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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Esthétique</h1><div class="u-tcGrayDark">8,224 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Esthétique</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Esth%C3%A9tique/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Esth%C3%A9tique/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Esth%C3%A9tique/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Esth%C3%A9tique">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26690077" data-work_id="26690077" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26690077/QUEERISER_LA_CHAIR">QUEERISER LA CHAIR</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Lecture queer du concept merleau-pontien de chair et incidence dans le champ esthétique.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26690077" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7fcc51a955becaeff96a657531d26d33" rel="nofollow" data-download="{"attachment_id":46972114,"asset_id":26690077,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46972114/download_file?st=MTczMjkyODg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="196245" href="https://independent.academia.edu/FabriceBourlez">Fabrice Bourlez</a><script data-card-contents-for-user="196245" type="text/json">{"id":196245,"first_name":"Fabrice","last_name":"Bourlez","domain_name":"independent","page_name":"FabriceBourlez","display_name":"Fabrice Bourlez","profile_url":"https://independent.academia.edu/FabriceBourlez?f_ri=75948","photo":"https://0.academia-photos.com/196245/46754/43038/s65_fabrice.bourlez.jpg"}</script></span></span></li><li class="js-paper-rank-work_26690077 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26690077"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26690077, container: ".js-paper-rank-work_26690077", }); 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","downloadable_attachments":[{"id":46972114,"asset_id":26690077,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":196245,"first_name":"Fabrice","last_name":"Bourlez","domain_name":"independent","page_name":"FabriceBourlez","display_name":"Fabrice Bourlez","profile_url":"https://independent.academia.edu/FabriceBourlez?f_ri=75948","photo":"https://0.academia-photos.com/196245/46754/43038/s65_fabrice.bourlez.jpg"}],"research_interests":[{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory?f_ri=75948","nofollow":false},{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29244258" data-work_id="29244258" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29244258/Illusions_et_exigences_du_jugement_esth%C3%A9tique">Illusions et exigences du jugement esthétique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’appréciation esthétique oscille le plus souvent, tel un pendule, entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29244258" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’appréciation esthétique oscille le plus souvent, tel un pendule,  entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la formule du relativisme : « à chacun ses goûts »). Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29244258" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f1bb8e9e215d47822e73f3aa9212db44" rel="nofollow" data-download="{"attachment_id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49693968/download_file?st=MTczMjkyODg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="52648405" href="https://paris-sorbonne.academia.edu/VincentCitot">Vincent Citot</a><script data-card-contents-for-user="52648405" type="text/json">{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=75948","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}</script></span></span></li><li class="js-paper-rank-work_29244258 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29244258"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29244258, container: ".js-paper-rank-work_29244258", }); 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$(".js-view-count[data-work-id=29244258]").text(description); $(".js-view-count-work_29244258").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29244258").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29244258"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="68023" href="https://www.academia.edu/Documents/in/Beauty">Beauty</a>, <script data-card-contents-for-ri="68023" type="text/json">{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a><script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29244258]'), work: {"id":29244258,"title":"Illusions et exigences du jugement esthétique","created_at":"2016-10-18T10:34:27.555-07:00","url":"https://www.academia.edu/29244258/Illusions_et_exigences_du_jugement_esth%C3%A9tique?f_ri=75948","dom_id":"work_29244258","summary":"L’appréciation esthétique oscille le plus souvent, tel un pendule, entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la formule du relativisme : « à chacun ses goûts »). Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.","downloadable_attachments":[{"id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=75948","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948","nofollow":false},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":647748,"name":"Esthétique , Philosophie De L'Art","url":"https://www.academia.edu/Documents/in/Esthetique_Philosophie_De_LArt?f_ri=75948"},{"id":959141,"name":"Philosophy of Beauty","url":"https://www.academia.edu/Documents/in/Philosophy_of_Beauty?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9767090" data-work_id="9767090" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9767090/Karl_Philipp_Moritz_Sur_lornement">Karl Philipp Moritz, Sur l'ornement</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Éditions Rue d'Ulm (coll. Æsthetica), 2008 Traduction et introduction par Clara Pacquet Postface de Danièle Cohn * La dispute de l'ornement — que nous ont rendue familière les travaux de l'historien de l'art Aloïs Riegl et le célèbre... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9767090" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Éditions Rue d'Ulm (coll. Æsthetica), 2008 <br />Traduction et introduction par Clara Pacquet <br />Postface de Danièle Cohn <br />* <br />La dispute de l'ornement — que nous ont rendue familière les travaux de l'historien de l'art Aloïs Riegl et le célèbre pamphlet d'Adolf Loos, tout comme les prises de positions des artistes du modernisme et du minimal art — a une longue histoire. Les Concepts préliminaires en vue d'une théorie des ornements de Karl Philip Moritz, rédigés en 1793, constituent une étape décisive. Écrit par l'un des tenants de la Klassik, héritier de Winckelmann et de Herder, dont l'influence sur Goethe est notoire, l'ouvrage étonne par son enquête empirique et sa pratique de la description. Une théorie des ornements et non de l'ornement se construit dans l'étude des motifs, la connaissance des productions qu'un long voyage en Italie et l'observation des demeures berlinoises ont procurées à l'auteur. <br /> <br />Moritz montre que la pensée de l'ornement est une pièce maîtresse de la réflexion esthétique sur la beauté. À l'opposé de l'allégorie, les ornements sont des formes libres qui n'imitent rien, qui n'ont pas de signification. Ils dévoilent la dimension anthropologique du besoin d'art et contribuent à la promotion de l'imagination.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9767090" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="693de07ab73e3ced29914e49d795aeb9" rel="nofollow" data-download="{"attachment_id":47434513,"asset_id":9767090,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47434513/download_file?st=MTczMjkyODg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22200429" href="https://esapb.academia.edu/ClaraPacquet">Clara Pacquet</a><script data-card-contents-for-user="22200429" type="text/json">{"id":22200429,"first_name":"Clara","last_name":"Pacquet","domain_name":"esapb","page_name":"ClaraPacquet","display_name":"Clara Pacquet","profile_url":"https://esapb.academia.edu/ClaraPacquet?f_ri=75948","photo":"https://0.academia-photos.com/22200429/6078672/21214766/s65_clara.pacquet.png"}</script></span></span></li><li class="js-paper-rank-work_9767090 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9767090"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9767090, container: ".js-paper-rank-work_9767090", }); 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Æsthetica), 2008\r\nTraduction et introduction par Clara Pacquet\r\nPostface de Danièle Cohn\r\n*\r\nLa dispute de l'ornement — que nous ont rendue familière les travaux de l'historien de l'art Aloïs Riegl et le célèbre pamphlet d'Adolf Loos, tout comme les prises de positions des artistes du modernisme et du minimal art — a une longue histoire. Les Concepts préliminaires en vue d'une théorie des ornements de Karl Philip Moritz, rédigés en 1793, constituent une étape décisive. Écrit par l'un des tenants de la Klassik, héritier de Winckelmann et de Herder, dont l'influence sur Goethe est notoire, l'ouvrage étonne par son enquête empirique et sa pratique de la description. Une théorie des ornements et non de l'ornement se construit dans l'étude des motifs, la connaissance des productions qu'un long voyage en Italie et l'observation des demeures berlinoises ont procurées à l'auteur.\r\n\r\nMoritz montre que la pensée de l'ornement est une pièce maîtresse de la réflexion esthétique sur la beauté. À l'opposé de l'allégorie, les ornements sont des formes libres qui n'imitent rien, qui n'ont pas de signification. Ils dévoilent la dimension anthropologique du besoin d'art et contribuent à la promotion de l'imagination. ","downloadable_attachments":[{"id":47434513,"asset_id":9767090,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22200429,"first_name":"Clara","last_name":"Pacquet","domain_name":"esapb","page_name":"ClaraPacquet","display_name":"Clara Pacquet","profile_url":"https://esapb.academia.edu/ClaraPacquet?f_ri=75948","photo":"https://0.academia-photos.com/22200429/6078672/21214766/s65_clara.pacquet.png"}],"research_interests":[{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948","nofollow":false},{"id":565739,"name":"Karl Philipp Moritz","url":"https://www.academia.edu/Documents/in/Karl_Philipp_Moritz?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50130093" data-work_id="50130093" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/50130093/Le_nocturne_et_l%C3%A9mergence_de_la_couleur_cin%C3%A9ma_et_photographie">Le nocturne et l'émergence de la couleur : cinéma et photographie</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50130093" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7bb6e390b51113be0f3983026e6b2294" rel="nofollow" data-download="{"attachment_id":68231024,"asset_id":50130093,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68231024/download_file?st=MTczMjkyODg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6346303" href="https://univparis3.academia.edu/LANGENDORFFJUDITH">LANGENDORFF JUDITH</a><script data-card-contents-for-user="6346303" type="text/json">{"id":6346303,"first_name":"LANGENDORFF","last_name":"JUDITH","domain_name":"univparis3","page_name":"LANGENDORFFJUDITH","display_name":"LANGENDORFF JUDITH","profile_url":"https://univparis3.academia.edu/LANGENDORFFJUDITH?f_ri=75948","photo":"https://0.academia-photos.com/6346303/2586981/3005108/s65_langendorff.judith.jpg"}</script></span></span></li><li class="js-paper-rank-work_50130093 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50130093"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50130093, container: ".js-paper-rank-work_50130093", }); 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(Ed. Pontcerq)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Ouvrage collectif dirigé par Christophe David et Florent Perrier<br />ISBN 978-2-919648-24-5</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39124331" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="954003b4defdb9bc0abd2b85c31f0aa3" rel="nofollow" data-download="{"attachment_id":59245406,"asset_id":39124331,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59245406/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47528426" href="https://univ-rennes2.academia.edu/JoanaDesplatRoger">Joana Desplat-Roger</a><script data-card-contents-for-user="47528426" type="text/json">{"id":47528426,"first_name":"Joana","last_name":"Desplat-Roger","domain_name":"univ-rennes2","page_name":"JoanaDesplatRoger","display_name":"Joana Desplat-Roger","profile_url":"https://univ-rennes2.academia.edu/JoanaDesplatRoger?f_ri=75948","photo":"https://0.academia-photos.com/47528426/23215445/22312211/s65_joana.desplat-roger.jpg"}</script></span></span></li><li class="js-paper-rank-work_39124331 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39124331"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39124331, container: ".js-paper-rank-work_39124331", }); 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$(".js-view-count[data-work-id=39124331]").text(description); $(".js-view-count-work_39124331").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39124331").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39124331"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17223" href="https://www.academia.edu/Documents/in/Jazz_Studies">Jazz Studies</a>, <script data-card-contents-for-ri="17223" type="text/json">{"id":17223,"name":"Jazz Studies","url":"https://www.academia.edu/Documents/in/Jazz_Studies?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21765" href="https://www.academia.edu/Documents/in/Adorno">Adorno</a>, <script data-card-contents-for-ri="21765" type="text/json">{"id":21765,"name":"Adorno","url":"https://www.academia.edu/Documents/in/Adorno?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a>, <script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="94080" href="https://www.academia.edu/Documents/in/Philosophie_Esthetique">Philosophie Esthetique</a><script data-card-contents-for-ri="94080" type="text/json">{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39124331]'), work: {"id":39124331,"title":"\"Des écrits sur le jazz à Théorie esthétique: Adorno contorsionniste\", in Où en sommes-nous avec la Théorie Esthétique d'Adorno? (Ed. Pontcerq)","created_at":"2019-05-14T04:49:22.843-07:00","url":"https://www.academia.edu/39124331/_Des_%C3%A9crits_sur_le_jazz_%C3%A0_Th%C3%A9orie_esth%C3%A9tique_Adorno_contorsionniste_in_O%C3%B9_en_sommes_nous_avec_la_Th%C3%A9orie_Esth%C3%A9tique_dAdorno_Ed_Pontcerq_?f_ri=75948","dom_id":"work_39124331","summary":"Ouvrage collectif dirigé par Christophe David et Florent Perrier\nISBN 978-2-919648-24-5","downloadable_attachments":[{"id":59245406,"asset_id":39124331,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":47528426,"first_name":"Joana","last_name":"Desplat-Roger","domain_name":"univ-rennes2","page_name":"JoanaDesplatRoger","display_name":"Joana Desplat-Roger","profile_url":"https://univ-rennes2.academia.edu/JoanaDesplatRoger?f_ri=75948","photo":"https://0.academia-photos.com/47528426/23215445/22312211/s65_joana.desplat-roger.jpg"}],"research_interests":[{"id":17223,"name":"Jazz Studies","url":"https://www.academia.edu/Documents/in/Jazz_Studies?f_ri=75948","nofollow":false},{"id":21765,"name":"Adorno","url":"https://www.academia.edu/Documents/in/Adorno?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35078962" data-work_id="35078962" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35078962/Michel_Chion_Un_art_sonore_le_cin%C3%A9ma_Paris_Cahiers_du_cin%C3%A9ma_2003">Michel Chion, Un art sonore, le cinéma, Paris, Cahiers du cinéma, 2003</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Perception et média, cinéma et théorie, sémiotique et poétiques... Le point, à partir de M. Chion.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35078962" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ec3036fdf86a0e494cb09c3103251331" rel="nofollow" data-download="{"attachment_id":54939668,"asset_id":35078962,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54939668/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="757678" href="https://uni-lu.academia.edu/GianMariaTore">Gian Maria Tore</a><script data-card-contents-for-user="757678" type="text/json">{"id":757678,"first_name":"Gian Maria","last_name":"Tore","domain_name":"uni-lu","page_name":"GianMariaTore","display_name":"Gian Maria Tore","profile_url":"https://uni-lu.academia.edu/GianMariaTore?f_ri=75948","photo":"https://0.academia-photos.com/757678/17718250/17753354/s65_gian_maria.tore.jpg"}</script></span></span></li><li class="js-paper-rank-work_35078962 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35078962"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35078962, container: ".js-paper-rank-work_35078962", }); });</script></li><li class="js-percentile-work_35078962 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35078962; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35078962"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35078962 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35078962"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35078962; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35078962]").text(description); $(".js-view-count-work_35078962").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35078962").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35078962"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="867" href="https://www.academia.edu/Documents/in/Perception">Perception</a>, <script data-card-contents-for-ri="867" type="text/json">{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a><script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35078962]'), work: {"id":35078962,"title":"Michel Chion, Un art sonore, le cinéma, Paris, Cahiers du cinéma, 2003","created_at":"2017-11-07T09:00:58.757-08:00","url":"https://www.academia.edu/35078962/Michel_Chion_Un_art_sonore_le_cin%C3%A9ma_Paris_Cahiers_du_cin%C3%A9ma_2003?f_ri=75948","dom_id":"work_35078962","summary":"Perception et média, cinéma et théorie, sémiotique et poétiques... Le point, à partir de M. 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Esthétique, psychologie et anthropologie chez Karl Philipp Moritz (1756-93)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Karl Philipp Moritz reste encore plutôt confidentiel en France, alors qu’il est un auteur essentiel pour comprendre ce qui se joue au XVIIIe s. autour de la formation de l’esthétique comme discipline philosophique, mais aussi comme... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10282885" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Karl Philipp Moritz reste encore plutôt confidentiel en France, alors qu’il est un auteur essentiel pour comprendre ce qui se joue au XVIIIe s. autour de la formation de l’esthétique comme discipline philosophique, mais aussi comme recherche expérimentale, terrain littéraire et lieu d’expression d’une critique d’art. Précurseur d’une vision pédagogique de l’expérience de l’art, il ancre le débat esthétique d’emblée dans une dimension qui dépasse le strict champ de l’art pour aller vers la psychologie et l’anthropologie. Moritz était d’abord connu de son vivant en tant que psychologue et écrivain. Il crée la première revue de psychologie expérimentale où des écrits de spécialistes – médecins ou philosophes – côtoient des rapports de police, des autobiographies réelles ou imaginaires, des récits de rêves par des anonymes et des extraits littéraires. Moritz se fait connaître également par ses écrits sur l’art dont le plus connu fut rédigé à Rome en 1786 aux côtés de Goethe qui reprendra à son compte plusieurs de ses idées. Moritz devient par la suite professeur à l’Académie des Beaux-arts de Berlin où il enseignera la théorie de l’art. Son éclectisme marquera ainsi toute une génération d’artistes et de théoriciens comme Jean Paul, Friedrich Schlegel ou Schiller.<br /><br />Le mérite de Moritz est d’avoir su marier, grâce à une définition dynamique de l’œuvre d’art, une théorie de la création avec une théorie de la réception faisant de l’artiste un spectateur face à la nature et du spectateur l’artisan de la relation qu’il construit avec l’œuvre d’art.<br /><br />En effet, chez Moritz, l’œuvre acquiert pour la première fois dans l’histoire de la théorie de l’art le statut d’un objet radicalement autonome dont le corps reste pourtant fragmentaire, incomplet, car assimilé à la trace restant d’un mouvement créateur qui ne saurait être plein que dans l’acte présent. Moritz pose ainsi les jalons d’un débat sur la part d’histoire et la part d’expérience immédiate dans l’art qui se poursuit encore aujourd’hui.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10282885" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f8ac1e171a042bf16714a89c911c2985" rel="nofollow" data-download="{"attachment_id":36363528,"asset_id":10282885,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36363528/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22200429" href="https://esapb.academia.edu/ClaraPacquet">Clara Pacquet</a><script data-card-contents-for-user="22200429" type="text/json">{"id":22200429,"first_name":"Clara","last_name":"Pacquet","domain_name":"esapb","page_name":"ClaraPacquet","display_name":"Clara Pacquet","profile_url":"https://esapb.academia.edu/ClaraPacquet?f_ri=75948","photo":"https://0.academia-photos.com/22200429/6078672/21214766/s65_clara.pacquet.png"}</script></span></span></li><li class="js-paper-rank-work_10282885 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10282885"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10282885, container: ".js-paper-rank-work_10282885", }); 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$(".js-view-count[data-work-id=10282885]").text(description); $(".js-view-count-work_10282885").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10282885").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10282885"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a>, <script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="92320" href="https://www.academia.edu/Documents/in/%C3%84sthetik">Ästhetik</a>, <script data-card-contents-for-ri="92320" type="text/json">{"id":92320,"name":"Ästhetik","url":"https://www.academia.edu/Documents/in/%C3%84sthetik?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="107427" href="https://www.academia.edu/Documents/in/Aufkl%C3%A4rung">Aufklärung</a>, <script data-card-contents-for-ri="107427" type="text/json">{"id":107427,"name":"Aufklärung","url":"https://www.academia.edu/Documents/in/Aufkl%C3%A4rung?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="565739" href="https://www.academia.edu/Documents/in/Karl_Philipp_Moritz">Karl Philipp Moritz</a><script data-card-contents-for-ri="565739" type="text/json">{"id":565739,"name":"Karl Philipp Moritz","url":"https://www.academia.edu/Documents/in/Karl_Philipp_Moritz?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10282885]'), work: {"id":10282885,"title":"Signature et achevé en soi. Esthétique, psychologie et anthropologie chez Karl Philipp Moritz (1756-93)","created_at":"2015-01-22T08:05:42.477-08:00","url":"https://www.academia.edu/10282885/Signature_et_acheve_en_soi_Esthe_tique_psychologie_et_anthropologie_chez_Karl_Philipp_Moritz_1756_93_?f_ri=75948","dom_id":"work_10282885","summary":"Karl Philipp Moritz reste encore plutôt confidentiel en France, alors qu’il est un auteur essentiel pour comprendre ce qui se joue au XVIIIe s. autour de la formation de l’esthétique comme discipline philosophique, mais aussi comme recherche expérimentale, terrain littéraire et lieu d’expression d’une critique d’art. Précurseur d’une vision pédagogique de l’expérience de l’art, il ancre le débat esthétique d’emblée dans une dimension qui dépasse le strict champ de l’art pour aller vers la psychologie et l’anthropologie. Moritz était d’abord connu de son vivant en tant que psychologue et écrivain. Il crée la première revue de psychologie expérimentale où des écrits de spécialistes – médecins ou philosophes – côtoient des rapports de police, des autobiographies réelles ou imaginaires, des récits de rêves par des anonymes et des extraits littéraires. Moritz se fait connaître également par ses écrits sur l’art dont le plus connu fut rédigé à Rome en 1786 aux côtés de Goethe qui reprendra à son compte plusieurs de ses idées. Moritz devient par la suite professeur à l’Académie des Beaux-arts de Berlin où il enseignera la théorie de l’art. Son éclectisme marquera ainsi toute une génération d’artistes et de théoriciens comme Jean Paul, Friedrich Schlegel ou Schiller.\n\nLe mérite de Moritz est d’avoir su marier, grâce à une définition dynamique de l’œuvre d’art, une théorie de la création avec une théorie de la réception faisant de l’artiste un spectateur face à la nature et du spectateur l’artisan de la relation qu’il construit avec l’œuvre d’art.\n\nEn effet, chez Moritz, l’œuvre acquiert pour la première fois dans l’histoire de la théorie de l’art le statut d’un objet radicalement autonome dont le corps reste pourtant fragmentaire, incomplet, car assimilé à la trace restant d’un mouvement créateur qui ne saurait être plein que dans l’acte présent. Moritz pose ainsi les jalons d’un débat sur la part d’histoire et la part d’expérience immédiate dans l’art qui se poursuit encore aujourd’hui.","downloadable_attachments":[{"id":36363528,"asset_id":10282885,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22200429,"first_name":"Clara","last_name":"Pacquet","domain_name":"esapb","page_name":"ClaraPacquet","display_name":"Clara Pacquet","profile_url":"https://esapb.academia.edu/ClaraPacquet?f_ri=75948","photo":"https://0.academia-photos.com/22200429/6078672/21214766/s65_clara.pacquet.png"}],"research_interests":[{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":92320,"name":"Ästhetik","url":"https://www.academia.edu/Documents/in/%C3%84sthetik?f_ri=75948","nofollow":false},{"id":107427,"name":"Aufklärung","url":"https://www.academia.edu/Documents/in/Aufkl%C3%A4rung?f_ri=75948","nofollow":false},{"id":565739,"name":"Karl Philipp Moritz","url":"https://www.academia.edu/Documents/in/Karl_Philipp_Moritz?