Le roman comme recours et modèle : genèse d’une réforme du drame au tournant des XVIIIe et XIXe siècles

Au tournant du XVIIIe et du XIXe siècle, théoriciens et dramaturges constatent la sclérose de la forme dramatique classique : elle semble inadéquate à l’expression de la nouvelle sensibilité bourgeoise et romantique. Diderot, Rousseau, Sade, les Romantiques allemands et français vont chercher dans le roman, genre nouveau en plein développement, le modèle d’une réforme possible du drame. Ils en appellent donc à la « romanisation » du théâtre, au libre jeu des modes épiques et dramatiques. La théorie bakhtinienne de la « romanisation » n’attend donc pas la fin du XIXe siècle pour connaître ses premières manifestations. On s’interrogera ici sur les conditions, les modalités, les limites et les conséquences de cette réponse imparfaite, mais originelle à la « crise du drame » (Peter Szondi).At the turn of the 19th century, theorists and playwrights note the sclerosis of the traditional dramatic form, which seems inadequate to express the new "bourgeois" and romantic sensibilities. Diderot, Rousseau, Sade, and the German and French Romantics will seek in the novel, a new genre in full development, the model for a possible drama reform. They thus call for the "novelization" of the theatre, for free play in the epic and dramatic modes. Thus the bakhtinian theory of "romanisation" does not await the end of the 19th century to be demonstrated. This article examines the conditions, procedures, limits and consequences of this imperfect but "original" response to the "drama crisis" (Peter Szondi)

Medo e desfiguração em literatura, teatro e cinema: quando a ficção atinge o rosto

Throughout a theorization of the disfiguration motive in some novels, theatrical and cinematographic  fiction Works (from Víctor Hugo to Pedro Almodóvar and Alejandro Amenábar going by Gastón Leroux and Howard Barker), the article looks to question the modern and contemporary fear in relation to the human identity:  fear to the imposed form which makes of the face a mask, and fear to the hybridization enabled  for the science’s progress among the mechanic and the organic, the alive and the dead, the male and the female. It considers the face and body disfiguration, the defiant for the modern subject of the fear to the object, which must be tamed, as a questioning of the human representation throughout the XX century and could be the symbolic and mistaken motive of artist’s reflection in a neo-symbolic or queer optic on the self-indulgence of the self and of the world, on its possible political virtues as well as its tragic dimension. Mediante una teorización del motivo de la desfiguración en algunas obras novelescas, teatrales y cinematográficas de ficción (de Victor Hugo a Pedro Almodóvar y Alejandro Amenábar pasando por Gastón Leroux y Howard Barker), el artículo pretende interrogar los miedos modernos y contemporáneos frente a la identidad humana: miedo a la forma impuesta, primero, que transforma la cara en máscara, y miedo a la hibridación hecha posible por los progresos de la ciencia entre lo mecánico y lo orgánico, lo muerto y lo vivo, lo masculino y lo femenino. La desfiguración de la cara o del cuerpo, desafío para el sujeto moderno y objeto de miedo que hay que domesticar, pone en tela de juicio la representación del ser humano a lo largo del siglo XX y podría ser hoy el motivo simbólico y equívoco de una reflexión de los artistas, en una óptica neosimbolista o queer, sobre el autoengendramiento del Yo y del Mundo, sobre sus posibles virtudes políticas así como su dimensión trágica.Por meio da teoria da deformação em algumas novelas, peças de teatro e filmes de ficção (desde Victor Hugo até o Pedro Almodóvar e Alejandro Amenábar incluindo à Gastón Leroux e Howard Barker), o artigo busca interrogar os medos modernos e contemporâneos face à identidade humana: medo da forma imposta, primeiro, o mesmo que transforma a face em máscara e o temor da hibridação feita possível graças o progresso da ciência entre mecânica e orgânica que morreram e a coisa viva, a coisa masculina e a coisa feminina. A deformação da face ou do corpo, desafie para o companheiro moderno e objeto de medo que é necessário domesticar, questiona a representação do ser humano ao longo do século de XX e poderia ser hoje a razão simbólica e entendendo mal de uma reflexão dos artistas, em um neosimbolista ótico ou arruina, no autoengendramiento do eu e do Mundo, sobre suas possíveis virtudes políticas como também sua dimensão trágica.&nbsp

Clinical profile of patients with ATP1A3 mutations in alternating hemiplegia of childhood-a study of 155 patients.

