Towards a Non-hierarchical Space of Thought: Reading Roland Barthes’ The Neutral

The article is devoted to The Neutral: the 1977-1978 lecture course developed and taught by Roland Barthes at the Collège de France. I argue that The Neutral is firmly rooted in the tradition that Brian Massumi defined as “nomad thought” in his foreword to Gilles Deleuze and Félix Guattari’s A Thousand Plateaus: Capitalism & Schizophrenia. The essay traces the genealogy of this tradition and the term of the neutral, beginning with Maurice Blanchot’s work and his own concept of the neutral and ending with Barthes’ so far largely unexplored engagement with the texts of Deleuze. Elusive as the neutral figure is meant to remain, it emerges as a theorist’s effort to exercise a form of non-dualistic and non-hierarchical thinking

Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration

The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures (1994), The Fundamental Pictures (1996) and The Rudimentary Pictures (1999), the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and Lacanian psychoanalysis with a particular focus on the phallus and the abject, this essay argues that Gilbert & George's art-works mentioned above could be regarded as visual commentaries on and queer interventions into bodily anxieties of normative masculinities. It thus reads the artists’ visual discourse of performative hypervisibility as a queer/ing one where the conventional male masculinity confronts simultaneously its ejaculatory bliss and its fear of anal penetration

Non-pareille? Issues in Modern French Photo-Essayism

[FIRST PARAGRAPH][L]’esthéthique sait depuis longtemps que l’image, contrairement à ce que croit et fait croire la machine d’information, montre toujours moins bien que les mots toute grandeur qui passe la mesure: horreur, gloire, sublimité, extase. (Comolli and Rancière 1997, 66) It may seem odd, in a general analysis of the modern French essay accompanying photography, that there is no reproduction of photographs. This is however a deliberate choice, and not one without precedent, as the collection of Michel Butor’s photo-essays into one photo-less volume shows. For it would seem in this age of the image – dubbed by essayists as diverse as Debray (1992), Flusser (2000 [1983]), Gervereau (2000), Glissant (1994) as the televisual era – the written word has tended to be downplayed. This is no more the case than in the photo-essay, a sub-genre largely overlooked and under-theorised, generally subsumed within photo-journalism, and in which photographic sequences are preferred to written text (see Mélon, in Baetens and Gonzalez 1996, 138–55)

Phallus/Phallocentrism

Excerpt: In psychoanalytic theory, the phallus serves as the supreme symbol of masculine power and, concurrently, of feminine lack. “Phallocentrism” is a term used primarily by feminist theorists to denote the pervasive privileging of the masculine within the current system of signification

Quelle relation entre l’écrit académique et l’écrit professionnel? Une étude de cas dans le domaine du travail social [What is the relationship between academic writing and professional writing? A case study in the field of social work]

Beaucoup d'étudiants, dans l'enseignement supérieur, suivent des cours à orientation professionnelle. Cet article se focalise sur un projet d’« ethnographie de texte », concernant l’écriture des assistants sociaux pendant leur formation et sur leur terrain professionnel, avec cinq assistants sociaux comme co-chercheurs. L’article examine les ressemblances et les différences entre l’écriture pratiquée dans les cours universitaires et dans le travail quotidien. Une conclusion importante de la recherche est qu’en général on ne prête pas suffisamment d’attention pédagogique à l’écriture – tant aux textes qu’aux pratiques – que les assistants sociaux doivent produire dans les contextes professionnels

An Analysis of Écriture Féminine In the Selection Series: The One (2014) Novel

This paper aims to investigate écriture féminine features in The Selection Series: The One novel written by Kiera Cass (2014). Female writers of dystopian literary works have increased in the past current years. The fact that the story of The Selection Series by Kiera Cass is narrated from a female perspective in a patriarchal country has drawn a connection to feminist study. This research used descriptive qualitative method and textual analysis that employs the theory of Écriture féminine by Helene Cixous (1976) and patriarchy by Gerda Lerner (1986). It is found that two primary features of écriture feminine, namely patriarchy and bisexual writing, are depicted in the novel as being interrelated. Patriarchy in the novel is mostly found in public sphere; therefore, a large amount of evidence of bisexual writing is found as responses to the patriarchal system. Three main forms of bisexual writing are found in the novel: negotiation, empowerment, and plurality. It seems that Kiera Cass successfully adapts écriture féminine in her novel. However, the end of the story of The One (2014) also implies that the deconstruction of patriarchy occurrs when there are acceptance and willingness of plurality, not only from women but also from men. Keywords: bisexual writing, dystopia, écriture feminine, patriarchy.

Trauma and self in the Soviet context: remarks on Gulag writings

The present paper is a first reflection on the ideal approaches to study the corpus of lagernaia memuaristika. The author proposes the novel concept of ‘Soviet repression literature’ as a new key concept to study the whole corpus of literature related to Soviet repression under a genre perspective. In this context, the author stretches the peculiarities of Gulag memoirs in relation to the corpus of Soviet repression literature, and underlines how trauma studies and autobiographical studies might help assessing the corpus

Republic, Plato’s 7th letter and the concept of Δωριστὶ ζῆν

If we accept the 7th letter as authentic and reliable, a matter that we will not be addressing in this paper, the text that we have in front of us is “an extraordinary autobiographic document”, an autobiography where the “I” as a subject becomes “I” as an object, according to Brisson. The objective of the paper is to examine how we could approach and interpret the excerpt from Plato’s 7th letter regarding the Doric way of life (Δωριστὶ ζῆν). According to Plato, the Sicilian life (Σικελικὸν βίον) that was allegedly a blissful life (βίος εὐδαίμων) would never allow anyone to become virtuous with all these excesses on behalf of the appetitive part of the soul (ἐπιθυμητικόν). In contrast to this specific type of life that is presented as prevalent in the 7th Letter, only Dion used to live virtuously above pleasure and luxury. The “therapy” for this φλεγμαίνουσαν πόλιν of Syracuse is the return to Δωριστὶ ζῆν κατὰ τὰ πάτρια, the return to the Doric way of the forefathers. The phrase Δωριστὶ ζῆν in its context in the 7th Letter is an important one, because it probably shows the significance of adopting the Doric way of life, in order to create the appropriate conditions for a political reform. Examining the guardians who are the ἄριστοι of the ideal city, a class that constitutes the platonic idea of aristocracy in the Republic, we can understand that they receive many important traits from the Doric ideal (especially the educational program). Combining the concept of Δωριστὶ ζῆν with the Doric ideal, we suggest that the Doric model is quite important for the Athenian philosopher functioning as the cornerstone of reform