Calenda - Antihumanisme(s)

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Littérature et cinéma » et « Du postmodernisme au posthumanisme. Littérature et cinéma latino-américains ». L’objectif, cette fois-ci, est d’approfondir l’étude des discours critiques de l’humanisme, et en particulier, mais pas uniquement, ceux que l’on peut appeler : abhumanisme, antihumanisme hiérarchique, antihumanisme pessimiste.</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-891773-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p style="text-align: left;">Ce colloque international s’inscrit dans la continuité de ceux organisés fin novembre 2020 : « Du postmodernisme au posthumanisme. Littérature et cinéma » et « Du postmodernisme au posthumanisme. Littérature et cinéma latino-américains ». L’objectif, cette fois-ci, est d’approfondir l’étude des discours critiques de l’humanisme, et en particulier, mais pas uniquement, ceux que l’on peut appeler :</p> <ul> <li> Abhumanisme</li> <li> Antihumanisme hiérarchique</li> <li> Antihumanisme pessimiste</li> </ul> <p style="text-align: left;">Ces trois discours ont comme cadre général les critiques de l’humanisme, voire les antihumanismes de Friedrich Nietzsche, de Martin Heidegger et de Michel Foucault, auxquels on pourrait ajouter, plus récemment, des travaux de Donna Haraway, Rosi Braidotti, Achille Mbembe, Andreas Malm, ou Sayak Valencia ; ainsi que des questionnements tels que l’antispécisme, le post et le décolonialisme, le féminisme radical ou l’anthropocène.</p> <p style="text-align: left;">Ces critiques de l’humanisme ont ainsi un caractère profondément politique, mais, moins que de mettre tous les maux du monde contemporain sur le dos de l’humanisme, il s’agit de critiquer une idée qui lui est fondamentale, celle de placer <em>l’homme</em> (et lequel ?) au centre de la réflexion, celle de « célébrer la présentation philosophique déterminante qu’il donne de lui-même dans l’humanisme » (Sloterdijk, Heidegger), alors que l’on voit les conséquences écologiques, politiques et sociales de ce système d’auto-surélévation.Ainsi, ayant pour clé autant l’inclusion d’un <em>autre</em>, humain ou non-humain, que l’opposition au capitalisme comme modèle et comme système d’exploitation, vecteur de hiérarchie, et agent caché derrière la notion de « progrès historique », ces discours antihumanistes présentent également, dans certains cas, des utopies qui se veulent nécessaires pour assurer la continuité d’une existence (humaine et/ou non-humaine) souhaitable.</p> <h3><strong>- Abhumanisme</strong></h3> <p style="text-align: left;">Ce concept proposé par le philosophe français Jacques Audiberti, proche des surréalistes, a été défini par lui-même, en 1955, comme « l’homme acceptant de perdre de vue qu’il est le centre de l’univers ». À posteriori, on pourrait associer à l’abhumanisme des manifestations d’écologisme radical ou d’antispécisme, envisageant la création d’une communauté élargie comprenant et considérant des êtres humains et non-humains. Il est également possible d’évoquer des expérimentations formelles, littéraires ou cinématographiques, où des entités non humaines (animaux, artifices machiniques, etc.) se substituent à une perspective humaine et anthropomorphe.