156 research outputs found
Drawing and its relationship to documentation : the rustle of the author
No full textLa présente étude est une des pièces qui compose la thèse de doctorat en art plastiques à l’Ensba – et au sein de l’école doctorale de l’ENS rue d’Ulm. Ce nouveau type de thèse – par la pratique – se compose d'un ensemble d'œuvres exposées d’Hippolyte Hentgen et d'un livre d'artiste découpé en six textes indépendants. Il s’agit d’une succession d’analyses, de descriptions d’œuvres choisies dans l’histoire de l’art qui apparaissent comme Exemples et qui accompagnent la construction du travail plastique. L’ambition de ce texte est de traiter de façon croisée la question des différents modes opératoires du dessin qui se constitue comme une langue et de l’emploi du document comme matériau. Cette recherche se centre sur l’image document et sa relation avec le dessin, du point de vue de la reproductibilité. Il est question de l’émancipation de ce médium, longtemps considérer dans la hiérarchie des beaux-arts comme une pratique ancillaire et de l’héritage des questions esthétiques modernes. Si la notion d’auteur est centrale, basée sur l’expérience de la pratique d'atelier du duo Hippolyte Hentgen, elle reste une notion indistincte, effacement volontaire du « un » sacralisé, au profit d’un mélange entre intime et collectif. Avec la question du document, c’est le problème global du rapport entre le « réel », « l’original » et ce qui en est, selon les terminologies, « la copie », « la reproduction », « l’image », « la trace », « l’archive » qui se pose. Il faudra sans cesse détailler, en fonction de sa nature spécifique, comment le document se trouve physiquement fixé et, ainsi, transformable. On considère généralement que l’œuvre dessinée est close sur elle-même, dans la sphère de l’intime, du « je », indissociable de la notion d’auteur. Or le dessin d’art n’a, du point de vue expressif qu’une relation lointaine, et cryptée par l’auteur, avec le réel extérieur. Il s’agit donc de mettre en relation un ensemble de « documents » qui soient anonymes pour les uns, attribués pour d’autres. Tous ont en commun d’être, d’une certaine manière, des icônes de la modernité. Ensemble, ils composent une matrice formelle propre à recueillir les manifestations imagées du réel dans toute sa diversité. Il s'agit de voir dans la relation entre dessin et document une capacité joueuse à s'ouvrir au monde et à penser le dessin d'art comme forme émancipée et politique.What interests us above all is the capacity of drawing, its power to reproduce; then the need – and the difficulty – to view drawing as an autonomous medium, freed from the hierarchy imposed by the world of fine arts, where it is relegated to a subordinate role and to see it as a transversal notation technique, almost transcendental due to its flexibility and ductility; to see it as the cutting edge of visual communication. This means of writing – as it really is form of writing – has led us quite naturally towards a variety of media: mural painting, shows, installations etc. Drawing is essentially a joyful practice, yet our choice of this subject matter central to our work and its ambiguous poverty, is also the paradoxical manifestation of a more melancholic observation that brings us face to face with our own limits and our incapacity as artists, to change the world fundamentally. This question of the legacy of modernity and its effect on current artistic practice is amongst the issues that concern us. Thus even if strictly speaking our work doesn’t enter the category of “conceptual art”, and experimenting with forms in the studio is at the heart of our artistic practice, this daily gratification does not exclude reflection on the legacy of our industrial world. In other words, there is a political dimension to our work, which has as much to do with the idea of pushing forward our artistic experiment as the motifs and pretexts we use. It is question of author, in this thesis but we don’t seek to remove traces of an author – or a subject –, which might be too present or cumbersome. On the contrary, our aim is to make the ghosts of absent figures (re)appear. Industrialisation led to a reduction in the emotional impact of a subject or visual representation. Some of the earliest figures from the era of reproducibility – characters from commercials or certain early American comics – are made up of geometrical shapes (circles, squares, segments) and isolated lines. They are, in these terms, close to abstraction, a kind of “degree zero” of the figure. The drawings of Hippolyte Hentgen find