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In this article, we would like to share a discussion about the processes of inventory and analysis currently underway on the archives of the performing arts at the Pompidou Centre in Paris. This work, initiated by the authors of the present article, is being carried out under the auspices of the Laboratoire d’histoire permanente (LHP), a laboratory for permanent history at the Pompidou centre, run by Antoine de Baecque from 2022 to 2024. It concentrates on the centre’s first ten years from 1977 to 1987. The ambition of the Pompidou Centre at the time of its creation in 1977 was, in the words of its first president Robert Bordaz “to unite realities that historical evolution, over time, has separated by diversification and specialisation.” By means of ‘polyvalence’ and ‘interdisciplinarity’, the brand-new museum and cultural institution was expected to reassociate ‘theatrical research’ with music, poetry, architecture, sculpture and painting, in the hope of “reinserting art and culture into the tissues of life.” And indeed, the Centre’s early years offer a varied programme of the performing arts, underlining the place’s experimental vocation and its ambition to make creative work resonate with the innovative architecture of the building. Next to those of choreographers and performance artists works were presented by playwrights and theatrical creators such as Lucien Attoun’s Théâtre Ouvert or Antoine Vitez, or the pluri-disciplinary spectacle entitled ‘The ephemeral is eternal’, by Claude Confortès and Elsa Wolliaston, based on a text by Michel Seuphor with sets inspired by Piet Mondrian. The spectacles were all exploratory ventures, leaving archival traces or ‘signs of loss’ (Georges Banu). The analysis of this intense activity in the field of the performing arts reveals ‘hegemonic structures’ (Anne Bénichou) which are an invitation to question the place of the performing arts within the new museum and cultural institution and the possible ways of preserving a heritage of these performing arts.

This article analyzes how Romanian television channels, by mediatizing significant jihadist terrorist attacks that took place in the European Union between 2015 and 2016, have broadcasted audio-visual discursive units in the form of ”short films” that reconstruct the tension and emotion generated by these attacks. Through these short films, television channels create an additional spectacle focusing on human suffering, which adds to the regular spectacle staged during each news broadcast.

Spectacle and Time in Contemporary Philosophy Through historical and phenomenological analyses, the present paper attempts to centralize the research of the phenomenon of spectacle as a viable subject of contemporary philosophy. We study the notion of the spectacle upon the basis of the historical development of the modern comprehension of time not only as one of the central issues of contemporary philosophy, but also as a central concept for the understanding of contemporary science, culture, and society as a whole. Within contemporary continental philosophical tradition, the concept of time is closely connected with the notions of presence, perception, and mediation. The philosophical debate between Henri Bergson and Albert Einstein brought the ideas of spectacle and time into immediate connection as a part of the new conceptual framework of contemporary philosophy. It demonstrated, for the first time, that science holds an essential value for the construction of modern life. We follow further developments by outlining the philosophical and cybernetic framework for the establishment of a philosophical attitude towards spectacle as one of the fundamental phenomena of contemporaneity. The elaboration of the theme seeks to respect methodological determinations demonstrated in the philosophy of Martin Heidegger. The groundbreaking critique of cybernetics in Gilbert Simondon allows us, finally, to draft a specific prefiguration of a certain theory of spectacle.

The article discusses the main premises of Tomasz Kaczmarek’s and Anna Jarosz’s lexicon: Il linguaggio dello spettacolo. Lessico italiano-polaccodel teatro, del cinema, dello radio et della televisione. The aim of the publication is to present the specificity of the language of artistic performances, like theatre, cinema, radio, television. The authors rely on the concept of language of the artistic performance as a field at the crossroads of several codes (verbal, visual, sound, gestural) interacting on stage. This interdisciplinary publication has an encyclopedic value, but also synthesizes theoretical and historical knowledge in the above-mentioned scope. [ABSTRACT FROM AUTHOR]

Cet article propose une traversée de l’œuvre romanesque des Goncourt sous l’angle des représentations et de l’écriture de la mémoire, notion cardinale de leur œuvre et de leur vie, comme en témoignent aussi bien le Journal que leur passion pour la collection. Paradoxalement, les personnages se souviennent relativement peu dans leurs romans. Cependant, bien que discrète, la mémoire se déploie à des moments stratégiques du récit. Il s’agit ici de mettre au jour un véritable art romanesque du « revenez-y », lequel se déplie en différentes variations comme autant d’explorations psychologiques, narratives et esthétiques de la mémoire. L’article explore ainsi les représentations tantôt pathologiques tantôt réparatrices de la mémoire à travers la nostalgie et la mélancolie des personnages mais aussi les enjeux de l’articulation entre mémoire, rêve et oubli dans la création goncourtienne. Enfin, il s’agit de dégager le travail de corporalisation de la mémoire à l’œuvre chez les Goncourt, notamment par l’intermédiaire des personnages du monde du spectacle : acteurs et actrices, mimes et acrobates.