</p> <p style="text-align: left;">Parmi les romans, on pense à <em>Tan cerca de la vida</em> (2010) de Santiago Roncagliolo, <em>Anima</em> (2012) de Wajdi Mouawad, <em>Sur les ossements des morts</em> (2012) d’Olga Tokarczuk, ou <em>Aún el agua</em> (2019) de Juan Álvarez. Parmi les films : <em>La Région centrale</em> (1971) de Michael Snow, <em>Phase iv</em> (1974) de Saul Bass, la trilogie <em>Auge/Maschine</em> (2001-2003) de Harun Farocki, <em>Les hommes</em> (2006), d’Ariane Michel,<em> Leviathan</em> (2012) de Verena Paravel et Lucien Castaing-Taylor, <em>Post Tenebras Lux</em> (2012) de Carlos Reygadas, <em>Dead Slow Ahead</em> (2015) de Mauro Herce, ou bien <em>Gorge c&oelig;ur ventre</em> (2016) de Maud Alpi.</p> <h3><strong>- Antihumanisme hiérarchique</strong></h3> <p style="text-align: left;">Ce discours rassemble des contestations à l’existence d’une gradation à l’intérieur d’une communauté humaine. Il dénonce et critique le prétendu universalisme de la notion d’humanisme, qui serait plutôt perçu, d’après Rosi Braidotti, comme une généralisation arbitraire et historique d’une détermination spécifique, que l’on peut identifier comme blanche, européenne et masculine.</p> <p style="text-align: left;">La hiérarchie qui en résulte peut donc être d’ordre raciale, géographique et de genre. Il s’agit ainsi de s’attarder sur « l’absence de justification et d’autorité morales de l’histoire des nations occidentales » (James Baldwin) ; de (re)situer le discours dominant et universaliste européen tout en regardant les conséquences de son apparition dans d’autres espaces géographiques (Sayak Valencia) ; de comprendre qu’il « ne peut pas y avoir de critique humaniste du colonialisme parce que le colonialisme n’est rien d’autre qu’un projet politique inspiré par l’humanisme et même voulu par l’humanisme » (Nichanian) ; de voir que « malgré toute sa prétention à l’universel, ce qui a été considéré jusqu’à maintenant comme humain dans notre philosophie occidentale ne concerne qu’une minorité de personnes : les hommes blancs, les propriétaires des moyens de production ainsi que les philosophes qui depuis toujours théorisent leur point de vue comme étant absolument le seul possible » (Wittig). Il s’agit également de faire entendre d’autres propositions d’organisation sociale, politique, économique et culturelle.</p> <p style="text-align: left;">Parmi les auteurs, on peut évoquer Frantz Fanon, James Baldwin, Monique Wittig ou Sayak Valencia. Parmi les réalisateurs : Fernando Solanas, Chantal Akerman ou Djibril Diop Mambety.</p> <h3><strong>- Antihumanisme pessimiste</strong></h3> <p style="text-align: left;">Pour l’antihumanisme pessimiste, le préfixe « anti » a une autre fonction que dans l’antihumanisme hiérarchique. Ici, il s’agit d’opposer à l’espoir et à la foi humanistes dans l’humain, le pessimisme comme une alternative critique. Ce discours se constitue dans la brèche qui sépare l’idéal du projet humaniste (et moderne) du progrès historique, de la constatée incapacité humaine à l’atteindre. En proposant un dépassement de la contemplation de l’idéal, il peut être le signe de la nécessité d’une effective transformation du réel. Cet antihumanisme trouve son origine dans l’interprétation du pessimisme grec de Nietzsche (non un renoncement mais une affirmation de la vie), mais se configure également avec <em>La Lettre sur l’humanisme </em>de Heidegger, la critique du concept d’histoire de Benjamin, la dénonciation d’un humanisme de la marchandise par Debord, jusqu’à l’arrivée de la notion d’anthropocène, comme une critique de l’empreinte écologique (voire géologique) de l’être humain sur la planète.