BACKGROUND: Mutations in the gene ATP1A3 have recently been identified to be prevalent in patients with alternating hemiplegia of childhood (AHC2). Based on a large series of patients with AHC, we set out to identify the spectrum of different mutations within the ATP1A3 gene and further establish any correlation with phenotype. METHODS: Clinical data from an international cohort of 155 AHC patients (84 females, 71 males; between 3 months and 52 years) were gathered using a specifically formulated questionnaire and analysed relative to the mutational ATP1A3 gene data for each patient. RESULTS: In total, 34 different ATP1A3 mutations were detected in 85 % (132/155) patients, seven of which were novel. In general, mutations were found to cluster into five different regions. The most frequent mutations included: p.Asp801Asn (43 %; 57/132), p.Glu815Lys (16 %; 22/132), and p.Gly947Arg (11 %; 15/132). Of these, p.Glu815Lys was associated with a severe phenotype, with more severe intellectual and motor disability. p.Asp801Asn appeared to confer a milder phenotypic expression, and p.Gly947Arg appeared to correlate with the most favourable prognosis, compared to the other two frequent mutations. Overall, the comparison of the clinical profiles suggested a gradient of severity between the three major mutations with differences in intellectual (p = 0.029) and motor (p = 0.039) disabilities being statistically significant. For patients with epilepsy, age at onset of seizures was earlier for patients with either p.Glu815Lys or p.Gly947Arg mutation, compared to those with p.Asp801Asn mutation (p < 0.001). With regards to the five mutation clusters, some clusters appeared to correlate with certain clinical phenotypes. No statistically significant clinical correlations were found between patients with and without ATP1A3 mutations. CONCLUSIONS: Our results, demonstrate a highly variable clinical phenotype in patients with AHC2 that correlates with certain mutations and possibly clusters within the ATP1A3 gene. Our description of the clinical profile of patients with the most frequent mutations and the clinical picture of those with less common mutations confirms the results from previous studies, and further expands the spectrum of genotype-phenotype correlations. Our results may be useful to confirm diagnosis and may influence decisions to ensure appropriate early medical intervention in patients with AHC. They provide a stronger basis for the constitution of more homogeneous groups to be included in clinical trials

Cuestiones epistemológicas y estudios de caso

En un país -Francia- donde el campo del teatro está estructurado culturalmente durante décadas, el Teatro Aplicado es una noción que a menudo aparece como ancillar, frente a un arte institucionali-zado, incluso mirificado. Por un lado, estaría el Teatro, puro, noble, auténtico y por otro, estarían sus avatares: el teatro de empresa, el teatro para el desarrollo personal, el teatro para patologías, etc. Si tienen la misma fuente, su consanguinidad no deja de asustar. ¿cómo pueden unos artistas que crean alejados de cualquier coacción exterior pertenecer a la misma familia del teatro que unos actores o directores que "obedecen" a un encargo, en un contexto específico, con un público muchas veces participantes de talleres ... y que son por tanto prisioneros, en cierto modo, de un arte instru-mental izado? A este problema ético, este libro intenta responder, a través de ejemplos concretos, para una mayor comprensión inrerculrural Francia/ Colombia.In a country -France- where the field of theater has been culturally structured for decades, Applied Theater is a notion that often appears as an ancillary, in the face of an institutionalized, even mirified, art. On the one hand, there would be the Theater, pure, noble, authentic and on the other, there would be its ups and downs: company theater, theater for personal development, theater for pathologies, etc. If they have the same source, their consanguinity does not stop frightening. How can some artists who create far from any external coercion belong to the same theater family as some actors or directors who "obey" a commission, in a specific context, with an audience that is often workshop participants... are they therefore prisoners, in a certain way, of an instrumented art? To this ethical problem, this book tries to respond, through concrete examples, for a greater intercultural understanding France/ Colombia.Bogot

Miedo y desfiguración en literatura, teatro y cine: cuando la ficción vapulea el rostro