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39247850 coauthored" data-work_id="39247850" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39247850/M_Laval_Jeantet_P_Stellino_G_Bagnolini_eds_Bioart_et_%C3%A9thique_Montreuil_%C3%A9ditions_CQFD_2019">M. Laval-Jeantet, P. Stellino, G. Bagnolini (eds.), Bioart et éthique. Montreuil: éditions CQFD, 2019.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this volume, philosophers, bioartists and art critics address the question of the relation between bioart and ethics. This volume also contained the first Manifesto of Bioarte (French and English version), signed by George Gessert,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39247850" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this volume, philosophers, bioartists and art critics address the question of the relation between bioart and ethics. This volume also contained the first Manifesto of Bioarte (French and English version), signed by George Gessert, Eduardo Kac, Marion Laval-Jeantet, Benoît Mangin, Marta de Menezes, and Paul Vanouse.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39247850" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6e97d38c0030cdbfe5af7b1ebcd8738b" rel="nofollow" data-download="{"attachment_id":59379820,"asset_id":39247850,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59379820/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="823221" href="https://fcsh-unl.academia.edu/PaoloStellino">Paolo Stellino</a><script data-card-contents-for-user="823221" type="text/json">{"id":823221,"first_name":"Paolo","last_name":"Stellino","domain_name":"fcsh-unl","page_name":"PaoloStellino","display_name":"Paolo Stellino","profile_url":"https://fcsh-unl.academia.edu/PaoloStellino?f_ri=75948","photo":"https://0.academia-photos.com/823221/288716/36036355/s65_paolo.stellino.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-39247850">+2</span><div class="hidden js-additional-users-39247850"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://univ-paris1.academia.edu/MarionLavalJeantet">Marion Laval-Jeantet</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/BenoitManginCqfd">Benoît Mangin-Cqfd</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-39247850'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-39247850').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39247850 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39247850"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39247850; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39247850]").text(description); $(".js-view-count-work_39247850").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39247850").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39247850"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="814" href="https://www.academia.edu/Documents/in/Ethics">Ethics</a>, <script data-card-contents-for-ri="814" type="text/json">{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39247850]'), work: {"id":39247850,"title":"M. Laval-Jeantet, P. Stellino, G. Bagnolini (eds.), Bioart et éthique. Montreuil: éditions CQFD, 2019.","created_at":"2019-05-24T05:01:52.108-07:00","url":"https://www.academia.edu/39247850/M_Laval_Jeantet_P_Stellino_G_Bagnolini_eds_Bioart_et_%C3%A9thique_Montreuil_%C3%A9ditions_CQFD_2019?f_ri=75948","dom_id":"work_39247850","summary":"In this volume, philosophers, bioartists and art critics address the question of the relation between bioart and ethics. This volume also contained the first Manifesto of Bioarte (French and English version), signed by George Gessert, Eduardo Kac, Marion Laval-Jeantet, Benoît Mangin, Marta de Menezes, and Paul Vanouse.","downloadable_attachments":[{"id":59379820,"asset_id":39247850,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":823221,"first_name":"Paolo","last_name":"Stellino","domain_name":"fcsh-unl","page_name":"PaoloStellino","display_name":"Paolo Stellino","profile_url":"https://fcsh-unl.academia.edu/PaoloStellino?f_ri=75948","photo":"https://0.academia-photos.com/823221/288716/36036355/s65_paolo.stellino.jpg"},{"id":108475269,"first_name":"Marion","last_name":"Laval-Jeantet","domain_name":"univ-paris1","page_name":"MarionLavalJeantet","display_name":"Marion Laval-Jeantet","profile_url":"https://univ-paris1.academia.edu/MarionLavalJeantet?f_ri=75948","photo":"https://0.academia-photos.com/108475269/111469673/100725379/s65_marion.laval-jeantet.png"},{"id":116470790,"first_name":"Benoît","last_name":"Mangin-Cqfd","domain_name":"independent","page_name":"BenoitManginCqfd","display_name":"Benoît Mangin-Cqfd","profile_url":"https://independent.academia.edu/BenoitManginCqfd?f_ri=75948","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=75948","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false},{"id":1414,"name":"Bioethics","url":"https://www.academia.edu/Documents/in/Bioethics?f_ri=75948"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=75948"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948"},{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology?f_ri=75948"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart?f_ri=75948"},{"id":15341,"name":"Aesthetics and Ethics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Ethics?f_ri=75948"},{"id":18373,"name":"Moral Philosophy","url":"https://www.academia.edu/Documents/in/Moral_Philosophy?f_ri=75948"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=75948"},{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=75948"},{"id":68397,"name":"Éthique","url":"https://www.academia.edu/Documents/in/%C3%89thique?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=75948"},{"id":647748,"name":"Esthétique , Philosophie De L'Art","url":"https://www.academia.edu/Documents/in/Esthetique_Philosophie_De_LArt?f_ri=75948"},{"id":852969,"name":"Bioarts","url":"https://www.academia.edu/Documents/in/Bioarts?f_ri=75948"},{"id":972044,"name":"Bioarte","url":"https://www.academia.edu/Documents/in/Bioarte?f_ri=75948"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44726031" data-work_id="44726031" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44726031/Trichilia_catigua_extracts_with_antibacterial_activity_for_the_treatment_of_acne_vulgaris_topical_formulation">Trichilia catigua extracts with antibacterial activity for the treatment of acne vulgaris: topical formulation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The plants are possible sources of substances with antimicrobial activity, which have been extensively studied. The barks of Trichilia catigua are mainly used as stimulants, antioxidant, analgesic, vasodilator, antimicrobial,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44726031" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The plants are possible sources of substances with antimicrobial activity, which have been extensively studied. The barks of Trichilia catigua are mainly used as stimulants, antioxidant, analgesic, vasodilator, antimicrobial, anti-inflammatory and anti-depressant. In the folk medicine their extracts are used as tonic for the treatment of fatigue, stress, impotence and memory deficits. The barks extract has a high content of phenolic compounds, including flavonoids and tannins. This study aimed to evaluate the in vitro antimicrobial activity against major microorganisms present on skin with acne of fifteen crude extracts obtained from T. catigua bark. We further aimed to use selected extracts to develop a cosmetic formulation for the treatment of acne vulgaris. The tests performed included disk diffusion in agar, determination of minimum inhibitory concentration (MIC), time-kill and survival curve analyses, and scanning electron microscopy analyses. The bacterial strains tested were Escherichia coli, Pseudomonas aeruginosa, Staphylococcus aureus, Methicillin-Resistant Staphylococcus aureus (MRSA), Staphylococcus epidermidis, Cutibacterium acnes, and Bacillus cereus. Potent antimicrobial activity was exhibited by the TCE01 (water), TCE02 (methanol), and TCE12 (water: methanol: ethanol: 1:1:1, v/v) extracts. However, when included in cosmetic formulations, they showed different activities. All formulations showed non-Newtonian behavior and pseudoplastic flow, in addition to thixotropy. Formulations containing TCE02 and TCE12 at 1.0% (w/w) of extracts exhibited antimicrobial activity in topical formulations for acne treatment.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44726031" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6e016229163ff7209f896c6611b496f9" rel="nofollow" data-download="{"attachment_id":65208686,"asset_id":44726031,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65208686/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10611381" href="https://independent.academia.edu/JournalofAppliedPharmaceuticalSciences">Journal of Applied Pharmaceutical Sciences</a><script data-card-contents-for-user="10611381" type="text/json">{"id":10611381,"first_name":"Journal of Applied","last_name":"Pharmaceutical Sciences","domain_name":"independent","page_name":"JournalofAppliedPharmaceuticalSciences","display_name":"Journal of Applied Pharmaceutical Sciences","profile_url":"https://independent.academia.edu/JournalofAppliedPharmaceuticalSciences?f_ri=75948","photo":"https://0.academia-photos.com/10611381/3201420/39536138/s65_journal_of_applied.pharmaceutical_sciences.png"}</script></span></span></li><li class="js-paper-rank-work_44726031 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44726031"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44726031, container: ".js-paper-rank-work_44726031", }); 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The barks of Trichilia catigua are mainly used as stimulants, antioxidant, analgesic, vasodilator, antimicrobial, anti-inflammatory and anti-depressant. In the folk medicine their extracts are used as tonic for the treatment of fatigue, stress, impotence and memory deficits. The barks extract has a high content of phenolic compounds, including flavonoids and tannins. This study aimed to evaluate the in vitro antimicrobial activity against major microorganisms present on skin with acne of fifteen crude extracts obtained from T. catigua bark. We further aimed to use selected extracts to develop a cosmetic formulation for the treatment of acne vulgaris. The tests performed included disk diffusion in agar, determination of minimum inhibitory concentration (MIC), time-kill and survival curve analyses, and scanning electron microscopy analyses. The bacterial strains tested were Escherichia coli, Pseudomonas aeruginosa, Staphylococcus aureus, Methicillin-Resistant Staphylococcus aureus (MRSA), Staphylococcus epidermidis, Cutibacterium acnes, and Bacillus cereus. Potent antimicrobial activity was exhibited by the TCE01 (water), TCE02 (methanol), and TCE12 (water: methanol: ethanol: 1:1:1, v/v) extracts. However, when included in cosmetic formulations, they showed different activities. All formulations showed non-Newtonian behavior and pseudoplastic flow, in addition to thixotropy. Formulations containing TCE02 and TCE12 at 1.0% (w/w) of extracts exhibited antimicrobial activity in topical formulations for acne treatment.","downloadable_attachments":[{"id":65208686,"asset_id":44726031,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10611381,"first_name":"Journal of Applied","last_name":"Pharmaceutical Sciences","domain_name":"independent","page_name":"JournalofAppliedPharmaceuticalSciences","display_name":"Journal of Applied Pharmaceutical Sciences","profile_url":"https://independent.academia.edu/JournalofAppliedPharmaceuticalSciences?f_ri=75948","photo":"https://0.academia-photos.com/10611381/3201420/39536138/s65_journal_of_applied.pharmaceutical_sciences.png"}],"research_interests":[{"id":656,"name":"Pharmacy","url":"https://www.academia.edu/Documents/in/Pharmacy?f_ri=75948","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=75948","nofollow":false},{"id":54650,"name":"Pharmaceuticals","url":"https://www.academia.edu/Documents/in/Pharmaceuticals?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":152341,"name":"Acne Vulgaris","url":"https://www.academia.edu/Documents/in/Acne_Vulgaris?f_ri=75948"},{"id":247651,"name":"Cosmetology","url":"https://www.academia.edu/Documents/in/Cosmetology?f_ri=75948"},{"id":269223,"name":"Cosmetics","url":"https://www.academia.edu/Documents/in/Cosmetics?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40048630" data-work_id="40048630" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40048630/L_obscure_transparence_de_loeuvre_dart_une_approche_ph%C3%A9nom%C3%A9nologique">L' obscure transparence de l'oeuvre d'art: une approche phénoménologique.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Les colloques et expositions internationaux TRANSPARENCE/TRANSPARAÎTRE sont organisés au Québec (Trois-Rivières, volet 2018) et en France (Amiens, volet 2019) par le Groupe de recherche URAV (Unité de Recherche en Art Visuel) de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40048630" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Les colloques et expositions internationaux TRANSPARENCE/TRANSPARAÎTRE sont organisés au Québec (Trois-Rivières, volet 2018) et en France (Amiens, volet 2019) par le Groupe de recherche URAV (Unité de Recherche en Art Visuel) de l’Université du Québec à Trois-Rivières et le CRAE (Centre de Recherche en Arts et en Esthétique - EA 4291) de l’Université de Picardie Jules Verne.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue 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Marion</a><script data-card-contents-for-ri="15349" type="text/json">{"id":15349,"name":"Jean-Luc Marion","url":"https://www.academia.edu/Documents/in/Jean-Luc_Marion?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40048630]'), work: {"id":40048630,"title":"L' obscure transparence de l'oeuvre d'art: une approche phénoménologique.","created_at":"2019-08-09T12:38:58.849-07:00","url":"https://www.academia.edu/40048630/L_obscure_transparence_de_loeuvre_dart_une_approche_ph%C3%A9nom%C3%A9nologique?f_ri=75948","dom_id":"work_40048630","summary":"Les colloques et expositions internationaux TRANSPARENCE/TRANSPARAÎTRE sont organisés au Québec (Trois-Rivières, volet 2018) et en France (Amiens, volet 2019) par le Groupe de recherche URAV (Unité de Recherche en Art Visuel) de l’Université du Québec à Trois-Rivières et le CRAE (Centre de Recherche en Arts et en Esthétique - EA 4291) de l’Université de Picardie Jules Verne.\n","downloadable_attachments":[{"id":60869961,"asset_id":40048630,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10740213,"first_name":"Pamela","last_name":"Krause","domain_name":"paris-sorbonne","page_name":"PamelaKrause","display_name":"Pamela Krause","profile_url":"https://paris-sorbonne.academia.edu/PamelaKrause?f_ri=75948","photo":"https://0.academia-photos.com/10740213/3227650/143672742/s65_pamela.krause.jpg"}],"research_interests":[{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=75948","nofollow":false},{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=75948","nofollow":false},{"id":13791,"name":"Michel Henry","url":"https://www.academia.edu/Documents/in/Michel_Henry?f_ri=75948","nofollow":false},{"id":15349,"name":"Jean-Luc Marion","url":"https://www.academia.edu/Documents/in/Jean-Luc_Marion?f_ri=75948","nofollow":false},{"id":68947,"name":"Phénoménologie","url":"https://www.academia.edu/Documents/in/Ph%C3%A9nom%C3%A9nologie?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":933404,"name":"Littérature Et Philosophie","url":"https://www.academia.edu/Documents/in/Litterature_Et_Philosophie?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45831539 coauthored" data-work_id="45831539" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45831539/Des_dieux_complices_des_narcos_Religions_afro_cubaines_et_activit%C3%A9s_illicites_en_Colombie">Des dieux complices des narcos? Religions afro-cubaines et activités illicites en Colombie</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Résumé: Dans les années 1980-1990, des narcotrafiquants colombiens firent venir depuis Cuba des spécialistes rituels des religions afro-cubaines afin d’assurer une protection magique à leurs activités illicites. Ces religions, alors peu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45831539" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Résumé: Dans les années 1980-1990, des narcotrafiquants colombiens firent venir depuis Cuba des spécialistes rituels des religions afro-cubaines afin d’assurer une protection magique à leurs activités illicites. Ces religions, alors peu répandues en Colombie, connurent une soudaine expansion dans les milieux interlopes. En interrogeant une forme très particulière de transnationalisation religieuse, cet article examine comment ces religions en sont venues à constituer une composante de l’identité et de la culture narcos, et comment en retour cette proximité avec les narcotrafiquants a influencé la forme et la nature de l’activité religieuse.<br /><br />Mot-clé: plasticité, esthétique, éthique pragmatique, sous-culture narco-religieuse.<br /><br />Abstract: In the 1980s and 1990s, Columbian drug traffickers arranged for ritual specialists from Afro-Cuban religious traditions, to be brought over from Cuba to provide magical protection for their illicit activities. Having been little known or practiced in Columbia, Afro-Cuban religions exploded in its criminal underworld. This article interrogates a very particular form of religious transnationalism to examine how these religions came to constitute an element of narco identity and how, in turn, proximity with narco-traffickers influenced the form and nature of Afro-Cuban religious practices.<br />Keywords: plasticity, aesthetics, ethical pragmatism, religious subcultures of drug-trafficking.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45831539" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c7080ac5ad7a9e103c59af0014e89757" rel="nofollow" data-download="{"attachment_id":66205426,"asset_id":45831539,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66205426/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="246970" href="https://uniandes.academia.edu/LuisCarlosCastroRam%C3%ADrez">Luis Carlos Castro Ramirez</a><script data-card-contents-for-user="246970" type="text/json">{"id":246970,"first_name":"Luis Carlos","last_name":"Castro Ramirez","domain_name":"uniandes","page_name":"LuisCarlosCastroRamírez","display_name":"Luis Carlos Castro Ramirez","profile_url":"https://uniandes.academia.edu/LuisCarlosCastroRam%C3%ADrez?f_ri=75948","photo":"https://0.academia-photos.com/246970/53407/43173103/s65_luis_carlos.castro_ramirez.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-45831539">+1</span><div class="hidden js-additional-users-45831539"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cnrs.academia.edu/KaterinaKerestetzi">Katerina Kerestetzi</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-45831539'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-45831539').html(); 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Religions afro-cubaines et activités illicites en Colombie","created_at":"2021-04-07T12:42:52.251-07:00","url":"https://www.academia.edu/45831539/Des_dieux_complices_des_narcos_Religions_afro_cubaines_et_activit%C3%A9s_illicites_en_Colombie?f_ri=75948","dom_id":"work_45831539","summary":"Résumé: Dans les années 1980-1990, des narcotrafiquants colombiens firent venir depuis Cuba des spécialistes rituels des religions afro-cubaines afin d’assurer une protection magique à leurs activités illicites. Ces religions, alors peu répandues en Colombie, connurent une soudaine expansion dans les milieux interlopes. En interrogeant une forme très particulière de transnationalisation religieuse, cet article examine comment ces religions en sont venues à constituer une composante de l’identité et de la culture narcos, et comment en retour cette proximité avec les narcotrafiquants a influencé la forme et la nature de l’activité religieuse.\n\nMot-clé: plasticité, esthétique, éthique pragmatique, sous-culture narco-religieuse.\n\nAbstract: In the 1980s and 1990s, Columbian drug traffickers arranged for ritual specialists from Afro-Cuban religious traditions, to be brought over from Cuba to provide magical protection for their illicit activities. Having been little known or practiced in Columbia, Afro-Cuban religions exploded in its criminal underworld. This article interrogates a very particular form of religious transnationalism to examine how these religions came to constitute an element of narco identity and how, in turn, proximity with narco-traffickers influenced the form and nature of Afro-Cuban religious practices.\nKeywords: plasticity, aesthetics, ethical pragmatism, religious subcultures of drug-trafficking.\n","downloadable_attachments":[{"id":66205426,"asset_id":45831539,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":246970,"first_name":"Luis Carlos","last_name":"Castro Ramirez","domain_name":"uniandes","page_name":"LuisCarlosCastroRamírez","display_name":"Luis Carlos Castro Ramirez","profile_url":"https://uniandes.academia.edu/LuisCarlosCastroRam%C3%ADrez?f_ri=75948","photo":"https://0.academia-photos.com/246970/53407/43173103/s65_luis_carlos.castro_ramirez.jpg"},{"id":2017383,"first_name":"Katerina","last_name":"Kerestetzi","domain_name":"cnrs","page_name":"KaterinaKerestetzi","display_name":"Katerina Kerestetzi","profile_url":"https://cnrs.academia.edu/KaterinaKerestetzi?f_ri=75948","photo":"https://0.academia-photos.com/2017383/2738331/3507653/s65_katerina.kerestetzi.jpeg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":2380,"name":"Plasticity","url":"https://www.academia.edu/Documents/in/Plasticity?f_ri=75948","nofollow":false},{"id":3261,"name":"Colombia","url":"https://www.academia.edu/Documents/in/Colombia?f_ri=75948","nofollow":false},{"id":6248,"name":"Religious Ethics","url":"https://www.academia.edu/Documents/in/Religious_Ethics?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":79462,"name":"Ética","url":"https://www.academia.edu/Documents/in/%C3%89tica?f_ri=75948"},{"id":123613,"name":"Drug Trafficking","url":"https://www.academia.edu/Documents/in/Drug_Trafficking?f_ri=75948"},{"id":349588,"name":"Narcotráfico","url":"https://www.academia.edu/Documents/in/Narcotr%C3%A1fico?f_ri=75948"},{"id":373163,"name":"Ritual Practices","url":"https://www.academia.edu/Documents/in/Ritual_Practices?f_ri=75948"},{"id":400316,"name":"Plasticité","url":"https://www.academia.edu/Documents/in/Plasticite?f_ri=75948"},{"id":425027,"name":"Afro-Cuban Religions","url":"https://www.academia.edu/Documents/in/Afro-Cuban_Religions?f_ri=75948"},{"id":1287134,"name":"Santeria Cubana","url":"https://www.academia.edu/Documents/in/Santeria_Cubana?f_ri=75948"},{"id":1442429,"name":"Religiones Afrocubanas","url":"https://www.academia.edu/Documents/in/Religiones_Afrocubanas?f_ri=75948"},{"id":1598610,"name":"Cuban Santeria","url":"https://www.academia.edu/Documents/in/Cuban_Santeria?f_ri=75948"},{"id":2773271,"name":"Religiones de inspiración afro","url":"https://www.academia.edu/Documents/in/Religiones_de_inspiraci%C3%B3n_afro?f_ri=75948"},{"id":3407669,"name":"Afro-inspired religions","url":"https://www.academia.edu/Documents/in/Afro-inspired_religions?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44175777" data-work_id="44175777" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44175777/Du_mourir_de_la_statue_aux_proc%C3%A9d%C3%A9s_justes_de_loblit%C3%A9ration_Levinas_face_%C3%A0_loeuvre_de_Sosno_in_Nouvelle_Revue_dEsth%C3%A9tique_Presses_Universitaires_de_France_2020_">Du mourir de la statue aux procédés justes de l'oblitération : Levinas face à l'oeuvre de Sosno (in Nouvelle Revue d'Esthétique, Presses Universitaires de France, 2020)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cet article se donne pour tâche d’étudier la manière dont l’exposition à l’art d’oblitération du sculpteur Sacha Sosno conduit Levinas à décrire les portées ontologique et éthique de la pratique de la rature appliquée à des sculptures... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44175777" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet article se donne pour tâche d’étudier la manière dont l’exposition à l’art d’oblitération du sculpteur Sacha Sosno conduit Levinas à décrire les portées ontologique et éthique de la pratique de la rature appliquée à des sculptures archétypales de l’art classique : oblitération par le vide (découpe, percée, trouée) et oblitération par le plein (obtusion, enserrement). Quarante-deux ans après avoir considéré – dans « La réalité et son ombre » (1948) – que seule l’exégèse philosophique de l’art peut réintégrer l’œuvre dans le monde humain, Levinas reconnaît une prise de position éthique au sein même de la technique d’oblitération. En effet, dans De l’oblitération (1990), le philosophe affirme que les blessures infligées par la défaite des belles formes interrompent notre obstination inter-essée de persévérer dans l’être, révèlent la finitude et l’ambiguïté d’un visage à la fois visible et invisible, dénoncent les abus de la vie sociale, et suscitent la compassion et la responsabilité du spectateur.