</p> <ol> <li>Dans la littérature, parmi les nombreuses &oelig;uvres dystopiques critiquant l’évolution du capitalisme, montrant des sociétés basées sur le contrôle et la surveillance, ou témoignant de la destruction de la civilisation ou de l’impossibilité de sa construction, on peut citer les romans <em>Nous</em> (1920) d’Ievgueni Zamiatine, <em>La Ferme des animaux</em> (1945) et <em>1984</em> (1949) de George Orwell, ou <em>Soleil vert</em> (1966) de Harry Harrison. Dans le cinéma, les regards désenchantés des films <em>Terra em transe</em> (1967) de Glauber Rocha, <em>Brazil</em> (1985) de Terry Gilliam, <em>Le cheval de Turin</em> (2011) de Béla Tarr, ou <em>Il est difficile d’être un dieu</em> (2013) d’Alexeï Guerman, peuvent y être associés.On voudrait poser le problème en distinguant, principalement mais pas exclusivement, trois approches générales :Analyse des formes, littéraires et cinématographiques, qui expriment et véhiculent un antihumanisme.</li> <li>Étude de représentations littéraires et cinématographiques des discours antihumanistes et de leurs thématiques.</li> <li>Des réflexions philosophiques, historiques ou politiques sur les formes et/ou représentations des discours antihumanistes contemporains (antispécisme, décolonialisme, féminisme, anthropocène).</li> </ol> <p style="text-align: left;">* La deuxième journée du colloque (26 novembre) sera dédiée aux productions et contextes latino-américains.</p> <h1>Modalités pratiques d'envoi de propositions</h1> <p style="text-align: left;">Les propositions de communication (500 mots, en français), et une bio-bibliographie doivent être envoyées à l’organisateur (carlostellorueda@gmail.com)</p> <h3>avant le 15 septembre 2021.</h3> <h1>Organisé par</h1> <ul> <li>Université de Paris (Cerilac)</li> <li>Université Paris-Est Créteil (Imager)</li> <li>En partenariat avec : Association Image et Parole</li> </ul> <h1>Date et lieu du colloque</h1> <p style="text-align: left;">25 et 26 novembre 2021</p> <p style="text-align: left;">Université de Paris (5 rue Thomas Mann, 75013)</p> <h1>Responsable</h1> <ul> <li>Carlos Tello, Cerilac, Université de Paris / Imager, Université Paris-Est Créteil, Département des Langues romanes</li> </ul> <h1>Comité scientifique (par ordre alphabétique)</h1> <ul> <li>Karine Bergès, Professeure, Université Paris-Est Créteil</li> <li>Thierry Hoquet, Professeur, Université Paris Nanterre</li> <li>Emmanuel Vincenot, Professeur, Université Gustave Eiffel</li> <li>Antje Ziethen, Assistant Professor, University of Kansas</li> </ul> <h1>Bibliographie indicative</h1> <p style="text-align: left;">Álvarez Juan, <em>Aún el agua</em>, Bogotá, Planeta, 2019.</p> <p style="text-align: left;">Amiot-Guillouet Julie et Nancy Berthier (dir.), <em>Frente a la catástrofe. </em><em>Temáticas y estéticas en el cine español e iberoamericano contemporáneo</em>, Paris, Éditions hispaniques, 2017.</p> <p style="text-align: left;">Audiberti Jacques, <em>L’Abhumanisme</em>, Paris, Gallimard, 1955.</p> <p style="text-align: left;">Baldwin James, <em>Meurtres à Atlanta</em> [traduit de l’anglais (<em>The Evidence of Things Not Seen</em>) par James Bryant], Paris, Stock, 2020 [1985].</p> <p style="text-align: left;">Beau Rémi et Catherine Larrère, <em>Penser l’Anthropocène,</em> Paris, Presses de Sciences Po, 2018.</p> <p style="text-align: left;">Benjamin Walter, <em>Sur le concept d’histoire</em> [traduction de l’allemand (<em>Über den Begriff der Geschichte</em>) par Pierre Rusch] [1942], in <em>&OElig;uvres iii</em>, Paris, Gallimard, 2000.</p> <p style="text-align: left;">Bergès Karine, Florence Binard et Alexandrine Guyard-Nedelec (dir.), <em>Féminismes du xxi<sup>e</sup> siècle : une troisième vague ?</em>, Rennes, Presses Universitaires de Rennes, 2017.