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Dramaturgies du geste : faire récit par le corps dans le texte de théâtre de 1945 à nos jours
No full textPrésentation de l'ouvrage "Arts et activismes afroqueers. Littératures, images, performances" [PODCAST]
No full textPremière édition 2025 des Apéros de Karthala. Dorothée Boulanger, Elara Bertho et Xavier Garnier (entre autres) présenteront l'ouvrage "Arts et activismes afroqueers. Littératures, images, performances" sous la direction de Dorothée Boulanger et Susanne Gehrmann, Karthala 2024Comment le queer s'exprime et se définit chez les artistes africains ? S'appuyant sur des productions variées, les contributeurs décrivent de nouvelles esthétiques de la sexualité et du genre
"Hacer teatro documento y político o cómo los dramaturgos españoles proponen reflexionar sobre pasado y presente".
No full textInternational audienceThe article considers how certain playwrights echo social and political concerns in their productions and create plays that are integrated into what is often called “document theater” as defined by Peter Weiss. Based on the study of four plays that were performed at the Teatro del Barrio, El pan y la sal and Flores de España (2015) by Rafael Quirós, Ruz-Bárcenas (2014) by Jordi Casanovas, and Masacre (2017) by Alberto San Juan, we analyze the discourses that construct these plays and the means used by the playwrights to achieve their goal, either to show the injustice suffered by the victims of the civil war and post-war period and their relatives, or to expose how certain unethical power structures act
Entretien avec le journaliste Jean-Claude Vantroyen, « Sommes-nous vraiment étanches à la littérature de langue allemande ? »
No full textExperimental Insights into the Prosodic Structure of Ersu (Tibeto-Burman)
No full textInternational audienceThis study experimentally examines the prosodic structure of Ersu (ISO-639 ers), an endangered Tibeto-Burman language, and empirically tests the hypothesis that Ersu’s prosodic system combines lexical tone in monosyllabic words with stress-like prominence in polysyllabic words (Chirkova et al. 2015).Ersu is proposed as a register tone language with two registers: High (H) and Low (L). In polysyllabic words, the initial syllable retains its tone, while non-initial syllables adopt the tone of the initial syllable. Among the three tone patterns found in di- and tri-syllabic words—H(H)H, L(L)L, and H(H)L—the first two are regular, while the third is exceptional. The exceptional patterns (HL, HHL) are believed to exhibit stress-like features, with the final Low-tone syllable perceived as less prominent, having reduced intensity and shorter duration.This study aims to deepen our understanding of the Ersu prosodic system by empirically testing previous claims using a small corpus of di- and tri-syllabic words in two contexts: citation (phrase-final) and phrasal (embedded within a phrase). It examines three acoustic correlates of prominence—duration, intensity, and fundamental frequency (f0)—to distinguish word-level from phrase-level stress and to investigate their interaction with lexical tone.The analysis draws on field recordings from eight Ersu speakers (3 female, 5 male). Word-list items were transcribed using Praat TextGrids (Boersma & Weenink 2020), and 8,085 acoustic tokens were extracted via a Praat script. Duration and mean intensity were measured once per vowel, while f0 was measured three times per vowel (vowel onset, midpoint, and offset) to capture both pitch height and contour. Due to gender-based differences in mean f0and f0 range, male and female speakers were analyzed separately. Statistical analysis was conducted using linear mixed-effects models in R (lme4 and lmerTest: Bates et al. 2015; Kuznetsova et al. 2017), with post-hoc pairwise comparisons via the emmeans package (Lenth 2016). Separate models were run for each acoustic parameter.Our results only partially support the original claims. For the HL tone pattern, the first syllable shows significantly greater intensity only in the citation context (estimate = 2.016, t = 2.503, p = 0.0124), while durational differences between syllables are not statistically significant in either context (citation: estimate = -0.003, t = -0.450, p = 0.6528; phrase: estimate = 0.007, t = 1.206, p = 0.2282). For the HH and LL patterns, f0, intensity, and duration do not differ significantly between syllables in either context. At the trisyllabic level, the HHL tone pattern resembles the LLL pattern in exhibiting peak intensity on the initial syllable across all contexts. In terms of duration, all three tone patterns show consistently longer duration on the final syllable in every context examined.This presentation further explores the implications of these findings for the prosodic organization of Ersu and its closely related language Lizu, for which comparable experimental data are available (Chirkova et al. 2023). More broadly, it contributes to the typology of prosodic systems in under-documented Tibeto-Burman languages of Southwest China (e.g. Evans 2008, 2018)
Compte rendu : Jérôme Pacouret, Qu’est-ce qu’un auteur de cinéma ? Art, pouvoirs et division du travail.