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The spectacle was prominent in public displays and mass meetings in midtwentieth-century Russia and Germany as a quest for unity in political culture. In Russia, it was countered by Mikhail M. Bakhtin’s novelistic dialogue, polyphony, heteroglossia, and carnival. In Germany, it appeared in its most grotesque form in Adolf Hitler’s Mein Kampf, which proclaims Hitler’s quest for German national unity and celebrates his National Socialist mass meetings, which created the appearance of a false unity imposed by force of arms. In the United States, Hitler’s spectacle was critiqued in Kenneth Burke’s review of Mein Kampf and continually challenged throughout his life’s work. Burke’s review critiques Hitler’s strategy of attempting to unite Germany by dividing it from those who opposed him, in particular non-German ethnic groups. Burke was engaged in sociopolitical issues throughout his lifetime, and his work offers theories and principles aimed at diversity in unity in political culture and offered as a counterforce to Hitler’s spectacle of a false unity—a counter-spectacle in the form of identification, dramatism, dialectical and aesthetic transcendence, and a satiric mock portrait of a false unity.

This article examines Stanley Kubrick’s film A Clockwork Orange through the concept of neobaroque. Starting with the basic elements of mise-en-scène such as costumes, scenography, and positioning of the body inside the shots, the aesthetic analysis of the film will move towards more abstract concepts such as spectacle and violence. By identifying these elements inside the film, the film itself could be understood, I argue, as a neobaroque film. Neobaroque film neither refers to a genre or a period in film history. It is an aesthetic term, with implicit references to changes in modern society, denoting a specific but also dynamic constellation of expressive and thematic elements in a given film. Occasional references to Baroque art are included not to make closer ties between two periods or forms of expression, but to suggest and show more clearly where neobaroque concepts stand in relation to the Baroque ones. A Clockwork Orange is not of the only neobaroque film. However, one thing that singles out A Clockwork Orange, is the number of traits, or neobaroque topoi, which are condensed in it. In this article, I will point out the most prominent ones, which are firmly embedded in the aesthetics of the film.

Bien que l’analyste se demande ce qu’est l’humour (Noguez : 2000), la problématique soulevée n’empêche pas les manifestations diverses de la réalité ainsi questionnée. Au contraire : sous ses formes écrite, gestuelle ou verbale, l’humour reste une activité humaine à dimension sociale qui adosse le rire au vécu des groupes (Bergson : 1900). On comprend alors qu’il y ait un ‘’humour juif’’ (Klatzmann : 1998), qui serait différent d’un humour ivoirien, par exemple. En Côte d’Ivoire, une longue tradition de la dérision, alimentée par les contextes sociaux et portée par les média et par les artistes, a contribué à particulariser l’humour. Certes, les publications de livres compilant des histoires drôles ne connaissent pas de réel succès, mais le zouglou2 , le nouchi3 et les performances verbales des humoristes font de l’humour un art aujourd’hui prisé dont l’oralité demeure le socle (Tidou : 2015). Ainsi, au fur et à mesure des émissions télédiffusées annuellement et autres canaux de diffusion, comme l’émission Bonjour (plus l’année concernée), l’humour ivoirien se forge une identité qui se fonde sur des invariants relevant majoritairement de l’oralité. Entre (auto)dérision et histoires drôles, rapport à la langue coloniale (le français) et réception des vagues d’immigrants, histoire collective et expérience individuelle (encore que celle-ci dépende pour beaucoup de celle-là) mâchés par le jeu verbal de l’humoriste, il s’agit pour nous de décrypter ces invariants oraux qui spécifient l’humour en Côte d’Ivoire pour en faire un humour à l’ivoirienne.

This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.

Partant d’une enquête ethnographique portant sur la sonorisation d’un spectacle de grande ampleur, l’article cherche à comprendre ce qu’il advient du son traité numériquement dans une situation où les ingénieurs impliqués cherchent à produire un «son naturel». L’enquête prête attention à l’ontologie de ce qui compose le son pour répondre à la question de sa naturalité et la façon dont ses différentes matérialités y contribuent. Le terrain d’enquête est une célébration qui n’a lieu qu’une fois par génération, depuis trois siècles, et mobilise plusieurs milliers de personnes dont une vingtaine d’ingénieur·e·s du son. L’article rend compte du son comme un accomplissement pratique, fruit de multiples conversions et opérations de nettoyage.