</p> <p style="text-align: left;">Braidotti Rosi, <em>The Posthuman</em>, Cambridge, Polity Press, 2013.</p> <p style="text-align: left;">_______, <em>Posthuman Knowledge</em>, Cambridge, Polity Press, 2019.</p> <p style="text-align: left;">Campos Lucie, <em>Fictions de l’après : Coetzee, Kertész, Sebald. Temps et contretemps de la conscience historique</em>, Paris, Classiques Garnier, 2012.</p> <p style="text-align: left;">Cazalas Inès et Marik Froidefond (dir.), <em>Le modèle végétal dans l’imaginaire contemporain</em>, Strasbourg, Presses Universitaires de Strasbourg, 2014.</p> <p style="text-align: left;">Coquio Catherine (dir.), <em>Retours du colonial ? Disculpation et réhabilitation de l’histoire coloniale</em>, Nantes, L’Atalante, 2008.</p> <p style="text-align: left;">Corvin Michel, <em>L’Homme en trop. L’abhumanisme dans le théâtre contemporain</em>, Besançon, Les Solitaires Intempestifs, 2014.</p> <p style="text-align: left;">Debord Guy, « Le déclin et la chute de l’économie spectaculaire-marchande » [1966], in <em>&OElig;uvres</em>, Paris, Gallimard « Quarto », 2006, p. 702-714.</p> <p style="text-align: left;">_______, <em>La société du spectacle</em> [1967], in <em>&OElig;uvres</em>, Paris, Gallimard « Quarto », 2006, p. 764-859.</p> <p style="text-align: left;">Fanon Frantz, <em>Les damnés de la terre</em>, Paris, F. Maspéro, 1961.</p> <p style="text-align: left;">Ferdinand Malcom, <em>Une écologie décoloniale. Penser l'écologie depuis le monde caribéen</em>, Paris, Seuil, 2019.</p> <p style="text-align: left;">Foucault Michel, <em>Les Mots et les Choses </em>[1966], in <em>&OElig;uvres I</em>, Paris, Gallimard « La Pléiade », 2015.</p> <p style="text-align: left;">_______, « L’homme est-il mort ? (entretien avec C. Bonnefoy) » [1966], in <em>Dits et écrits 1954- 1988</em>, Paris, Gallimard, 2001.</p> <p style="text-align: left;">Fressoz Jean-Baptiste et Christophe Bonneuil, <em>L’Evenement Anthropocène : La Terre, l’histoire et nous,</em> Paris, Seuil, 2013.</p> <p style="text-align: left;">Haraway Donna, <em>Des singes, des cyborgs et des femmes. La réinvention de la nature</em> [traduit de l'anglais (<em>Simians, cyborgs and women : the reinvention of nature</em>) par Oristelle Bonis], Paris, J. Chambon, 2009 [1991].</p> <p style="text-align: left;">_______, <em>Vivre avec le trouble</em> [traduit de l’anglais (<em>Staying with the Trouble : Making Kin in the Chthulucene</em>) par Vivien García], Vaulx-en-Velin, Les éditions des mondes à faire, 2020 [2016].</p> <p style="text-align: left;">Harrison Harry, <em>Soleil vert </em>[traduit de l’anglais (<em>Make Room! Make Room!</em>) par Sébastien Guillot], Paris, J’ai lu, 2014 [1966].</p> <p style="text-align: left;">Hauskeller Michael, Thomas D. Philbeck et Curtis D. Carbonell (eds.), <em>The Palgrave Handbook of Posthumanism in Film and Television</em>, New York, Palgrave Macmillan, 2015.</p> <p style="text-align: left;">Heidegger Martin, <em>Lettre sur l’humanisme</em> [traduit de l’allemand (<em>Brief über den humanismus</em>) par Roger Munier], Paris, Aubier, 1983 [1946].</p> <p style="text-align: left;">Hoquet Thierry, <em>Cyborg philosophie. Penser contre les dualismes</em>, Paris, Seuil « L’ordre philosophique », 2011.</p> <p style="text-align: left;">_______, Les presque humains. Mutants, cyborgs, robots, zombies… et nous, Paris, Seuil « L’ordre philosophique », 2021.</p> <p style="text-align: left;">Hottois Gilbert, Jean-Noël Missa et Laurence Perbal (dir.), <em>Encyclopédie du trans/posthumanisme. L’humain et ses préfixes</em>, Paris, Librairie Philosophique J. Vrin, 2015.