The gesture of looking in classical history painting

In this paper, possible functions of the gesture of indicating, either with hands or postures, or with looks or facial expressions, portrayed on the figures found in the history painting of the XVIIth century are studied. Two examples from the paintings of Le Brun and Poussin are analyzed in detail to show how these gestures are signifying elements of the story represented through the dispositio of its figures as well as operative parts of a representational apparatus historically and esthetically defined. The gesture of indicating, intended to articulate and regulate the viewer's reception of the painting, is supposed to constrain how he adheres to the religious, social or political values — that is the ideological background of the scene represented in the painting.     

Images of meditation,uncertainty and repentance in ancient art

Tracing back the history of a single gesture from a painting by Caravaggio to the portrait statue of Demosthenes by Polyeuktos, the problem of its meaning is first posed in terms of iconographical tradition. On the other side, the mutual relation between this gesture and its meaning is not a fixed one: one and the same gesture can cover some different (and even opposite) meanings, and conversely one and the same meaning can be conveyed by some different gestures. Some ways of describing and focusing this changing connection (seen as one of signifier and signified) are suggested.     

Seduction and gesture in ancient imagery

For the Greeks, the body, and especially the body of youths, is one of the principal themes in visual representation. By studying the system of attitudes towards seduction as shown on a number of Attic vases, I intend to show how red‐figure representations reveal an aesthetic view of homosexuality different from the black‐figure one. Corporal expression is the key in the opposition between these two systems of representation where a dynamic gesture gradually replaces a static gesture through the creation of a “conversational art”; which was unknown in the earlier genre.     

Absurd Avatars,Transcultural Relations: Elia Suleiman,Franco-Palestinian Filmmaking and Beyond

This article illuminates the threads of connection drawing together the work of the Palestinian filmmaker Elia Suleiman and French cultural production, while acknowledging the broader international contexts of these connections. The transcultural relations identified in the article title are a means of articulating these concerns. Suleiman's films, funded by French production companies and supported by French film festivals, have a tacit connection to France. Suleiman's mute self-representation within his films also draws upon auteurist and absurdist tropes familiar to European literature and art in the twentieth century. First discussing the broader cultural and geopolitical contexts of Franco-Palestinian filmmaking, the article then engages closely with critical tropes of the Absurd and human gesture in relation both to the critical reception of Suleiman's films, and the films' aesthetics, specifically in his recent feature films Divine Intervention (2002) and Le Temps qu'il reste/The Time that Remains (2009). Offering an alternative articulation of these complex transcultural relationships, the article explores Suleiman's position as a mute filmic figure and auteur director. It re-opens an often ‘unspoken’ dialogue of Franco-Palestinian cinematic relations which has been frequently designated as historical or political, rather than also and in equal measure, cultural, aesthetic, ethical and personal. At the same time, it seeks to open out these dialogues beyond France and Palestine, towards transcultural relations between Europe, the Middle East, North Africa and North America.     

Can Liberalism Still Tell Powerful Stories?1

The need of reason is not inspired by the quest for truth but by the quest for meaning. And truth and meaning are not the same. The basic fallacy, taking precedence over all specific metaphysical fallacies, is to interpret meaning on the model of truth. (Hanna Arendt, The Life of the Mind: Thinking)2 2.?Quoted in Victor Kestenbaum, The Grace and Severity of the Ideal: John Dewey and the Transcendent (Chicago: University of Chicago Press, 2002), 89. View all notes     

L'anthropologie des animaux

Traditional historiography sees Charles-Georges Le Roy as one of the first observers of animal behaviour in its natural habitat. This paper highlights the manner in which this empirical «ethology» of the Enlightenment used an elaborate and systematically organised body of anthropological knowledge. However, more was at stake than the simple projection, on animals, of human characteristics deemed to be universal. This seemingly empirical ethology mobilized in fact a common-sense anthropological knowledge, historically and culturally variable. The particular case study presented here points to the necessity of more research on the relationship between the empirical data accumulated by ethology and anthropological representations which underlie their interpretation.     