Based on ethnographic investigation into the sound system of a large-scale performance, the article seeks to understand what happens to digitally processed sound in a situation where the professionals involved are trying to produce a "natural sound". The investigation pays attention to the ontology of what makes up sound in order to answer the question of its naturalness and how its different materialities contribute to it. The field of investigation is a celebration that has taken place only once a generation, for three centuries, and mobilises several thousand people, including about twenty sound engineers. This article gives an account of sound as a practical achievement, the fruit of multiple conversions, and cleaning operations. [ABSTRACT FROM AUTHOR]

Zsófia Molnár, doctor of theater studies, translator and supertitler, tells about her paradoxical position as “mediator of the immediate”. Supertitling is not just a textual matter: it is a live performance. As a result, the supertitler finds herself both inside the show (as close as possible to the performers onstage) and outside it, in a no-man’s-land between action and reaction. Such a position implies a delicate “negotiation” between both sides, to be carried anew every evening. [ABSTRACT FROM AUTHOR]

Invented to make films accessible to the visually impaired public, audiodescription (AD) came to France in 1989, and then developed in the performing arts. Sabine Gadrat asked users to describe their role in perceiving, understanding, or choosing a show, and the authors of AD to describe the technical and ethical issues that characterize a “good” AD, one that allows the viewer to produce his or her images throughout the story. [ABSTRACT FROM AUTHOR]

The aim of this article is to explore Elizabeth’s performative power as manifesting itself on the scaffold and on the stage, in royal portraits and processions. Drawing on Foucault and new historicism, it will discuss the Queen’s reliance on spectacle and ambiguity to enhance her authority and reach the population at large.

When speaking about Ancient Greek performances, we usually think of dramatic representations. Even though we only have access to the texts of the Iliad and the Odyssey, we are entitled to regard the epics as performances. As literary and iconographic documents of the Classical period show, the epic performances had a spectacular dimension, based on a sensorial engagement that provoked a collective pleasure. In the Odyssey itself, the poetic performances present this show as a breakthrough event. They aimed at creating kharis in order to bound men and gods together through pleasure and have to be considered as rituals.

Even if the whole Ab Vrbe condita is not fully preserved, it remains a most valuable source of information for those who study Roman religion, thanks to its scale and to the concern of Livy for religious items. Through this « monument » of Roman history, rituals are all the more acuitely depicted for they belong to a society in which spectacle is an essential aspect of social and political life. The representations of rituals in the Ab Vrbe condita are shaped by visual displays where a few sensory information activate a network of connotations. These displays disseminate emotions through the Roman space, enhancing social cohesion and strenghtening autorities. Conversely, the spectacle of foreign ceremonies shows the image of unleached and exacerbated senses, which appear as a reverse and a thread for Roman identity and the Urbs’ cohesiveness.

In central Italy, vintage writers talked about two cities founded by people made in Argos. Hera would come from with them and would be respected with specific rites in these two cities. Even if Faleries and Lanuvium were very different from several points, they respected a Juno with the same physical features and functions, and a spectacular ceremony to make it more effective. As a consequence, seeing Juno’s ceremony require just participants and public’s active part as well as the participation of their senses.

The Situationist City and the Situation of Architecture – A Look at the Urbanism of Communication - With the present paper, the author explores the width of the situationist critique of architecture and urbanism with the overview of already established patterns of interpretation regarding the heritage of the Situationist International as well as the Letterist International. Concerning specific positions that a few authors take regarding the question of architecture and urban planning, we can follow a relatively consistent line of thought in the development of the ideas of unitary urbanism to the society of the spectacle mainly through Constant Nieuwenhuys, Ivan Chtcheglov, and Guy Debord. Led by the revolutionary aesthetics of psychogeographical experiment, these authors anticipate the contemporary movement of connectivism, simulation politics, and outerworld architectures like cyberspace, but also develop the seeds of its critique. The radical praxis of the demystification of space is the situationist way towards a recreation of our own relationship to urban landscapes, which does not represent only plain material. For the situationist writers, the urban, the architecture is a picture, a map of constructed restraints posed on culture, language, and life respectively; precisely the materiality of the spectacle is—in this particular form—the primary situationist target for radical detournement and diversion of its meaning.

En insistant sur la redoutable efficacité des pratiques de storytelling, Christian Salmon a ravivé la crainte de vivre dans un monde potentiellement toujours déjà ordonné et scénarisé à des fins mercantiles ou stratégiques. Cette suspicion à l’égard des représentations massivement partagées n’est pas sans rappeler le paradigme spectaculaire développé par les situationnistes dans les années soixante. Notre article s’intéresse aux valeurs et postures critiques d’Henri Lefebvre, Guy Debord et Jean Baudrillard, et surtout aux manières dont Christian Salmon semble recycler, prolonger ou contrarier cette influence dans sa dénonciation du storytelling.

