Byun Young-joo, jeune réalisatrice coréenne, filme avec beaucoup de pudeur, de tact et même de tendresse le visage des vieilles dames, anciennes victimes de l’esclavage sexuel de l’armée japonaise. La réalisatrice s’est rendue pendant un an à la « Maison de Nanum » à Séoul, où certaines survivantes vivent ensemble, jusqu’à ce que six d’entre elles acceptent d’être filmées. Le film montre le quotidien sobre et discret de ces femmes recelant le passé douloureux et leur évolution, devant la caméra. Hélène (...) Cixous a invité Byun Young-joo à son séminaire en mars 2000 lors de sa visite à Paris pour présenter son film au Festival International des Films des Femmes de Créteil. (shrink)

Selon son Autobiographie, c’est la révolution parisienne de 1848 qui a incité Mill à revendiquer plus clairement la désignation de socialiste dans l’édition de 1852 de ses Principes d’économie politique. On a pu voir dans les Chapitres sur le socialisme posthumes l’abandon de cette position. Mais ses craintes à l’égard du « socialisme révolutionnaire » ne sont en opposition ni à la révolution ni au socialisme : un « socialisme légitime », violent seulement s’il doit se défendre, n’impliquant pas la (...) disparition de toute propriété privée, préférant la coopération à la main mise de l’État, doit revendiquer tout ce qui de « liberté, égalité et fraternité » peut être réalisé dès maintenant et préparé pour plus tard. (shrink)

Cet article a déjà paru dans Maria do Carmo Ribeiro & Arnaldo Sousa Mello, Evolucão da paisagem urbana cidade e periferia, Braga, Centro de Investigação Transdisciplinar « Cultura, Espaço e Memória » – Instituto de Estudos Medievais – Universidade Nova de Lisboa, 2014, pp.175-204. Il est disponible en ligne sur la base des Archives ouvertes. Nous remercions Hélène Noizet et Davide Gherdevich de nous avoir autorisé à le republier ici. Comme la plupart des villes, Paris connaît une dynamique - (...) Géographie – Nouvel article. (shrink)

Le livre de Sarah Gutsche-Miller, issu d’une thèse soutenue en 2010, explore l’histoire et l’esthétique du ballet de music-hall dans les trois principaux établissements parisiens, les Folies-Bergère, le Casino de Paris et l’Olympia, entre 1871 et 1913. D’une grande qualité, il va assurément contribuer à combler des lacunes importantes dans l’histoire de la danse et dans celle des music-halls, plus largement dans l’histoire culturelle de Paris à la fin du xixe siècle. Les études sur le music-h...

Ce volume comprend les laquo;Actesraquo; de la Table Ronde reacute;aliseacute;e au sein du XXe Congregrave;s International d'Eacute;tudes Byzantines (Paris, ...