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44175777" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="62f5d03945ce16198357474071bc4feb" rel="nofollow" data-download="{"attachment_id":64536160,"asset_id":44175777,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64536160/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26327215" href="https://upedu.academia.edu/CesareDelMastro">Cesare Del Mastro</a><script data-card-contents-for-user="26327215" type="text/json">{"id":26327215,"first_name":"Cesare","last_name":"Del Mastro","domain_name":"upedu","page_name":"CesareDelMastro","display_name":"Cesare Del Mastro","profile_url":"https://upedu.academia.edu/CesareDelMastro?f_ri=75948","photo":"https://0.academia-photos.com/26327215/7352055/30594252/s65_cesare.del_mastro.jpg"}</script></span></span></li><li class="js-paper-rank-work_44175777 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44175777"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44175777, container: ".js-paper-rank-work_44175777", }); 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Quarante-deux ans après avoir considéré – dans « La réalité et son ombre » (1948) – que seule l’exégèse philosophique de l’art peut réintégrer l’œuvre dans le monde humain, Levinas reconnaît une prise de position éthique au sein même de la technique d’oblitération. En effet, dans De l’oblitération (1990), le philosophe affirme que les blessures infligées par la défaite des belles formes interrompent notre obstination inter-essée de persévérer dans l’être, révèlent la finitude et l’ambiguïté d’un visage à la fois visible et invisible, dénoncent les abus de la vie sociale, et suscitent la compassion et la responsabilité du spectateur.","downloadable_attachments":[{"id":64536160,"asset_id":44175777,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26327215,"first_name":"Cesare","last_name":"Del Mastro","domain_name":"upedu","page_name":"CesareDelMastro","display_name":"Cesare Del Mastro","profile_url":"https://upedu.academia.edu/CesareDelMastro?f_ri=75948","photo":"https://0.academia-photos.com/26327215/7352055/30594252/s65_cesare.del_mastro.jpg"}],"research_interests":[{"id":8411,"name":"Émmanuel Lévinas","url":"https://www.academia.edu/Documents/in/%C3%89mmanuel_L%C3%A9vinas?f_ri=75948","nofollow":false},{"id":68947,"name":"Phénoménologie","url":"https://www.academia.edu/Documents/in/Ph%C3%A9nom%C3%A9nologie?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38014137" data-work_id="38014137" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38014137/Caravage_juste_un_d%C3%A9tail_extrait_pdf">Caravage, juste un détail (extrait).pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Là, dans l’angle inférieur gauche de la couverture du Caravage de Mia Cinotti, j’ai vu surgir, d’entre les méandres de la broderie qui orne le col du jeune homme figurant parmi les Tricheurs, un sexe masculin. Gribouillé, certes, mais un... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38014137" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Là, dans l’angle inférieur gauche de la couverture du Caravage de Mia Cinotti, j’ai vu surgir, d’entre les méandres de la broderie qui orne le col du jeune homme figurant parmi les Tricheurs, un sexe masculin. Gribouillé, certes, mais un sexe masculin tout de même…</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38014137" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e6f64ec7b586f7a134ca6832ed7d8914" rel="nofollow" data-download="{"attachment_id":58034816,"asset_id":38014137,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58034816/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18248682" href="https://unifr-ch.academia.edu/JeremieKoering">Jeremie Koering</a><script data-card-contents-for-user="18248682" type="text/json">{"id":18248682,"first_name":"Jeremie","last_name":"Koering","domain_name":"unifr-ch","page_name":"JeremieKoering","display_name":"Jeremie Koering","profile_url":"https://unifr-ch.academia.edu/JeremieKoering?f_ri=75948","photo":"https://0.academia-photos.com/18248682/5797113/6587839/s65_jeremie.koering.jpg"}</script></span></span></li><li class="js-paper-rank-work_38014137 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38014137"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38014137, container: ".js-paper-rank-work_38014137", }); 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Gribouillé, certes, mais un sexe masculin tout de même…","downloadable_attachments":[{"id":58034816,"asset_id":38014137,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18248682,"first_name":"Jeremie","last_name":"Koering","domain_name":"unifr-ch","page_name":"JeremieKoering","display_name":"Jeremie Koering","profile_url":"https://unifr-ch.academia.edu/JeremieKoering?f_ri=75948","photo":"https://0.academia-photos.com/18248682/5797113/6587839/s65_jeremie.koering.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=75948","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=75948","nofollow":false},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=75948","nofollow":false},{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=75948"},{"id":72149,"name":"Caravaggio","url":"https://www.academia.edu/Documents/in/Caravaggio?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":97839,"name":"STORIA DELL'ARTE","url":"https://www.academia.edu/Documents/in/STORIA_DELLARTE?f_ri=75948"},{"id":100266,"name":"Kunstgeschichte","url":"https://www.academia.edu/Documents/in/Kunstgeschichte?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32129800" data-work_id="32129800" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32129800/Les_noms_du_per_Lart_exp%C3%A9rimental_et_l%C3%A9preuve_des_limites">Les noms du per. L'art expérimental et l'épreuve des limites.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32129800" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4cad9380d00b469a4a4709b37cc45262" rel="nofollow" data-download="{"attachment_id":52373523,"asset_id":32129800,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52373523/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7799925" href="https://head.academia.edu/DavidZERBIB">David ZERBIB</a><script data-card-contents-for-user="7799925" type="text/json">{"id":7799925,"first_name":"David","last_name":"ZERBIB","domain_name":"head","page_name":"DavidZERBIB","display_name":"David ZERBIB","profile_url":"https://head.academia.edu/DavidZERBIB?f_ri=75948","photo":"https://0.academia-photos.com/7799925/2769787/7036431/s65_david.zerbib.jpg"}</script></span></span></li><li class="js-paper-rank-work_32129800 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32129800"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32129800, container: ".js-paper-rank-work_32129800", }); 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Esthétiques de la redistribution du sensible</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’artiste donne-t-il plus à la communauté lorsqu’il élabore des stratégies d’attaque d’un ennemi identifié (le détournement du spectacle, selon Debord) ? Lorsqu’il met directement en circulation des images « émancipées » (le partage du... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38912311" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’artiste donne-t-il plus à la communauté lorsqu’il élabore des stratégies d’attaque d’un ennemi identifié (le détournement du spectacle, selon Debord) ? Lorsqu’il met directement en circulation des images « émancipées » (le partage du sensible, selon Rancière) ? Ou lorsqu’il réfléchit sa propre projection fantasmatique de l’autre dans le regard – et la voix  – qu’il reçoit (la traduction de la parole des subalternes, selon Spivak) ? Ses trois esthétiques et leur circuit du don respectif peuvent bien sûr se compléter l’une l’autre. Ainsi, chercher à conjoindre une stratégie de reconfiguration sensible et politique à long terme et à portée globale à de nouveaux partages du sensible hic et nunc semble un projet intéressant à soutenir. Ou encore, développer des scènes d’échange où le « recevoir » de l’autre – sa réception – est toujours attendu comme un contre-don qui permettra au donateur de se « revoir », de réfléchir son propre regard et d’amender ses jugements, semble un défit important à relever. D’autant que ce dispositif du « re-se-voir » ne vient pas remplacer les deux autres, mais, à certains égards, intègre le don par détournement, par négation de la négation, et le don par mise à disposition d’un tissu sensible égalitaire.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38912311" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d16cc5b90fdb110d841a44ece591f4ff" rel="nofollow" data-download="{"attachment_id":62178580,"asset_id":38912311,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62178580/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5167089" href="https://univ-paris1.academia.edu/JudithMichalet">Judith Michalet</a><script data-card-contents-for-user="5167089" type="text/json">{"id":5167089,"first_name":"Judith","last_name":"Michalet","domain_name":"univ-paris1","page_name":"JudithMichalet","display_name":"Judith Michalet","profile_url":"https://univ-paris1.academia.edu/JudithMichalet?f_ri=75948","photo":"https://0.academia-photos.com/5167089/2273060/128397499/s65_judith.michalet.jpg"}</script></span></span></li><li class="js-paper-rank-work_38912311 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38912311"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38912311, container: ".js-paper-rank-work_38912311", }); 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$(".js-view-count[data-work-id=38912311]").text(description); $(".js-view-count-work_38912311").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38912311").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38912311"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5193" href="https://www.academia.edu/Documents/in/Guy_Debord">Guy Debord</a>, <script data-card-contents-for-ri="5193" type="text/json">{"id":5193,"name":"Guy Debord","url":"https://www.academia.edu/Documents/in/Guy_Debord?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8760" href="https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re">Jacques Rancière</a>, <script data-card-contents-for-ri="8760" type="text/json">{"id":8760,"name":"Jacques Rancière","url":"https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="27500" href="https://www.academia.edu/Documents/in/Representation_Theory">Representation Theory</a>, <script data-card-contents-for-ri="27500" type="text/json">{"id":27500,"name":"Representation Theory","url":"https://www.academia.edu/Documents/in/Representation_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="54783" href="https://www.academia.edu/Documents/in/Marcel_Mauss">Marcel Mauss</a><script data-card-contents-for-ri="54783" type="text/json">{"id":54783,"name":"Marcel Mauss","url":"https://www.academia.edu/Documents/in/Marcel_Mauss?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38912311]'), work: {"id":38912311,"title":"MICHALET Détourner, partager ou re-se-voir ? 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Ainsi, chercher à conjoindre une stratégie de reconfiguration sensible et politique à long terme et à portée globale à de nouveaux partages du sensible hic et nunc semble un projet intéressant à soutenir. Ou encore, développer des scènes d’échange où le « recevoir » de l’autre – sa réception – est toujours attendu comme un contre-don qui permettra au donateur de se « revoir », de réfléchir son propre regard et d’amender ses jugements, semble un défit important à relever. D’autant que ce dispositif du « re-se-voir » ne vient pas remplacer les deux autres, mais, à certains égards, intègre le don par détournement, par négation de la négation, et le don par mise à disposition d’un tissu sensible égalitaire. \n","downloadable_attachments":[{"id":62178580,"asset_id":38912311,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5167089,"first_name":"Judith","last_name":"Michalet","domain_name":"univ-paris1","page_name":"JudithMichalet","display_name":"Judith Michalet","profile_url":"https://univ-paris1.academia.edu/JudithMichalet?f_ri=75948","photo":"https://0.academia-photos.com/5167089/2273060/128397499/s65_judith.michalet.jpg"}],"research_interests":[{"id":5193,"name":"Guy Debord","url":"https://www.academia.edu/Documents/in/Guy_Debord?f_ri=75948","nofollow":false},{"id":8760,"name":"Jacques Rancière","url":"https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re?f_ri=75948","nofollow":false},{"id":27500,"name":"Representation Theory","url":"https://www.academia.edu/Documents/in/Representation_Theory?f_ri=75948","nofollow":false},{"id":54783,"name":"Marcel Mauss","url":"https://www.academia.edu/Documents/in/Marcel_Mauss?f_ri=75948","nofollow":false},{"id":59003,"name":"Pier Paolo Pasolini","url":"https://www.academia.edu/Documents/in/Pier_Paolo_Pasolini?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":77997,"name":"Gayatri Spivak","url":"https://www.academia.edu/Documents/in/Gayatri_Spivak?f_ri=75948"},{"id":1261745,"name":"Don/Contre-don","url":"https://www.academia.edu/Documents/in/Don_Contre-don?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41387121" data-work_id="41387121" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41387121/Lexp%C3%A9rience_du_vide">L'expérience du vide</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A l'instar des développements techniques et conceptuels, l'art contemporain incite une révolution des perceptions et des rapports au « sens » de l'art ; ce dernier encore relégué à l'artefact visible. Seulement, l'art ne consiste pas à... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41387121" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A l'instar des développements techniques et conceptuels, l'art contemporain incite une révolution des perceptions et des rapports au « sens » de l'art ; ce dernier encore relégué à l'artefact visible. Seulement, l'art ne consiste pas à reproduire ou à créer des formes, mais à « capturer des forces » ; ce principe étant commun à tous les arts. L'art est un vide, à la fois plein et vide. Étendu, invisible, capté, perceptible, par qui le veut bien.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41387121" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb773fc52fc4984aab2c6fc905ad7707" rel="nofollow" data-download="{"attachment_id":61579821,"asset_id":41387121,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61579821/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="139874359" href="https://universite-lyon2.academia.edu/KimPisciotto">Kim Pisciotto</a><script data-card-contents-for-user="139874359" type="text/json">{"id":139874359,"first_name":"Kim","last_name":"Pisciotto","domain_name":"universite-lyon2","page_name":"KimPisciotto","display_name":"Kim Pisciotto","profile_url":"https://universite-lyon2.academia.edu/KimPisciotto?f_ri=75948","photo":"https://0.academia-photos.com/139874359/37638858/31775082/s65_kim.ono.jpg"}</script></span></span></li><li class="js-paper-rank-work_41387121 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41387121"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41387121, container: ".js-paper-rank-work_41387121", }); 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$(".js-view-count[data-work-id=41387121]").text(description); $(".js-view-count-work_41387121").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41387121").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41387121"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a><script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41387121]'), work: {"id":41387121,"title":"L'expérience du vide","created_at":"2019-12-21T23:45:51.411-08:00","url":"https://www.academia.edu/41387121/Lexp%C3%A9rience_du_vide?f_ri=75948","dom_id":"work_41387121","summary":"A l'instar des développements techniques et conceptuels, l'art contemporain incite une révolution des perceptions et des rapports au « sens » de l'art ; ce dernier encore relégué à l'artefact visible. Seulement, l'art ne consiste pas à reproduire ou à créer des formes, mais à « capturer des forces » ; ce principe étant commun à tous les arts. L'art est un vide, à la fois plein et vide. Étendu, invisible, capté, perceptible, par qui le veut bien.","downloadable_attachments":[{"id":61579821,"asset_id":41387121,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":139874359,"first_name":"Kim","last_name":"Pisciotto","domain_name":"universite-lyon2","page_name":"KimPisciotto","display_name":"Kim Pisciotto","profile_url":"https://universite-lyon2.academia.edu/KimPisciotto?f_ri=75948","photo":"https://0.academia-photos.com/139874359/37638858/31775082/s65_kim.ono.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=75948","nofollow":false},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=75948","nofollow":false},{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=75948"},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=75948"},{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=75948"},{"id":72460,"name":"Art history - contemporary art / conceptual art","url":"https://www.academia.edu/Documents/in/Art_history_-_contemporary_art_conceptual_art?f_ri=75948"},{"id":75947,"name":"Musique","url":"https://www.academia.edu/Documents/in/Musique?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":86640,"name":"Void","url":"https://www.academia.edu/Documents/in/Void?f_ri=75948"},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948"},{"id":647748,"name":"Esthétique , Philosophie De L'Art","url":"https://www.academia.edu/Documents/in/Esthetique_Philosophie_De_LArt?f_ri=75948"},{"id":808460,"name":"Visibility/invisibility","url":"https://www.academia.edu/Documents/in/Visibility_invisibility?f_ri=75948"},{"id":2742530,"name":"théorie de la musique","url":"https://www.academia.edu/Documents/in/th%C3%A9orie_de_la_musique?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35297185 coauthored" data-work_id="35297185" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35297185/Chak%C3%A9_Matossian_Le_membre_fant%C3%B4me_Le_corps_trompe_loeil">Chaké Matossian : Le membre fantôme : Le corps trompe-l'oeil</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dans un chapitre de Phénoménologie de la Perception intitulé « Le corps comme objet et la physiologie mécaniste », Merleau-Ponty convoque l'exemple du membre fantôme pour montrer la nécessité de dépasser aussi bien l'explication psychique... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35297185" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dans un chapitre de Phénoménologie de la Perception intitulé « Le corps comme objet et la physiologie mécaniste », Merleau-Ponty convoque l'exemple du membre fantôme pour montrer la nécessité de dépasser aussi bien l'explication psychique que l'explication physiologique, sortes de « défigurations » de ce phénomène, qu'il propose, pour sa part, de considérer à partir du « mouvement de l'être au monde » qui est la « vue préobjective » où se joue le flou, le vague, la présence-absence, l'équivoque. Merleau-Ponty dit ici quelque chose qui nous semble essentiel (et c'est en cela qu'il se démarque des explications psychologiques) : « Le bras fantôme n'est pas une représentation du bras, mais la présence ambivalente d'un bras ». Cette rupture entre représentation et présence ambivalente demeure au centre de ce que nous nous limitons à proposer comme hypothèse de travail : la problématique du corps dans la phénoménologie de la perception rencontre la question de la vision à partir de la relation entre le corps et l'oeuvre d'art. Et c'est un corps malade, amputé, qui permet à Merleau-Ponty de faire comprendre ce qu'il en est du déploiement du corps en général, pour le temps vécu comme pour l'espace. Dès lors, si le corps s'apparente à l'oeuvre d'art, et que le cas du membre fantôme demeure un exemple privilégié pour parvenir à saisir cette ressemblance, il doit y avoir, en peinture, un genre de tableau où l'anomalie devient le moyen de faire voir ce qu'il en est de la vision. En d'autres termes, le cas du membre fantôme n'est-il pas, en peinture, celui du trompe l'oeil ?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35297185" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="99c9d5a0b957a10dbe9191cb95cdf2d8" rel="nofollow" data-download="{"attachment_id":55157723,"asset_id":35297185,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55157723/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65866497" href="https://independent.academia.edu/lapartdeloeil">La Part de l’Œil. (Les éditions)</a><script data-card-contents-for-user="65866497" type="text/json">{"id":65866497,"first_name":"La Part de l’Œil.","last_name":"(Les éditions)","domain_name":"independent","page_name":"lapartdeloeil","display_name":"La Part de l’Œil. (Les éditions)","profile_url":"https://independent.academia.edu/lapartdeloeil?f_ri=75948","photo":"https://0.academia-photos.com/65866497/17165756/17473734/s65_la_part_de_l_il.._les_ditions_.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-35297185">+1</span><div class="hidden js-additional-users-35297185"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://arba-esa.academia.edu/Chak%C3%A8Matossian">Chakè Matossian</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-35297185'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-35297185').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_35297185 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35297185"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35297185, container: ".js-paper-rank-work_35297185", }); });</script></li><li class="js-percentile-work_35297185 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35297185; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35297185"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35297185 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35297185"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35297185; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35297185]").text(description); $(".js-view-count-work_35297185").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35297185").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35297185"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8418" href="https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty">Maurice Merleau-Ponty</a>, <script data-card-contents-for-ri="8418" type="text/json">{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="51265" href="https://www.academia.edu/Documents/in/Philosophie">Philosophie</a>, <script data-card-contents-for-ri="51265" type="text/json">{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a><script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35297185]'), work: {"id":35297185,"title":"Chaké Matossian : Le membre fantôme : Le corps trompe-l'oeil","created_at":"2017-11-30T01:02:13.257-08:00","url":"https://www.academia.edu/35297185/Chak%C3%A9_Matossian_Le_membre_fant%C3%B4me_Le_corps_trompe_loeil?f_ri=75948","dom_id":"work_35297185","summary":"Dans un chapitre de Phénoménologie de la Perception intitulé « Le corps comme objet et la physiologie mécaniste », Merleau-Ponty convoque l'exemple du membre fantôme pour montrer la nécessité de dépasser aussi bien l'explication psychique que l'explication physiologique, sortes de « défigurations » de ce phénomène, qu'il propose, pour sa part, de considérer à partir du « mouvement de l'être au monde » qui est la « vue préobjective » où se joue le flou, le vague, la présence-absence, l'équivoque. Merleau-Ponty dit ici quelque chose qui nous semble essentiel (et c'est en cela qu'il se démarque des explications psychologiques) : « Le bras fantôme n'est pas une représentation du bras, mais la présence ambivalente d'un bras ». Cette rupture entre représentation et présence ambivalente demeure au centre de ce que nous nous limitons à proposer comme hypothèse de travail : la problématique du corps dans la phénoménologie de la perception rencontre la question de la vision à partir de la relation entre le corps et l'oeuvre d'art. Et c'est un corps malade, amputé, qui permet à Merleau-Ponty de faire comprendre ce qu'il en est du déploiement du corps en général, pour le temps vécu comme pour l'espace. Dès lors, si le corps s'apparente à l'oeuvre d'art, et que le cas du membre fantôme demeure un exemple privilégié pour parvenir à saisir cette ressemblance, il doit y avoir, en peinture, un genre de tableau où l'anomalie devient le moyen de faire voir ce qu'il en est de la vision. En d'autres termes, le cas du membre fantôme n'est-il pas, en peinture, celui du trompe l'oeil ?","downloadable_attachments":[{"id":55157723,"asset_id":35297185,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65866497,"first_name":"La Part de l’Œil.","last_name":"(Les éditions)","domain_name":"independent","page_name":"lapartdeloeil","display_name":"La Part de l’Œil. (Les éditions)","profile_url":"https://independent.academia.edu/lapartdeloeil?f_ri=75948","photo":"https://0.academia-photos.com/65866497/17165756/17473734/s65_la_part_de_l_il.._les_ditions_.jpg"},{"id":40958266,"first_name":"Chakè","last_name":"Matossian","domain_name":"arba-esa","page_name":"ChakèMatossian","display_name":"Chakè Matossian","profile_url":"https://arba-esa.academia.edu/Chak%C3%A8Matossian?f_ri=75948","photo":"https://0.academia-photos.com/40958266/12463793/13870811/s65_chak_.matossian.jpg"}],"research_interests":[{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=75948","nofollow":false},{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10009794" data-work_id="10009794" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10009794/_Lectures_critiques_du_romantisme_au_XXe_si%C3%A8cle_13_f%C3%A9vrier_2015_Mus%C3%A9e_de_la_Vie_romantique_Actes_%C3%A0_para%C3%AEtre_en_2016">"Lectures critiques du romantisme au XXe siècle", 13 février 2015, Musée de la Vie romantique, Actes à paraître en 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Journée d’étude de la SERD LECTURES CRITIQUES DU ROMANTISME AU XXe SIECLE 13 février 2015 Musée de la vie romantique 16, rue Chaptal 75009 Paris Cette journée d’étude a pour but de prolonger l’axe tracé au sein d’un des «... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10009794" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Journée d’étude de la SERD <br />LECTURES CRITIQUES DU ROMANTISME AU XXe SIECLE <br /> <br />13 février 2015 <br />Musée de la vie romantique <br />16, rue Chaptal 75009 Paris <br /> <br /> <br /> <br /> <br />Cette journée d’étude a pour but de prolonger l’axe tracé au sein d’un des « Ateliers du XIXe siècle » de 2013 autour de la thématique « Le XIXe siècle vu par le XXe » en se concentrant cette fois, non sur les réécritures des écrivains, mais sur les lectures des critiques et des théoriciens de la littérature. La journée invite ainsi à une réflexion historique sur la manière dont les différents courants de critique et de théorie littéraire ont lu et appréhendé le romantisme dans le courant du XXe siècle. <br />En effet, parmi les différents courants littéraires, le romantisme s’est régulièrement trouvé au cœur des débats théoriques tout au long du XXe siècle, et les principaux paradigmes critiques l’ont érigé tour à tour en modèle et en contre-modèle. On trouve aux deux extrémités du siècle des moments de valorisation du romantisme : au début du XXe siècle, il constitue le corpus par excellence des premières approches comparatistes formalisées, destinées chez un Fernand Baldensperger ou un Paul Van Thieghem à dégager des traits littéraires transversaux communs à l’ensemble des littératures européennes. Vers la fin du siècle, le romantisme est également remis à l’honneur : dans le contexte français actuel, le paradigme critique qui invite à relire les textes littéraires à la lumière de l’histoire culturelle s’est développé à partir de l’étude du Zeitgeist romantique, et considère le corpus romantique comme un lieu privilégié pour penser les processus littéraires et esthétiques. <br />Mais entre les deux, c’est une vaste zone troublée qui se déploie à une époque considérée comme l’âge d’or de la critique française : dans les courants théoriques des années 1960 et 1970, le rapport au romantisme se fait plus ambivalent et les différents paradigmes critiques sont amenés à se définir par rapport à lui – souvent par rejet radical. Le structuralisme, par exemple, avec son approche formelle et sa conception du texte autotélique, qui se réclame ouvertement de la double tradition flaubertienne et mallarméenne, discrédite l’aspiration des « mages romantiques » à faire de l’art la relève de la philosophie et de l’écrivain le dépositaire d’un sacerdoce moral. Si elle se place en principe dans la lignée de la polysémie romantique, tout un pan de la théorie de la « déconstruction » française continue de manifester une certaine méfiance pour le courant : ainsi, la « déconstruction » tend parfois à condamner la littérature romantique, héritière des théories du langage de Rousseau et Herder, en la soupçonnant d’une foi naïve en la « métaphysique de la présence » qui la confinerait dans une posture nostalgique et aveuglée. <br />Ce statut ambivalent met en lumière l’enjeu particulier que constitue l’interprétation du romantisme pour la théorie littéraire du XXe siècle. En effet, beaucoup de critiques s’accordent pour le considérer comme une ligne de partage entre archaïsme et modernité en littérature, mais sans pour autant trancher si l’avènement d’une littérature dans laquelle les contemporains se reconnaissent se fait avec le romantisme, ou au contraire après lui. Le romantisme fait-il partie de cette modernité dont il serait l’avant-poste, ou constitue-t-il au contraire la dernière étape avant les « révolutions du langage poétique » ? La question reste plus ouverte qu’on ne le soupçonnerait. Le romantisme est donc loin d’être le mouton noir de la critique des années 1960 et 1970 : il apparaît comme un objet profondément pluriel, dont l’appréciation varie en fonction des romantiques et des romantismes que l’on sélectionne. On constate ainsi que l’influence méthodologique et certains modes concrets d’appropriation du romantisme diffèrent parfois du discours critique global porté sur lui : dans la critique du XXe siècle, le romantisme est souvent là où on ne l’attend pas. <br />Au-delà de l’interprétation du romantisme en lui-même, c’est donc une lecture de ses lectures qui est aujourd’hui nécessaire. En replaçant les réceptions critiques dans leur cadre conceptuel, on fait en effet apparaître des effets de perspective, qui permettent de situer dans le temps et dans l’espace les différentes lectures du romantisme, mais aussi de mettre en relief les éventuelles lacunes ou mésinterprétations qu’ont pu engager des analyses pourtant devenues canoniques. La réception souvent heurtée du romantisme dans la critique du XXe siècle nous incite donc à proposer une historicisation du regard critique. Ce panorama doit contribuer à préciser le statut et la place des études sur le romantisme dans le champ intellectuel contemporain et à réfléchir aux outils épistémologiques légués par ces différentes approches pour penser le romantisme au début du XXIe siècle. <br /> <br />Contact : Victoire Feuillebois, <a href="mailto:victoire.feuillebois@gmail.com" rel="nofollow">victoire.feuillebois@gmail.com</a> <br /> <br />Programme <br />Session 1 : Paradigmes épistémologiques (modération : Jean Lacoste) <br />10h : Mot d’accueil de Jérôme Farigoule, directeur du Musée de la Vie romantique <br />10h15 : José-Luis Diaz, Victoire Feuillebois : introduction <br />10h30 : Philippe Forget (Lycée Louis-le-Grand) : « Remisant le texte (Schleiermacher – Gadamer – Rombach – Hölderlin) » <br />11h : Michaël Löwy (CNRS, EHESS) et Robert Sayre (UPEM) : « Le romantisme révolutionnaire au XXe siècle » <br />11h30 : Eric Lecler (Aix-Marseille) : « L'essai, une forme apocalyptique (Lukács , Bloch, Benjamin et l'utopie romantique) » <br /> <br />12h : questions et débats <br /> <br />Session 2 : Révolutions du romantisme (modération : Aurélie Foglia-Loiseleur) <br /> <br />14h : Matthieu Vernet (CNRS, Fondation Thiers) : « Ce qu'il reste du romantisme (1900-1930) » <br />14h30 : Patrick Marot (Université Toulouse 2-Jean Jaurès) : « Romantisme et négativité. De quelques positionnements et de leurs enjeux au milieu du XXe siècle (Breton, Béguin, Gracq, Blanchot). » <br />15h : Questions et pause <br />15h30 : Victoire Feuillebois (Tours) : « Le romantisme des comparatistes, 1900-1960 » <br />16h : José-Luis Diaz (Paris VII) : « Penser le romantisme français en 1970 » <br /> <br />16h30 : questions et débats <br /> <br />17h : Assemblée générale de la SERD et pot amical</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10009794" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cc153092557270e474f3afe97c831ca6" rel="nofollow" data-download="{"attachment_id":36978349,"asset_id":10009794,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36978349/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4893227" href="https://unistra.academia.edu/VictoireFeuillebois">Victoire Feuillebois</a><script data-card-contents-for-user="4893227" type="text/json">{"id":4893227,"first_name":"Victoire","last_name":"Feuillebois","domain_name":"unistra","page_name":"VictoireFeuillebois","display_name":"Victoire Feuillebois","profile_url":"https://unistra.academia.edu/VictoireFeuillebois?f_ri=75948","photo":"https://0.academia-photos.com/4893227/2106268/10144149/s65_victoire.feuillebois.jpg"}</script></span></span></li><li class="js-paper-rank-work_10009794 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10009794"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10009794, container: ".js-paper-rank-work_10009794", }); 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$(".js-view-count[data-work-id=10009794]").text(description); $(".js-view-count-work_10009794").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10009794").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10009794"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="660" href="https://www.academia.edu/Documents/in/French_Literature">French Literature</a>, <script data-card-contents-for-ri="660" type="text/json">{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10009794]'), work: {"id":10009794,"title":"\"Lectures critiques du romantisme au XXe siècle\", 13 février 2015, Musée de la Vie romantique, Actes à paraître en 2016","created_at":"2015-01-05T00:34:52.950-08:00","url":"https://www.academia.edu/10009794/_Lectures_critiques_du_romantisme_au_XXe_si%C3%A8cle_13_f%C3%A9vrier_2015_Mus%C3%A9e_de_la_Vie_romantique_Actes_%C3%A0_para%C3%AEtre_en_2016?f_ri=75948","dom_id":"work_10009794","summary":"Journée d’étude de la SERD\r\nLECTURES CRITIQUES DU ROMANTISME AU XXe SIECLE\r\n\r\n13 février 2015 \r\nMusée de la vie romantique\r\n16, rue Chaptal 75009 Paris\r\n\r\n\r\n \r\n\r\nCette journée d’étude a pour but de prolonger l’axe tracé au sein d’un des « Ateliers du XIXe siècle » de 2013 autour de la thématique « Le XIXe siècle vu par le XXe » en se concentrant cette fois, non sur les réécritures des écrivains, mais sur les lectures des critiques et des théoriciens de la littérature. La journée invite ainsi à une réflexion historique sur la manière dont les différents courants de critique et de théorie littéraire ont lu et appréhendé le romantisme dans le courant du XXe siècle.\r\nEn effet, parmi les différents courants littéraires, le romantisme s’est régulièrement trouvé au cœur des débats théoriques tout au long du XXe siècle, et les principaux paradigmes critiques l’ont érigé tour à tour en modèle et en contre-modèle. On trouve aux deux extrémités du siècle des moments de valorisation du romantisme : au début du XXe siècle, il constitue le corpus par excellence des premières approches comparatistes formalisées, destinées chez un Fernand Baldensperger ou un Paul Van Thieghem à dégager des traits littéraires transversaux communs à l’ensemble des littératures européennes. Vers la fin du siècle, le romantisme est également remis à l’honneur : dans le contexte français actuel, le paradigme critique qui invite à relire les textes littéraires à la lumière de l’histoire culturelle s’est développé à partir de l’étude du Zeitgeist romantique, et considère le corpus romantique comme un lieu privilégié pour penser les processus littéraires et esthétiques. \r\nMais entre les deux, c’est une vaste zone troublée qui se déploie à une époque considérée comme l’âge d’or de la critique française : dans les courants théoriques des années 1960 et 1970, le rapport au romantisme se fait plus ambivalent et les différents paradigmes critiques sont amenés à se définir par rapport à lui – souvent par rejet radical. Le structuralisme, par exemple, avec son approche formelle et sa conception du texte autotélique, qui se réclame ouvertement de la double tradition flaubertienne et mallarméenne, discrédite l’aspiration des « mages romantiques » à faire de l’art la relève de la philosophie et de l’écrivain le dépositaire d’un sacerdoce moral. Si elle se place en principe dans la lignée de la polysémie romantique, tout un pan de la théorie de la « déconstruction » française continue de manifester une certaine méfiance pour le courant : ainsi, la « déconstruction » tend parfois à condamner la littérature romantique, héritière des théories du langage de Rousseau et Herder, en la soupçonnant d’une foi naïve en la « métaphysique de la présence » qui la confinerait dans une posture nostalgique et aveuglée.\r\nCe statut ambivalent met en lumière l’enjeu particulier que constitue l’interprétation du romantisme pour la théorie littéraire du XXe siècle. En effet, beaucoup de critiques s’accordent pour le considérer comme une ligne de partage entre archaïsme et modernité en littérature, mais sans pour autant trancher si l’avènement d’une littérature dans laquelle les contemporains se reconnaissent se fait avec le romantisme, ou au contraire après lui. Le romantisme fait-il partie de cette modernité dont il serait l’avant-poste, ou constitue-t-il au contraire la dernière étape avant les « révolutions du langage poétique » ? La question reste plus ouverte qu’on ne le soupçonnerait. Le romantisme est donc loin d’être le mouton noir de la critique des années 1960 et 1970 : il apparaît comme un objet profondément pluriel, dont l’appréciation varie en fonction des romantiques et des romantismes que l’on sélectionne. On constate ainsi que l’influence méthodologique et certains modes concrets d’appropriation du romantisme diffèrent parfois du discours critique global porté sur lui : dans la critique du XXe siècle, le romantisme est souvent là où on ne l’attend pas. \r\nAu-delà de l’interprétation du romantisme en lui-même, c’est donc une lecture de ses lectures qui est aujourd’hui nécessaire. En replaçant les réceptions critiques dans leur cadre conceptuel, on fait en effet apparaître des effets de perspective, qui permettent de situer dans le temps et dans l’espace les différentes lectures du romantisme, mais aussi de mettre en relief les éventuelles lacunes ou mésinterprétations qu’ont pu engager des analyses pourtant devenues canoniques. La réception souvent heurtée du romantisme dans la critique du XXe siècle nous incite donc à proposer une historicisation du regard critique. Ce panorama doit contribuer à préciser le statut et la place des études sur le romantisme dans le champ intellectuel contemporain et à réfléchir aux outils épistémologiques légués par ces différentes approches pour penser le romantisme au début du XXIe siècle. \r\n\r\nContact : Victoire Feuillebois, victoire.feuillebois@gmail.com \r\n\r\nProgramme\r\nSession 1 : Paradigmes épistémologiques (modération : Jean Lacoste)\r\n10h : Mot d’accueil de Jérôme Farigoule, directeur du Musée de la Vie romantique\r\n10h15 : José-Luis Diaz, Victoire Feuillebois : introduction\r\n10h30 : Philippe Forget (Lycée Louis-le-Grand) : « Remisant le texte (Schleiermacher – Gadamer – Rombach – Hölderlin) »\r\n11h : Michaël Löwy (CNRS, EHESS) et Robert Sayre (UPEM) : « Le romantisme révolutionnaire au XXe siècle »\r\n11h30 : Eric Lecler (Aix-Marseille) : « L'essai, une forme apocalyptique (Lukács , Bloch, Benjamin et l'utopie romantique) »\r\n\r\n12h : questions et débats\r\n\r\nSession 2 : Révolutions du romantisme (modération : Aurélie Foglia-Loiseleur)\r\n\r\n14h : Matthieu Vernet (CNRS, Fondation Thiers) : « Ce qu'il reste du romantisme (1900-1930) »\r\n14h30 : Patrick Marot (Université Toulouse 2-Jean Jaurès) : « Romantisme et négativité. De quelques positionnements et de leurs enjeux au milieu du XXe siècle (Breton, Béguin, Gracq, Blanchot). »\r\n15h : Questions et pause\r\n15h30 : Victoire Feuillebois (Tours) : « Le romantisme des comparatistes, 1900-1960 »\r\n16h : José-Luis Diaz (Paris VII) : « Penser le romantisme français en 1970 »\r\n\r\n16h30 : questions et débats\r\n\r\n17h : Assemblée générale de la SERD et pot amical\r\n\r\n\r\n","downloadable_attachments":[{"id":36978349,"asset_id":10009794,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4893227,"first_name":"Victoire","last_name":"Feuillebois","domain_name":"unistra","page_name":"VictoireFeuillebois","display_name":"Victoire Feuillebois","profile_url":"https://unistra.academia.edu/VictoireFeuillebois?f_ri=75948","photo":"https://0.academia-photos.com/4893227/2106268/10144149/s65_victoire.feuillebois.jpg"}],"research_interests":[{"id":8,"name":"Critical 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Poésie","url":"https://www.academia.edu/Documents/in/Romantisme_Allemand_Poesie?f_ri=75948"},{"id":903619,"name":"Romantisme Français","url":"https://www.academia.edu/Documents/in/Romantisme_Francais?f_ri=75948"},{"id":1002373,"name":"Théorie Et Critique Littéraires","url":"https://www.academia.edu/Documents/in/Theorie_Et_Critique_Litteraires?f_ri=75948"},{"id":1713462,"name":"Romantisme allemand","url":"https://www.academia.edu/Documents/in/Romantisme_allemand?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43708631" data-work_id="43708631" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43708631/%D9%86%DA%AF%D8%B1%D9%87_%D9%87%D8%A7%DB%8C_%D8%B2%DB%8C%D8%A8%D8%A7%DB%8C%DB%8C_%D8%B4%D9%86%D8%A7%D8%B3%DB%8C_%D9%88_%D9%87%D9%86%D8%B1_%D9%85%D8%AF%D8%B1%D9%86">نگره های زیبایی شناسی و هنر مدرن</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">نگره های زیبایی شناسی و هنر مدرن</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43708631" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c1c40343e4ed26eb528a9ea042cc1945" rel="nofollow" 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History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43708631]'), work: {"id":43708631,"title":"نگره های زیبایی شناسی و هنر 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Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4126704" data-work_id="4126704" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4126704/La_valeur_sensation_le_cas_du_surf">La valeur sensation : le cas du surf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Résumé : "La définition de l’éthique dans le surf est complexe. D’une part, la Fédération Française de Surf, tout en tentant de mettre en avant sa défense des valeurs communes aux surfeurs, applique une éthique sportive classique... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4126704" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Résumé : <br />"La définition de l’éthique dans le surf est complexe. D’une part, la Fédération Française de Surf, tout en tentant de mettre en avant sa défense des valeurs communes aux surfeurs, applique une éthique sportive classique reprenant des principes de fair-play et de sécurité. D’autre part, des pratiquants sans affiliation autorégulant le surf grâce à un système de règles coutumières fluctuantes, et un système de valeurs édifié sur les sensations. Dés lors se pose la question de la légitimité de la définition de l’éthique sportive dans le surf : « A travers les codes, les valeurs, et les représentations, les acteurs sportifs nouent des alliances ou développent des oppositions pour la définition légitime de l’éthique sportive. Mais pour s’inscrire dans l’univers du sport, tous acceptent de s’y référer pour la promouvoir, la transformer ou la combattre. D’une certaine manière, l’éthique fonde l’existence du sport et de la communauté sportive mais, également, elle amène la clôture de l’univers sportif. L’éthique puise son contenu dans les références sociales mais elle transporte et transfigure ces références pour mieux les coder et les sacraliser. En même temps, elle les condense pour produire une forme idéalisée des rapports entre l’individu et la société. L’éthique subsume l’expression des formes sportives et la vision symbolique de l’univers sportif en un système général de représentations qui s’articulent autour de la corporéité et du développement social. » (Pigeassou, 1997). Une particularité du surf, que ne relève pas Pigeassou est que les pratiquants ne se réfèrent pas à une éthique sportive classique mais à une éthique construite sur les sensations. Celles-ci, bien qu’individuelles, sont partagées par les surfeurs et offrent une base commune de références. Le surf propose donc un autre modèle éthique, où faire corps à l’océan est la plus grande des valeurs. " <br />Mots clefs : éthique, sensation, surf, corps, nature, océan.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4126704" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="216950b9c83dbe7f4647c9d1a9b06334" rel="nofollow" data-download="{"attachment_id":64484874,"asset_id":4126704,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64484874/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="132692" href="https://univ-paris5.academia.edu/AnneSophieSayeux">Anne-Sophie Sayeux</a><script data-card-contents-for-user="132692" type="text/json">{"id":132692,"first_name":"Anne-Sophie","last_name":"Sayeux","domain_name":"univ-paris5","page_name":"AnneSophieSayeux","display_name":"Anne-Sophie Sayeux","profile_url":"https://univ-paris5.academia.edu/AnneSophieSayeux?f_ri=75948","photo":"https://0.academia-photos.com/132692/35302/36553985/s65_anne-sophie.sayeux.jpeg"}</script></span></span></li><li class="js-paper-rank-work_4126704 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4126704"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4126704, container: ".js-paper-rank-work_4126704", }); 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$(".js-view-count[data-work-id=4126704]").text(description); $(".js-view-count-work_4126704").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4126704").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4126704"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="218" href="https://www.academia.edu/Documents/in/Sociology_of_Sport">Sociology of Sport</a>, <script data-card-contents-for-ri="218" type="text/json">{"id":218,"name":"Sociology of Sport","url":"https://www.academia.edu/Documents/in/Sociology_of_Sport?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="814" href="https://www.academia.edu/Documents/in/Ethics">Ethics</a>, <script data-card-contents-for-ri="814" type="text/json">{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3657" href="https://www.academia.edu/Documents/in/Anthropology_of_the_Body">Anthropology of the Body</a>, <script data-card-contents-for-ri="3657" type="text/json">{"id":3657,"name":"Anthropology of the Body","url":"https://www.academia.edu/Documents/in/Anthropology_of_the_Body?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19044" href="https://www.academia.edu/Documents/in/Anthropology_Of_Nature">Anthropology Of Nature</a><script data-card-contents-for-ri="19044" type="text/json">{"id":19044,"name":"Anthropology Of Nature","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Nature?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4126704]'), work: {"id":4126704,"title":"La valeur sensation : le cas du surf","created_at":"2013-07-29T01:12:03.867-07:00","url":"https://www.academia.edu/4126704/La_valeur_sensation_le_cas_du_surf?f_ri=75948","dom_id":"work_4126704","summary":"Résumé :\r\n\"La définition de l’éthique dans le surf est complexe. D’une part, la Fédération Française de Surf, tout en tentant de mettre en avant sa défense des valeurs communes aux surfeurs, applique une éthique sportive classique reprenant des principes de fair-play et de sécurité. D’autre part, des pratiquants sans affiliation autorégulant le surf grâce à un système de règles coutumières fluctuantes, et un système de valeurs édifié sur les sensations. Dés lors se pose la question de la légitimité de la définition de l’éthique sportive dans le surf : « A travers les codes, les valeurs, et les représentations, les acteurs sportifs nouent des alliances ou développent des oppositions pour la définition légitime de l’éthique sportive. Mais pour s’inscrire dans l’univers du sport, tous acceptent de s’y référer pour la promouvoir, la transformer ou la combattre. D’une certaine manière, l’éthique fonde l’existence du sport et de la communauté sportive mais, également, elle amène la clôture de l’univers sportif. L’éthique puise son contenu dans les références sociales mais elle transporte et transfigure ces références pour mieux les coder et les sacraliser. En même temps, elle les condense pour produire une forme idéalisée des rapports entre l’individu et la société. L’éthique subsume l’expression des formes sportives et la vision symbolique de l’univers sportif en un système général de représentations qui s’articulent autour de la corporéité et du développement social. » (Pigeassou, 1997). Une particularité du surf, que ne relève pas Pigeassou est que les pratiquants ne se réfèrent pas à une éthique sportive classique mais à une éthique construite sur les sensations. Celles-ci, bien qu’individuelles, sont partagées par les surfeurs et offrent une base commune de références. Le surf propose donc un autre modèle éthique, où faire corps à l’océan est la plus grande des valeurs. \"\r\nMots clefs : éthique, sensation, surf, corps, nature, océan.","downloadable_attachments":[{"id":64484874,"asset_id":4126704,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":132692,"first_name":"Anne-Sophie","last_name":"Sayeux","domain_name":"univ-paris5","page_name":"AnneSophieSayeux","display_name":"Anne-Sophie Sayeux","profile_url":"https://univ-paris5.academia.edu/AnneSophieSayeux?f_ri=75948","photo":"https://0.academia-photos.com/132692/35302/36553985/s65_anne-sophie.sayeux.jpeg"}],"research_interests":[{"id":218,"name":"Sociology of Sport","url":"https://www.academia.edu/Documents/in/Sociology_of_Sport?f_ri=75948","nofollow":false},{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=75948","nofollow":false},{"id":3657,"name":"Anthropology of the Body","url":"https://www.academia.edu/Documents/in/Anthropology_of_the_Body?f_ri=75948","nofollow":false},{"id":19044,"name":"Anthropology Of Nature","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Nature?f_ri=75948","nofollow":false},{"id":19635,"name":"Anthropology of the Senses","url":"https://www.academia.edu/Documents/in/Anthropology_of_the_Senses?f_ri=75948"},{"id":49905,"name":"Sport","url":"https://www.academia.edu/Documents/in/Sport?f_ri=75948"},{"id":68696,"name":"Surfing","url":"https://www.academia.edu/Documents/in/Surfing?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":91529,"name":"Anthropologie","url":"https://www.academia.edu/Documents/in/Anthropologie?f_ri=75948"},{"id":91538,"name":"Sensorialité","url":"https://www.academia.edu/Documents/in/Sensorialite?f_ri=75948"},{"id":91539,"name":"Apprentissage","url":"https://www.academia.edu/Documents/in/Apprentissage?f_ri=75948"},{"id":104797,"name":"Histoire","url":"https://www.academia.edu/Documents/in/Histoire?f_ri=75948"},{"id":430658,"name":"Corps","url":"https://www.academia.edu/Documents/in/Corps?f_ri=75948"},{"id":993702,"name":"Méthode Naturelle","url":"https://www.academia.edu/Documents/in/Methode_Naturelle?f_ri=75948"},{"id":993706,"name":"Éducation Physique","url":"https://www.academia.edu/Documents/in/%C3%89ducation_Physique?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45494545" data-work_id="45494545" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45494545/Le_jazz_comme_r%C3%A9sistance_%C3%A0_la_philosophie_Th%C3%A8se_de_doctorat_Joana_Desplat_Roger">Le jazz comme résistance à la philosophie Thèse de doctorat -Joana Desplat-Roger</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Thèse soutenue le 9 octobre 2020 à l'université Paris Nanterre Sous la direction de : M. Peter Szendy Membres du jury : Mme Anne Boissière (présidente/ rapporteure), M. Laurent Cugny (rapporteur), M. Esteban Buch (examinateur), Mme... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45494545" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Thèse soutenue le 9 octobre 2020 à l'université Paris Nanterre<br />Sous la direction de : M. Peter Szendy <br />Membres du jury : Mme Anne Boissière (présidente/ rapporteure), M. Laurent Cugny (rapporteur), M. Esteban Buch (examinateur), Mme Pascale Cohen-Avenel (examinatrice), Mme Agnès Gayraud (examinatrice), M. Pierre Sauvanet (examinateur).