Depuis le début du XXIe siècle, la démocratisation d’Internet et de ses relais (téléphones intelligents, tablettes, ordinateurs portables) a rebattu les cartes du paysage médiatique, augmentant le nombre de producteurs et de récepteurs d’informations. Les images et vidéos ont ainsi acquis un spectre d’action élargi, bien que fortement concurrencé. Les terroristes l’ont bien compris qui, pour se faire entendre et propager leur message, adoptent des codes visuels et scénaristiques aussi violents que spectaculaires. Dans ce contexte, un certain nombre de romans s’attèlent à mettre en lumière les relations entre le terrorisme et les médias, entre la violence des attentats et le monde – financier, culturel, médiatique – qu’ils prétendent abattre. Notre contribution s’attache à décrire cette dénonciation du capitalisme en établissant sa dette envers le concept debordien de « spectacle » : le capitalisme déréalise les expériences et récupère la critique, de sorte que même dans l’extériorité qu’elle tente de se ménager, la contestation terroriste hérite de ses logiques et modes de fonctionnement. Les krachs et les bombes semblent donc brûler du même feu, prétexte à détourner le dernier film de Debord (In girum imus nocte et consumimur igni, 1978) dans notre titre. En déplaçant certaines des thèses de Guy Debord sur le terrain de la fiction, il semble que le roman contemporain se les réapproprie, rendant toute son actualité à la pensée du situationniste. Abstract Since the beginning of the 21st century, the democratisation of the Internet and its relays (smart phones, tablets, laptops) has reshuffled the media landscape, increasing the information producers and the number of receptors. The images and videos have thus acquired an enlarged action spectrum, despite being challenged. The terrorists have understood it quite well. They have made themselves heard and have spread their message, adopted visual and storyline codes which are as violent as they are spectacular. In this context, a certain number of novels get down to enlighten the relations between terrorism and media, between the violence of the attacks violence and the (financial, cultural, media) world that they pretend to destabilize. Our article seeks to describe these denunciations of capitalism by establishing the connections with Debord's concept of “spectacle”. Capitalism makes the experiences unreal and takes advantage of criticism for itself so that even in the exteriority that it tries to create, the terrorists' contestation inherits its logics and functioning modes. The stock market crashes and the bombs seem just as explosive. This provides a pretext to twist Debord’s last movie (In girum imus nocte et consumimur igni, 1978) in our title. By shifting some of Debord’s thesis on the ground of fiction, it seems that the contemporary novel is reclaiming them, giving all its actuality to the situationist’s thinking.

El trabajo analiza los diferentes escenarios físicos urbanos que se construyeron para la práctica deportiva en el marco de la transformación del fútbol en un espectáculo de masas en la ciudad de Córdoba (Argentina) en los años de entreguerras. Un elemento imprescindible en este proceso fue la disposición de recintos deportivos más adecuados para contener el accionar de jugadores y la presencia de cada vez mayor cantidad de aficionados. Al respecto, la investigación aborda, en primer lugar, los espacios que fueron utilizados inicialmente como campos de juego. Posteriormente, se centra en las formas en que estos se adaptaron a las nuevas demandas del espectáculo deportivo en formación. Finalmente, se examinan las primeras experiencias de construcción de estadios y en las transformaciones que ello supuso en la configuración identitaria y la fisonomía territorial de la ciudad. El abordaje de la dimensión espacial y material de esta práctica social de masas procura ofrecer nuevas perspectivas al análisis del proceso de modernización local en los años de entreguerras. Abstract: The paper analyzes the different urban physical scenarios built for sports practice in the context of the football transformation into a mass spectacle in Cordoba city (Argentina) in the interwar period. An essential element in this process was the availability of more suitable sports venues to contain the players´ actions and the presence of more and more fans. In this regard, the paper analyzes, at first, the spaces that were initially used as fields. Subsequently, it focuses on the ways in which these were adapted to the new demands of the sports spectacle in development. Finally, it examines the first steps of stadium construction and the transformations it caused in identity shaping and the territorial features of the city. The approach to the spatial and material dimensions of this massive social practice is intended to offer new perspectives to the analysis of the process of local modernization in the interwar period.