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 134-135 [Access article in PDF] Book Review Merleau-Ponty's Last Vision: A Proposal for the Completion of 'The Visible and the Invisible Douglas Low. Merleau-Ponty's Last Vision: A Proposal for the Completion of 'The Visible and the Invisible.' Evanston, IL: Northwestern University Press, 2000. Pp. xv + 124. Cloth, $75.00. Paper, $19.95. Low sets himself an impossible task, that of completing the (...) uncompleted work of a philosopher whose untimely decease prevented him from doing so himself. What he does succeed in providing is a systematic commentary and a rich integration of Merleau-Ponty's later philosophy. This task itself is important since it is believed by many that Merleau-Ponty's premature death prevented the completion of a book that would have altered the philosophical scene of Paris in the 1960s, and that, moreover, even in its incomplete form, speaks to pressing contemporary philosophical debates on such issues as mind/body dualism, and our relation to nature.The main focus of Low's reading is Merleau-Ponty's philosophy of language, which Low appropriately situates as a mediation between a modernist philosophy of presence and a postmodern Derridean approach to language as the constant deferral of meaning. Language is not the repository for ideal essences, nor do existents have an immediate [End Page 134] coincidence or fusion with things or the world. Indeed, the strength of Merleau-Ponty's philosophy is that he begins with an understanding of human action as meaningfully orientated; to move in the world is to interpretatively encounter it. As Low points out, "an ontological priority [is] granted to the body and the world upon which it opens, for together in lived experience they sustain a field of stable meanings, meanings that are then sublimated in the bodily gesture called speech" (22). Low differs from most Merleau-Ponty scholars in his assumption that there is no significant break between the earlier Phenomenology of Perception, where Merleau-Ponty carefully worked out his descriptions of embodied perception, and the later work that lays out the ontology. Indeed, one accomplishment of Low's book is to show how they fit together, explaining how the insights of the first work are necessary for grounding the ontology Merleau-Ponty began to work out in the later one.Low's book is divided into two sections. The first section, "The Visible and Nature," focuses on how we encounter the world, concluding with a helpful summary and assessment of Merleau-Ponty's ontology. Drawing upon the late essay "Eye and Mind," Low lays out Merleau-Ponty's ontology through his intuition that modern art, unlike the representational focus of Renaissance art, reveals our contact with the world as a "system of exchanges between the sensing and the sensible" (56). Perceiving the artwork is not an intellectual computation of a second-order representation of the world; rather, we see according to the work. It is a bodily process that reveals a reversibility between the viewer and the world. The second section, "The Invisible and Logos," focuses on how these encounters are sublimated or taken up in language. Language is, for Merleau-Ponty, first speech since it relies upon a speaker to take it up, "to sustain and modify it." Signs, gestures, and meaning are folded into one another. As embodied beings, we literally grasp meaning (89).This book would be of enormous benefit to scholars embarking on a reading of Merleau-Ponty's works, and it is one I highly recommend for that purpose. Although it is not original in its interpretations, its value lies in its gathering and integration of complex themes that provide an important introduction to Merleau-Ponty's late philosophy. The book maps out, moreover, a chronology of these themes and the specifics of where to find them; it also shows how the fragments fit together, indicating directions in which they might lead. His writing style is accessible without being simplistic. By interweaving his interpretations with long quotes from... (shrink)

This article takes issue vigorously with what it argues are the disempowering effects of Judith Butler's more recent work, for transgendered people in particular and accordingly for the queer movement in general. In so doing it contests the way in which the reception of Butler's work in France has been mediated by a transphobic psychoanalytic establishment and attacks Butler for playing along with their self-interested political agenda by retelling, in Paris, for their ears, an anecdote of a savoury encounter (...) with a transgendered interlocutor in a subcultural queer space in San Francisco. (shrink)

Du 14 juillet au 1er août 2014 des sondages et des nettoyages ont été effectués dans les Sarapieia A et B pour procéder à quelques vérifications avant la publication. Les sondages étaient dirigés par R. Attuil, J. Bernini et É. Vannet ; elles ont également rédigé les rapports préliminaires. Des étudiants appartenant aux universités de Paris‑Sorbonne et de Bordeaux-Montaigne ont participé à cette mission ; H. Pagoménou y était également associée B. Lainé a fait la plupart des relevés des (...) sonda... (shrink)

La Polonaise Apolline Hélène Massalska (1763-1815) n’est pas une inconnue en France. Née en Lituanie, orpheline de père et de mère dès 1764, elle est conduite à Paris en 1771 par son oncle qui la place au couvent très huppé de l’Abbaye-aux-Bois, rue de Sèvres, jusqu’à son mariage en 1779. Elle épouse alors le prince Charles de Ligne puis, en 1794, le prince Vincent Potocki, moyennant quelques années de concubinage, pour elle, et de bigamie, pour lui. Elle connaitra une (...) vie mondaine en Belgiqu... (shrink)

Pour accompagner l’exposition Mélancolie, génie et folie en Occident, la Réunion des musées nationaux fait paraître une histoire de la mélancolie rédigée par l’historienne de l’art Hélène Prigent, sorte de catalogue condensé des œuvres présentées au public entre la fin de l’année 2005 et le début de 2006, qui reprend d’ailleurs le découpage thématique et chronologique retenu par Jean Clair. Le projet est ambitieux puisqu’il s’agit de rendre compte de la persistance de ce thème depuis l’Antiqu..

