Le 'là' de l'être-là et la 'présence-à-soi' du poème-comme-poème

2018 ◽  
Vol 18 (1) ◽  
pp. 51-62
Author(s):  
Jean-Paul Michel
Keyword(s):  
Michel Foucault ◽  
William Blake ◽  
Roland Barthes ◽  
Jean Paul ◽  
Pierre Bergounioux ◽  
Yves Bonnefoy

Jean-Paul Michel est né en 1948, en Corrèze. Après le reflux de la vague de Mai 68, il revient à la poésie, après une diète de huit années. Ses premiers poèmes publiés sont salués par Roland Barthes, Michel Foucault, Jude Stéfan, Jacques Réda, Louis-René des Forêts, Philippe Lacoue-Labarthe, Jean-Luc Nancy. Ses poèmes ont été rassemblés aux éditions Flammarion: Le plus réel est ce hasard, et ce feu (1997); 'Défends-toi, Beauté violente!' (2007); Je ne voudrais rien qui mente, dans un livre (2010). Un volume d'Écrits sur la poésie a paru aux mêmes éditions en 2016. Un colloque a été consacré à son travail à Cerisy-la-Salle en juillet 2016, sous la direction de Michael Bishop et Matthieu Gosztola: Jean-Paul Michel, la surprise de ce qui est. Les Actes paraîtront dans la collection Cerisy/Littérature, Classiques Garnier, en décembre 2018. Jean-Paul Michel est le créateur des Éditions William Blake and Co., à Bordeaux, en 1975. Il entretient de 2000 à 2016 d'étroites relations de travail et d'amitié avec Yves Bonnefoy, dont il a publié une dizaine de volumes. Dernier titre publié, avec Pierre Bergounioux: Correspondance. 1981–2017 (Verdier éditeur, 2018).

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Transparência e Opacidade: uma porta para a autoria na fotografia

Ícone ◽  
2013 ◽  
Vol 15 (1) ◽  
Author(s):  
Eduardo Queiroga
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Walker Evans

Este artigo reflete sobre a relação entre fotografia e autoria. Parte de algumas passagens da história da fotografia, observando o distanciamento entre a fotografia documento – aquela em que se busca uma abordagem mais neutra e objetiva do tema – e o “estilo documental”, termo cunhado por Walker Evans e estudado por Olivier Lugon, que dá conta de uma apropriação da estética do documento mas com objetivos que estão além do registro do assunto fotografado. Articula a pesquisa de Lugon com conceitos de Laura González Flores, Michel Foucault, Roland Barthes e Giorgio Abamben. Aqui trabalhamos com a premissa de que a autoria ganha espaço na medida em que há um distanciamento do tema.

scholarly journals A Paródia e o Estatuto do leitor em O Único Animal Que?, de Augusto Abelaira

Letras ◽  
2016 ◽  
pp. 107
Author(s):  
Jose Luis Giovanoni Fornos
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Umberto Eco ◽  
Wayne Booth

O presente ensaio aponta para importância do leitor na configuração da chamada paródia pós-moderna a partir dos estudos de Linda Hutcheon. Em contraposição às teses de Wayne Booth, o leitor na paródia simula e dissimula suas ações, instaurando desconfiança permanente na decodificação do texto romanesco. Teoricamente, retoma textos de Roland Barthes, Umberto Eco e Michel Foucault, entre outros. Igualmente aborda a categoria do leitor, considerando-a como exemplar na composição do romance do escritor português Augusto Abelaira. Discute o papel do leitor na narrativa abelairiana, relacionando-o aos episódios do livro O único animal que?.

scholarly journals Ki vagyok én? - Szárnyas fejvadász 2049

2020 ◽  
Vol 10 (21) ◽  
pp. 307-312
Author(s):  
Pál Gerdesits
Keyword(s):  
Michel Foucault ◽  
Jacques Derrida ◽  
Self Identity ◽  
Ferdinand De Saussure ◽  
Blade Runner ◽  
Jean Paul ◽  
Proper Definition ◽  
Definition Of ◽  
Philosophical Questions