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45494545" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="56be8b8224b60093ee243491ba728139" rel="nofollow" data-download="{"attachment_id":65990036,"asset_id":45494545,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65990036/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47528426" href="https://univ-rennes2.academia.edu/JoanaDesplatRoger">Joana Desplat-Roger</a><script data-card-contents-for-user="47528426" type="text/json">{"id":47528426,"first_name":"Joana","last_name":"Desplat-Roger","domain_name":"univ-rennes2","page_name":"JoanaDesplatRoger","display_name":"Joana Desplat-Roger","profile_url":"https://univ-rennes2.academia.edu/JoanaDesplatRoger?f_ri=75948","photo":"https://0.academia-photos.com/47528426/23215445/22312211/s65_joana.desplat-roger.jpg"}</script></span></span></li><li class="js-paper-rank-work_45494545 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45494545"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45494545, container: ".js-paper-rank-work_45494545", }); 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Peter Szendy \nMembres du jury : Mme Anne Boissière (présidente/ rapporteure), M. Laurent Cugny (rapporteur), M. Esteban Buch (examinateur), Mme Pascale Cohen-Avenel (examinatrice), Mme Agnès Gayraud (examinatrice), M. Pierre Sauvanet (examinateur). 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/81597900/%E6%A3%AE%E5%85%83%E5%BA%B8%E4%BB%8B%E6%B0%8F_%E8%A5%BF%E6%B4%8B%E3%81%AF%E3%81%84%E3%81%8B%E3%81%AB%E3%81%97%E3%81%A6%E6%BC%94%E5%8A%87%E3%82%92%E8%A8%B1%E3%81%97_%E8%8A%B8%E8%A1%93%E3%82%92%E6%84%9B%E3%81%99%E3%82%8B%E3%82%88%E3%81%86%E3%81%AB%E3%81%AA%E3%81%A3%E3%81%9F%E3%81%8B_%E6%B1%BA%E7%96%91%E8%AB%96%E3%81%A8%E7%BE%8E%E5%AD%A6%E3%81%AE%E8%AA%95%E7%94%9F_%E8%AC%9B%E6%BC%94%E4%BC%9A%E5%A0%B1%E5%91%8A">森元庸介氏「西洋はいかにして演劇を許し、芸術を愛するようになったか ―決疑論と美学の誕生」講演会報告</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/81597900" data-share-source="work_strip" 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href="https://www.academia.edu/9765620/Das_Spiel_des_Ornaments_bei_Karl_Philipp_Moritz_Zwischen_Einheit_und_Mannigfaltigkeit">Das Spiel des Ornaments bei Karl Philipp Moritz: Zwischen Einheit und Mannigfaltigkeit</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9765620" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0c5f8b1b5091a3d0ad664b72f1c33214" rel="nofollow" data-download="{"attachment_id":35945558,"asset_id":9765620,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35945558/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22200429" href="https://esapb.academia.edu/ClaraPacquet">Clara Pacquet</a><script data-card-contents-for-user="22200429" type="text/json">{"id":22200429,"first_name":"Clara","last_name":"Pacquet","domain_name":"esapb","page_name":"ClaraPacquet","display_name":"Clara 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class="InlineList-item-text" data-has-card-for-ri="62891" href="https://www.academia.edu/Documents/in/Histoire_de_lart">Histoire de l'art</a>, <script data-card-contents-for-ri="62891" type="text/json">{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a><script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9765620]'), work: {"id":9765620,"title":"Das Spiel des Ornaments bei Karl Philipp Moritz: Zwischen Einheit und 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44174484/Construire_l%C3%A9vidence_des_couleurs_florentines_%C3%A0_Lyon">Construire l'évidence des couleurs florentines à Lyon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Pendant longtemps, Lyon a été perçue comme une ville triste et grise : aujourd’hui elle arbore des ocres, roses et rouges, autant de couleurs qualifiées de « florentines » ou d’« italiennes ». Le mémoire vise à démontrer comment,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44174484" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Pendant longtemps, Lyon a été perçue comme une ville triste et grise : aujourd’hui elle arbore des ocres, roses et rouges, autant de couleurs qualifiées de « florentines » ou d’« italiennes ». Le mémoire vise à démontrer comment, depuis les années 1960 et la création du secteur sauvegardé du Vieux-Lyon, s’est structurée une véritable politique de coloration des façades, comment celle-ci a permis à la ville de s’inscrire dans la compétition mondiale des métropoles — caractérisée par l’apparition des phénomènes comme le tourisme de masse et la gentrification notamment — en soignant l’image de son cadre bâti et en invoquant l’imaginaire de la Renaissance italienne. Du développement de la pratique des murs peints aux projections lumineuses de la Fête des Lumières, en un demi-siècle, Lyon s’est créé un secteur économique qui lui est propre — une « filière couleur » — et un savoir-faire qu’elle exporte à l’international. <br /> <br />Lyon has long been perceived as a sad and gray city: today it sports ocher, pink and red, which may have qualified as “Florentine” or “Italian”. The thesis aims to demonstrate how a real policy of coloring façades has been structured since the 1960s and the creation of the safeguarded sector of Vieux-Lyon. This has enabled the city to enter the international competition of metropolises — characterized by the appearance of phenomena such as mass tourism and gentrification in particular — by taking care of the image of its built environment and by invoking the imagination of the Italian Renaissance. Lyon has created its own economic sector in half a century and a know-how that it exports internationally with the practice of painted walls and the Fête des Lumières.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44174484" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7b2bf8f192dfe44812dd406a5faaafa7" rel="nofollow" data-download="{"attachment_id":98541886,"asset_id":44174484,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/98541886/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="73261252" href="https://universite-lyon2.academia.edu/AnneLoustalet">Anne Loustalet</a><script data-card-contents-for-user="73261252" type="text/json">{"id":73261252,"first_name":"Anne","last_name":"Loustalet","domain_name":"universite-lyon2","page_name":"AnneLoustalet","display_name":"Anne Loustalet","profile_url":"https://universite-lyon2.academia.edu/AnneLoustalet?f_ri=75948","photo":"https://0.academia-photos.com/73261252/35829499/104843672/s65_anne.loustalet.jpg"}</script></span></span></li><li class="js-paper-rank-work_44174484 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44174484"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44174484, container: ".js-paper-rank-work_44174484", }); 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$(".js-view-count[data-work-id=44174484]").text(description); $(".js-view-count-work_44174484").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44174484").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44174484"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1372" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3612" href="https://www.academia.edu/Documents/in/Renaissance">Renaissance</a>, <script data-card-contents-for-ri="3612" type="text/json">{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7455" href="https://www.academia.edu/Documents/in/Gentrification">Gentrification</a>, <script data-card-contents-for-ri="7455" type="text/json">{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7725" href="https://www.academia.edu/Documents/in/Urban_Studies">Urban Studies</a><script data-card-contents-for-ri="7725" type="text/json">{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44174484]'), work: {"id":44174484,"title":"Construire l'évidence des couleurs florentines à Lyon","created_at":"2020-09-27T06:42:36.370-07:00","url":"https://www.academia.edu/44174484/Construire_l%C3%A9vidence_des_couleurs_florentines_%C3%A0_Lyon?f_ri=75948","dom_id":"work_44174484","summary":"Pendant longtemps, Lyon a été perçue comme une ville triste et grise : aujourd’hui elle arbore des ocres, roses et rouges, autant de couleurs qualifiées de « florentines » ou d’« italiennes ». Le mémoire vise à démontrer comment, depuis les années 1960 et la création du secteur sauvegardé du Vieux-Lyon, s’est structurée une véritable politique de coloration des façades, comment celle-ci a permis à la ville de s’inscrire dans la compétition mondiale des métropoles — caractérisée par l’apparition des phénomènes comme le tourisme de masse et la gentrification notamment — en soignant l’image de son cadre bâti et en invoquant l’imaginaire de la Renaissance italienne. Du développement de la pratique des murs peints aux projections lumineuses de la Fête des Lumières, en un demi-siècle, Lyon s’est créé un secteur économique qui lui est propre — une « filière couleur » — et un savoir-faire qu’elle exporte à l’international.\r\n\r\nLyon has long been perceived as a sad and gray city: today it sports ocher, pink and red, which may have qualified as “Florentine” or “Italian”. The thesis aims to demonstrate how a real policy of coloring façades has been structured since the 1960s and the creation of the safeguarded sector of Vieux-Lyon. This has enabled the city to enter the international competition of metropolises — characterized by the appearance of phenomena such as mass tourism and gentrification in particular — by taking care of the image of its built environment and by invoking the imagination of the Italian Renaissance. Lyon has created its own economic sector in half a century and a know-how that it exports internationally with the practice of painted walls and the Fête des Lumières.","downloadable_attachments":[{"id":98541886,"asset_id":44174484,"asset_type":"Work","always_allow_download":false},{"id":64534097,"asset_id":44174484,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":73261252,"first_name":"Anne","last_name":"Loustalet","domain_name":"universite-lyon2","page_name":"AnneLoustalet","display_name":"Anne Loustalet","profile_url":"https://universite-lyon2.academia.edu/AnneLoustalet?f_ri=75948","photo":"https://0.academia-photos.com/73261252/35829499/104843672/s65_anne.loustalet.jpg"}],"research_interests":[{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=75948","nofollow":false},{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=75948","nofollow":false},{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=75948","nofollow":false},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=75948","nofollow":false},{"id":43883,"name":"Tourism","url":"https://www.academia.edu/Documents/in/Tourism?f_ri=75948"},{"id":62967,"name":"Colours","url":"https://www.academia.edu/Documents/in/Colours?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":138683,"name":"Lyon","url":"https://www.academia.edu/Documents/in/Lyon?f_ri=75948"},{"id":207663,"name":"Patrimoine Architectural Et Urbanistique","url":"https://www.academia.edu/Documents/in/Patrimoine_Architectural_Et_Urbanistique?f_ri=75948"},{"id":312953,"name":"Renaissance Florence","url":"https://www.academia.edu/Documents/in/Renaissance_Florence?f_ri=75948"},{"id":630346,"name":"Renaissance In Lyon","url":"https://www.academia.edu/Documents/in/Renaissance_In_Lyon?f_ri=75948"},{"id":680117,"name":"Tourisme et patrimoine","url":"https://www.academia.edu/Documents/in/Tourisme_et_patrimoine?f_ri=75948"},{"id":990095,"name":"Urban Aesthetics","url":"https://www.academia.edu/Documents/in/Urban_Aesthetics?f_ri=75948"},{"id":1166682,"name":"Couleur","url":"https://www.academia.edu/Documents/in/Couleur?f_ri=75948"},{"id":2349503,"name":"Etudes urbaines","url":"https://www.academia.edu/Documents/in/Etudes_urbaines?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33120926" data-work_id="33120926" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33120926/Est%C3%A9ticas_Ocidentais_nas_Am%C3%A9ricas_os_tra%C3%A7os_po%C3%A9ticos_da_pintura_de_Valdirene_Borges_do_Nascimento_2017_PDF">Estéticas Ocidentais nas Américas: os traços poéticos da pintura de Valdirene Borges do Nascimento (2017) PDF</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The paintings painted by this poet are, in fact, the framework of life grapiúna, under his nostalgic look of an era in which the night had the chocolate filled in the streets of Itabuna and the mornings were populated with the rafts and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33120926" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paintings painted by this poet are, in fact, the framework of life grapiúna, under his nostalgic look of an era in which the night had the chocolate filled in the streets of Itabuna and the mornings were populated with the rafts and with the laundresses in the Cachoeira river, the transvestite youths were in the afternoon in the Teatrinho ABC of the old square Camacan, and Jean Paul Sartre came to visit us with his companion Simone de Beauvoir. In each simple trait set on the canvases, a gesture of poetry that seeks to portray the images lived in the daily life of the artists or in their imagination as a poet. In each painted canvas, we find not only the simple features of Valdirene, but his own face, it is as if in painting she had painted herself, in a kind of self-portrait. In this work, we present some brief reflections about the work of this artist grapiúna. <br /> <br />Resumo: <br />Os quadros pintados por esta poeta são, na verdade, o enquadramento da vida grapiúna, sob seu olhar cheio de nostalgia de uma época em que a noite tinha o cheio de chocolate nas ruas de Itabuna e as manhãs eram povoadas com as jangadas e com as lavadeiras no rio Cachoeira, a juventude transviada se encontrava à tarde no Teatrinho ABC da antiga praça Camacan, e Jean Paul Sartre vinha nos visitar com sua companheira Simone de Beauvoir. Em cada traço simples deflagrado sobre as telas, um gesto de poesia que busca retratar as imagens vividas no cotidiano da artistas ou na sua imaginação de poeta. Em cada tela pintada, encontramos não apenas os traços simples de Valdirene, mas o seu próprio rosto, é como se em quadro ela tivesse pintado a si mesmo, numa espécie de autorretrato. Neste trabalho, apresentamos algumas brevíssimas reflexões acerca da obra desta artista grapiúna.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33120926" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5136192ecab7d8183bedff9bda789717" rel="nofollow" data-download="{"attachment_id":55971956,"asset_id":33120926,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55971956/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3528081" href="https://ufms.academia.edu/AlexPereiradeAraujo">Alex Pereira de Araujo</a><script data-card-contents-for-user="3528081" type="text/json">{"id":3528081,"first_name":"Alex Pereira de","last_name":"Araujo","domain_name":"ufms","page_name":"AlexPereiradeAraujo","display_name":"Alex Pereira de Araujo","profile_url":"https://ufms.academia.edu/AlexPereiradeAraujo?f_ri=75948","photo":"https://0.academia-photos.com/3528081/1211320/86532730/s65_alex_pereira_de.araujo.jpg"}</script></span></span></li><li class="js-paper-rank-work_33120926 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33120926"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33120926, container: ".js-paper-rank-work_33120926", }); });</script></li><li class="js-percentile-work_33120926 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33120926; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_33120926"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_33120926 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="33120926"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33120926; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33120926]").text(description); $(".js-view-count-work_33120926").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33120926").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33120926"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">25</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2132" href="https://www.academia.edu/Documents/in/Cultural_Heritage">Cultural Heritage</a>, <script data-card-contents-for-ri="2132" type="text/json">{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" href="https://www.academia.edu/Documents/in/Literature">Literature</a><script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33120926]'), work: {"id":33120926,"title":"Estéticas Ocidentais nas Américas: os traços poéticos da pintura de Valdirene Borges do Nascimento (2017) PDF","created_at":"2017-05-20T18:52:50.014-07:00","url":"https://www.academia.edu/33120926/Est%C3%A9ticas_Ocidentais_nas_Am%C3%A9ricas_os_tra%C3%A7os_po%C3%A9ticos_da_pintura_de_Valdirene_Borges_do_Nascimento_2017_PDF?f_ri=75948","dom_id":"work_33120926","summary":"The paintings painted by this poet are, in fact, the framework of life grapiúna, under his nostalgic look of an era in which the night had the chocolate filled in the streets of Itabuna and the mornings were populated with the rafts and with the laundresses in the Cachoeira river, the transvestite youths were in the afternoon in the Teatrinho ABC of the old square Camacan, and Jean Paul Sartre came to visit us with his companion Simone de Beauvoir. In each simple trait set on the canvases, a gesture of poetry that seeks to portray the images lived in the daily life of the artists or in their imagination as a poet. In each painted canvas, we find not only the simple features of Valdirene, but his own face, it is as if in painting she had painted herself, in a kind of self-portrait. In this work, we present some brief reflections about the work of this artist grapiúna.\r\n\r\nResumo:\r\nOs quadros pintados por esta poeta são, na verdade, o enquadramento da vida grapiúna, sob seu olhar cheio de nostalgia de uma época em que a noite tinha o cheio de chocolate nas ruas de Itabuna e as manhãs eram povoadas com as jangadas e com as lavadeiras no rio Cachoeira, a juventude transviada se encontrava à tarde no Teatrinho ABC da antiga praça Camacan, e Jean Paul Sartre vinha nos visitar com sua companheira Simone de Beauvoir. Em cada traço simples deflagrado sobre as telas, um gesto de poesia que busca retratar as imagens vividas no cotidiano da artistas ou na sua imaginação de poeta. Em cada tela pintada, encontramos não apenas os traços simples de Valdirene, mas o seu próprio rosto, é como se em quadro ela tivesse pintado a si mesmo, numa espécie de autorretrato. Neste trabalho, apresentamos algumas brevíssimas reflexões acerca da obra desta artista grapiúna.","downloadable_attachments":[{"id":55971956,"asset_id":33120926,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3528081,"first_name":"Alex Pereira de","last_name":"Araujo","domain_name":"ufms","page_name":"AlexPereiradeAraujo","display_name":"Alex Pereira de Araujo","profile_url":"https://ufms.academia.edu/AlexPereiradeAraujo?f_ri=75948","photo":"https://0.academia-photos.com/3528081/1211320/86532730/s65_alex_pereira_de.araujo.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=75948","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":2132,"name":"Cultural 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class="summarized">Par son excès mimétique, la caricature peut sembler difficilement compatible avec l'esthétique réaliste, qui cherche à donner une image fidèle au réel. Pourtant l'ironiste Maupassant a souvent recours au portrait caricatural afin de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44922412" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Par son excès mimétique, la caricature peut sembler difficilement compatible avec l'esthétique réaliste, qui cherche à donner une image fidèle au réel. Pourtant l'ironiste Maupassant a souvent recours au portrait caricatural afin de mettre en relief le caractère excessif du personnage. En établissant des liens fermes entre le portrait du personnage et le déroulement de l’histoire, qui illustrera les conséquences négatives de cet excès, Maupassant expose le danger qu’il y a à dévier d'un comportement mesuré. Le réalisme réside ainsi dans la cohérence entre le portrait caricatural du personnage et ses actes. Il dérive aussi de l'application d'un schéma rationnel mis en place pour déprécier le personnage caricaturé, dont l'excès, souvent sous forme de passion, provoque une appréhension erronée du réel objectif. L'impossibilité d'appliquer un tel cadre normatif, comme dans le genre fantastique, pourrait indiquer la nécessité d'abandonner partiellement l’esthétique réaliste pour embrasser d'autres formes de composition.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44922412" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e164597138e7435f07fb86e26f6e7c3f" rel="nofollow" data-download="{"attachment_id":65446731,"asset_id":44922412,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65446731/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="129500398" href="https://kul.academia.edu/Queteslitteraires">Quêtes littéraires</a><script data-card-contents-for-user="129500398" type="text/json">{"id":129500398,"first_name":"Quêtes","last_name":"littéraires","domain_name":"kul","page_name":"Queteslitteraires","display_name":"Quêtes littéraires","profile_url":"https://kul.academia.edu/Queteslitteraires?f_ri=75948","photo":"https://0.academia-photos.com/129500398/33434805/29795590/s65_qu_tes.litt_raires.jpg"}</script></span></span></li><li class="js-paper-rank-work_44922412 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44922412"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44922412, container: ".js-paper-rank-work_44922412", }); 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Pourtant l'ironiste Maupassant a souvent recours au portrait caricatural afin de mettre en relief le caractère excessif du personnage. En établissant des liens fermes entre le portrait du personnage et le déroulement de l’histoire, qui illustrera les conséquences négatives de cet excès, Maupassant expose le danger qu’il y a à dévier d'un comportement mesuré. Le réalisme réside ainsi dans la cohérence entre le portrait caricatural du personnage et ses actes. Il dérive aussi de l'application d'un schéma rationnel mis en place pour déprécier le personnage caricaturé, dont l'excès, souvent sous forme de passion, provoque une appréhension erronée du réel objectif. L'impossibilité d'appliquer un tel cadre normatif, comme dans le genre fantastique, pourrait indiquer la nécessité d'abandonner partiellement l’esthétique réaliste pour embrasser d'autres formes de composition.","downloadable_attachments":[{"id":65446731,"asset_id":44922412,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":129500398,"first_name":"Quêtes","last_name":"littéraires","domain_name":"kul","page_name":"Queteslitteraires","display_name":"Quêtes littéraires","profile_url":"https://kul.academia.edu/Queteslitteraires?f_ri=75948","photo":"https://0.academia-photos.com/129500398/33434805/29795590/s65_qu_tes.litt_raires.jpg"}],"research_interests":[{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature?f_ri=75948","nofollow":false},{"id":17757,"name":"Caricature (Art)","url":"https://www.academia.edu/Documents/in/Caricature_Art_?f_ri=75948","nofollow":false},{"id":23577,"name":"Short story (Literature)","url":"https://www.academia.edu/Documents/in/Short_story_Literature_?f_ri=75948","nofollow":false},{"id":26536,"name":"Genres","url":"https://www.academia.edu/Documents/in/Genres?f_ri=75948","nofollow":false},{"id":54347,"name":"Caricature","url":"https://www.academia.edu/Documents/in/Caricature?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":106154,"name":"Littérature Française","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_Fran%C3%A7aise?f_ri=75948"},{"id":227544,"name":"BALZAC - GUY DE MAUPASSANT- FLAUBERT","url":"https://www.academia.edu/Documents/in/BALZAC_-_GUY_DE_MAUPASSANT-_FLAUBERT?f_ri=75948"},{"id":414259,"name":"Littérature française XIXe siècle","url":"https://www.academia.edu/Documents/in/Litterature_francaise_XIXe_siecle?f_ri=75948"},{"id":559010,"name":"Realisme","url":"https://www.academia.edu/Documents/in/Realisme?f_ri=75948"},{"id":795163,"name":"Novelists","url":"https://www.academia.edu/Documents/in/Novelists?f_ri=75948"},{"id":1002849,"name":"Maupassant","url":"https://www.academia.edu/Documents/in/Maupassant?f_ri=75948"},{"id":1116843,"name":"Guy De Maupassant","url":"https://www.academia.edu/Documents/in/Guy_De_Maupassant?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43998608" data-work_id="43998608" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43998608/Rosalind_E_Krauss_Az_avantgarde_eredetis%C3%A9ge_Egy_posztmodern_ism%C3%A9tl%C3%A9s_Transl_by_Gy%C3%B6rgyi_Vajdovich_ed_by_Csilla_Mark%C3%B3ja_HU_">Rosalind E. Krauss: Az avantgarde eredetisége. Egy posztmodern ismétlés. (Transl. by Györgyi Vajdovich, ed. by Csilla Markója) (HU)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43998608" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2c9b77f8791cb8a42e031976dfc134c" rel="nofollow" data-download="{"attachment_id":64330895,"asset_id":43998608,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64330895/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="94114551" href="https://mta.academia.edu/CsillaMarkoja">Csilla Markója</a><script data-card-contents-for-user="94114551" type="text/json">{"id":94114551,"first_name":"Csilla","last_name":"Markója","domain_name":"mta","page_name":"CsillaMarkoja","display_name":"Csilla Markója","profile_url":"https://mta.academia.edu/CsillaMarkoja?f_ri=75948","photo":"https://0.academia-photos.com/94114551/20682687/157837067/s65_csilla.mark_ja.jpg"}</script></span></span></li><li class="js-paper-rank-work_43998608 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43998608"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43998608, container: ".js-paper-rank-work_43998608", }); 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Il questionne alors l'ambiguïté des positions marginales qu'il a connues et la condition de « touriste du réel » que celles-ci imposent.