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“Dogism”: Fascism and the Philosophy of Violence in André Alexis’s Fifteen Dogs
No full textWith Fifteen Dogs (2015), André Alexis presents the riddle of what it means to be human without prescribing his own solution. The task of deciding which of the hybrid dogs’ behaviours arise from which of their constituent elements—human or dog—is left up to the reader. This essay presents a theoretical exploration of the human-like violence found within Fifteen Dogs. I argue that the violence exhibited by the hybrid dogs is of a distinctly human quality and is fuelled by a fascistic ideology, which I call dogism. Attention is given to two particular manifestations of such violence: the sacrificial culling of the pack and the Garden of Death
“Dance and Shake the Frame”: Culture Industry and Absurdity in Childish Gambino’s “This Is America”
No full textThis essay uses early twentieth-century critical and literary theory to examine the ways in which Childish Gambino’s “This Is America” critiques the violence and racism of American culture. While “This Is America” does not present an overtly Marxist critique of America, the song and video complement Horkheimer and Adorno’s Marxist criticisms of the culture industry. Furthermore, Gambino adopts devices and approaches popularized by absurdist art movements that critique the ideological mainstream. This essay concludes that, by applying absurdist approaches to his art, Gambino exposes the ways in which the American culture industry normalizes racism and gun violence
Tragic to Triumphant: Rosalba Carriera’s Self-Portrait, ca. 1746
No full textThe intimate artwork of the Venetian pastel artist Rosalba Carriera (1675–1757) catered to international tastes of eighteenth-century European society during a period when women’s increasing mobility and visibility in the emerging public sphere resulted in the negotiation of new social identities. Her body of work comprises portraits of European society, sensual allegories, and a range of self-portraiture. Pastels enabled her to tailor her product for her clientele, creating portraits intended for intimate representations of familial connections, while at other times fashioning representations of palpable semi-erotic allegories. Carriera distanced her own self-image from the eroticized nature of some of her works, fashioning herself as an intelligent, pious, virginal marvel. Her self-portraits remain under-explored despite the significance of the artist in the eighteenth-century culture of the Grand Tour, and the keen interest in early modern women artists’ self-fashioning in modern scholarship. Focusing on Carriera’s Self-Portrait, ca. 1746, my research will investigate how Rosalba constructed a multivalent autoritratto (self-portrait) to show herself as triumphant, fashioning an image that is quite unique within the tradition of artistic self-representation. This painting works in three important ways: firstly, it manipulates Early Modern European visual culture to metaphorically align Carriera to leading minds of the classical and early modern periods; secondly, it claims immortal fame by creating an effigy to liveas an avatar long after the artist’s death; and thirdly, it shows Rosalba’s authority and skill as an artist via the use of early modern colour theory and a deliberate application of pigment on the canvas. In arguing for a new understanding of this significant female artist, my research will build new and much-needed scholarship on Rosalba Carriera and enrich our understanding of female artistic self-representation within European culture
Visages comiques de Mentor? Remarques sur les figures magistrales dans le roman comique
No full textLes romans comiques actualisent la figure du mentor par la présence de personnages tantôt maitre, tantôt guide, passés au crible du soupçon. Francion renvoie l’image satirique du maitre comme bourreau, Hortensius, complétée par la figure du guide, Raymond, ami ouvrant Francion au libertinage. Le guide lui-même offre une image complexe : Anselme incarne un guide paradoxal puisqu’il conforte le berger extravagant dans sa folie, quitte à écorner les valeurs de l’amitié. Chez Cyrano, le Démon de Socrate enseigne une « burlesque pédagogie » qui fera s’émanciper Dyrcona de Campanella. La mise à distance de l’autorité (y compris celle du pseudo-éditeur du Francion) inscrit ainsi la lecture critique comme principe légitimant consubstantiel au genre.
Variantes sur la figure du mentor au XVIIe siècle
No full textCet article explorera la figure du mentor dans des textes du XVIIe siècle en utilisant trois ressources électroniques, le logiciel d’analyse de texte Voyant, la base de données Satorbase, et BiblioToucher, une bibliothèque virtuelle de textes intégraux d’Ancien Régime. À partir des configurations de mentorat dans quatre textes bien différents (Le Voyage dans la lune, la Princesse de Clèves, Amelonde et l’étonnante Histoire de la Marquise-Marquis de Banneville) les mots clés du mentorat seront identifiés et analysés (fréquence, distribution et collocations). Ceci permettra non seulement d’en tirer des topoï dans ces textes mais aussi de tenter de retrouver ces mêmes topoï dans d’autres textes de l’époque. This article will analyze the character of the mentor in Seventeenth Century novels through the use of three electronic resources : the textual analysis tool Voyant ; the Satorbase database of recurrent narrative sequences ; and the BiblioToucher virtual library of Ancien Régime texts. Using representations of mentoring in four quite different novels (Le Voyage dans la lune, la Princesse de Clèves, Amelonde and l’Histoire de la Marquise-Marquis de Banneville) the key words associated with mentors will be identified and analyzed. This analysis will be applied to these and other texts of the period in an attempt to semi-automatically identify recurrent narrative sequences
Le Mentorat féminin dans les contes de fées : De ruses en ruses
No full textLe Mentorat féminin dans les contes de fées : De ruses en ruses Cet article examine les différentes formes de mentorats féminins dans trois contes de fées du Grand Siècle: Riquet à la Houppe, L’Adroite princesse ou les aventures de Finette, et L’Enchanteur. On y trace le rôle du mentorat dans la relation conteuses-lectrices, ainsi que son influence sur le refus des contraintes domestiques et sociales imposées sur les femmes. Le mentorat féminin, qui apparaît chez ces conteuses dans des maximes, dans un appel à l’écriture, ou dans la conclusion de l’intrigue, sert à dénoncer les hommes et à encourager les femmes tant à la production du genre merveilleux qu’à la liberté de conduite féminine. This paper examines manifestations of female mentoring in three fairy tales of the Old Régime: Riquet à la Houppe, L’Adroite Princesse ou les aventures de Finette, and L’Enchanteur. It traces the role mentoring plays between female authors and female readers, as well as its influence on the rejection of domestic and social constraints imposed on women. Female mentoring, which here can be seen in maxims, in a call-to-writing, and in the conclusion of the tale, is used to denounce men, but also to encourage women to write fairy tales and to live a freer life
Sandra Lapointe and Christopher Pincock, eds., "Innovations in the History of Analytical Philosophy."
No full textJoseph Rouse, "Articulating the World: Conceptual Understanding and the Scientific Image."
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