Os discursos sobre o veganismo em revistas de divulgação da filosofia no Brasil e na França

In this article we compare the discourses of two philosophy popularization magazines, one brazilian and the other french. by doing so, we seek to answer two questions formulated in our postdoctoral project on the discourses of philosophy popularization magazines in brazil and france, namely: “how is philosophy presented in brazilian and french magazines?” and “what is intended with philosophy popularization in brazil and france?”. to this end, we selected two articles on the topic of veganism in the brazilian magazine filosofia ciência & vida and in the french magazine philosophie magazine, both published in 2018. the methodology used in the analyses is the comparative discourse analysis, as it has been worked on in brazil from a bakhtinian perspective. thus, we analyze how the evaluative intonations, through the lexical choices made by the authors of the brazilian and french utterances, contribute to a favorable or not argumentation to veganism. the analysis of dialogical relations and the ways of transmitting the alien discourse allow us to observe how the dialogue between different spheres of human activity takes place in both magazines, contributing to the elucidation of the role of philosophy popularization in brazilian and french magazines.Neste artigo estudamos comparativamente os discursos de duas revistas de divulgação da filosofia, uma brasileira e outra francesa. Buscamos, assim, responder às duas questões formuladas no nosso projeto de pós-doutorado sobre os discursos das revistas de divulgação da filosofia no Brasil e na França, a saber: “Como a filosofia é apresentada nas revistas brasileiras e francesas?” e “O que se pretende com a divulgação da filosofia no Brasil e na França?”. Para tanto, selecionamos dois artigos sobre o tema do veganismo na revista brasileira Filosofia Ciência & Vida e na revista francesa Philosophie Magazine, ambos publicados em 2018. A metodologia empregada nas análises é a análise de discursos comparativa, conforme ela vem sendo trabalhada no Brasil numa perspectiva bakhtiniana. Dessa forma, analisamos como as entonações valorativas, mediante as escolhas lexicais feitas pelos autores dos enunciados brasileiro e francês, contribuem para uma argumentação favorável ou não ao veganismo. A análise das relações dialógicas e dos modos de transmissão do discurso alheio, por sua vez, permitem-nos observar como se dá o diálogo entre diferentes esferas da atividade humana em ambas as revistas, contribuindo para a elucidação do papel da divulgação da filosofia nas revistas brasileira e francesa

Experiencing, Experimenting with, and Performing Visual Narratives

This article seeks to delve further into how videogames rely and/or innovate upon other modes of visual storytelling, thus contribute to an ongoing effort in the field of game studies. This article focuses specifically on AAA action-adventure videogame franchises like Ubisoft’s Assassin Creed, Naughty Dog’s Uncharted, and BioWare’s and Electronic Art’s 2007-2012 Mass Effect. Within these, local gameplay missions combine with the development of a large-scale story which unfolds on the screen over hundreds of hours, just as in TV series, and relies on immersive and spectacular images, like in cinematic blockbusters. In their design, these games invite us to follow long linear paths, showing us non-interactive “cinematic” sequences that advance the story, encouraging us to relentlessly move our avatar forward, accumulating power, overcoming obstacles, and carrying the narrative trajectory towards its goal. While a more innovative trend of independent videogames seeks to create and refine a specifically interactive form of narration, the videogame industry continues to channel technological innovation into the making of large-scale visually spectacular storyworlds. As a result, these commercial games remain structured by the linear and teleological patterns inherited from traditional modes of storytelling. Nevertheless, the analysis of these games and their designs must not obscure that of the play experience they offer. Specifically in their focus on action, these games open up the possibility for a disrupted experience of linearity during the completion of localised gameplay challenges as the player’s engagement with images becomes kinaesthetic and her involvement in narrative constructions becomes active. Indeed, by offering a form of immersion based on the player’s bodily implication, difficult performance, failure, and repetition, these games allow players to experiment with causalities and hence build their own short narratives: during gameplay sequences, players can save and load, die and retry, and thus go through various versions of small-scale stories, which temporarily obscure or even clash with the large-scale narrative framework scripted by developers. Some players might also engage in creative practices, such as speedrun, which arguably constitute new forms of narrative experiences and storytelling

