Créer pour mieux voir : Image(s) du sida et enjeux de la représentation dans '120 battements par minute'

À travers l’analyse du film de Robin Campillo 120 battements par minute (2017), cet article se propose d’interroger le rôle des images dans notre conceptualisation de l’épidémie de sida. En choisissant de porter à l’écran un pan de l’histoire française récente dont la fiction s’est peu emparée – les lutte menées par Act Up-Paris durant les années 1990 – le film s’attache à effectuer un réexamen du passé du point de vue de celles et ceux qui ont combattu pour une plus grande justice sociale mais qui ont longtemps été relégués aux marges. Comme le montrera cet article, en prenant pour sujet une association dont le message politique reposait en grande partie sur l’image qu’elle véhiculait et qui se voulait un contrepoids aux discours politique et médical de l’époque, le film participe d’une mise en abyme des enjeux de la représentation et du regard qu’elle induit. Cela nous amènera à réfléchir sur la force du visuel à incarner un message, ainsi que sa capacité à nous amener à penser le monde social. Nous nous intéresserons plus particulièrement à la relation entre image, mémoire et connaissance à travers une analyse sémiotique de l’image filmique qui nous permettra de mettre en avant le phénomène de réflexivité à l’œuvre au sein du film. Dans cette optique, nous observerons la manière dont Campillo crée des images qui ont une fonction double : mettre à jour la convergence de l’intime et du collectif qui irriguait les actions d’Act Up-Paris et donnait au visuel sa force contestataire, tout en inscrivant sa propre représentation dans une démarche mémorielle dont le but est d’enrichir nos connaissances vis-à-vis du sida et des luttes menées par des individus trop longtemps « invisibilisés ».

‘embarrassing enlightenments’: casual text play in “John Duffy’s Brother”

This paper argues that as a play text, “John Duffy’s Brother” invites two simultaneous readings: that of the primary mimetic narrative, and of a performative metadiscourse through which the protagonist’s metamorphosis into a train may be interpreted as a critique of the absurdity of fictionalisation. The paper develops an idea of reader activation in which the reader participates in the world- and text-making processes of mimesis and performance, before demonstrating how the text creates and undermines mimetic expectations. In doing so, the text ‘casually’ creates ‘embarrassments,’ inviting the reader to adopt a meta-attitude towards what the narrative is doing. Beginning with the frame-breaking strategy of the story’s paradoxical opening, the first part of this paper outlines Wolfgang Iser’s concept of text play, and defines the unconventional nature of the story’s “textual schema”: the non-mimetic elements of the text that create the “tilting game” through which the text may be read two ways simultaneously. Using Sue Asbee’s analysis of the text’s opening paragraph as the point of departure, I draw a parallel with Samuel Beckett’s “Imagination Dead Imagine,” to demonstrate the foregrounding of the untenability of regular mimesis. The tonal difference between these two texts is also highlighted, leading to a discussion of the importance of the narrator’s ‘casual,’ co-conspiratorial voice, and how the “gesture towards anecdote” (to use Asbee’s phrase) contributes to the ludic openness of the text. This section also explores the importance of the playful presupposition that the text exists within the fictive world of the text. I then argue that the reader then encounters a series of narratological flourishes that sustain the text’s self-referentiality. Whereas most critics seeking a Joycean parallel have focused on the overt influence of “A Painful Case,” this paper looks to Margot Norris’s analysis of “The Sisters” to illuminate the function of Duffy’s spyglass, interpreting it as a “hermeneutic signal” which serves to sustain and alter the textual schema, and which draws the eye of the reader and the eye of Duffy parallel in a game of suspicious sign reading. We then see how those elements that frustrate the traditional narrative are sustenance for our ‘embarrassed’ reading, and for potential play. The final section of this paper identifies a potential mise-en-abyme within the text, which equates mimesis with madness and suggests that the metamorphosis may be the consequence of over-interpretive sign-reading; an imagination gone off the rails. Thus the function of the metamorphosis is to remind us that, as the opening paragraph warns, the fictionalising act in which we are engaged is “absurd.” As the narrator alternates between the protagonist’s human and trainlike aspects, the urge to draw a correspondence between the strange episode and our dual reading of the text is shown to be irresistible. The paper concludes by noting the importance of the story’s casual narrative voice in differentiating O’Brien from his contemporaries, resulting in a text which, to quote Neil Murphy and Keith Hopper, is “a garden in which all of us may play."

