1,721,330 research outputs found
Concevoir nos sociétés comme polyphasées
No full textCitton Yves. Concevoir nos sociétés comme polyphasées. In: Raison présente, n°165, 1er trimestre 2008. Critiques du libéralisme économique. pp. 71-80
Technologies de l'enchantement
No full textPeut-on faire une « histoire de l'illusion » qui ne se confonde pas avec une litanie de dénonciations ? C'est le pari de ce livre qui propose une quinzaine de plongées ponctuelles dans différentes formes d'illusions - allant d'un tableau de Jérôme Bosch au jeu vidéo Eternal Darkness, de l'aménagement des jardins des Lumières au marketing d'Apple, des fantasmagories scientifiques du xixe siècle aux modélisations de l'économie néolibérale, de l'effet placebo à l'art contemporain, des premiers rayons X aux derniers drones, en passant par Lucrèce, Descartes, Diderot, Lessing, Freud, Hitchcock, Winnicott et Baudrillard. Cette réflexion collective est placée sous les auspices d'un article célèbre de l'anthropologue britannique Alfred Gell, « La technologie de l'enchantement et l'enchantement de la technologie », traduit ici pour la première fois en français. Des proues de canoë mélanésiennes à une sculpture de Picasso, prouesses techniques et créations artistiques semblent relever d'un même enchantement, par lequel les humains élèvent leurs cultures en s'illusionnant sur ce qu'ils sont capables de faire. Au carrefour des imaginaires scientifiques et des pratiques interprétatives développées par les savoirs littéraires, ce volume multiplie les perspectives et les croisements disciplinaires, pour finalement s'inscrire dans le champ émergent de l'archéologie des médias. À travers un parcours en six parties - consacrées à l'anthropologie (« Technologies et enchantements »), à l'esthétique (« Tromper l'œil »), à la philosophie (« Capter les croyances »), à la scénographie (« Scénariser le monde »), aux nouvelles technologies (« Machiner le virtuel ») et à l'économie (« Vendre du vent ») - il espère aider à nous orienter dans un monde déroutant, où les enchantements médiatiques nous immergent dans un bain d'illusions toujours plus prégnantes. Les dix-sept études réunies ici gravitent autour d'une même question : comment et pourquoi apprendre à vivre avec les illusions, au lieu de s'obstiner à se battre contre elles
Populism and the Empowering Circulation of Myths
No full textInternational audienceYves Citton, author of Mythocratie. Storytelling et imaginaire de gauche (2010), analyses the various affective levels that motivate sociopolitical movements and argues that they should not only be recognized but also taken seriously. Against that background it becomes possible to understand current populist developments more clearly, and even to learn from them. By creating new myths that are emancipatory, we can steer the future of our society in a better direction
Populism and the Empowering Circulation of Myths
No full textInternational audienceYves Citton, author of Mythocratie. Storytelling et imaginaire de gauche (2010), analyses the various affective levels that motivate sociopolitical movements and argues that they should not only be recognized but also taken seriously. Against that background it becomes possible to understand current populist developments more clearly, and even to learn from them. By creating new myths that are emancipatory, we can steer the future of our society in a better direction
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Learning to Read in the Digital Age: From Reading Texts to Hacking Codes
Full text linkInternational audienceReading is still often perceived as the decoding of a message, as if the message were meant to be merely " received " , as if the code were supposed to be known and invariable, and as if the meaning were determined solely by the sender. Since the 1960s at least, however, theories of interpretation have constructed (literary) reading in a more elaborate and inventive fashion: while each author was supposed to re-invent a singular language against the background of the common language, each interpreter necessarily had to recreate something new, even though reading exactly the same text, because each interpreter understood this text and its singular language within an ever-changing context of actualization. The model of interpretation, however, remained indebted to the activity of deciphering: the ever-changing meaning was to be found within the text itself.Both the CCSI initiative and, in Europe, the guidelines periodically imposed upon teachers by ministries of Education register this evolution from decoding to interpretation. Whether in the form of ambitious (although often hollow) preliminary declarations about " critical-thinking " , or in the form of more precise assessment criteria, most of these administrative documents recognize that reading involves more than merely deciphering an unequivocal message. The CCSSI displays insight when it asks students to " determine the meaning of words and phrases as they are used in a text, including analyzing how an author uses and refines the meaning of a key term over the course of a text (e.g., how Madison defines faction in Federalist No. 10) " (CCSSI Standards 40). In such statements, literacy is clearly defined in terms of interpretation rather than reading: the student cannot simply apply a proper knowledge of " the " English language on a text in order to extract its proper meaning; s/he must (re)construct a singular version of the language drafted by this singular author in order to make sense of its potential signification.The presence of such formulations in these types of regulatory documents should be celebrated by literary scholars, since they imply that there can be no real literacy that is not literary. The quasi-obsessive insistence of the CCSS on " cit[ing] strong and thorough textual evidence to support analysis of what the text says " (CCSSI Standards 36, 38, 39, 40) should also be welcome, given the significance of close reading for literary studies. As we enter the digital age, however, a new " post-interpretive " configuration seems to emerge, not to replace but rather to supplement our traditional conceptions of reading and interpretation. As Lev Manovich, Lawrence Lessig and many others have shown, variability, modularity, hybridization, recombination, remix are crucial properties of " new media ". Their main consequence is to explode the very notion of " the text ". Through the extensive use of the " copy " , " search " , " cut-and-paste " functions, through the practices of sampling, inserting, transferring, syndicating, re-editing, it is not only the integrity and the borders of " the text " that are altered and need to be reassessed: it is the reader's relation to the readable data that is mutating. " Data " (texts, slogans, keywords, tags, tweets, images, icons, logos, sounds, videos) are given only to be reprocessed: to read is no longer only to decipher, nor merely to reconstruct or de-construct, but also to re-use, 2 reshape and over-code. The re-contextualization which, in the age of interpretation, altered the meaning of the text (its " content "), now reconfigures its signs themselves (its " form ").In this digital context, it is significant to see literary scholars describe literary interpretation by emphasizing the notion of " use " (Rita Felski), by adding " distant reading " (Franco Moretti), " hyper-reading " (N. Katherine Hayles) to the traditional practice of close reading, or by valorizing (rather than stigmatizing) the practice of " continuous partial attention " as " a digital survival skill " , against the dogma of attentiveness equated with focalization (Cathy Davidson). In the digital age, learning to read means learning to properly and inventively use the (overwhelming) context of whatever is accessible through search engines, i.e., of whatever resonates through the dense and unpredictable web of hyperlinks
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