康德哲学及其对马克思主义哲学的意义

康德哲学在西方哲学史上起着“承前启后”的作用。康德在近代哲学史上恰似一个处于贮水池地位的人：以前的哲学皆流向康德,以后的哲学又是从康德这里流出。作为德国古典哲学的开创者,康德哲学的地位和意义是显而易见的。马克思主义哲学中关于“人的主观能动性的原理”和“实践观点”就直接受到了康德哲学的启示,康德哲学在西方哲学史和德国古典哲学中的地位非常重要,其对马克思主义哲学的影响意义更应给予重视。     

Theatre Elicitation: developing a potentially child-friendly method with children aged 8–12

ABSTRACT

This article discusses the growing body of literature published in Children Geographies on the importance of involving children in research processes. Inspired by participatory creative methods such as photo elicitation and popular/forum theatre, we have developed a potentially child-friendly tool referred to as Theatre Elicitation (TE). The objective of TE is to use theatre forms as a means of data collection in the context of a negotiated research process. In a pilot project in which we explore TE, children shared their perceptions of happiness. This was inspired by a UNICEF Report [2007. Child Poverty in Perspective: An Overview of Child Well-being in Rich Countries. Innocenti Report Card 7. Florence: UNICEF Innocenti Research Centre] that listed ‘Dutch children’ as the happiest of the world. The focus of this article is the development of TE as an interactive research tool. Insights were gained into the meaning of ‘child-friendly’ research, shifting power relations between children, peers and adults, and how children’s own positioning in lived experiences contextualized concepts such as ‘Dutch children’.     

Double opening,split temporality,and new spatialities: an interview with Sandro Mezzadra on ‘militant research’

Abstract

A militant research approach, Mezzadra suggests, should gesture towards a ‘double opening’: towards struggles on the one hand, and towards the production of concepts and theoretical innovation on the other. Mezzadra defines militant investigation as ‘the ability to localize and consolidate the possibility for ruptures’ and as a practice that does not take the meaning of ‘political struggle’ for granted. Building on the ‘within and against’ militant posture of the Italian Workerist tradition, Mezzadra reflects on the split temporality of militant investigations and on the contested spaces of a political epistemology of migrations.     

Redescribing the Enlightenment: The German-Jewish adoption of Bildung as a counter-normative ideal

This essay offers a reconsideration of the ethical vocabulary, social possibilities and religious worldview enabled by the German concept of Bildung, or human self-cultivation, a concept which was enthusiastically adopted by German Jews in the late eighteenth century. By examining the creative use of the concept by German Jewish philosophers such as Moses Mendelssohn (1729–1786) and, later, in a very different political context, Ernst Cassirer (1874–1945), the article challenges a body of scholarship that interprets the German Jewish enthusiasm for Bildung as an assimilationist capitulation by post-emancipation German Jews to the individualism and rationalism of the German Enlightenment. In contrast, I suggest that both Mendelssohn and Cassirer saw Bildung's emphasis on the vita activa as offering a vehicle for multifarious human engagement with the world that inspired not only a movement beyond reified conceptions of tradition, whether religious or secular, but forms of activism that could combine cosmopolitan sympathies with communal affiliation.     

The management and memory of fascist monumental art in postwar and contemporary Italy: the case of Luigi Montanarini’s Apotheosis of Fascism

In postwar Germany, the Allies and the German authorities moved quickly and systematically to destroy or physically remove all traces of Nazi art. No such process occurred in postwar Italy. This meant that hundreds of ideologically inspired statues, mosaics, murals and other artefacts survived into the republican period. This article uses Luigi Montanarini’s mural, the Apotheosis of Fascism, as a case study to examine the management, meaning and memory of fascist monumental art (and, more broadly, fascist monumental architecture) in postwar and contemporary Italy. To date, memory studies of fascism have largely overlooked the artistic and architectural legacies of the dictatorship. This article helps to address this historiographical lacuna and speaks to current debates and controversies in Italy surrounding the meaning and significance of historic fascism.     

Le Texte et le corps: la pensée dialectique de Diderot dans Le Supplément au voyage de Bougainville

By using a dialogical method in Le Supplément au voyage de Bougainville (1772), Diderot contrasts two places: the civilized European world and the primitive island of Tahiti. The dialogical structure of his work entails a questioning of the concept of libertinage through the theme of the corporeal. Indeed, the dialectical method he employs in the text unifies his vision on what the body represents. This work will demonstrate that for Diderot the body can be defined as three entities: the text, the physical, and the social. All these three categories are intertwined for him. Using them as a leitmotiv enables him to call into question the moral and social conventions of his own country.     

