs et la violence de la guerre, le narrateur préfère donner une autre image de cette réalité : en effet, dans ce récit, la protagoniste rencontre la gentillesse des étrangers, la compassion et aspire à la paix et à la normalité, même en temps de guerre, et préfère se focaliser sur ces aspects, parfois inattendus et déroutants pour le lecteur.
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The subject of the paper is focused on the consideration of the relationship between literature and modern computer games. The paper analyzes these relationships on three basic levels. The first includes inspiration from myths, fairy tales, and epics in the game worlds and their stories. The second focuses on the types of adaptation of literary texts used by game creators in the processes of their elaboration. The third and last shows the phenomenon of creating literary texts based primarily on the worlds of games.
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