Esthétique du cinéma et relations de cause à effet

Il est d’usage, dans la critique moderniste de l’art, de dénigrer les relations de cause à effet reliant les deux bouts de la chaîne esthétique, soit la conception et la réception de l’oeuvre. Mais pourquoi le cinéma du shot/reaction shot et de la « théorie des dominos » serait-il mauvais par essence ? Pourquoi devrait-on se sentir honteux, depuis Adorno, de valoriser un film parce qu’il a causé du plaisir ou que sa « valeur d’usage » comprend une certaine utilité ? Il s’agit ici de lutter contre ce type de préjugés, en montrant notamment qu’ils sont issus d’idées non universelles, produites au sein de champs sociohistoriques particuliers, et valorisant une certaine forme d’irrationalisme.It is common, in modernist art criticism, to denigrate cause and effect relations between the two ends of the aesthetic chain, the conception and the reception of the work. But why must we consider the cinema of shot-reverse shot and the “domino theory” to be essentially bad? Why, since Adorno, should we feel ashamed for appreciating a film because it gives us pleasure, or because its “use-value” consists of a particular utility? As such, the following seeks to combat these prejudices by demonstrating, notably, that they stem from ideas that are not universal, but produced in specific sociohistoric fields, and which uphold a certain form of irrationalism

Alain Boillat, Cinéma, machine à mondes

C’est un ouvrage imposant, dans tous les sens du terme, qu’a publié Alain Boillat – ni plus ni moins que la mise au jour (provisoirement) définitive de thèmes névralgiques de la science-fiction et de représentations croisées fondamentales entre littérature, cinéma et technologies. Passionné par les interactions entre cultures savantes et populaires, et (c’est une des spécificités de l’Université de Lausanne depuis que François Albera y a implanté une recherche sur l’épistémologie du cinéma) p..

Alain Boillat, Cinéma, machine à mondes

C’est un ouvrage imposant, dans tous les sens du terme, qu’a publié Alain Boillat – ni plus ni moins que la mise au jour (provisoirement) définitive de thèmes névralgiques de la science-fiction et de représentations croisées fondamentales entre littérature, cinéma et technologies. Passionné par les interactions entre cultures savantes et populaires, et (c’est une des spécificités de l’Université de Lausanne depuis que François Albera y a implanté une recherche sur l’épistémologie du cinéma) p..

La réception du film lndependence Day en France. Un exemple de contre-acculturation?

Contrairement aux idées reçues, la mondialisation des échanges ne provoque pas une acculturation inéluctable des sociétés. C'est ainsi que la réception des films états-uniens en France est rarement identique au succès aux États-Unis. L'analyse porte ici sur la réception en France du film Independence Day (1996) qui connut un échec critique et des recettes très satisfaisantes, mais inférieures aux prévisions. Le film de Roland Emmerich ne suscita aucun débat esthétique et provoqua plutôt un rejet idéologique quasi unanime dans la presse française. En effet, celle-ci vit dans Independence Day le symbole même de l'impérialisme états-unien, faisant directement écho à un sentiment nationaliste traditionnellement vif en France. La réception d'Independence Day en France correspond donc à une réaction de contre-acculturation.Contrary to the accepted view, the globalization of exchange does not produce an inevitable acculturation of societies. Thus the reception of American films in France rarely matches their success in the United States. This analysis looks at the reception of the film Independence Day (1996) in France, where it met with critical failure and where, though quite satisfactory, ticket sales were lower than forecast. In the French press, Roland Emmerich's film aroused no esthetic debate, but provoked a nearly unanimous ideological rejection. Critics saw in Independence Day the very symbol of American imperialism, and their response echoed a nationalist feeling that has traditionally been very strong in France. The reception of Independence Day in France thus indicates a reaction of anti-acculturation

Financialisation of capitalist economies: bargaining on conventional economic rationalities

"The paper deals with financialisation of capitalist economies since the 1990s drawing on a conventional concept of economic rationalities. It is argued that financial rationality is not the mere outcome of relations of power rooted elsewhere but a power resource on its own. It is analysed as one type of bounded rationality among others, the recent predominance of which traces back mainly to a paradigmatic shift in economics. However predominance does not mean unambiguousness. It is demonstrated that financial rationality on the level of companies or companies' strategies always has to be interpreted and specified in the perspective of other rationalities. And effective financialised strategies are always the outcome of bargaining between social actors bringing into play various interests, power resources, and rationalities. The financial and economic crisis since 2007 is perceived as symptomatic for a new kind of systemic instabilities caused by the predominance of financial rationality." (author's abstract