THERMOLUMINESCENCE DATING OF BURNT FLINT AND QUARTZ: COMPARATIVE RESULTS

Thermoluminescence dates obtained from burnt flints and quartz recovered from the same sites are compared. For the Upper Perigordian level at la Vigne Brun (Loire, France), four quartz specimens and three flints yielded average ages of 27 400 ± 2300 and 26 900 ± 2200 years respectively, which are 15% greater than the radiocarbon age obtained for the same site (Evin 1982). For the neolithic site of la Vallée aux Fleurs (Loir et Cher, France), the respective averages of three flints and three ceramic sherds were 6830 ± 560 and 6570 ± 520 years.     

THE BODY AT WAR

This book is one of the truly original contributions in historical writing to appear during the centenary of the outbreak of the war in 1914. The authors' central argument is that at the time of the Great War, scientists and physicians reconfigured the human body as both a living organism and a site of meaning. They developed the notion that the body was an integrated set of self-regulating systems, the precariousness of which threatened all of us with death every single day. The authors term this the “integration–crisis duet.” Although the origins of this formulation long antedated the war, the problem of treating thousands of men who suffered from various forms of shock—wound shock, surgical shock, shell shock—brought this new configuration of the human body into high relief during and in the decades after the war. The metaphor of homeostasis, or self-regulation, Geroulanos and Meyers claim, was so powerful that it spread well beyond the domain of physiology and medicine to facets of psychoanalysis, political thought, cybernetics, philosophy, and anthropology.     

L'art au temps des fractales

Fractals, as a mathematical concept, made their way into many scientific fields, but have also inspired artistic creations, in particular the plastic arts. The art exhibition «Fractal Time» gives us the opportunity to analyze the link between «art under fractalism» and mathematics. Metamorphoses of the concept, as it goes further its original field, provide us information on the relation between its initial theoretical ground and its additional esthetical meaning. We propose to distinguish, according to a criterion of theorical but non esthetical distance, three ways of derivation for «fractalism»: technical derivation, esthetical actualization and ideological actualization. *** DIRECT SUPPORT *** A01KB003 00010     

Écrire la (non-)violence : le cas de Laëtitia ou la fin des hommes d’Ivan Jablonka

This article analyses Ivan Jablonka’s Laëtitia ou la fin des hommes, which garnered three major prizes in the fall of 2016 (Le Prix Littéraire du Monde, Le Médicis et Le Prix des Prix) while also receiving quasi-unanimous acclaim from French press and media. My purpose is to explain how Jablonka’s writing contributes to exposing, denouncing and even, as far as possible ex post facto and by means of a text, undertaking a kind of reparation of the masculine violence inflicted on the 18-year-old young woman not only at the end, but throughout her entire life. To this end, the paradigm of violence laid out by Lévinas and Derrida will allow us to explore the ethics and poetics of non-violence. If on the one hand Jablonka’s text reveals the subjective involvement of the researcher and writer, we will see on the other hand that his project carries social, political and human stakes: his writing of a ‘crime story’ constitutes a manner of understanding the tragedy in the context of French society, with its social, judiciary and political institutions.     

Capture Life: The ‘Document-Monument’ in Recent Commemorations of Hugo Chávez

The recent passing of Hugo Chávez, president of Venezuela from 1999 till 2013, produced a juncture in the nation's imaginary that immediately sparked numerous and diverse commemorative practices. This article explores this sudden demand for a coherent and enduring memory of the late president by analysing different official postures and commemorative strategies. These are initially placed in the context of key historiographical tropes of the Bolivarian Revolution, and then analysed in light of such tropes. Specifically, the discussion identifies a thirst for ‘documents’, used in the broad sense proposed by Jacques Le Goff, which converged on the presidential body, the social body and public space as potential stimuli for memory. In this context, the initial possibilities of embalming Chávez's body, free tattoos of his signature and its use to decorate government buildings, appeal to the archive as a source of authority and as the commencement of history, as Jacques Derrida has it, while extrapolating the president's signature as a mobile and reproducible image of power to seek the eternal presence of the ‘líder eterno’ (eternal leader) as an anchor for political unity.     

Ecological equilibrium and territorial planning: The Italian case

The purpose of this paper is to illustrate briefly (a) the scientific premises of territorial planning, which are also the foundations of an ecological equilibrium between human activities and the territory or natural environment; (b) the lines of direction of an urban policy inspired by the above‐mentioned foundations of ecological equilibrium; and then subsequently (c) the guidelines for the application of the principles of ecological‐territorial equilibrium in Italy; with the subsequent configuration of (d) an urban eco‐systems network for Italy (as designed by the ten‐year plan for the environment, elaborated last year by the Italian government).