Throughout a theorization of the disfiguration motive in some novels, theatrical and cinematographic  fiction Works (from Víctor Hugo to Pedro Almodóvar and Alejandro Amenábar going by Gastón Leroux and Howard Barker), the article looks to question the modern and contemporary fear in relation to the human identity:  fear to the imposed form which makes of the face a mask, and fear to the hybridization enabled  for the science’s progress among the mechanic and the organic, the alive and the dead, the male and the female. It considers the face and body disfiguration, the defiant for the modern subject of the fear to the object, which must be tamed, as a questioning of the human representation throughout the XX century and could be the symbolic and mistaken motive of artist’s reflection in a neo-symbolic or queer optic on the self-indulgence of the self and of the world, on its possible political virtues as well as its tragic dimension. Resumen Mediante una teorización del motivo de la desfiguración en algunas obras novelescas, teatrales y cinematográficas de ficción (de Victor Hugo a Pedro Almodóvar y Alejandro Amenábar pasando por Gastón Leroux y Howard Barker), el artículo pretende interrogar los miedos modernos y contemporáneos frente a la identidad humana: miedo a la forma impuesta, primero, que transforma la cara en máscara, y miedo a la hibridación hecha posible por los progresos de la ciencia entre lo mecánico y lo orgánico, lo muerto y lo vivo, lo masculino y lo femenino. La desfiguración de la cara o del cuerpo, desafío para el sujeto moderno y objeto de miedo que hay que domesticar, pone en tela de juicio la representación del ser humano a lo largo del siglo XX y podría ser hoy el motivo simbólico y equívoco de una reflexión de los artistas, en una óptica neosimbolista o queer, sobre el autoengendramiento del Yo y del Mundo, sobre sus posibles virtudes políticas así como su dimensión trágica.Palabras clave: ficción, representación, identidad, desfiguración, hibridación, miedo, queer.Abstract Throughout a theorization of the disfiguration motive in some novels, theatrical and cinematographic  fiction Works (from Víctor Hugo to Pedro Almodóvar and Alejandro Amenábar going by Gastón Leroux and Howard Barker), the article looks to question the modern and contemporary fear in relation to the human identity:  fear to the imposed form which makes of the face a mask, and fear to the hybridization enabled  for the science’s progress among the mechanic and the organic, the alive and the dead, the male and the female. It considers the face and body disfiguration, the defiant for the modern subject of the fear to the object, which must be tamed, as a questioning of the human representation throughout the XX century and could be the symbolic and mistaken motive of artist’s reflection in a neo-symbolic or queer optic on the self-indulgence of the self and of the world, on its possible political virtues as well as its tragic dimension. Keywords: fiction, representation, identity, disfiguration, hybridization, fear, queer. Resumo Por meio da teoria da deformação em algumas novelas, peças de teatro e filmes de ficção (desde Victor Hugo até o Pedro Almodóvar e Alejandro Amenábar incluindo à Gastón Leroux e Howard Barker), o artigo busca interrogar os medos modernos e contemporâneos face à identidade humana: medo da forma imposta, primeiro, o mesmo que transforma a face em máscara e o temor da hibridação feita possível graças o progresso da ciência entre mecânica e orgânica que morreram e a coisa viva, a coisa masculina e a coisa feminina. A deformação da face ou do corpo, desafie para o companheiro moderno e objeto de medo que é necessário domesticar, questiona a representação do ser humano ao longo do século de XX e poderia ser hoje a razão simbólica e entendendo mal de uma reflexão dos artistas, em um neosimbolista ótico ou arruina, no autoengendramiento do eu e do Mundo, sobre suas possíveis virtudes políticas como também sua dimensão trágica. Palavras-chave: ficção, representação, identidade, deformação, hibridação, medo, queer.Résumé À travers une théorisation du motif de la défiguration dans des œuvres de fiction romanesques, théâtrales et cinématographiques (de Victor Hugo à Pedro Almodóvar et Alejandro Amenábar en passant par Gaston Leroux et Howard Barker), l’article s’attache à interroger les peurs modernes et contemporaines face à l’identité humaine : peur de la forme imposée d’abord, qui transforme le visage en masque, ou peur de l’hybridation rendue possible par les progrès de la science entre le mécanique et l’organique, le mort et le vivant, le masculin et le féminin. La défiguration du visage ou du corps, défi pour le sujet moderne et objet de peur à apprivoiser, remet en question la représentation de l’humain tout au long du XXe siècle et pourrait bien être aujourd’hui le motif symbolique équivoque d’une réflexion des artistes, dans une optique néo-symboliste ou queer, sur l’auto-engendrement du Moi et du Monde, ses possibles vertus politiques comme sa dimension tragique. Mots clé: fiction, représentation, identité, défiguration, hybridation, peur, queer.

Un nouveau théâtre au féminin: vers une transgression politique et sexuelle

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Théâtres contemporains d'anticipation politique Fictionner ou documenter des mondes à venir

La fiction d'anticipation est une stratégie du théâtre contemporain dont des autrices s'emparent sur une modalité politique, féministe et queer. De quoi hier sera fait (B. Métais Chastanier, 2021) et Le Crime de Clara Mundt (M. Plana, 2003) travaillent, à travers la représentation épique de mondes possibles, à penser et à critiquer le présent et à lui inventer des avenirs

Formes épico-musicales et significations du chœur dans le récit scénique contemporain : Catherine (Antoine Vitez), La Mastication des morts (Groupe Merci), La Chambre d'Isabella (Needcompany)

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Narrativités fictionnelles queer contemporaines : essai de théorisation, deux exemples chiliens

[D]es histoires, des histoires reracontées, de nouvelles versions qui renversent et déplacent les dualismes hiérarchiques qui organisent les identités construites sur une soi-disant nature.Donna Haraway, Manifeste Cyborg et autres essais. Sciences, Fictions, Féminismes, p. 71.Dans le prolongement des recherches menées dans les années 2010 en arts, lettres et langues au sein du laboratoire LLA-CREATIS sur les esthétiques queer (Plana, Sounac, 2015) et les fictions queer (Plana, 2018), il conv..