</p> <p style="text-align: left;">Jarrige François, <em>Technocritiques. Du refus des machines à la contestation des technosciences</em>, Paris, La Découverte, 2014.</p> <p style="text-align: left;">Jarrige François et Thomas Le Roux, <em>La Contamination du monde. Une histoire des pollutions à l’âge industriel</em>, Paris, Seuil, 2017.</p> <p style="text-align: left;">Latour Bruno, <em>Face à Gaïa : Huit conférences sur le nouveau régime climatique</em>, Paris, La Découverte, 2015.</p> <p style="text-align: left;">Lyotard Jean-François, <em>L’inhumain. Causeries sur le temps</em>, Paris, Klincksieck « Continents philosophiques », 2014.</p> <p style="text-align: left;">Löwy Michael, « Pessimisme révolutionnaire. Le marxisme romantique de Walter Benjamin », in <em>Cités</em>, Paris, Presses Universitaires de France, 2018/2 n° 74, p. 91-104.</p> <p style="text-align: left;">Malm Andreas, <em>L’anthropocène contre l’histoire. Le réchauffement climatique à l’ère du capital</em> [traduit de l’anglais par Étienne Dobenesque], Paris, La Fabrique, 2017.</p> <p style="text-align: left;">_______, <em>La chauve-souris et le capital. Stratégie pour l’urgence chronique</em> [traduit de l’anglais (<em>Corona, Climat, Chronic Emergency</em>) par Étienne Dobenesque], Paris, La Fabrique, 2020.</p> <p style="text-align: left;">Marx Karl, <em>Le Capital</em> (Livre premier) [traduit de l’allemand (<em>Das Kapital</em>) par Joseph Roy, revu par Maximilien Rubel] [1867], in <em>&OElig;uvres Économie I</em>, Paris, Gallimard « La Pléiade », 1963.</p> <p style="text-align: left;">Mbembe Achille, <em>Critique de la raison nègre</em>, Paris, La Découverte, 2015.</p> <p style="text-align: left;">Mouawad Wajdi, <em>Anima</em>, Arles, Actes Sud, 2014.</p> <p style="text-align: left;">Nichanian Marc, « Retour d’humanisme. Humanisme, orientalisme et philologie chez Edward Said », in Catherine Coquio (dir.), <em>Retours du colonial ? Disculpation et réhabilitation de l’histoire coloniale</em>, Nantes, L’Atalante, 2008, p. 259-276.</p> <p style="text-align: left;">Nietzsche Friedrich, <em>Vérité et mensonge au sens extra-moral</em> [traduit de l’allemand (<em>Über Wahrheit und Lüge im außermoralischen Sinn</em>) par Michel Haar et Marc de Launay] [1873], in <em>Nietzsche &OElig;uvres I</em>, Paris, Gallimard « La Pléiade », 2000.</p> <p style="text-align: left;">________, <em>Humain trop humain. Un livre pour les esprits libres</em> [traduit de l’allemand (<em>Menschliches, Allzumenschliches. Ein Buch für freie Geister</em>) par Robert Rovini, révisée par Marc de Launay] [1878], in <em>&OElig;uvres II</em>, Paris, Gallimard « La Pléiade », 2019.</p> <p style="text-align: left;">________, <em>Ainsi parlait Zarathoustra. Un livre qui est pour tous et qui n’est pour personne</em>, [traduit de l’allemand (<em>Also Sprach Zarathoustra. Ein Buch für Alle und Keinen</em>) par Maurice de Gandillac], Paris, Gallimard, 1971 [1885].</p> <p style="text-align: left;">________, <em>Par-delà bien et mal. Prélude d’une philosophie de l’avenir</em> [traduit de l’allemand (<em>Jenseits von Gut und Böse. Vorspiel einer Philosophie der Zukunft</em>) par Cornélius Heim] [1885], in <em>&OElig;uvres philosophiques complètes VII. Par-delà bien et mal. La Généalogie de la morale</em>, Paris, Gallimard, 1971.</p> <p style="text-align: left;">Oak Taylor Jesse et Tobias Menely (ed.), <em>Anthropocene Reading: Literary History in Geologic Times</em>, Pennsylvania, Penn State UP, 2017.