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34812646" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Après une jeunesse au sein de mouvements contestataires, Antoine d'Agata découvre la photographie. Il questionne alors l'ambiguïté des positions marginales qu'il a connues et la condition de « touriste du réel » que celles-ci imposent. Mais il refuse les pratiques et théories qui font du photographe un « professionnel du regard », voyant au contraire dans le medium photographique un moyen de prendre le pouvoir sur le monde, de tenir une position à partir de laquelle il peut, en s'inspirant du mouvement situationniste, s'impliquer dans des situations. La photographie cesse d'être descriptive et se découvre comme le moyen de faire l'expérience du monde et de l'économie de la chair. La lecture attentive de l'oeuvre du photographe fait toutefois resurgir un certain nombre d'apories – Antoine d'Agata lui-même ne le nie pas. Pour comprendre l'enjeu de celles-ci, notre étude fait appel à la philosophie de la praxis, ce courant qui a inspiré les situationnistes et qui propose de penser les relations qui lient la sphère intime de la psyché et la sphère de la praxis, le monde politique. L'anéantissement réciproque des deux sphères mis en lumière par Antoine d'Agata constitue alors un appel à repenser la photographie et la tâche du critique. Abstract Antoine d'Agata came to photography after a politicized youth spent protesting. Camera in hand, he now</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34812646" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="623be697c0fc032715a1380ee38ef569" rel="nofollow" data-download="{"attachment_id":54671558,"asset_id":34812646,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54671558/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8309378" href="https://unige-it1.academia.edu/Cl%C3%A9mentParadis">Clément Paradis</a><script data-card-contents-for-user="8309378" type="text/json">{"id":8309378,"first_name":"Clément","last_name":"Paradis","domain_name":"unige-it1","page_name":"ClémentParadis","display_name":"Clément Paradis","profile_url":"https://unige-it1.academia.edu/Cl%C3%A9mentParadis?f_ri=75948","photo":"https://0.academia-photos.com/8309378/17965842/17976251/s65_cl_ment.paradis.jpg"}</script></span></span></li><li class="js-paper-rank-work_34812646 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34812646"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34812646, container: ".js-paper-rank-work_34812646", }); 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$(".js-view-count[data-work-id=34812646]").text(description); $(".js-view-count-work_34812646").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34812646").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34812646"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a><script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34812646]'), work: {"id":34812646,"title":"De positions en situations, Antoine d'Agata au prisme de la philosophie de la praxis","created_at":"2017-10-09T17:43:50.854-07:00","url":"https://www.academia.edu/34812646/De_positions_en_situations_Antoine_dAgata_au_prisme_de_la_philosophie_de_la_praxis?f_ri=75948","dom_id":"work_34812646","summary":"Après une jeunesse au sein de mouvements contestataires, Antoine d'Agata découvre la photographie. Il questionne alors l'ambiguïté des positions marginales qu'il a connues et la condition de « touriste du réel » que celles-ci imposent. Mais il refuse les pratiques et théories qui font du photographe un « professionnel du regard », voyant au contraire dans le medium photographique un moyen de prendre le pouvoir sur le monde, de tenir une position à partir de laquelle il peut, en s'inspirant du mouvement situationniste, s'impliquer dans des situations. La photographie cesse d'être descriptive et se découvre comme le moyen de faire l'expérience du monde et de l'économie de la chair. La lecture attentive de l'oeuvre du photographe fait toutefois resurgir un certain nombre d'apories – Antoine d'Agata lui-même ne le nie pas. Pour comprendre l'enjeu de celles-ci, notre étude fait appel à la philosophie de la praxis, ce courant qui a inspiré les situationnistes et qui propose de penser les relations qui lient la sphère intime de la psyché et la sphère de la praxis, le monde politique. L'anéantissement réciproque des deux sphères mis en lumière par Antoine d'Agata constitue alors un appel à repenser la photographie et la tâche du critique. Abstract Antoine d'Agata came to photography after a politicized youth spent protesting. Camera in hand, he now","downloadable_attachments":[{"id":54671558,"asset_id":34812646,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8309378,"first_name":"Clément","last_name":"Paradis","domain_name":"unige-it1","page_name":"ClémentParadis","display_name":"Clément Paradis","profile_url":"https://unige-it1.academia.edu/Cl%C3%A9mentParadis?f_ri=75948","photo":"https://0.academia-photos.com/8309378/17965842/17976251/s65_cl_ment.paradis.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=75948","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=75948","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=75948"},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism?f_ri=75948"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=75948"},{"id":3200,"name":"Praxis","url":"https://www.academia.edu/Documents/in/Praxis?f_ri=75948"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=75948"},{"id":12702,"name":"Situationism","url":"https://www.academia.edu/Documents/in/Situationism?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":79262,"name":"Georg Lukács","url":"https://www.academia.edu/Documents/in/Georg_Luk%C3%A1cs?f_ri=75948"},{"id":382100,"name":"Photographie","url":"https://www.academia.edu/Documents/in/Photographie?f_ri=75948"},{"id":966519,"name":"Situationnisme","url":"https://www.academia.edu/Documents/in/Situationnisme?f_ri=75948"},{"id":2799967,"name":"théorie de la photographie","url":"https://www.academia.edu/Documents/in/th%C3%A9orie_de_la_photographie?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19707922 coauthored" data-work_id="19707922" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19707922/Vers_la_science_de_lart_Lesth%C3%A9tique_scientifique_en_France_1857_1937">Vers la science de l'art. L'esthétique scientifique en France 1857-1937</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19707922" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a6bbcbc16fcf3451cf09a878e6f98ca" rel="nofollow" data-download="{"attachment_id":40797036,"asset_id":19707922,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40797036/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34764371" href="https://unil.academia.edu/CaroleMaign%C3%A9">Carole Maigné</a><script data-card-contents-for-user="34764371" type="text/json">{"id":34764371,"first_name":"Carole","last_name":"Maigné","domain_name":"unil","page_name":"CaroleMaigné","display_name":"Carole Maigné","profile_url":"https://unil.academia.edu/CaroleMaign%C3%A9?f_ri=75948","photo":"https://0.academia-photos.com/34764371/23239140/22332609/s65_carole.maign_.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-19707922">+1</span><div class="hidden js-additional-users-19707922"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://sorbonne-fr.academia.edu/ArnauldPierre">Arnauld Pierre</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-19707922'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-19707922').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_19707922 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19707922"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19707922, container: ".js-paper-rank-work_19707922", }); });</script></li><li class="js-percentile-work_19707922 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 19707922; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_19707922"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_19707922 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="19707922"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19707922; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19707922]").text(description); $(".js-view-count-work_19707922").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19707922").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19707922"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a><script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19707922]'), work: {"id":19707922,"title":"Vers la science de l'art. L'esthétique scientifique en France 1857-1937","created_at":"2015-12-17T08:04:00.142-08:00","url":"https://www.academia.edu/19707922/Vers_la_science_de_lart_Lesth%C3%A9tique_scientifique_en_France_1857_1937?f_ri=75948","dom_id":"work_19707922","summary":null,"downloadable_attachments":[{"id":40797036,"asset_id":19707922,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34764371,"first_name":"Carole","last_name":"Maigné","domain_name":"unil","page_name":"CaroleMaigné","display_name":"Carole Maigné","profile_url":"https://unil.academia.edu/CaroleMaign%C3%A9?f_ri=75948","photo":"https://0.academia-photos.com/34764371/23239140/22332609/s65_carole.maign_.jpg"},{"id":40854275,"first_name":"Arnauld","last_name":"Pierre","domain_name":"sorbonne-fr","page_name":"ArnauldPierre","display_name":"Arnauld Pierre","profile_url":"https://sorbonne-fr.academia.edu/ArnauldPierre?f_ri=75948","photo":"https://0.academia-photos.com/40854275/19974978/23116869/s65_arnauld.pierre.jpg"}],"research_interests":[{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27147426" data-work_id="27147426" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27147426/Musil_Me_lophobie_et_mode_le_musical_Reims_pdf">Musil. Mélophobie et modèle musical (Reims).pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dans un fragment posthume de L’Homme sans qualités, Ulrich entre dans une pièce où sa sœur Agathe est au piano, et décharge son revolver sur l’instrument. Ce geste imprévisible et violent, si on choisit de l’extraire de l’histoire des... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27147426" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dans un fragment posthume de L’Homme sans qualités, Ulrich entre dans une pièce où sa sœur Agathe est au piano, et décharge son revolver sur l’instrument. Ce geste imprévisible et violent, si on choisit de l’extraire de l’histoire des relations entre les deux personnages, peut être considéré comme une invitation à méditer sur le rôle de la musique dans le roman de Musil : la musique en tant qu’élément prestigieux de culture, mais aussi en tant que « langage » toujours plus ou moins concurrent du verbal, et impliqué dans le dessin musilien de proposer une « alternative romanesque » au discours constitué de la philosophie. A un premier niveau, le geste d’Ulrich – véritable blasphème culturel – s’interprète naturellement comme une agression. Précédant des auteurs comme Thomas Bernhard, Elfriede Jelinek ou Gert Jonke, Musil instruit le procès de l’identité musicale de l’Autriche, cette « Cacanie » qui se flatte éternellement, pour masquer la sclérose profonde de ses institutions et sa paralysie politique, d’être le pays de Mozart, Schubert et Johann Strauss. Les personnages de Clarisse et Walter, musiciens idéalistes idolâtres de l’art, comme celui de Meingast, mage-philosophe inspiré de Nietzsche et Spengler, apôtre de la « figure mélodique absolue », s’inscrivent également dans cette intention parodique : il s’agit, pour Musil, de démystifier la musique comme modèle absolu, objet d’une « métaphysique » dans la culture post-schopenhauérienne dominante chez les écrivains de langue allemande, mais aussi, par exemple, chez Proust. Cette charge véhémente, sans doute, s’inscrit dans le projet général, à travers les notions de « dissolution des qualités » et « d’amorphisme humain » de substituer un « homme exact » à « l’homme identitaire » fabriqué de toutes pièces par le jeu social et les nationalismes : dans la mesure où la mélomanie est quasiment un critère définitoire de « l’homo austriacus », elle doit être combattue. Ceci ne peut nous faire conclure, cependant, à une hostilité profonde de Musil envers la musique : le meurtre rituel du piano trahit, aussi bien, un appel, une interrogation angoissée adressée à un art dont on perçoit qu’il est susceptible de fournir une appréhension inédite, et intensément désirable, de l’homme dans le monde. Les carnets d’Ulrich, ainsi, contiennent des réflexions sur la parenté entre le fonctionnement de la mélodie (non réductible à la somme de ses composantes, les sublimant dans la perception sans pour autant les annihiler) et ce que Musil nomme les « pensées vivantes » : proches de certaines analyses de Wittgenstein, elles renvoient à l’intuition que Musil avait éprouvée, lors d’un récital du pianiste Ignasz Paderewski, selon laquelle les « qualités de forme » (Gestaltqualitäten) du discours musical pouvaient servir de modèle au style « essayistique » de L’Homme sans qualités. L’utopie musilienne, on le sait, consiste à mettre au point une perception complexe et ductile de la réalité, et il semble que la musique, ainsi, grâce à ses spécificités sémiotiques et à ce qu’on appelle parfois sa « signifiance », puisse indiquer la voie vers « l’autre état », lequel n’est pas, comme on le dit parfois, le projet d’une abolition de la réalité, mais bien celui d’une modification radicale du point de vue.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27147426" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f5db5e229072c2e3fe9b6c58db630b48" rel="nofollow" data-download="{"attachment_id":47397089,"asset_id":27147426,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47397089/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36864318" href="https://univ-tlse2.academia.edu/Fr%C3%A9d%C3%A9ricSounac">Frédéric Sounac</a><script data-card-contents-for-user="36864318" type="text/json">{"id":36864318,"first_name":"Frédéric","last_name":"Sounac","domain_name":"univ-tlse2","page_name":"FrédéricSounac","display_name":"Frédéric Sounac","profile_url":"https://univ-tlse2.academia.edu/Fr%C3%A9d%C3%A9ricSounac?f_ri=75948","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_27147426 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27147426"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27147426, container: ".js-paper-rank-work_27147426", }); });</script></li><li class="js-percentile-work_27147426 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 27147426; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_27147426"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_27147426 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="27147426"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27147426; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=27147426]").text(description); $(".js-view-count-work_27147426").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27147426").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27147426"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8454" href="https://www.academia.edu/Documents/in/Robert_Musil">Robert Musil</a>, <script data-card-contents-for-ri="8454" type="text/json">{"id":8454,"name":"Robert Musil","url":"https://www.academia.edu/Documents/in/Robert_Musil?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a>, <script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="449841" href="https://www.academia.edu/Documents/in/Les_relations_entre_le_litterature_et_la_musique_">Les relations entre le littérature et la musique .</a>, <script data-card-contents-for-ri="449841" type="text/json">{"id":449841,"name":"Les relations entre le littérature et la musique .","url":"https://www.academia.edu/Documents/in/Les_relations_entre_le_litterature_et_la_musique_?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="530431" href="https://www.academia.edu/Documents/in/Musil">Musil</a><script data-card-contents-for-ri="530431" type="text/json">{"id":530431,"name":"Musil","url":"https://www.academia.edu/Documents/in/Musil?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27147426]'), work: {"id":27147426,"title":"Musil. Mélophobie et modèle musical (Reims).pdf","created_at":"2016-07-21T01:41:09.407-07:00","url":"https://www.academia.edu/27147426/Musil_Me_lophobie_et_mode_le_musical_Reims_pdf?f_ri=75948","dom_id":"work_27147426","summary":"Dans un fragment posthume de L’Homme sans qualités, Ulrich entre dans une pièce où sa sœur Agathe est au piano, et décharge son revolver sur l’instrument. Ce geste imprévisible et violent, si on choisit de l’extraire de l’histoire des relations entre les deux personnages, peut être considéré comme une invitation à méditer sur le rôle de la musique dans le roman de Musil : la musique en tant qu’élément prestigieux de culture, mais aussi en tant que « langage » toujours plus ou moins concurrent du verbal, et impliqué dans le dessin musilien de proposer une « alternative romanesque » au discours constitué de la philosophie. A un premier niveau, le geste d’Ulrich – véritable blasphème culturel – s’interprète naturellement comme une agression. Précédant des auteurs comme Thomas Bernhard, Elfriede Jelinek ou Gert Jonke, Musil instruit le procès de l’identité musicale de l’Autriche, cette « Cacanie » qui se flatte éternellement, pour masquer la sclérose profonde de ses institutions et sa paralysie politique, d’être le pays de Mozart, Schubert et Johann Strauss. Les personnages de Clarisse et Walter, musiciens idéalistes idolâtres de l’art, comme celui de Meingast, mage-philosophe inspiré de Nietzsche et Spengler, apôtre de la « figure mélodique absolue », s’inscrivent également dans cette intention parodique : il s’agit, pour Musil, de démystifier la musique comme modèle absolu, objet d’une « métaphysique » dans la culture post-schopenhauérienne dominante chez les écrivains de langue allemande, mais aussi, par exemple, chez Proust. Cette charge véhémente, sans doute, s’inscrit dans le projet général, à travers les notions de « dissolution des qualités » et « d’amorphisme humain » de substituer un « homme exact » à « l’homme identitaire » fabriqué de toutes pièces par le jeu social et les nationalismes : dans la mesure où la mélomanie est quasiment un critère définitoire de « l’homo austriacus », elle doit être combattue. Ceci ne peut nous faire conclure, cependant, à une hostilité profonde de Musil envers la musique : le meurtre rituel du piano trahit, aussi bien, un appel, une interrogation angoissée adressée à un art dont on perçoit qu’il est susceptible de fournir une appréhension inédite, et intensément désirable, de l’homme dans le monde. Les carnets d’Ulrich, ainsi, contiennent des réflexions sur la parenté entre le fonctionnement de la mélodie (non réductible à la somme de ses composantes, les sublimant dans la perception sans pour autant les annihiler) et ce que Musil nomme les « pensées vivantes » : proches de certaines analyses de Wittgenstein, elles renvoient à l’intuition que Musil avait éprouvée, lors d’un récital du pianiste Ignasz Paderewski, selon laquelle les « qualités de forme » (Gestaltqualitäten) du discours musical pouvaient servir de modèle au style « essayistique » de L’Homme sans qualités. L’utopie musilienne, on le sait, consiste à mettre au point une perception complexe et ductile de la réalité, et il semble que la musique, ainsi, grâce à ses spécificités sémiotiques et à ce qu’on appelle parfois sa « signifiance », puisse indiquer la voie vers « l’autre état », lequel n’est pas, comme on le dit parfois, le projet d’une abolition de la réalité, mais bien celui d’une modification radicale du point de vue.","downloadable_attachments":[{"id":47397089,"asset_id":27147426,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36864318,"first_name":"Frédéric","last_name":"Sounac","domain_name":"univ-tlse2","page_name":"FrédéricSounac","display_name":"Frédéric Sounac","profile_url":"https://univ-tlse2.academia.edu/Fr%C3%A9d%C3%A9ricSounac?f_ri=75948","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":8454,"name":"Robert Musil","url":"https://www.academia.edu/Documents/in/Robert_Musil?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":449841,"name":"Les relations entre le littérature et la musique .","url":"https://www.academia.edu/Documents/in/Les_relations_entre_le_litterature_et_la_musique_?f_ri=75948","nofollow":false},{"id":530431,"name":"Musil","url":"https://www.academia.edu/Documents/in/Musil?f_ri=75948","nofollow":false},{"id":1669058,"name":"Musique et littérature","url":"https://www.academia.edu/Documents/in/Musique_et_litt%C3%A9rature?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2231033" data-work_id="2231033" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2231033/LESTHETIQUE_DU_DISEGNO_VERSUS_LESTHETIQUE_DU_COLORITO_LA_POLEMIQUE_VASARI_DOLCE_ET_LE_DEVENIR_DE_LA_THEORIE_DE_LART_AU_">L'ESTHETIQUE DU DISEGNO VERSUS L'ESTHETIQUE DU COLORITO: LA POLEMIQUE VASARI–DOLCE ET LE DEVENIR DE LA THEORIE DE L'ART AU …</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cette étude propose une analyse du conflit des principes de la création et du jugement des œuvres d’art au XVIe siècle, en visant en particulier les tensions entre l’imitation des modèles artistiques et l’imitation de la nature, la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2231033" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cette étude propose une analyse du conflit des principes de la création et du jugement des œuvres d’art au XVIe siècle, en visant en particulier les tensions entre l’imitation des modèles artistiques et l’imitation de la nature, la rationalité du disegno et le naturalisme du colorito, qui se sont manifestées lors de la polémique de l’esthétique toscane et de l’esthétique vénitienne. Il s’agit, d’une part, d’éclairer les principes esthétiques ainsi que le modèle progressif de l’histoire de l’art régi par la dialectique de la décadence et de la renaissance, que propose Giorgio Vasari dans son ouvrage majeur, les Vies des meilleurs peintres, sculpteurs et architectes (1550/1568), et qui dirigent ses jugements critiques. Il s’agit, d’autre part, de montrer la nouveauté de la théorie vénitienne de l’art, en particulier du Diallogo della Pittura (1557) de Lodovico Dolce, qui consiste non seulement dans la codification de la pratique artistique vénitienne et l’affirmation du rôle primordial du coloris, mais aussi dans un traitement rhétorique de la peinture différent de celui entrepris par Alberti à Florence un siècle plus tôt, et dans une alternative plus « classique » à la théorie maniériste, en ce qui concerne les principes de la création artistique et les rapports entre peinture et nature.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2231033" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ffb1d6949eb168a24c6dc6503fc0ff4c" rel="nofollow" data-download="{"attachment_id":30378365,"asset_id":2231033,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30378365/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2288028" href="https://ubbcluj.academia.edu/DanEugenRatiu">Dan Eugen Ratiu</a><script data-card-contents-for-user="2288028" type="text/json">{"id":2288028,"first_name":"Dan Eugen","last_name":"Ratiu","domain_name":"ubbcluj","page_name":"DanEugenRatiu","display_name":"Dan Eugen Ratiu","profile_url":"https://ubbcluj.academia.edu/DanEugenRatiu?f_ri=75948","photo":"https://0.academia-photos.com/2288028/726827/39171838/s65_dan_eugen.ratiu.jpg"}</script></span></span></li><li class="js-paper-rank-work_2231033 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2231033"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2231033, container: ".js-paper-rank-work_2231033", }); });</script></li><li class="js-percentile-work_2231033 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2231033; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2231033"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2231033 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2231033"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2231033; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2231033]").text(description); $(".js-view-count-work_2231033").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2231033").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2231033"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16368" href="https://www.academia.edu/Documents/in/Italian_Renaissance_Art">Italian Renaissance Art</a>, <script data-card-contents-for-ri="16368" type="text/json">{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a>, <script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="172399" href="https://www.academia.edu/Documents/in/Peinture">Peinture</a><script data-card-contents-for-ri="172399" type="text/json">{"id":172399,"name":"Peinture","url":"https://www.academia.edu/Documents/in/Peinture?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2231033]'), work: {"id":2231033,"title":"L'ESTHETIQUE DU DISEGNO VERSUS L'ESTHETIQUE DU COLORITO: LA POLEMIQUE VASARI–DOLCE ET LE DEVENIR DE LA THEORIE DE L'ART AU …","created_at":"2012-12-02T05:42:38.310-08:00","url":"https://www.academia.edu/2231033/LESTHETIQUE_DU_DISEGNO_VERSUS_LESTHETIQUE_DU_COLORITO_LA_POLEMIQUE_VASARI_DOLCE_ET_LE_DEVENIR_DE_LA_THEORIE_DE_LART_AU_?f_ri=75948","dom_id":"work_2231033","summary":"Cette étude propose une analyse du conflit des principes de la création et du jugement des œuvres d’art au XVIe siècle, en visant en particulier les tensions entre l’imitation des modèles artistiques et l’imitation de la nature, la rationalité du disegno et le naturalisme du colorito, qui se sont manifestées lors de la polémique de l’esthétique toscane et de l’esthétique vénitienne. Il s’agit, d’une part, d’éclairer les principes esthétiques ainsi que le modèle progressif de l’histoire de l’art régi par la dialectique de la décadence et de la renaissance, que propose Giorgio Vasari dans son ouvrage majeur, les Vies des meilleurs peintres, sculpteurs et architectes (1550/1568), et qui dirigent ses jugements critiques. Il s’agit, d’autre part, de montrer la nouveauté de la théorie vénitienne de l’art, en particulier du Diallogo della Pittura (1557) de Lodovico Dolce, qui consiste non seulement dans la codification de la pratique artistique vénitienne et l’affirmation du rôle primordial du coloris, mais aussi dans un traitement rhétorique de la peinture différent de celui entrepris par Alberti à Florence un siècle plus tôt, et dans une alternative plus « classique » à la théorie maniériste, en ce qui concerne les principes de la création artistique et les rapports entre peinture et nature.","downloadable_attachments":[{"id":30378365,"asset_id":2231033,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2288028,"first_name":"Dan Eugen","last_name":"Ratiu","domain_name":"ubbcluj","page_name":"DanEugenRatiu","display_name":"Dan Eugen Ratiu","profile_url":"https://ubbcluj.academia.edu/DanEugenRatiu?f_ri=75948","photo":"https://0.academia-photos.com/2288028/726827/39171838/s65_dan_eugen.ratiu.