their origins in – and implicitly refer to – these drawings that appeared alongside industrialisation and the mechanised production of images. These characters were conceived with reduced emotional detail to be reproduced easily and to be readily available in great number. It is if they have been emptied of all existentiality and are practically incapable of uttering the word “I”. A documentary is a means of learning about something: it represents the “capture” of a real event, an open window on the “not art”. It is at the same time both content and form the outset suggests an ambivalence of vision. We are trying to put together a sort of methodology and within our work to organize a wide variety of experiments. The inclusion of documentary elements serves both to anchor and enrich this project, whilst at the same time maintaining the kind of fragility that is inherent to drawing and which is so dear to us. Sets of drawings constitute a sort of methodological inventory. Within them, there is the idea of sampling archetypal drawings related to image reproduction. The variety of visual media, the use of old and worn images, the variety of technical processes, the different ways of incorporating elements, may be the very subject of the oeuvre or might appear as simple vignettes or patterns. Thus, one of the questions brought forth by these experiments is whether it is a likeness we recognise at the heart of the oeuvre or the document itself, in its true nature as a document or simple object
Does strict employment protection discourage job creation? Evidence from Croatia
No full textEmployment protection legislation in Croatia is among the most strict in Europe. Firing is difficult and costly, and flexible forms of employment are limited. Is this apparent rigidity reflected-as one would expect based on standard economic theory-in low labor market dynamics? Is job creation low and hiring limited? Is the job security of insiders achieved at the cost of outsiders not being able to enter thelabor market? The author attempts to answer these questions by examining job flows. If the employment protection legislation is binding, then job and worker turnover should be low. He shows that this is indeed the case. Hiring is limited and the average job tenure is very long in Croatia. Job destruction is low, however job creation is still lower. The result is accumulation of unemployment, in large part due to new labor market entrants not being able to find a job. The high degree of job protection also seems to strengthen the bargaining position of insiders and results in relatively high wages. So, wages in Croatia are higher than among its competitors, even after adjusting for productivity. These high labor costs are likely to contribute to limited job creation in existing firms, but also are likely to discourage the entry of-and thus job creation in-new firms. The author presents evidence that firm growth has been indeed limited in Croatia, contributing to the low employment level. The author examines other potential causes of high unemployment in Croatia (the unemployment benefit system, labor taxation, the wage structure, and skill and spatial mismatches). He argues that they do not play a substantial part in accounting for poor labor market outcomes in Croatia. The author concludes that the stringent employment protection legislation is the key labor market institution behind low job creation and high unemployment. Based on this he recommends specific measures aimed at liberalizing the labor market to foster job creation and employment.Labor Management and Relations,Labor Policies,Labor Markets,Environmental Economics&Policies,Trade Finance and Investment,Labor Markets,Labor Management and Relations,Labor Standards,Banks&Banking Reform,Environmental Economics&Policies
“Properly Speaking Man Is Imbecile”: Nietzschean Skepticism in the Political Thought of French Conservative Hippolyte Taine
No full textThis paper argues that a careful examination of Hippolyte Taine’s intellectual development in the area of epistemology reveals a conceptual linkage with Nietzschean skepticism. The author shows that both Nietzsche and Taine drew from the same procession and touchstones of French history when developing their epistemologies. The result was a similar view of reason with a similar application to the political realm. Taking the Revolution as formative for both thinkers, the author shows how and why Taine’s notions of “une forme aveugle de la raison” and “hereditary prejudice” correspond to Nietzsche’s view of tradition and its necessity for healthy social and political structures. Further, with the evidence presented, the short correspondence between Taine and Nietzsche appears in a different light, one that allows the reader to take Nietzsche’s words at face value and that reveals a mutual admiration between Taine and Nietzsche. The result of this work is to clear another path connecting Nietzsche’s thought with the French right of the Third Republic