My essay focuses on the ontological crisis articulated in the film Blade Runner 2049, the sequel for Ridley Scott’s Blade Runner. This film is based on the conflict between humans and androids called replicants who would like to live equally to humans. In my opinion the root of their opposition lies on the inability to give a proper definition of what we normally call ‘human’. In this writing I present and analyse the nature of this conflict and also the philosophical questions (representation, freedom, self-identity etc.) arising from it based on the ideas of philosophers like Michel Foucault. Jean-Paul Sartre, Jacques Derrida and Ferdinand de Saussure.

scholarly journals Lo público en la antigüedad, un retorno al ágora

2019 ◽  
Author(s):  
Juan Fernando Aguilar
Keyword(s):  
Michel Foucault ◽  
Jean Paul

Hace 50 años, cuando se forjaba la era de los discursos revolucionarios, intelectuales y estudiantes se tomaron las calles de París para protestar contra la injusticia y la desigualdad que aún anidaba, no solo en Francia, sino en toda Europa. La historia recordaría aquella época de marchas y huelgas como Mayo del 68, el momento en que la política se hizo en la calle, en que la juventud decidió no callar más y en el que pensadores como Jean-Paul Sartre y Michel Foucault abandonaron las aulas universitarias para debatir en las calles, en las plazas públicas, en medio del sudor, la represión estatal y los gritos libertarios que convocarían nuevos movimientos alrededor del mundo.

Authorship and Autography

PMLA ◽  
2001 ◽  
Vol 116 (5) ◽  
pp. 1377-1385
Author(s):  
Michael North
Keyword(s):  
Michel Foucault ◽  
Human Subject ◽  
Roland Barthes ◽  
The Status ◽  
Technological Developments ◽  
Historical Phenomenon ◽  
The Dead ◽  
Written Word ◽  
Death Of The Author ◽  
The Way

The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.

PHENOMENOLOGY OF CINEMA IN PHILOSOPHY OF POSTMODERNISM

2021 ◽  
pp. 118-128
Author(s):  
Jamile Satybaldieva
Keyword(s):  
Michel Foucault ◽  
Creative Process ◽  
Political Discourse ◽  
Roland Barthes ◽  
Henri Bergson ◽  
Modern World ◽  
Jean Baudrillard ◽  
The Absolute

The article focuses on the issue of phenomenon of cinema in works of Jean-Francois Lyotard, Henri Bergson, Roland Barth, Michel Foucault and Jean Baudrillard. Postmodern methodology allows one to view cinema as a “deconstruction” of both cultural and socio-political discourse. Based on the analysis of the works of philosophers, the author generalizes the phenomenological characteristics of the cinema of postmodernism, such as the hypnotic ritualism of cinema; devaluation of meta-narratives; and appeal to the absolute “banal” and “hyper-realities”. It is noted that the spread of postmodern tendencies in modern cinema is manifested in drama, imagery, stylistics, montage and other components of the creative process. The author concludes that Jean-Francois Lyotard, Henri Bergson, Roland Barthes, Michel Foucault and Jean Baudrillard have laid the foundations for understanding the unity of philosophy and cinema in the modern world.

The Publishing Profile

2021 ◽  
pp. 1-27
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
Michel Foucault ◽  
Point Of View ◽  
Maryse Conde ◽  
Roland Barthes ◽  
Maryse Condé

The Introductory chapter examines the recent resurgence of the author in the Parisian literary landscape, approximately fifty years after critics like Roland Barthes and Michel Foucault put into question the centrality—indeed, the very concept—of this figure. Maryse Condé asserts that this is a development with great potential, for it allows the author to express her point of view in ways that she hadn’t felt authorized to do previously. There is also, however, the parallel possibility of according too much significance to the author, an option that becomes problematic when critics and readers concentrate on the identity of writers at the expense of a concern with the content of their work. Women writers from outside France are particularly susceptible to classification that sometimes permits a single trait (birthplace, ethnicity, gender) to determine how their texts are received. The “publishing profile” is a notion that refers in this analysis to the complicated and nuanced images of contemporary authors as they are currently composed. Their involvement in a number of undertakings—ranging from contributions to a book publication’s paratextual apparatus to public appearances such as television interviews and book festivals—means that authors are increasingly engaged in efforts to shape a composite impression of themselves. They thereby take advantage of diverse opportunities to contribute to carving out a profile that is made up of additive attributes that ultimately contradict reductive labels and restore to each author her complexity.

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