</p> <p style="text-align: left;">Orwell George, <em>La Ferme des animaux</em> [traduit de l’anglais (<em>Animal Farm</em>) par Jean Quéval], Paris, Gallimard, 1983 [1945].</p> <p style="text-align: left;">_______, <em>1984</em> [traduit de l’anglais (<em>Nineteen Eighty-Four</em>) par Amélie Audiberti], Paris, Gallimard, 1950 [1949].</p> <p style="text-align: left;">Roncagliolo Santiago, <em>Tan cerca de la vida</em>, Madrid, Alfaguara, 2010.</p> <p style="text-align: left;">Ruffel Lionel (dir), <em>Qu’est-ce que le contemporain ?</em>, Éditions Cécile Defaut, 2010.</p> <p style="text-align: left;">Simon Anne, <em>Une bête entre les lignes. Essai de zoopoétique</em>, Marseille, Wildproject « Tête nue », 2021.</p> <p style="text-align: left;">Sloterdijk Peter, <em>Re虁gles pour le parc humain. Une lettre en re虂ponse a虁 la</em> Lettre sur l’humanisme <em>de Heidegger</em> [traduit de l’allemand (<em>Regeln fu虉r den Menschenpark. Ein Antwortschreiben zu Heideggers</em> Brief u虉ber den Humanismus) par Olivier Mannoni], Paris, Mille et une nuits, 2000 [1999].</p> <p style="text-align: left;">Tello Carlos, « Images du posthumain. Un cinéma posthumaniste », Fabula / Les colloques, <em>Le Temps du posthumain ?</em>, URL : http://www.fabula.org/colloques/document5466.php, page consultée le 22 avril 2021.</p> <p style="text-align: left;">Thomsen Mads Rosendahl, <em>Mapping World Literature: International Canonization and Transnational Literatures</em>, Londres, Continuum, 2008.</p> <p style="text-align: left;">________, <em>The New Human in Literature. Posthuman Visions of Changes in Body Mind and Society after 1900</em>, London, Bloomsbuty, 2013.</p> <p style="text-align: left;">Tokarczuk Olga, <em>Sur les ossements des morts</em> [traduit du polonais (<em>Prowad藕 swój p艂ug przez ko艣ci umar艂ych</em>) par Margot Carlier], Paris, Libretto, 2014 [2009].</p> <p style="text-align: left;">Valencia Sayak, <em>Capitalismo gore</em>, Barcelona, Melusina, 2010.</p> <p style="text-align: left;">Wittig Monique, <em>Les Guérillères</em>, Paris, Minuit, 2019 [1969].</p> <p style="text-align: left;">_______, <em>La pensée Straight</em>, Paris, Éditions Amsterdam, 2018 [1992].</p> <p style="text-align: left;">Zamiatine Ievgueni, <em>Nous </em>[traduit du russe (<em>My</em>) par Hélène Henry], Arles, Actes Sud, 2019 [1920].</p> <p style="text-align: left;">Ziethen Antje, <em>Géo/Graphies postcoloniales. La poétique de l’espace dans le roman mauricien et sénégalais</em>, Trier, Wissenschaftlicher verlag Trier, 2012.</p> <h1>Filmographie indicative</h1> <p style="text-align: left;">Akerman Chantal, <em>Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles</em>, France, Belgique, 1975, 201 min.</p> <p style="text-align: left;">_______, <em>Sud</em>, France, 1999, 71 min.</p> <p style="text-align: left;">_______, <em>De l’autre côté</em>, France, 2002, 103 min.</p> <p style="text-align: left;">Alpi Maud,<em> Gorge c&oelig;ur ventre</em>, France, 2016, 82 min.</p> <p style="text-align: left;">Bass Saul, <em>Phase iv</em>, États-Unis, 1974, 84 min.</p> <p style="text-align: left;">Borden Lizzie, <em>Born in Flames</em>, États-Unis, 1983, 80 min.</p> <p style="text-align: left;">Castaing-Taylor Lucien et Verena Paravel, <em>Leviathan</em>, France, Royaume-Uni, États-Unis, 2012, 87 min.</p> <p style="text-align: left;">Farocki Harun, <em>Auge/Maschine</em>, Allemagne, 2001, 25 min.</p> <p style="text-align: left;">_______, <em>Auge/Maschine II</em>, Allemagne, 2002, 15 min.</p> <p style="text-align: left;">_______, <em>Auge/Maschine III</em>, Allemagne, 2003, 16 min.