Traveller’s Eye: Hippolyte Taine’s Venetian Episode in Voyage en Italie
No full textThe article discusses the impact of place on the traveller’s eye. The author uses Hippolyte Taine’s Venetian episode in Voyage en Italie [Journey to Italy] to illustrate how Venice’s landscape transforms and rejuvenates Taine’s eye, modeling his emotions. It turns out that the traveller sees affectively. This way of seeing is no different from the aesthetic eye which, according to Taine’s theory, “uncovers” what is “conspicuous”. The Italian sketches demonstrate as a result that his “philosophy of art” is permeated by geopoetic thinking about the place [email protected] Gielata, dr hab., prof. na Wydziale Humanistycznym Uniwersytetu Śląskiego w Katowicach. Historyk literatury zajmujący się zagadnieniami dotyczącymi teorii i historii powieści, teorii narracji historycznej, a w obrębie historii literatury – genealogią polskiej i europejskiej nowoczesności oraz badaniem związków pomiędzy literaturą nowoczesną a biologią i medycyną oraz muzyką, plastyką i architekturą. Współredaktor i członek Rady Naukowej nowej serii wydawniczej „ars medica ac humanitas”, a także współredaktor działu historii literatury pisma naukowego „Świat i Słowo”. Autor monografii Nad studnią Ateny. O „Rozdwojonym w sobie” Teodora Parnickiego (2006), Bolesław Prus na progu nowoczesności (2011).Instytut Literaturoznawstwa, Uniwersytet ŚląskiBieńczyk Marek (2012), Nie dla mnie sznur samochodów, w: M. Bieńczyk, Książka twarzy, Warszawa: Świat Książki.Braudel Fernand (1994), Wenecja, w: F. Braudel i in., Morze Śródziemne. Przestrzeń i historia. Ludzie i dziedzictwo, przeł. M. Boduszyńska-Borowikowa, B. Kuchta, A. Szymański, Warszawa: Volumen.Goethe Johann Wolfgang (1980), Podróż włoska, przekład, przypisy i posłowie H. Krzeczkowski, Warszawa: Państwowy Instytut Wydawniczy.Pallasmaa Juhani (2012), Oczy skóry. Architektura i zmysły, przeł. M. Choptiany, Kraków: Instytut Architektury.Proust Marcel (2013), W stronę Swanna. W poszukiwaniu straconego czasu, t. 1, przeł. T. Żeleński (Boy), Warszawa: Wydawnictwo MG.Proust Marcel (2014), W cieniu zakwitających dziewcząt. Wposzukiwaniu straconego czasu, t. 2, przeł. T. Żeleński (Boy), Warszawa: Wydawnictwo MG.Rybicka Elżbieta (2014), Geopoetyka. Przestrzeń i miejsce we współczesnych teoriach i praktykach literackich, Kraków: Universitas.Taine Hippolyte A. (2010), Filozofia sztuki, przeł. A. Sygietyński, przedmowa J. Bodzińska, Gdańsk: Słowo/Obraz Terytoria.Taine Hippolyte A. (1908), Podróż po Włoszech, t. 1: Neapol i Rzym, t. 2: Florencja i Wenecja, przeł. A. Sygietyński, Warszawa: Księgarnia Powszechna.159710
Le chapitre sur l'Église du commentaire sur Daniel de saint Hippolyte
No full textHippolytus' Commentary on Daniel : On the Church.
The major part of the Greek version of Hippolytus' Commentary on Daniel Bk. I is only preserved in cod. Athos, Vatopedi 1212, badly damaged because of humidity. The author has already given a first edition of chapter 18, concerning the Church, based on the photographs he took in 1963 (Kyriakon. Festschrift Johannes Quasten, Munster Westf., 1970, p. 72-73), then a second one, largely improved, after a first examination of the manuscript in october-november 1970 (Rev. Hist. Textes, II, 1972, p. 5-7). A new examination in October 1972 allowed him to solve almost the last riddles raised by the text.La plus grande partie du texte grec du premier livre du commentaire sur Daniel de saint Hippolyte ne s'est conservée que dans le cod. Athos, Vatopédi 1213, très endommagé par l'humidité. L'auteur a donné une première édition du chap. 18, sur l'Église, d'après ses photographies, prises en 1963, dans Kyriakon. Festschrift Johannes Quasten, Münster Westf., 1970, p. 72-73 ; une seconde très améliorée dans cette Revue, t. II (1972), p. 5-7, après un premier examen du manuscrit en octobre-novembre 1970. Un nouvel examen de ce manuscrit en octobre 1972 lui a permis de résoudre, à peu de chose près, les derniers problèmes posés par ce texte.Richard Marcel. Le chapitre sur l'Église du commentaire sur Daniel de saint Hippolyte. In: Revue d'histoire des textes, bulletin n°3 (1973), 1974. pp. 15-18