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":172399,"name":"Peinture","url":"https://www.academia.edu/Documents/in/Peinture?f_ri=75948","nofollow":false},{"id":461292,"name":"Histoire des idées","url":"https://www.academia.edu/Documents/in/Histoire_des_idees?f_ri=75948"},{"id":739909,"name":"Lodovico Dolce","url":"https://www.academia.edu/Documents/in/Lodovico_Dolce?f_ri=75948"},{"id":1071176,"name":"Giorgio Vasari Theory","url":"https://www.academia.edu/Documents/in/Giorgio_Vasari_Theory?f_ri=75948"},{"id":1166682,"name":"Couleur","url":"https://www.academia.edu/Documents/in/Couleur?f_ri=75948"},{"id":1174311,"name":"Dessin","url":"https://www.academia.edu/Documents/in/Dessin?f_ri=75948"},{"id":1712084,"name":"Création Artistique","url":"https://www.academia.edu/Documents/in/Cr%C3%A9ation_Artistique?f_ri=75948"},{"id":2675212,"name":"théorie de l'art","url":"https://www.academia.edu/Documents/in/th%C3%A9orie_de_lart?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38667848 coauthored" data-work_id="38667848" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38667848/Introduction_ECOSOMATIQUES_Penser_l%C3%A9cologie_depuis_le_geste">Introduction ECOSOMATIQUES, Penser l'écologie depuis le geste</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38667848" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e2d4b6572d53b18f5a67ec322b4744cf" rel="nofollow" data-download="{"attachment_id":58747939,"asset_id":38667848,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen 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Clavel","profile_url":"https://cnrs.academia.edu/JoanneClavel?f_ri=75948","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-38667848">+1</span><div class="hidden js-additional-users-38667848"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unsam.academia.edu/MarieBardet">Marie Bardet</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-38667848'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-38667848').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_38667848 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38667848"><i class="u-m1x fa 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href="https://www.academia.edu/Documents/in/Politics">Politics</a>, <script data-card-contents-for-ri="5709" type="text/json">{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9684" href="https://www.academia.edu/Documents/in/Somatics">Somatics</a>, <script data-card-contents-for-ri="9684" type="text/json">{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9846" href="https://www.academia.edu/Documents/in/Ecology">Ecology</a>, <script data-card-contents-for-ri="9846" type="text/json">{"id":9846,"name":"Ecology","url":"https://www.academia.edu/Documents/in/Ecology?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21325" href="https://www.academia.edu/Documents/in/Ecopoetics">Ecopoetics</a><script 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Somatiques","url":"https://www.academia.edu/Documents/in/Pratiques_Somatiques?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43463641" data-work_id="43463641" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43463641/_Naissance_d_une_discipline_Sur_la_s%C3%A9paration_des_%C3%A9tudes_th%C3%A9%C3%A2trales_d_avec_les_%C3%A9tudes_litt%C3%A9raires_">« Naissance d’une discipline. Sur la “séparation” des études théâtrales d’avec les études littéraires »</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cet article discute l’hypothèse principale de Genèses des études théâtrales en France (XIXe-XXe siècles) (PUR, 2019), explicitement opposée au « récit de genèse qui circul[e] parmi les chercheurs », selon lequel les études théâtrales... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43463641" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet article discute l’hypothèse principale de Genèses des études théâtrales en France (XIXe-XXe siècles) (PUR, 2019), explicitement opposée au « récit de genèse qui circul[e] parmi les chercheurs », selon lequel les études théâtrales seraient nées d’une « séparation » d’avec les études littéraires. Catherine Brun, Jeanyves Guérin et Marie-Madeleine Mervant-Roux posent en effet qu’un tel « récit de genèse » s’apparenterait à une « fable » : « Infondée, mais portée par le vif besoin qu’avait la jeune discipline d’imposer sa spécificité, la fable sur les origines fondamentalement anti-littéraires des études théâtrales s’est imposée. » Or si l’on doit absolument relativiser l’idée d’une « séparation », en effet, on gagnerait à se demander ce que veut dire « littéraire », de 1880 à nos jours, pour s’assurer que les fondements des études théâtrales ne sont pas « anti-littéraires ». Car on doit rappeler une idée qui se trouve déposée au seuil de très nombreux ouvrages de la nouvelle discipline, bien avant sa fondation officielle et jusqu’à nos jours — idée que Genèses des études théâtrales en France laisse de côté : celle qu’on ne saurait lire comme de la « littérature » la « littérature dramatique » (cette dernière appellation tombe d’ailleurs progressivement en désuétude), qu’un texte de théâtre ne se lirait pas « comme un roman », ou du moins qu’on ferait bien de ne pas le lire comme tel si l’on désire étudier… le « théâtre ». Quoi qu’on dise, il semble bien que les promoteurs des études théâtrales aient, avec constance, écarté de leur champ la lecture littéraire, c’est-à-dire non pas les textes ni même les « études littéraires », mais l’une des pratiques qui fonde la « littérature » au XXe siècle, dès lors que celle-ci n’est pas comprise dans son acception ancienne de « savoir des lettres » ni dans son acception plus récente de « belles-lettres », mais comme désignant plus spécifiquement l’art livresque de l’écriture. Sous cet angle, « la fable sur les origines fondamentalement anti-littéraires des études théâtrales » n’apparaît plus si « infondée ». Bien que la question de la lecture (i.e. des manières de lire les textes) puisse sembler périphérique à qui s’occupe d’études théâtrales, elle s’avère ici d’importance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43463641" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a154251c7929534588981a02598575eb" rel="nofollow" data-download="{"attachment_id":63771520,"asset_id":43463641,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63771520/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31181068" href="https://unil.academia.edu/RomainBionda">Romain Bionda</a><script data-card-contents-for-user="31181068" type="text/json">{"id":31181068,"first_name":"Romain","last_name":"Bionda","domain_name":"unil","page_name":"RomainBionda","display_name":"Romain Bionda","profile_url":"https://unil.academia.edu/RomainBionda?f_ri=75948","photo":"https://0.academia-photos.com/31181068/9220462/19412238/s65_romain.bionda.jpg"}</script></span></span></li><li class="js-paper-rank-work_43463641 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43463641"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43463641, container: ".js-paper-rank-work_43463641", }); });</script></li><li class="js-percentile-work_43463641 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43463641; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43463641"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43463641 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43463641"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43463641; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43463641]").text(description); $(".js-view-count-work_43463641").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43463641").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43463641"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="947" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2521" href="https://www.academia.edu/Documents/in/Dramatic_Literature">Dramatic Literature</a><script data-card-contents-for-ri="2521" type="text/json">{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43463641]'), work: {"id":43463641,"title":"« Naissance d’une discipline. Sur la “séparation” des études théâtrales d’avec les études littéraires »","created_at":"2020-06-29T00:15:57.418-07:00","url":"https://www.academia.edu/43463641/_Naissance_d_une_discipline_Sur_la_s%C3%A9paration_des_%C3%A9tudes_th%C3%A9%C3%A2trales_d_avec_les_%C3%A9tudes_litt%C3%A9raires_?f_ri=75948","dom_id":"work_43463641","summary":"Cet article discute l’hypothèse principale de Genèses des études théâtrales en France (XIXe-XXe siècles) (PUR, 2019), explicitement opposée au « récit de genèse qui circul[e] parmi les chercheurs », selon lequel les études théâtrales seraient nées d’une « séparation » d’avec les études littéraires. Catherine Brun, Jeanyves Guérin et Marie-Madeleine Mervant-Roux posent en effet qu’un tel « récit de genèse » s’apparenterait à une « fable » : « Infondée, mais portée par le vif besoin qu’avait la jeune discipline d’imposer sa spécificité, la fable sur les origines fondamentalement anti-littéraires des études théâtrales s’est imposée. » Or si l’on doit absolument relativiser l’idée d’une « séparation », en effet, on gagnerait à se demander ce que veut dire « littéraire », de 1880 à nos jours, pour s’assurer que les fondements des études théâtrales ne sont pas « anti-littéraires ». Car on doit rappeler une idée qui se trouve déposée au seuil de très nombreux ouvrages de la nouvelle discipline, bien avant sa fondation officielle et jusqu’à nos jours — idée que Genèses des études théâtrales en France laisse de côté : celle qu’on ne saurait lire comme de la « littérature » la « littérature dramatique » (cette dernière appellation tombe d’ailleurs progressivement en désuétude), qu’un texte de théâtre ne se lirait pas « comme un roman », ou du moins qu’on ferait bien de ne pas le lire comme tel si l’on désire étudier… le « théâtre ». Quoi qu’on dise, il semble bien que les promoteurs des études théâtrales aient, avec constance, écarté de leur champ la lecture littéraire, c’est-à-dire non pas les textes ni même les « études littéraires », mais l’une des pratiques qui fonde la « littérature » au XXe siècle, dès lors que celle-ci n’est pas comprise dans son acception ancienne de « savoir des lettres » ni dans son acception plus récente de « belles-lettres », mais comme désignant plus spécifiquement l’art livresque de l’écriture. Sous cet angle, « la fable sur les origines fondamentalement anti-littéraires des études théâtrales » n’apparaît plus si « infondée ». Bien que la question de la lecture (i.e. des manières de lire les textes) puisse sembler périphérique à qui s’occupe d’études théâtrales, elle s’avère ici d’importance.","downloadable_attachments":[{"id":63771520,"asset_id":43463641,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31181068,"first_name":"Romain","last_name":"Bionda","domain_name":"unil","page_name":"RomainBionda","display_name":"Romain Bionda","profile_url":"https://unil.academia.edu/RomainBionda?f_ri=75948","photo":"https://0.academia-photos.com/31181068/9220462/19412238/s65_romain.bionda.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=75948","nofollow":false},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=75948","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=75948","nofollow":false},{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=75948","nofollow":false},{"id":4273,"name":"Drama In Education","url":"https://www.academia.edu/Documents/in/Drama_In_Education?f_ri=75948"},{"id":10110,"name":"History of Reading and Writing","url":"https://www.academia.edu/Documents/in/History_of_Reading_and_Writing?f_ri=75948"},{"id":24466,"name":"Theatre Theory","url":"https://www.academia.edu/Documents/in/Theatre_Theory?f_ri=75948"},{"id":35630,"name":"Teaching and Learning Writing and Reading","url":"https://www.academia.edu/Documents/in/Teaching_and_Learning_Writing_and_Reading?f_ri=75948"},{"id":39677,"name":"Etienne Souriau","url":"https://www.academia.edu/Documents/in/Etienne_Souriau?f_ri=75948"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=75948"},{"id":59477,"name":"Lecture Littéraire","url":"https://www.academia.edu/Documents/in/Lecture_Litteraire?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948"},{"id":106154,"name":"Littérature Française","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_Fran%C3%A7aise?f_ri=75948"},{"id":121959,"name":"University History","url":"https://www.academia.edu/Documents/in/University_History?f_ri=75948"},{"id":160746,"name":"Theatre Historiography","url":"https://www.academia.edu/Documents/in/Theatre_Historiography?f_ri=75948"},{"id":972514,"name":"Etudes Litteraires","url":"https://www.academia.edu/Documents/in/Etudes_Litteraires?f_ri=75948"},{"id":1578916,"name":"Études Théâtrales","url":"https://www.academia.edu/Documents/in/Etudes_Theatrales?f_ri=75948"},{"id":2062934,"name":"Anne Ubersfeld","url":"https://www.academia.edu/Documents/in/Anne_Ubersfeld?f_ri=75948"},{"id":3376627,"name":"Histoire et esthétique du théâtre","url":"https://www.academia.edu/Documents/in/Histoire_et_esth%C3%A9tique_du_th%C3%A9%C3%A2tre?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26302483" data-work_id="26302483" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26302483/La_vie_comme_oeuvre_dart_sur_lesth%C3%A9tique_de_lexistence_d%C3%89tienne_Souriau_">La vie comme oeuvre d'art (sur l'esthétique de l'existence d'Étienne Souriau)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Intervention au Congrès annuel de la Société Française d'Esthétique (Paris, 17-18 juin 2016). Life as an artwork Étienne Souriau has developed an original philosophy of the institution (instauration) rooted in a new anthropology of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26302483" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Intervention au Congrès annuel de la Société Française d'Esthétique (Paris, 17-18 juin 2016). Life as an artwork <br />Étienne Souriau has developed an original philosophy of the institution (instauration) rooted in a new anthropology of creation : man is conceived as the Homo artifen. He systematically developed this founding intuition by exploring his stakes within three main areas : artistic institution (artwork is the purest type of the institution, the model for others) philosophical institution, and finally what he called “the institution of self”. This last domain was introduced in a public lecture given by Souriau in Lyon in 1929-1930, which was entitled L’Esthétique et l’art de vivre. Life is thus a matter from which one can give a form (form-of-life) and which can thus become, in itself, a work. But – one might ask – what form is it ? Souriau answers that life can be matter, taking turns taking pythagorean, dynamic, skeuological and psycho-aesthetic forms. The notion of work should also be considered. The artwork, Souriau points out, must be considered in itself as a person – that is, as a plurimodal being, which resembles in itself and synthesizes several existential levels at the time. According to the ontology developed in The Different Modes of existence, finally, the highest goal of existence must be that of an over-existent becoming, aiming to surpass itself in transcendence life becoming thus sublime life. It could therefore be argued that, according to Souriau, life can become an artwork, and the artwork is a form of life.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26302483" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a84911576dae6f5fad0ad0837a1baf99" rel="nofollow" data-download="{"attachment_id":54783086,"asset_id":26302483,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54783086/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17801582" href="https://independent.academia.edu/FilippoDomenicali">Filippo Domenicali</a><script data-card-contents-for-user="17801582" type="text/json">{"id":17801582,"first_name":"Filippo","last_name":"Domenicali","domain_name":"independent","page_name":"FilippoDomenicali","display_name":"Filippo Domenicali","profile_url":"https://independent.academia.edu/FilippoDomenicali?f_ri=75948","photo":"https://0.academia-photos.com/17801582/9817696/144093599/s65_filippo.domenicali.jpg"}</script></span></span></li><li class="js-paper-rank-work_26302483 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26302483"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26302483, container: ".js-paper-rank-work_26302483", }); 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$(".js-view-count[data-work-id=26302483]").text(description); $(".js-view-count-work_26302483").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26302483").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26302483"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6784" href="https://www.academia.edu/Documents/in/Contemporary_French_Philosophy">Contemporary French Philosophy</a>, <script data-card-contents-for-ri="6784" type="text/json">{"id":6784,"name":"Contemporary French Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_French_Philosophy?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9535" href="https://www.academia.edu/Documents/in/Giorgio_Agamben">Giorgio Agamben</a><script data-card-contents-for-ri="9535" type="text/json">{"id":9535,"name":"Giorgio Agamben","url":"https://www.academia.edu/Documents/in/Giorgio_Agamben?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26302483]'), work: {"id":26302483,"title":"La vie comme oeuvre d'art (sur l'esthétique de l'existence d'Étienne Souriau)","created_at":"2016-06-19T05:46:12.274-07:00","url":"https://www.academia.edu/26302483/La_vie_comme_oeuvre_dart_sur_lesth%C3%A9tique_de_lexistence_d%C3%89tienne_Souriau_?f_ri=75948","dom_id":"work_26302483","summary":"Intervention au Congrès annuel de la Société Française d'Esthétique (Paris, 17-18 juin 2016). Life as an artwork\r\nÉtienne Souriau has developed an original philosophy of the institution (instauration) rooted in a new anthropology of creation : man is conceived as the Homo artifen. He systematically developed this founding intuition by exploring his stakes within three main areas : artistic institution (artwork is the purest type of the institution, the model for others) philosophical institution, and finally what he called “the institution of self”. This last domain was introduced in a public lecture given by Souriau in Lyon in 1929-1930, which was entitled L’Esthétique et l’art de vivre. Life is thus a matter from which one can give a form (form-of-life) and which can thus become, in itself, a work. But – one might ask – what form is it ? Souriau answers that life can be matter, taking turns taking pythagorean, dynamic, skeuological and psycho-aesthetic forms. The notion of work should also be considered. The artwork, Souriau points out, must be considered in itself as a person – that is, as a plurimodal being, which resembles in itself and synthesizes several existential levels at the time. According to the ontology developed in The Different Modes of existence, finally, the highest goal of existence must be that of an over-existent becoming, aiming to surpass itself in transcendence life becoming thus sublime life. It could therefore be argued that, according to Souriau, life can become an artwork, and the artwork is a form of life.","downloadable_attachments":[{"id":54783086,"asset_id":26302483,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17801582,"first_name":"Filippo","last_name":"Domenicali","domain_name":"independent","page_name":"FilippoDomenicali","display_name":"Filippo Domenicali","profile_url":"https://independent.academia.edu/FilippoDomenicali?f_ri=75948","photo":"https://0.academia-photos.com/17801582/9817696/144093599/s65_filippo.domenicali.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false},{"id":6784,"name":"Contemporary French Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_French_Philosophy?f_ri=75948","nofollow":false},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=75948","nofollow":false},{"id":9535,"name":"Giorgio Agamben","url":"https://www.academia.edu/Documents/in/Giorgio_Agamben?f_ri=75948","nofollow":false},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=75948"},{"id":19331,"name":"Ontology of Art","url":"https://www.academia.edu/Documents/in/Ontology_of_Art?f_ri=75948"},{"id":25273,"name":"French philosophy","url":"https://www.academia.edu/Documents/in/French_philosophy?f_ri=75948"},{"id":39677,"name":"Etienne Souriau","url":"https://www.academia.edu/Documents/in/Etienne_Souriau?f_ri=75948"},{"id":69946,"name":"Contemporary Continental Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_Continental_Philosophy?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948"},{"id":1291924,"name":"French Aesthetics","url":"https://www.academia.edu/Documents/in/French_Aesthetics?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16156314" data-work_id="16156314" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16156314/L_intimit%C3%A9_projet%C3%A9e_l_intimit%C3%A9_partag%C3%A9e_et_l_intimit%C3%A9_retrouv%C3%A9e_Colloque_international_Pouvoirs_de_l_architecture_The_Capacities_of_Architecture_Universit%C3%A9_de_Nice_Sophia_Antipolis_23_24_25_avril_2015">L’intimité projetée, l’intimité partagée et l’intimité retrouvée. Colloque international Pouvoirs de l’architecture / The Capacities of Architecture Université de Nice Sophia Antipolis 23-24-25 avril 2015</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">D’après Hegel , la mission de l’architecture consiste, dans un premier temps, à façonner l’appareil environnemental qui est la nature. Dans un deuxième temps, cette discipline doit s’engager à travailler la réalité en lui donnant un... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16156314" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">D’après Hegel , la mission de l’architecture consiste, dans un premier temps, à façonner l’appareil environnemental qui est la nature. Dans un deuxième temps, cette discipline doit s’engager à travailler la réalité en lui donnant un strict sens de beauté. Enfin, après avoir atteint son symbolisme, l’architecture peut s’engager dans sa signification ultime qui est celle de la dimension humaine. De cette façon, l’œuvre architecturale, dans l’esthétique moderne, correspond à une recherche continue des liaisons entre : les formes de la technique qui sont fondamentales pour la construction des moyens d’abri et la beauté objective qui est une conséquence dans le monde des beaux arts. <br /><br />Pour sa part la dimension humaine, qui se distingue dans la recherche du but et du moyen  de l’architecture, joue le rôle fondamental de trait d’union entre les aspects des formes et les aspects des substances esthétiques. La dimension corporelle, en effet, est la conséquence logique de la structure architectonique en tant que modularisation des pleins et des vides, des hauteurs et des longueurs, des étroitesses et des largeurs que ce  soit dans le temple ou dans la maison, le point essentiel est dans la supposition de l’existence des leurs habitants. <br /><br />En reprenant le concept de la dimension humaine comme fonction de l’habiter et en revenant aux enquêtes actuelles sur  ce que serait aujourd’hui le pouvoir de l’architecture, nous voudrions proposer une étude de l’espace habité.  Dans la philosophie de l’espace de Gaston Bachelard, la dimension affective de l’espace se développe grâce au sens de l’intimité dégagé en première instance par le monde des éléments naturels. L’espace intime se présente donc comme un élément d’analyse pour l’architecture contemporaine qui peut être utilisé comme une méthode par rapport à l’espace habité. <br /><br />A cet égard une ouverture ultérieure pourrait être celle de fournir des exemples concrets de la façon dont l’architecture se base sur le développement de la dimension humaine  dans un domaine individuel ou collectif. Dans ce cas les Unités d’Habitations de Marseille de Le Corbusier, la Cité de la Musique de Portzamparc et les aérogares de Paul Andreu peuvent fournir nous un regard actuel  de ce que serait aujourd’hui le pouvoir intime de l’architecture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16156314" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ebd033139b7c1f7caceee802a2bfe2f6" rel="nofollow" data-download="{"attachment_id":38886227,"asset_id":16156314,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38886227/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="718268" href="https://iuo.academia.edu/AurosaAlison">Aurosa Alison</a><script data-card-contents-for-user="718268" type="text/json">{"id":718268,"first_name":"Aurosa","last_name":"Alison","domain_name":"iuo","page_name":"AurosaAlison","display_name":"Aurosa Alison","profile_url":"https://iuo.academia.edu/AurosaAlison?f_ri=75948","photo":"https://0.academia-photos.com/718268/552847/11743063/s65_aurosa.alison.jpg"}</script></span></span></li><li class="js-paper-rank-work_16156314 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16156314"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16156314, container: ".js-paper-rank-work_16156314", }); 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Colloque international Pouvoirs de l’architecture / The Capacities of Architecture Université de Nice Sophia Antipolis 23-24-25 avril 2015","created_at":"2015-09-25T01:44:01.727-07:00","url":"https://www.academia.edu/16156314/L_intimit%C3%A9_projet%C3%A9e_l_intimit%C3%A9_partag%C3%A9e_et_l_intimit%C3%A9_retrouv%C3%A9e_Colloque_international_Pouvoirs_de_l_architecture_The_Capacities_of_Architecture_Universit%C3%A9_de_Nice_Sophia_Antipolis_23_24_25_avril_2015?f_ri=75948","dom_id":"work_16156314","summary":"D’après Hegel , la mission de l’architecture consiste, dans un premier temps, à façonner l’appareil environnemental qui est la nature. Dans un deuxième temps, cette discipline doit s’engager à travailler la réalité en lui donnant un strict sens de beauté. Enfin, après avoir atteint son symbolisme, l’architecture peut s’engager dans sa signification ultime qui est celle de la dimension humaine. De cette façon, l’œuvre architecturale, dans l’esthétique moderne, correspond à une recherche continue des liaisons entre : les formes de la technique qui sont fondamentales pour la construction des moyens d’abri et la beauté objective qui est une conséquence dans le monde des beaux arts. \n\nPour sa part la dimension humaine, qui se distingue dans la recherche du but et du moyen de l’architecture, joue le rôle fondamental de trait d’union entre les aspects des formes et les aspects des substances esthétiques. La dimension corporelle, en effet, est la conséquence logique de la structure architectonique en tant que modularisation des pleins et des vides, des hauteurs et des longueurs, des étroitesses et des largeurs que ce soit dans le temple ou dans la maison, le point essentiel est dans la supposition de l’existence des leurs habitants. \n\nEn reprenant le concept de la dimension humaine comme fonction de l’habiter et en revenant aux enquêtes actuelles sur ce que serait aujourd’hui le pouvoir de l’architecture, nous voudrions proposer une étude de l’espace habité. Dans la philosophie de l’espace de Gaston Bachelard, la dimension affective de l’espace se développe grâce au sens de l’intimité dégagé en première instance par le monde des éléments naturels. L’espace intime se présente donc comme un élément d’analyse pour l’architecture contemporaine qui peut être utilisé comme une méthode par rapport à l’espace habité. \n\nA cet égard une ouverture ultérieure pourrait être celle de fournir des exemples concrets de la façon dont l’architecture se base sur le développement de la dimension humaine dans un domaine individuel ou collectif. Dans ce cas les Unités d’Habitations de Marseille de Le Corbusier, la Cité de la Musique de Portzamparc et les aérogares de Paul Andreu peuvent fournir nous un regard actuel de ce que serait aujourd’hui le pouvoir intime de l’architecture. \n\n\n\n\n","downloadable_attachments":[{"id":38886227,"asset_id":16156314,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":718268,"first_name":"Aurosa","last_name":"Alison","domain_name":"iuo","page_name":"AurosaAlison","display_name":"Aurosa Alison","profile_url":"https://iuo.academia.edu/AurosaAlison?f_ri=75948","photo":"https://0.academia-photos.com/718268/552847/11743063/s65_aurosa.alison.jpg"}],"research_interests":[{"id":8414,"name":"Gaston Bachelard","url":"https://www.academia.edu/Documents/in/Gaston_Bachelard?f_ri=75948","nofollow":false},{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948","nofollow":false},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948","nofollow":false},{"id":91871,"name":"Le Corbusier","url":"https://www.academia.edu/Documents/in/Le_Corbusier?f_ri=75948","nofollow":false},{"id":94080,"name":"Philosophie Esthetique","url":"https://www.academia.edu/Documents/in/Philosophie_Esthetique?f_ri=75948"},{"id":124538,"name":"Espace public","url":"https://www.academia.edu/Documents/in/Espace_public?f_ri=75948"},{"id":866753,"name":"Espace","url":"https://www.academia.edu/Documents/in/Espace?f_ri=75948"},{"id":1795827,"name":"Paul Andreu","url":"https://www.academia.edu/Documents/in/Paul_Andreu?f_ri=75948"},{"id":1795828,"name":"Christian de Portzamparc","url":"https://www.academia.edu/Documents/in/Christian_de_Portzamparc?