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The paper aims to grasp the concept of melancholia at the intersection of historical, cultural and sociological perspectives. After providing a brief history of the concept, the article focuses on the relationships between melancholia and nostalgia, drawing particular attention to the temporal regime triggered by the melancholic process and underlining its critical impact in regard to the dominant values of neoliberal society. The paper then aims to map the major inflexions of contemporary melancholia, namely left melancholia and ecomelancholia. Coined by Walter Benjamin, the first emerges from the political defeats of socialism and the failures of any revolutionary inspiration through the history of the twentieth century. The second is triggered by the awareness of the irremediable destruction of a large part of our natural environment. Left melancholia and ecomelancholia are intermingled since they testify to a critical sensibility to the losses caused by the neocapitalism system, whether social loss or environmental loss, the two being linked

The paper aims to grasp the concept of melancholia at the intersection of historical, cultural and sociological perspectives. After providing a brief history of the concept, the article focuses on the relationships between melancholia and nostalgia, drawing particular attention to the temporal regime triggered by the melancholic process and underlining its critical impact in regard to the dominant values of neoliberal society. The paper then aims to map the major inflexions of contemporary melancholia, namely left melancholia and ecomelancholia. Coined by Walter Benjamin, the first emerges from the political defeats of socialism and the failures of any revolutionary inspiration through the history of the twentieth century. The second is triggered by the awareness of the irremediable destruction of a large part of our natural environment. Left melancholia and ecomelancholia are intermingled since they testify to a critical sensibility to the losses caused by the neocapitalism system, whether social loss or environmental loss, the two being linked

The paper aims to grasp the concept of melancholia at the intersection of historical, cultural and sociological perspectives. After providing a brief history of the concept, the article focuses on the relationships between melancholia and nostalgia, drawing particular attention to the temporal regime triggered by the melancholic process and underlining its critical impact in regard to the dominant values of neoliberal society. The paper then aims to map the major inflexions of contemporary melancholia, namely left melancholia and ecomelancholia. Coined by Walter Benjamin, the first emerges from the political defeats of socialism and the failures of any revolutionary inspiration through the history of the twentieth century. The second is triggered by the awareness of the irremediable destruction of a large part of our natural environment. Left melancholia and ecomelancholia are intermingled since they testify to a critical sensibility to the losses caused by the neocapitalism system, whether social loss or environmental loss, the two being linked

Cet article vise à étudier la culture visuelle qui entoure le zeppelin en portant attention non pas tellement à l'évolution de l'objet technologique lui-même, mais à la trajectoire de ses images, particulièrement dans la culture contemporaine. Le propos sera d'établir la biographie de l'image-zeppelin en suivant l'évolution d'un imaginaire technologique, mais également politique, en lien avec la question des utopies.

Cet article vise à étudier la culture visuelle qui entoure le zeppelin en portant attention non pas tellement à l'évolution de l'objet technologique lui-même, mais à la trajectoire de ses images, particulièrement dans la culture contemporaine. Le propos sera d'établir la biographie de l'image-zeppelin en suivant l'évolution d'un imaginaire technologique, mais également politique, en lien avec la question des utopies.

On the basis of the European Capitals of culture, and with a focus on Mons 2015, the purpose of this article is to distinguish three epistemological frames around the concept of European culture. In the first paradigm, the European culture is matched with an elitist idea of the culture, built on the model of the bourgeois culture of the nineteen century. With the second paradigm, the European culture is seen through the concept of Europeanization, which implies taking into account the cultural politics enacted by the European Union. The article focuses more on the third model, inspired by Bruno Latour and his theory of the actor-network. This model suggests to consider the agency of the cultural productions themselves, their power to lead cultural mediations between the national (or regional) level and the European one. To shed light on this perspective, the paper examines the film event of Mons 2015, Lust for Life (Minnelli, 1956). This film acts like a relational object, connecting the cultural memory conveyed by Mons 2015 with the local memory of the inhabitants of the Mons area.

This paper reconsiders the complex and somewhat ambivalent relationships between the cinematographic image and the globalized world as it is characterized by flows (of images, among other flows). For this purpose, the paper examines different aesthetic forms that contemporary cinema gives to the image-flow – taking into account the editing as well as the framing resources –, based on a multiple corpus of both blockbusters and author films. The analysis aims at bringing out the poetic and affective effects of these representations of the flow. In particular, the paper suggests that contemporary cinema offers a new tragic vision of the flow, which it links to the melancholic or depressive affect.