Partial Restoration of a Roman Bath (Figure 4 of 'Entretiens sur l'architecture')
No full textfull vie
Deaths of the author. From the Origins of Photography to Autofiction
No full textFig. 1. El ahogado (1840), de Hippolyte BayardFig. 2. La muerte de Marat (1793), de Jacques-Louis DavidFig. 3. Reverso de El ahogado (1840), de Hippolyte BayardDentro del arte y literatura, la autobiografía y la fotografía se han rodeado tradicionalmente de un aura de autenticidad archivística. La autoficción, aquí entendida como autobiografía contemporánea que reivindica su carácter ficcional, rompe esta asunción. La fotografía del yo también desestabilizó, desde sus inicios, el valor documental del medio. Este artículo parte de una reflexión acerca del primer autorretrato fotográfico, Autorretrato de un ahogado (1840), donde el artista, Hippolyte Bayard, escenifica su propia muerte. A continuación, mostramos cómo la representación del yo se convierte en una cuestión recurrente en la autobiografía con la llegada de la autoficción, desde la proclamación de la “muerte del autor” por el pensamiento posestructuralista. Tras repensar los fundamentos de la autoficción refiriéndonos a obras de Roland Barthes, Jorge Semprún y Javier Marías, entre otros, sostenemos que este modo indeciso de narrativa de vida recuerda al proyecto original de Bayard. Las obras autoficcionales reescenifican, con variaciones, la muerte del autor. Aunque sugieran que la autorrepresentación es solo posible como ficción, en última instancia estas narrativas también reafirman la presencia de la figura autoral mediante el anuncio simbólico de su ausencia.In literature and the visual arts, autobiography and photography have traditionally been vested with an aura of archival authenticity. As a category of contemporary autobiography that claims its own fictionality, autofiction breaks this assumption. Selfportrait photography, too, since its origins, has challenged its own documentary status. The point of departure for this article is the first self-portrait photograph, A Drowned Man (1840), whereby the artist, Hippolyte Bayard, stages his own imaginary death. Then, I show that selfrepresentation has become a recurring concern in autobiography, and more precisely in autofiction, since the proclamation of the “death of the author” by poststructuralist thought. After rethinking the foundations of autofiction through works by Roland Barthes, Jorge Semprún and Javier Marías, among others, I contend that this indecisive mode of life narration reminds us of Bayard’s original project. Autofictional writings re-stage the death of the author with variations. I claim that, while these visual and textual narratives suggest that self-representation is only made possible through fictionalization, they also assert the presence of the author by symbolically illuminating his very absence
Rapa Nui (Easter Island)’s Stone Worlds
No full textThis article explores the spatial, architectural and conceptual relationships between landscape places, stone quarrying, and stone moving and building during Rapa Nui’s statue-building period. These are central themes of the ‘Rapa Nui Landscapes of Construction Project’ and are discussed using aspects of the findings of our recent fieldwork. The different scales of expression, from the detail of the domestic sphere to the monumental working of quarries, are considered. It is suggested that the impressiveness of Rapa Nui’s stone architecture is its conceptual coherence at the small scale as much as at the large scale. </div
Hippolyte Fortoul
No full textSurtout connu pour son rôle comme ministre de l’Instruction publique sous le Second Empire, Hippolyte Fortoul avait publié auparavant de nombreuses études d’histoire et d’histoire de la littérature, dont les deux volumes parus en 1841 et 1842 de son livre De l’art en Allemagne. Il s’agit d’un ouvrage de circonstance dans lequel l’auteur tirait parti des enseignements de trois voyages en Allemagne. Le propos en est complexe, alliant plusieurs objectifs différents : ébauche d’une histoire universelle de l’architecture et de la peinture, leçon d’art allemand moderne à l’intention des artistes français, mais aussi démonstration d’érudition susceptible d’aider son élection à l’Académie des inscriptions et des belles-lettres (qui ne l’accueillera qu’en 1855, un an avant sa mort) ainsi que sa carrière universitaire. Les commentateurs allemands se sont montrés réservés sur l’ouvrage. C’est que, malgré son intérêt pour l’art allemand, Fortoul ne cache pas sa prédilection pour le goût français, dont il affirme à maintes reprises la supériorité, tout