Troades has often been thought to lack any coherent structure, and this has been variously attributed to its being the last play of the trilogy and to Euripides' overriding concern to impress the horrors of war upon his fellow Athenians. More recently, however, attention has been drawn to how the constant presence of Hecuba gives unity to the play and to how it is articulated by the striking entries of Cassandra, Andromache, and Helen. Cassandra and Andromache enter in mock (...) triumph, Cassandra waving torches in her ironical wedding song and Andromache on a waggon, while Helen is dragged out by force and her scene marked off by Menelaus' second prologue. All three women emerge from the tent, argue with Hecuba but fail to convince her, and depart for marriage in Greece. Andromache's ideal marriage to Hector contrasts with Cassandra's perverted ‘marriage’ to Agamemnon and with Helen's destructive marriage to Paris. The departure of the Trojan women for marriage in Greece balances Helen's earlier departure from Greece for marriage in Troy. (shrink)

This interview with Hélène Cixous took place in her apartment in Paris on March 14, 2019. The interview was conducted in English and subsequently revised for publication. The discussion focuses on Cixous' involvement in the Prisons Information Group in the early 1970's, but it extends to her writing life and activism both before and since.

The historian and philosopher of science Hélène Metzger (1889–1944) delivered “Le rôle des précurseurs dans l’évolution de la science” in 1939 as a lecture of the Institut d’Histoire des Sciences et Techniques of the University of Paris, later published in their journal Thalès. In this talk, Metzger not only attacks the notion of “precursor” and a history of science focused on “great men” and their discoveries, but also makes a strong case for the philosophical value of the history of (...) science. We here offer a translation of this witty and subtle essay in the historiography of science, followed by our commentary. (shrink)

L’introduction et la traduction de ce texte ont constitué un mémoire de diplôme à l’E.P.H.E. soutenu en 1996. La Préface de S. Mimouni (p. 7-17) est intitulée « Présentation générale des traditions sur l’enfance de Jésus et de Marie ». Elle s’adresse à des lecteurs sachant ce que peuvent être « la stagnation adoptionisante » et « la déviation docétisante », avertis de « la fameuse opposition entre la ’christologie d’en bas’ et la ’christologie d’en haut’ » (p. 8) et (...) au fait des ébionites et d.. (shrink)

Near the end of Euripides' "Helen", Helen reportedly exhorts the Greek troops to rescue her Egyptian foes: "Where is the glory of Troy ? Show it to these barbarians" . Helen's rallying cry serves as a point of departure for investigating the nature and status of kleos in a play which invites reframing her question: Where, indeed, is the glory of Troy if the report of Helen's abduction by Paris is untrue? The drama deconstructs the (...) notion of a unitary, transcendent meaning of "kleos" by demonstrating the slippage between its two root-meanings in Homer as "immortal fame," legitimated by the gods, and as mere "report" or "rumor." A diminution of the status of the proper name runs in parallel with this slippage between the two senses of "kleos": the heroic name loses its privileged status as a stable, transparent sign of character and becomes instead a signifier vulnerable to dissemination . As a vehicle of deception, Helen's phantom-twin becomes a figure for the polysemy of the signifier, both visual and linguistic. The phantom's substitution for Helen also highlights her symbolic role as a marker of men's status in a competitive system of exchange. If the play presents Helen as a continual object of men's attempts to capture her in song as well as in war, it presents heroic kleos as an equally insecure possession, insofar as it is always contingent on the "report" of others. Indeed, Helen becomes a metaphor for the duplicity inherent in the mimetic process by which fame is transmitted. That "kleos" turns out to have been a dangerously deceptive signifier is a lesson of more than literary interest for the Athenians watching Euripides' "Helen" -the forces of the Sicilian expedition had been annihilated only a year earlier. (shrink)