A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation

This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining of the related skills of tango practice and filmmaking are an audio-visual treat for the senses and a cognitive challenge for the mind. Their self-reflexivity promotes excess and the result is a highly expressive and complex form. They evince a cross-fertilization of reality and fiction, of art and life, typical of a perfect mise en abyme as described by Christian Metz. These films are also art musicals, although they depart from the Hollywood musical conventions. Yet, one cannot speak in their case of intermedia reflexivity, according to Petr Szczepanik’s definition, because both of them retain their qualities in a symbiotic relationship of likeness that highlights their mutual aura.

Creating a Community of Witnesses: Acts of Reading in Anne Michaels’s Fugitive Pieces

This article considers the reading effects of the mise en abyme in Anne Michaels's Fugitive Pieces to create a community of witnesses among readers. The novel’s multi-voicedness, created through a series of narratees and narrators, models complex identifications of the author, narrators, and reader. Through the figure of the reader presented by the narratees Bella, Michaela, and Naomi, as well as the narrators Athos, Jakob, and Ben, Michaels engages us in acts of reading and interpreting the ongoing effects of the Holocaust. She offers a prime example of not the eyewitness but the reader as witness in recent Canadian fiction.Cet article examine les effets de lecture de la mise en abyme dans Fugitive Pieces d’Anne Michaels pour créer une communauté de lecteurs en tant que témoins. Le caractère multivoix du roman, créé par une série de narrataires et de narrateurs, modélise les identifications complexes de l’auteur, des narrateurs et du lecteur. À travers la figure du lecteur représentée par les narrataires Bella, Michaela et Naomi, ainsi que par les narrateurs Athos, Jakob et Ben, Michaels nous engage dans des actes de lecture et d’interprétation des effets continus de l’Holocauste. Elle offre un excellent exemple non pas du témoinoculaire, mais du lecteur en tant que témoin dans la fiction canadienne récente.

Perversões em Woman’s World

Além de qualificar uma estrutura psicopatológica, o termo perversão, de modo geral, refere-se a algo que causa repulsa ou é condenável. Mas o termo pode assumir conotações positivas. Neste artigo, associa-se à ideia de caminho e vincula-se à criatividade artística. Propõe-se uma leitura da obra e da personagem principal do romance híbrido Woman’s World: a graphic novel, do escritor e designer gráfico britânico Graham Rawle. Publicado pela primeira vez em 2005, as mais de 400 páginas do livro foram compostas, uma a uma, utilizando recortes extraídos de revistas femininas do início dos anos de 1960. O conceito de mise en abyme é associado à perversão conjugada à criação artítica, e configura-se de modo literal no final do artigo.

What is Business Anthropology? An Ethnographic Study of an Explorative Workshop

The anthropology of organizations is always political; it might take place over shorter, as well as longer, time spans and in singular, pluralistic, or even virtual, settings. This paper addresses such issues by describing and analyzing fieldwork experiences of an academic workshop, which took place at the Copenhagen Business School in 2012 under the title of ‘The Business of Ethnography’. The purpose of the workshop was to create a forum in which to discuss business anthropology as an emerging field or sub-discipline of anthropology. The paper considers three conditions (reflexivity, familiarity, and temporality) which give the mise en abyme configuration of the field – the site where action happens – and pose significant challenges to contemporary business ethnographers. We argue that by acknowledging these three factors one can advance easier towards the ambitious goal of rendering organizational interactions intelligible and meaningful.

ОСОБЛИВОСТІ МОДЕЛЮВАННЯ БІЗНЕС-ПРОЦЕСУ «УПРАВЛІННЯ ІНВЕСТИЦІЙНОЮ ПРИВАБЛИВІСТЮ ПІДПРИЄМСТВА»

У статті проаналізовано використання процесного підходу сучасними підприємствами. На основі наукових праць вітчизняних та зарубіжних науковців визначено основні групи бізнес-процесів, які реалізовуються та впроваджуються в підприємництві. Виявлено недостатній рівень дослідження бізнес-процесу управління інвестиційною привабливістю та обґрунтовано необхідність його моделювання. Розкрито сутність поняття інвестиційна привабливість підприємства. Проведено розмежування понять інвестиційна діяльність та інвестиційна привабливість. Описано принцип міз-ан-абіму (фр. mise en abyme) інвестиційної привабливості, тобто взаємозалежності інвестиційної привабливості підприємства, галузі, регіону та країни. Розглянуто методологію моделювання бізнес-процесів. Здійснено поетапну побудову TOP-моделі та моделі ланцюга бізнес-процесу «Управління інвестиційною привабливістю підприємства». Описано структурні елементи цього бізнес-процесу та його особливості.