comme il affirme la suprématie du génie français, fruit de l’union des races latine et nordique. Pour répandues que fussent ces idées à son époque, elles n’œuvraient pas précisément en faveur de la synthèse entre les arts allemand et français qu’il prétendait promouvoir, et témoignent de l’écart qui existe souvent entre les intentions explicites et les convictions profondes.Hippolyte Fortoul ist vor allem als ministre de l’Instruction publique (Kultusminister) des Second Empire (Zweites französisches Kaiserreich) bekannt. Dennoch hatte er vorher zahlreiche historische und literaturgeschichtliche Studien verôffentlicht, unter denen sein zweibändiges Buch De l’art en Allemagne (1841-1842). Es handelt sich dabei um ein Gelegenheitswerk, in dem er seine anläßlich dreier Reisen in Deutschland erworbenen Kenntnisse ausnutzte. Fortouls Deutschland-Buch verfolgt eine Vielzahl unterschiedlicher Absichten : es geht ihm darum, eine Universalgeschichte der Architektur und der Skulptur zu entwerfen, gleichzeitig die französischen Kunsfier von den Fortschritten der deutschen Kunst zu unterrichten, schließlich aber auch seine Gelehrsamkeit auf dem Gebiet der Kunstgeschichte unter Beweis zu stellen, um seine Aufnahme in die Académie des inscriptions et des belles-lettres-(was erst 1855, d. h. ein Jahr vor seinem Tod erfolgte) sowie seine akademische Laufbahn zu fbrdern. Mit deuuicher Zurückhaltung haben die deutschen Rezensenten dièses Werk aufge-nommen, was vor allem daran liegt, daß Fortoul trotz seines Interesses für die deutsche Kunst seine Vorliebe fiir den franzôsischen Geschmack nicht verhehlt. Mehrmals stellt er die Uberlegenheit des franzôsischen Geistes heraus, der aus der Vermählung der romanischen und nordischen Rasse entstanden sei. Obgleich solche Thesen damais ùberaus verbreitet waren, trugen sie nicht gerade zu der am Eingang des Buches explizit intendierten Synthèse von deutscher und franzôsischer Kunst bei. Wie so oft erscheint somit in Fortouls Deutschland-Buch eine Diskrepanz zwischen den offen vor-getragenen Absichten des Autors und seinen tief verwurzelten, z. T. gegenläufigen Überzeugungen.Best known for his rôle as Minister of State Education in the Second Empire, Hippolyte Fortoul had previously published several studies on history and literary history, which we may find in the two volumes published in 1841 and 1842 of his book De l’art en Allemagne, a Gelegenheitswerk in which the author put to good use what he learned during his three trips to Germany. Its aim was very complex and linked several différent objectives : a sketch of the universal history of architecture and painting, a lesson in modem German art for French artists, but also a démonstration of érudition likely to help him in his bid for élection to the Academy of Inscriptions and Literature (which only elected him in 1855, one year before his death) as well as in his university career. German critics showed reserve about his work. This is due to the fact that despite his interest in German art, Fortoul didn’t hide his préférence for French taste, which he repeatedly affirmed to be superior, just as he affirmed the supremacy of French genius, the fruit of the union of the Latin and Nordic races. Though thèse ideas were widespread during his time, they did not exacdy work in favor of the synthesis between German and French arts which he claimed to be promoting, rather, they give witness to the gap which often exists between explicit intentions and deeply held convictions
Governance and economic growth
No full textBecause protection of property rights cannot be appropriated by any individual, it is widely recognized as being the state's responsibility. Moreover, recent empirical evidence suggests that protection of property rights leads to higher investment levels and faster growth. The extent of property rights protection differs significantly across countries. The author integrates the emergence of property rights within a simple growth framework. Drawing on North (1990), he presents a model where economic performance and enforcement of property rights may reinforce each other.Initial conditions determine the economy's convergence to a high-income or a low-income steady state. Existing empirical evidence offers tentative support for this theory.Judicial System Reform,Labor Policies,Economic Theory&Research,Environmental Economics&Policies,Common Property Resource Development,Economic Theory&Research,Inequality,Common Property Resource Development,Environmental Economics&Policies,Governance Indicators
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