sartre et bachelard. variations autour de l’imagination matérielle

La question de l’image et de l’imagination a, comme on le sait, un \ud statut absolument central en phénoménologie. Depuis Husserl, en \ud effet, la théorie de la « conscience donatrice » et de la visée \ud intentionnelle du sens a pour clef de voûte la distinction entre sens, ou \ud intentionnalité, et image mentale. Sartre a été, en France du moins, \ud l’un des premiers à prendre la mesure de l’enjeu de cette distinction, \ud comme en témoigne son célèbre article sur l’intentionnalité publié en \ud 1939, et très vraisemblablement écrit dès 19341. Avec la distinction \ud entre le sens et l’image il y va avant tout, précise à juste titre Sartre, de \ud la fin de « la philosophie douillette de l’immanence », dans la mesure où la conscience intentionnelle « s’est purifiée, elle est claire comme \ud un grand vent, il n’y a plus rien en elle, sauf un mouvement pour se \ud fuir, un glissement hors de soi »

L’histoire ruinée, les maîtres trahis. De l’adaptation

Dans l’histoire des rapports entre les arts, l’adaptation – la transposition d’une oeuvre d’un genre à un autre, d’un médium à un autre – a toujours joué un rôle central. Le postulat de base de toute adaptation est que les médias sont traduisibles les uns dans les autres ou, au moins, que l’essentiel d’une oeuvre – le « contenu », l’« histoire », le « référent », le « sens », par opposition à la « forme », au « récit », au « signifiant » – peut passer d’un médium à l’autre. Contre ce postulat, certains préfèrent penser que l’adaptation est impossible, qu’une oeuvre est toujours intraduisible et que toute traduction est toujours une nouvelle oeuvre. L’adaptation télévisuelle de l’adaptation théâtrale des Maîtres anciens de Thomas Bernhard fournit ici l’occasion d’examiner certaines de ces questions – en particulier celles de l’adaptation de la voix narrative et des temps, du point de vue et des lieux.Adaptation – the transposition of a work from a genre or a medium to another – has played a central role in the history of the relations between the arts. The main postulate of any adaptation is that mediums are translatable : it is assumed that the “ content ” of a work – its “ reference ”, its “ sense ”, the “ story ”, by opposition to its “ form ”, its “ signifier ”, the “ narration ” – may be conveyed from one medium to another with no great loss. Against this postulate, some consider that adaptation is simply impossible : a work is always untranslatable, a translation is always a new work. Maîtres anciens, the recent adaptation for television of a stage adaptation of text by Thomas Bernhard, raises many of these issues – in particular, those of the adaptation of narrative voice and time, of point of view and spaces

Pure Visuality: Notes on Intellection & Form in Art & Architecture

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc

Histoire de la peinture italienne (XVIe-XVIIe siècle)

Programme de l’année 2015-2016 : Nouvelles recherches sur la peinture vénitienne de la Renaissance (suite)

Toulouse, le Mirail: a influência da cultura magrebina na apropriação do habitat em Bellefontaine

Esta dissertação tem por objectivo principal determinar as relações existentes entre a cultura Magrebina e as apropriações do habitat realizadas pelos habitantes no bairro de Bellefontaine, em Toulouse - Le Mirail. Com uma população maioritariamente oriunda dos países do Norte de África, este bairro torna-se o palco de recomposições, destruições e reconstruções de uma cultura de origem dos habitantes, que são fermentadas, ou pelo contrário travadas, pelos próprios elementos que constituem este habitat. Para responder a este tema, o habitat foi divido em três escalas de análise. A primeira é a escala do Bairro e faz referência às transformações e apropriações das ruas, dos espaços públicos etc. A segunda escala diz respeito à envolvente próxima dos edifícios. São compostos pelos jardins comuns aos habitantes de um mesmo edifício, aos átrios de entrada e aos corredores exteriores. Por fim a última. A terceira escala de análise corresponde à casa propriamente dita, onde a apropriação atinge o seu valor mais elevado. Esta análise foi realizada através de vários métodos. Observações objectivas da realidade, efectuadas em diversos dias permitiram compreender as transformações das diversas escalas estudadas ao longo do tempo. A participação em diversas reuniões de moradores permitiu interrogar os habitantes deste bairro e questioná-los directamente sobre o tema desenvolvido. A participação em duas sessões de apresentação que reuniram habitantes, arquitectos e representantes do munícipe, organizadas pelo gabinete de arquitectura responsável pela requalificação do bairro de Bellefontaine permitiram ouvir as opiniões dos diversos habitantes e arquitectos relativamente aos projectos realizados ou a serem desenvolvidos. As influências exercidas pelos habitantes sobre as diversas escalas do habitat - e vice-versa - centram-se geralmente em torno das questões da sexualização do espaço. A cultura Magrebina dita regras de conduta e modos de utilização do espaço para cada um dos sexos, os quais os habitantes tendem a aplicar, entrando por vezes em confronto com a realidade idealizada pelos arquitectos e urbanistas. Para estes, uma melhor compreensão dessa cultura permitiria introduzir nos projectos elementos que poderiam melhorar as condições de vida de todos os habitantes.The purpose of this thesis is to determine relationships betweenMaghrebians culture and appropriations of the habitat performed by residents of Bellefontaine, in Toulouse - Le Mirail. Being the population mainly native from countries of North Africa, this neighborhoodbecomes the scene of recompositions, destructions and reconstructions of the culture of origin of the inhabitants, which are fermented or otherwisedelayed by the elements that constitute this habitat. To answer thisquestion, the habitat was divided into three levels of analysis. The firstlevel is related to the neighborhood and refers to the transformation and appropriations of streets, public spaces etc. The second refers to theoutside space, near buildings. The former level is related to common gardens of residents living in the same building, entrance lobbies and access corridors. The third and final level of analysis is the house itself, where ownership is reached in its greatest extent. This analysiswas conducted through several methods. Objective observations of reality made over several days helped to understand the transformationsof various scales of the habitat through time. Participation in several neighborhood meetings allowed to question directly the inhabitants regarding the subjects of this work. The participation in two sessions thatgathered residents, architects and managers of the municipalities gived the possibility of hearing the point of views of both residents and architects concerning the finalized or ongoing projects in Bellefontaine. The influence exercised by residents in the several levels of the habitat - and vice versa - is mainly concentrated on the sexualization of space. TheMaghrebian culture dictates rules of conduct and behaviors inherent toeach gender, which are followed by local residents, and occasionally lead to a confrontation with the idealized vision of architects and urbanists. Tothe former, a better understanding of this culture would introduce newelements to projects, which could improve the way of living of allresidents

Histoire de la peinture italienne XVIe-XVIIe siècle

Programme de l’année 2014-2015 : Nouvelles recherches sur la peinture vénitienne de la Renaissance (suite)