</p> <p style="text-align: left;">Gay Amandine, <em>Ouvrir la voix</em>, France, 2017, 122 min.</p> <p style="text-align: left;">Gilliam Terry, <em>Brazil</em>, Royaume-Uni, 1985, 142 min.</p> <p style="text-align: left;">Guerman Alexeï, <em>Il est difficile d’être un dieu </em>[<em>Trudno byt’ bogom</em>], Russie, 2013, 170 min.</p> <p style="text-align: left;">Herce Mauro, <em>Dead Slow Ahead</em>, Espagne, France, 2015, 74 min.</p> <p style="text-align: left;">Mambety Djibril Diop, <em>Touki Bouki</em>, Sénégal, 1973, 75 min.</p> <p style="text-align: left;">Michel Ariane, <em>Les Hommes</em>, France, 2008, 95 min.</p> <p style="text-align: left;">Peck Raoul, <em>I Am Not Your Negro</em>, France <em>et al</em>., 2016, 93 min.</p> <p style="text-align: left;">Reygadas Carlos, <em>Post Tenebras Lux</em>, Mexique, 2012, 120 min.</p> <p style="text-align: left;">Rocha Glauber, <em>Terra em transe</em>, Brésil, 1967, 115 min.</p> <p style="text-align: left;">Snow Michael, <em>La Région centrale</em>, Canada, 1971, 180 min.</p> <p style="text-align: left;">Solanas Fernando et Octavio Getino, <em>La hora de los hornos</em> [<em>L’Heure des brasiers</em>], Argentine, 1968, 260 min.</p> <p style="text-align: left;">Tarr Béla, <em>A Torinói lo</em> [<em>Le Cheval de Turin</em>], Hongrie <em>et al</em>., 2011, 146 min.</p> <p style="text-align: left;">Williams Eduardo, <em>El auge de lo humano</em>, Argentine, Brésil, 2016, 100 min.</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=260">Pens茅e</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=260">Pens茅e</a> > <a href="search?primary=fsubject&fsubject=261">Philosophie</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a> > <a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=317">脡poque contemporaine</a> > <a href="search?primary=fsubject&fsubject=326">XXIe si猫cle</a></li> <li><a href="search?primary=fsubject&fsubject=327">Espaces</a> > <a href="search?primary=fsubject&fsubject=336">Am茅riques</a> > <a href="search?primary=fsubject&fsubject=337">Am茅rique latine</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=280">脡tudes visuelles</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=286">脡pist茅mologie et m茅thodes</a> > <a href="search?primary=fsubject&fsubject=290">脡pist茅mologie</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> 5 rue Thomas Mann, 75013 <br/> Paris, France (75) </li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>samedi 18 septembre 2021</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>antihumanisme, philosophie, litt茅rature, cin茅ma, politique</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Carlos Tello<br/><em>courriel :</em> carlostellorueda [at] gmail [dot] com<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://www.imageetparole.com/appel-antihumanismes">Image et Parole</a></li> <li><a href="https://u-paris.fr/cerilac/aac-colloque-antihumanismes-formes-reflexions-et-representations-litterature-et-cinema/">Cerilac - Universit茅 de Paris</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Carlos Tello<br/><em>courriel :</em> carlostellorueda [at] gmail [dot] com</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Antihumanisme(s) 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mercredi 30 juin 2021, <a class="url" href="https://doi.org/10.58079/16w3">https://doi.org/10.58079/16w3</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('891773?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="891773?formatage=print">Imprimer</a> <a id="signaler" 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