Evil in contemporary politics: tele-electronic populism. Tele-electronic populism, the extraordinary and violent upgrade of the traditional populism, is the most impressive political form in the contemporary scenario: its most resounding innovation. Due to its strong drive to represent directly the entire population, it seeks to go through the left- right dichotomy, simply exiling the role of the parties and of the traditional ideological storytelling. It is an update of the oriented marketing, soaked with all codes of the mainstream tv-shows: impertinence, participation, fan culture drawn by social network and conventional populism. Why is evil imagery the source of this phenomenon? Which cultural and societal features do neo-populist forces express? How far do they represent a discontinuity towards the order of the things?

The present article proposes an ethnographic interpretation of the event called « Miss Kayapó », a Beauty Contest, whose participants are indigenous women from the Mebêngôkre (Kayapó) people, located in the Amazon forest, who speak a Jê language. Held in the city of São Félix do Xingu, in the State of Pará (Brazil), before a large number of indigenous and non-indigenous people, the Beauty Contest is an important ritual to understand the inter-ethnic relations between the contemporary Mebêngôkre and the other Brazilian inhabitants of the region. The idea here is to analyze the aesthetical and ritual forms of appropriation mobilized by the group, as well as the ways by which imagery control is exerted by indigenous peoples in the Contest. Another aim is to ethnographically describe the different editions of the Contest, in order to highlight the transformations occurred both in the body techniques apprehended by the candidates, and in the creation and composition of their costumes. The final proposal is to understand the ritual production of Miss Kayapó as a complex character, who holds the ability to embody different aesthetic perspectives.

The paper discuss the concept of "filiation narratives", proposed in 1999 by the French theorist Dominique Viart, from the point of view of the "spectacularization of the author" (V. Kaufmann) in the contemporary visual culture. On the one hand, in visual culture, the media visibility of the author seems much important that his work. On the other hand, the strictly narrative understanding of the filiation is no longer possible. The example of the non-narrative filiation which connect a French writer Patrick Modiano and his daughter, singer et writer Marie Modiano, is proposed to show the resistance of the literature against the abuses of the media's influence to the literary culture. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Contrastive Grammar / Studii de Gramatica Contrastiva is the property of Universitatea din Pitesti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

First, this analysis considers the functions of childish and adult play—according to the definition of Huizinga—in French texts of the 19th and 20th century. Secondly, a Rumanian album of 2002 (text by Mircea Cărtărescu, illustrations by Tudor Bănuș) Enciclopedia Zmeilor / The Encyclopedia of Dragons is quoted for his representation of the magic nowadays frequent in the art of film: the passage from real life (biological) to virtual existence (numerical). The text presents a collection by Viorica Huber-Rogoz published in Bucharest in 2011.This a new edition of pieces fort puppets written and played in Rumania between 1960 and 1980, at the time of establishing Șoimii Patriei / Hawks of Homeland (open to children of 4-6 years) under the nationalist dictatorship of Ceausescu. The analysis shows how the dramaturgy takes over the topics teaching the very young children the key elements of the national culture: local folklore, connection between folklore orality and the beginning of literary writing (chronicles), playful figuration of learning alphabet, Rumanian geography and science-fiction (the sea of dreams and the town of future), wonderful approach of the biography and the genius of the greatest sculptor in the 20th century, Constantin Brâncusi, born and trained in Rumania.

Les Bouts de bois de Dieu, the Sembene Ousmane’s masterpiece, is in constant contact with novels of European or Negro-African literature. Going by the different meanings of the concept of intertextuality, we shall identify these relations. But the author, writer, experienced in cinema techniques, is unable to make a «functional dividing». That’s the reason why the narrative tools of cinematic aesthetic are shown through the novelistic woof. From that moment, and other notion is essential for us: the intersemioticity. Otherwise, the cinema and the novel are an integral part of the set of themes. Some characters, whose behaviours are explained by the psychoanalytic theory of identification, dream of occidental life or give way to the violence consubstantial with the offered films. All things considered, the work, multimodal, rocking between novel and cinema, becomes a novel-cinema.

La beauté des joutes languedociennes, fort anciennes, est liée à son esthétique codifiée, reposant sur la justesse des gestes techniques relativement à un certain nombre d’attributs, de séquences et d’activités ritualisées. Or, depuis les années 1960, l’adoption de certains aspects tactiques ou individualistes remet en cause l’essence de cette esthétique dans la foulée de la sportification, définie comme le processus d’adoption des valeurs présidant à la pratique d’activités sportives de haute compétition et des exigences liées à leur expression publique. S’en suit l’inflexion des critères esthétiques liés à la production du spectacle pour répondre aux contraintes de sa diffusion médiatique et aux nouvelles sensibilités des audiences. Or, après analyse, il s’avère que la charge symbolique originelle soit suffisamment forte pour que le spectacle des joutes conserve pour l’essentiel sa signification et son esthétique traditionnelles.