No full textPour l'auteur, l’histoire du cinéma s’est construite sur une progressive dépossession de la fonction-auteur de différentes catégories de professionnel·les du cinéma au profit ultime du réalisateur (l’usage du masculin n’est pas anodin ici), avec le capital symbolique et matériel qui lui est attaché, et cette appropriation ne va pas de soi. En effet, cette évolution diachronique s’est opérée au long de luttes de pouvoir, de contestations et de divisions, qu’il analyse et documente abondamment dans cet ouvrage, au sein des cinémas français et états-unien, choisis car considérés comme relativement homologues ,et pourvoyeurs de modèles de fabrication et de valorisation des longs-métrages de fiction dans moult autres espaces linguistico-culturel
Tracing Transregional Connections through References to Sanskrit Texts in the Śaiva Old Javanese Literature from Java and Bali
No full textInternational audienceThis chapter investigates (Sanskrit-)Old Javanese Iaiva literature belonging to the tantric tutur and tattva genres, the Śāsana normative genre, as well as poems (kakavin) of Śaiva persuasion, to trace transregional textual connections between the Indian subcontinent and Java and Bali in the light of allusions to or citations of Sanskrit texts. It identifies the specific sources that were in circulation and were considered authoritative, and which may have been prototypical to form the textual "canon" that informed prevalent religious, ritual, and social ideas and practices in pre-Islamic Java as well as Bali. This analysis will reveal text-building and hermeneutical techniques, as well as authorisation strategies, employed by premodern Javanese and Balinese authors to anchor their textual and religious tradition to either a timeless or mythological dimension or a scholastic tradition inspired by Indic norms. This will facilitate our understanding of the transregional textual flows that shaped the literary, cultural, and religious landscapes of the premodern Javanese-Balinese cultural sphere.</div
« L'homme (im)parfait. » L’exposition-événement qui fit entrer le handicap au musée
No full textInternational audienceDer (im)perfekte Mensch. Vom Recht auf Unvollkommenheit (Dezember 2000 – August 2001) ist bis heute die bedeutendste Ausstellung zum Thema Behinderung in Deutschland, insbesondere im Hinblick auf die Besucherzahlen und die bundesweite Aufmerksamkeit, die sie erregt hat. Vor allem aber war es eine der ersten Kooperationen zwischen einem Museum, dem Deutschen Hygiene-Museum Dresden, und den direkt Betroffenen, vertreten durch den Verein Aktion Sorgenkind / Aktion Mensch. Dieser Artikel untersucht die bislang unveröffentlichten Archive dieser vierjährigen Zusammenarbeit, von der Entwurfsphase bis zur Wiederaufnahme der Ausstellung im Martin-Gropius-Bau in Berlin im Jahr 2002. Anhand verschiedener Arbeitsdokumente, Sitzungsprotokolle und interner Notizen können wir die komplexe Erstellung eines gemeinsamen Diskurses von beiden Institutionen sowie die Entwicklung einer Szenografie nachvollziehen, die den Besucher:innen die Möglichkeit gab, Behinderung als sensorische und sprachliche Differenz aus der Perspektive der behinderten Menschen zu erfahren, die direkt an der Entstehung der Ausstellung beteiligt waren. Als Pionier in Sachen Barrierefreiheit und Teilhabe hatte die Ausstellung bundesweit Modellcharakter und gilt als Gründungsakt der Disability Studies im deutschsprachigen Raum.The (Im)perfect Man. From the Right to Imperfection (December 2000–August 2001) remains the most important exhibition devoted to disability in Germany to date, particularly in terms of the number of visitors and the attention it attracted nationally. Above all, however, it was one of the first collaborations between a museum, the German Hygiene Museum in Dresden, and the people directly affected, represented by the Aktion Sorgenkind / Aktion Mensch association. This article examines the previously unpublished archives of this four-year collaboration, from the design phase to the exhibition’s revival at the Martin Gropius-Bau in Berlin in 2002. Comprising various working documents, meeting minutes, and internal memos, they allow us to trace the complex establishment of a common discourse between the two institutions and the development of a scenography that gave visitors the opportunity to experience disability, as a sensory and linguistic difference, from the perspective of the people with disabilities directly involved in the exhibition’s creation. A pioneer in terms of accessibility and participation, the exhibition served as a model at the national level and is considered the founding act of Disability Studies in German-speaking countries.L’homme (im)parfait. Du droit à l’imperfection (décembre 2000-août 2001) est restée à ce jour la plus importante exposition consacrée au handicap en Allemagne, notamment par le nombre de ses visiteurs et l’attention qu’elle a suscitée au niveau national. Mais elle était surtout l’une des premières collaborations entre un musée, le Musée allemand de l’hygiène à Dresde, et les personnes directement concernées, représentées par la Fédération d’associations Aktion Sorgenkind / Aktion Mensch. Cet article examine les archives inédites de cette collaboration de quatre années, depuis la phase de conception jusqu’à la reprise de l’exposition au Martin Gropius-Bau de Berlin en 2002. Composées de différents documents de travail, comptes rendus de réunions et mémos internes, elles permettent de retracer la mise en place complexe d’un discours commun aux deux institutions et l’élaboration d’une scénographie qui donnait aux visiteurs la possibilité de faire l’expérience du handicap, comme différence sensorielle et linguistique, depuis la perspective des personnes handicapées, directement impliquées dans la réalisation de l’exposition. Pionnière en matière d’accessibilité et de participation, l’exposition servit de modèle au niveau national et est considérée comme l’acte fondateur des Disability Studies dans les pays de langue allemande