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11458535" data-work_id="11458535" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11458535/Musique_et_Architecture">Musique et Architecture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Une application à la musique du concept de corporéité élaboré par Wölfflin dans ses Prolégomènes à une psychologie de l'architecture, en vue de fonder son expressivité.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11458535" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aca1740c195fa8808bbd67e41ca8180a" rel="nofollow" data-download="{"attachment_id":36992649,"asset_id":11458535,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36992649/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="318419" href="https://ens.academia.edu/RobinBuchholz">Robin Buchholz</a><script data-card-contents-for-user="318419" type="text/json">{"id":318419,"first_name":"Robin","last_name":"Buchholz","domain_name":"ens","page_name":"RobinBuchholz","display_name":"Robin Buchholz","profile_url":"https://ens.academia.edu/RobinBuchholz?f_ri=75948","photo":"https://0.academia-photos.com/318419/78635/85597/s65_robin.buchholz.jpg"}</script></span></span></li><li class="js-paper-rank-work_11458535 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11458535"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11458535, container: ".js-paper-rank-work_11458535", }); 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Hegel","url":"https://www.academia.edu/Documents/in/G.W.F._Hegel?f_ri=75948"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=75948"},{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":135692,"name":"Heinrich Wölfflin","url":"https://www.academia.edu/Documents/in/Heinrich_Wolfflin?f_ri=75948"},{"id":917258,"name":"Wölfflin","url":"https://www.academia.edu/Documents/in/W%C3%B6lfflin?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30557878" data-work_id="30557878" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30557878/Lart_comme_activit%C3%A9_Marx_et_la_critique_de_lesth%C3%A9tique">L'art comme activité : Marx et la critique de l'esthétique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Marx est-il l'auteur d'une esthétique ? En dépit des théories de l'art marxistes qui ont cherché leurs sources dans son oeuvre, ce qui n'est en rien illégitime, il faut cependant commencer par affirmer qu'une telle esthétique est... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30557878" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Marx est-il l'auteur d'une esthétique ? En dépit des théories de l'art marxistes qui ont cherché leurs sources dans son oeuvre, ce qui n'est en rien illégitime, il faut cependant commencer par affirmer qu'une telle esthétique est introuvable.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30557878" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d4666bd2fe4b71a2e96ecd402ea92b80" rel="nofollow" data-download="{"attachment_id":50999448,"asset_id":30557878,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50999448/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3077974" href="https://independent.academia.edu/IsabelleGaro">Isabelle Garo</a><script data-card-contents-for-user="3077974" type="text/json">{"id":3077974,"first_name":"Isabelle","last_name":"Garo","domain_name":"independent","page_name":"IsabelleGaro","display_name":"Isabelle Garo","profile_url":"https://independent.academia.edu/IsabelleGaro?f_ri=75948","photo":"https://0.academia-photos.com/3077974/3512173/121270419/s65_isabelle.garo.jpeg"}</script></span></span></li><li class="js-paper-rank-work_30557878 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30557878"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30557878, container: ".js-paper-rank-work_30557878", }); 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u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a><script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11692561]'), work: {"id":11692561,"title":"Ποιητικές του υβριδισμού στην τέχνη: Μονο/πολυ/μανιακoί 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Gilson garde toujours sa valeur et demeure d’actualité car, d’une manière particulièrement riche et polyvalente, il enseigne et inspire la discussion. Ceci est important aujourd’hui, parce que la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_58764081" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Le concept d’art et de beauté de É. Gilson garde toujours sa valeur et demeure d’actualité car, d’une manière particulièrement riche et polyvalente, il enseigne et inspire la discussion. Ceci est important aujourd’hui, parce que la manière classique de pratiquer la philosophie s’effondre et que l’art perd sa continuité dans la tradition occidentale. Bien que son point de vue sur l’art et la beauté sont moins bien connus que les ouvrages consacrés à l’histoire de la philosophie, à la métaphysique ou à l’épistémologie, le temps est venu de ce que nous appelons l’esthétique d’Étienne Gilson. Elle entraîne une réflexion plus approfondie sur les valeurs fondamentales de notre culture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/58764081" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7546d9c5e72781b820cfaa9403d9fcdf" rel="nofollow" data-download="{"attachment_id":73017225,"asset_id":58764081,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73017225/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="77862876" href="https://independent.academia.edu/StudiaGilsoniana">Studia Gilsoniana</a><script data-card-contents-for-user="77862876" type="text/json">{"id":77862876,"first_name":"Studia","last_name":"Gilsoniana","domain_name":"independent","page_name":"StudiaGilsoniana","display_name":"Studia Gilsoniana","profile_url":"https://independent.academia.edu/StudiaGilsoniana?f_ri=75948","photo":"https://0.academia-photos.com/77862876/19193057/19137763/s65_studia.gilsoniana.jpg"}</script></span></span></li><li class="js-paper-rank-work_58764081 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="58764081"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 58764081, container: ".js-paper-rank-work_58764081", }); 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Qu'en est-il, essentiellement, du cubisme? Le cubisme n'expose-t-il pas, à nu, l'épokhè picturale? Autrement dit:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35315632" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">On sait, par les textes de Merleau-Ponty et de Maldiney , quel rapport la<br />phénoménologie noue avec la peinture de Cézanne. Qu'en est-il, essentiellement, du cubisme? Le cubisme n'expose-t-il pas, à nu, l'épokhè picturale? Autrement dit: en quoi la phénoménologie, aussi bien chez Heidegger que chez Husserl, assure-t-elle l'accès à l'art moderne?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35315632" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0d17b736eef6b09cbf7b1fef2661b989" rel="nofollow" data-download="{"attachment_id":55176447,"asset_id":35315632,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55176447/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65866497" href="https://independent.academia.edu/lapartdeloeil">La Part de l’Œil. 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8599862/Le_paradigme_esth%C3%A9tique_de_lornement">Le paradigme esthétique de l'ornement</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Philosophie de l'art. <br />Mémoire de Master 2 de l'Université Paris IV-Sorbonne. <br />Mention Très Bien. <br />Contribution des arts décoratifs à une esthétique formaliste, naturaliste et minimaliste.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8599862" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li 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href="https://paris-sorbonne.academia.edu/HugoLucchino">Hugo Lucchino</a><script data-card-contents-for-user="1498632" type="text/json">{"id":1498632,"first_name":"Hugo","last_name":"Lucchino","domain_name":"paris-sorbonne","page_name":"HugoLucchino","display_name":"Hugo Lucchino","profile_url":"https://paris-sorbonne.academia.edu/HugoLucchino?f_ri=75948","photo":"https://0.academia-photos.com/1498632/4970082/32986086/s65_hugo.lucchino.jpg"}</script></span></span></li><li class="js-paper-rank-work_8599862 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8599862"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8599862, container: ".js-paper-rank-work_8599862", }); });</script></li><li class="js-percentile-work_8599862 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget 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href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7773" href="https://www.academia.edu/Documents/in/Everyday_Aesthetics">Everyday Aesthetics</a><script data-card-contents-for-ri="7773" type="text/json">{"id":7773,"name":"Everyday Aesthetics","url":"https://www.academia.edu/Documents/in/Everyday_Aesthetics?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new 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Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=75948"},{"id":18182,"name":"Naturalism","url":"https://www.academia.edu/Documents/in/Naturalism?f_ri=75948"},{"id":38357,"name":"Theory of ornament","url":"https://www.academia.edu/Documents/in/Theory_of_ornament?f_ri=75948"},{"id":42391,"name":"History of Ornament","url":"https://www.academia.edu/Documents/in/History_of_Ornament?f_ri=75948"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=75948"},{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948"},{"id":54942,"name":"Gombrich","url":"https://www.academia.edu/Documents/in/Gombrich?f_ri=75948"},{"id":68570,"name":"Formalism","url":"https://www.academia.edu/Documents/in/Formalism?f_ri=75948"},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=75948"},{"id":478902,"name":"Francis Hutcheson","url":"https://www.academia.edu/Documents/in/Francis_Hutcheson?f_ri=75948"},{"id":534557,"name":"Ornament studies","url":"https://www.academia.edu/Documents/in/Ornament_studies?f_ri=75948"},{"id":768247,"name":"Oleg Grabar","url":"https://www.academia.edu/Documents/in/Oleg_Grabar?f_ri=75948"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35289015" data-work_id="35289015" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35289015/La_musique_et_l%C3%AAtre_chez_Nietzsche_et_Bergson">La musique et l'être chez Nietzsche et Bergson</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Au cours du 19ème siècle, une évolution artistique inédite s'opère en Europe. Du néoclassicisme jusqu'à l'impressionnisme, une succession rapide de différents mouvements en littérature, en peinture et en musique, témoignent d'une... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35289015" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Au cours du 19ème siècle, une évolution artistique inédite s'opère en Europe. Du néoclassicisme jusqu'à l'impressionnisme, une succession rapide de différents mouvements en littérature, en peinture et en musique, témoignent d'une dynamique qui non seulement transforme l'art de son intérieur, mais élargit également sa portée sociale, politique et intellectuelle. Notre objectif n'est pas d'expliquer l'origine de cette transformation, mais au contraire d'observer ses conséquences dans le domaine de la philosophie. En effet, même si l'art était précédemment traité dans la philosophie en tant qu' objet de connaissance, ce n'est qu'à la fin du 19ème siècle que son rapport à la pensée devient vraiment fondamental – l'art apparaît de plus en plus comme un dépassement possible de la philosophie et de la pensée en général, qui se trouve par conséquent menacée, contrainte à se justifier elle-même, défendre sa position tout en intégrant le problème de l'art au coeur de son nouveau champ de questionnement. Ce n'est donc qu'à partir de l'expérience esthétique que la nouvelle façon de penser se dérobe devant nous : l'art n'a pas besoin des philosophes, mais les philosophes ont besoin de l'art. Or, si un des rôles principal de la philosophie était toujours d'expliquer et de pénétrer le réel, éclaircir ou trouver un sens (ou une absence de sens) de l'être, qui, dans sa présence immédiate est donné à l'homme comme un mystère, c'est exactement là où l'art se montre désormais plus habile que la pensée conceptuelle. Pour rattraper le retard, la philosophie devra donc poser l'art à la fois comme un problème ontologique et un modèle méthodologique. C'est exactement sur cette base, qu'une tentative d'une nouvelle philosophie pourra s'établir. Afin de démontrer comment cette philosophie, que l'on peut appeler créatrice, se met en place à fin du 19ème siècle, nous allons nous appuyer sur les deux grands penseurs – Friedrich Nietzsche et Henri Bergson – qui, malgré toutes les divergences capitales entre eux, ont fait tous les deux un effort considérable pour atteindre un but commun : proposer une métaphysique, qui ne serait plus une réflexion ou une contemplation, mais une création originelle à la façon d'une création artistique, une intuition qui dans son acte participe à l'engendrement de l'être. Néanmoins, au lieu de traiter l'art dans son ensemble, nous allons nous concentrer uniquement sur la musique, qui obtient un statut très particulier chez Nietzsche, mais dans une certaine mesure aussi chez Bergson et en général dans la grand partie de la réflexion sur l'art à la fin du 19ème siècle. Cela, nous semble-t-il, pour deux raisons, qui, comme nous allons voir plus tard, sont inséparablement liées l'une à l'autre – d'un côté la musique est difficilement réductible au concept de l'imitation, qui était pourtant pendant longtemps la définition même de toute activité artistique. Si la musique faisait rarement l'objet de l'analyse platonicienne ou aristotélicienne, elle est devenue au contraire une terre beaucoup plus féconde dès qu'on a essayé de penser l'art au-delà de la mimesis. De l'autre côté, l'implication directe de la musique dans le temps, son déroulement continuel qui fait partie de l'essence même du rythme ou de la mélodie donne aux philosophes un point d'intersection direct avec une autre tendance de la philosophie contemporaine – saisir l'être dans sa mobilité, son attitude incessamment changeante et hétérogène. Mais nous ne voulons pas nous servir de la musique seulement comme d'un exemple valable et révélateur pour toutes les autres formes de l'art. Au contraire, nous allons traiter la musique en tant qu'un domaine particulier, dont les conséquences philosophiques ne concernent pas forcément la peinture ou la poésie. Nous croyons en effet, que Nietzsche et Bergson nous donnent la clé pour réfléchir sur la musique de manière très précise et détaillée en prenant en compte toutes ses spécificités. Nous allons donc d'abord essayer de décrire le point de départ commun de la philosophie nietzschéenne et bergsonienne qui est la critique de la pensée conceptuelle, pour faire surgir la capacité de l'art (donc aussi de la musique) de dépasser cette inaptitude de la raison. Ensuite nous allons mettre en évidence les différences capitales entre les deux penseurs en ce qui concerne leur conceptions ontologiques et leur approches de la musique. Finalement nous allons donc de démontrer que ces chemins différents tendent pourtant vers la même fin, que nous allons essayer de saisir dans toute sa complexité.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35289015" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2939b49673b20fdcb3274419e109d7ed" rel="nofollow" data-download="{"attachment_id":55149153,"asset_id":35289015,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55149153/download_file?st=MTczMjkyODg0Miw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="72014624" href="https://univ-paris8.academia.edu/JanHrub%C3%BD">Jan Hrubý</a><script data-card-contents-for-user="72014624" type="text/json">{"id":72014624,"first_name":"Jan","last_name":"Hrubý","domain_name":"univ-paris8","page_name":"JanHrubý","display_name":"Jan Hrubý","profile_url":"https://univ-paris8.academia.edu/JanHrub%C3%BD?f_ri=75948","photo":"https://0.academia-photos.com/72014624/18461592/18419372/s65_jan.hrub_.jpg"}</script></span></span></li><li class="js-paper-rank-work_35289015 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35289015"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35289015, container: ".js-paper-rank-work_35289015", }); 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$(".js-view-count[data-work-id=35289015]").text(description); $(".js-view-count-work_35289015").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35289015").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35289015"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8303" href="https://www.academia.edu/Documents/in/Friedrich_Nietzsche">Friedrich Nietzsche</a>, <script data-card-contents-for-ri="8303" type="text/json">{"id":8303,"name":"Friedrich Nietzsche","url":"https://www.academia.edu/Documents/in/Friedrich_Nietzsche?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8409" href="https://www.academia.edu/Documents/in/Henri_Bergson">Henri Bergson</a>, <script data-card-contents-for-ri="8409" type="text/json">{"id":8409,"name":"Henri Bergson","url":"https://www.academia.edu/Documents/in/Henri_Bergson?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="51265" href="https://www.academia.edu/Documents/in/Philosophie">Philosophie</a>, <script data-card-contents-for-ri="51265" type="text/json">{"id":51265,"name":"Philosophie","url":"https://www.academia.edu/Documents/in/Philosophie?f_ri=75948","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="75947" href="https://www.academia.edu/Documents/in/Musique">Musique</a><script data-card-contents-for-ri="75947" type="text/json">{"id":75947,"name":"Musique","url":"https://www.academia.edu/Documents/in/Musique?f_ri=75948","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35289015]'), work: {"id":35289015,"title":"La musique et l'être chez Nietzsche et Bergson","created_at":"2017-11-29T07:57:33.396-08:00","url":"https://www.academia.edu/35289015/La_musique_et_l%C3%AAtre_chez_Nietzsche_et_Bergson?f_ri=75948","dom_id":"work_35289015","summary":"Au cours du 19ème siècle, une évolution artistique inédite s'opère en Europe. Du néoclassicisme jusqu'à l'impressionnisme, une succession rapide de différents mouvements en littérature, en peinture et en musique, témoignent d'une dynamique qui non seulement transforme l'art de son intérieur, mais élargit également sa portée sociale, politique et intellectuelle. Notre objectif n'est pas d'expliquer l'origine de cette transformation, mais au contraire d'observer ses conséquences dans le domaine de la philosophie. En effet, même si l'art était précédemment traité dans la philosophie en tant qu' objet de connaissance, ce n'est qu'à la fin du 19ème siècle que son rapport à la pensée devient vraiment fondamental – l'art apparaît de plus en plus comme un dépassement possible de la philosophie et de la pensée en général, qui se trouve par conséquent menacée, contrainte à se justifier elle-même, défendre sa position tout en intégrant le problème de l'art au coeur de son nouveau champ de questionnement. Ce n'est donc qu'à partir de l'expérience esthétique que la nouvelle façon de penser se dérobe devant nous : l'art n'a pas besoin des philosophes, mais les philosophes ont besoin de l'art. Or, si un des rôles principal de la philosophie était toujours d'expliquer et de pénétrer le réel, éclaircir ou trouver un sens (ou une absence de sens) de l'être, qui, dans sa présence immédiate est donné à l'homme comme un mystère, c'est exactement là où l'art se montre désormais plus habile que la pensée conceptuelle. Pour rattraper le retard, la philosophie devra donc poser l'art à la fois comme un problème ontologique et un modèle méthodologique. C'est exactement sur cette base, qu'une tentative d'une nouvelle philosophie pourra s'établir. Afin de démontrer comment cette philosophie, que l'on peut appeler créatrice, se met en place à fin du 19ème siècle, nous allons nous appuyer sur les deux grands penseurs – Friedrich Nietzsche et Henri Bergson – qui, malgré toutes les divergences capitales entre eux, ont fait tous les deux un effort considérable pour atteindre un but commun : proposer une métaphysique, qui ne serait plus une réflexion ou une contemplation, mais une création originelle à la façon d'une création artistique, une intuition qui dans son acte participe à l'engendrement de l'être. Néanmoins, au lieu de traiter l'art dans son ensemble, nous allons nous concentrer uniquement sur la musique, qui obtient un statut très particulier chez Nietzsche, mais dans une certaine mesure aussi chez Bergson et en général dans la grand partie de la réflexion sur l'art à la fin du 19ème siècle. Cela, nous semble-t-il, pour deux raisons, qui, comme nous allons voir plus tard, sont inséparablement liées l'une à l'autre – d'un côté la musique est difficilement réductible au concept de l'imitation, qui était pourtant pendant longtemps la définition même de toute activité artistique. Si la musique faisait rarement l'objet de l'analyse platonicienne ou aristotélicienne, elle est devenue au contraire une terre beaucoup plus féconde dès qu'on a essayé de penser l'art au-delà de la mimesis. De l'autre côté, l'implication directe de la musique dans le temps, son déroulement continuel qui fait partie de l'essence même du rythme ou de la mélodie donne aux philosophes un point d'intersection direct avec une autre tendance de la philosophie contemporaine – saisir l'être dans sa mobilité, son attitude incessamment changeante et hétérogène. Mais nous ne voulons pas nous servir de la musique seulement comme d'un exemple valable et révélateur pour toutes les autres formes de l'art. Au contraire, nous allons traiter la musique en tant qu'un domaine particulier, dont les conséquences philosophiques ne concernent pas forcément la peinture ou la poésie. Nous croyons en effet, que Nietzsche et Bergson nous donnent la clé pour réfléchir sur la musique de manière très précise et détaillée en prenant en compte toutes ses spécificités. Nous allons donc d'abord essayer de décrire le point de départ commun de la philosophie nietzschéenne et bergsonienne qui est la critique de la pensée conceptuelle, pour faire surgir la capacité de l'art (donc aussi de la musique) de dépasser cette inaptitude de la raison. Ensuite nous allons mettre en évidence les différences capitales entre les deux penseurs en ce qui concerne leur conceptions ontologiques et leur approches de la musique. Finalement nous allons donc de démontrer que ces chemins différents tendent pourtant vers la même fin, que nous allons essayer de saisir dans toute sa complexité.","downloadable_attachments":[{"id":55149153,"asset_id":35289015,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":72014624,"first_name":"Jan","last_name":"Hrubý","domain_name":"univ-paris8","page_name":"JanHrubý","display_name":"Jan Hrubý","profile_url":"https://univ-paris8.academia.edu/JanHrub%C3%BD?f_ri=75948","photo":"https://0.academia-photos.com/72014624/18461592/18419372/s65_jan.hrub_.jpg"}],"research_interests":[{"id":8303,"name":"Friedrich Nietzsche","url":"https://www.academia.edu/Documents/in/Friedrich_Nietzsche?f_ri=75948","nofollow":false},{"id":8409,"name":"Henri 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