Suchergebnisse

Advancing the risk culture and taking it into account in urban planning requires the memory of risk. A fundamental area, but little consideration, on which the author offers insights. Since the early 2000s, France has suffered 670 natural disasters (Ubyrisk, 2011), the human cost of which amounts to 15 000 deaths — the 2003 heatwave is very much in this balance sheet — and the economic cost is EUR 30 billion. With these figures, recalled on 3 May 2011 before the senators, Alain Anziani and Bruno Retailleau, rapporteurs of a draft law designed to take better account of the risk of marine submersion, in particular the French people have no risk culture, unlike the Netherlands and the Japanese. In fact, the understanding of the risk is paradoxical. The risk absorbs all our attention in the immediate news, when a very tangible disaster reminds us that the risk exists. But it only becomes a probability (the risk is the product of a hazard and vulnerability), largely ignored, over a long period of time. The absence of a memory of events is therefore at the root of the absence of a culture of risk. It is this area of risk remembrance, which is still too often neglected, which this article proposes to highlight. ; International audience ; Advancing the risk culture and taking it into account in urban planning requires the memory of risk. A fundamental area, but little consideration, on which the author offers insights. Since the early 2000s, France has suffered 670 natural disasters (Ubyrisk, 2011), the human cost of which amounts to 15 000 deaths — the 2003 heatwave is very much in this balance sheet — and the economic cost is EUR 30 billion. With these figures, recalled on 3 May 2011 before the senators, Alain Anziani and Bruno Retailleau, rapporteurs of a draft law designed to take better account of the risk of marine submersion, in particular the French people have no risk culture, unlike the Netherlands and the Japanese. In fact, the understanding of the risk is paradoxical. The risk absorbs all our attention in ...

if the death of literature is not a fact but a representation, there is no need to diagnose a crisis or death to try to find the conditions for a return to health or life. It is better to limit its ambition to assess the fertility of such a representation: what does it produce? What ideas do you think? What perceptions do you see? The example used (the study by Lacrimosa, the novel of Régis Jauffret) illustrates the case where this representation ceases to be productive: it is no longer a stimulus to creation but an alibi — a bad faith device. But then why do we look at failure? On the small scale where he appears, he illuminates one of the illnesses of 'our time' to speak like the bourgeois of Flaubert: the strange alliance of cynism and depression. Although it is found in a few cantons of the French literary world, more generally, according to Cornélius Castoriadis, it characterises the state of the world and culture in the West. File May 2009LHT No 6 Stéphane Chaudier and Julian Négrel Le Stabat Mater de Régis Jauffret: what kind of literature? 1 a tomb, in the past, was a praise. A beautiful monument was built to honour a beautiful work; the virtues of death grasped the lively. Today, it seems that this metaphor — "dumblers for literature" (not "literature") — is rather understood as an indictment: it is the literature that is buried and humiliated. But is it a dead or a living that is buried? Depending on the answer given to this question, the tombeau will be, or will not be, legitimate. ; International audience ; if the death of literature is not a fact but a representation, there is no need to diagnose a crisis or death to try to find the conditions for a return to health or life. It is better to limit its ambition to assess the fertility of such a representation: what does it produce? What ideas do you think? What perceptions do you see? The example used (the study by Lacrimosa, the novel of Régis Jauffret) illustrates the case where this representation ceases to be productive: it is no longer a stimulus ...

Cet article examine comment la légitimation de l'« État nouveau » en Espagne fut fondée sur la guerre, dès l'été 1936. Celle-ci fut présentée comme bellum iustum, apportant une causa justa à la rébellion militaire, conduite par le don et la grâce charismatiques de son Caudillo Francisco Franco, et défendue par le sang des « martyrs » et de ceux tombés au combat (caídos) pour la patrie. Une fois installée dans la durée, elle devait s'achever par la destruction totale de l'ennemi, sa dévalorisation morale et sa déshumanisation. La propagation de ces représentations a forgé une culture de guerre, constitutive de l'identité collective de l'España nacional, opposée à l'anti-Espagne. Dans la construction de cette culture de guerre, l'institutionnalisation du culte de la mort ainsi que le transfert d'éléments dogmatiques, liturgiques et rituels du christianisme à la politique furent essentiels. ; This article examines how the war, as early as the summer of 1936, was used to legitimise Spain's "New State". The war was framed as a bellum justum (just war) and provided a causa justa (just cause) for the military rebellion led by its caudillo, the charismatic Francisco Franco, and defended by the blood of its "martyrs" and those fallen (caídos) in battle. Once it took root, this war was designed to end with the total destruction, moral devalorisation and dehumanisation of the enemy. The spread of these forms of representation created a culture of war used to construct the collective identity of a "national" Spain, in opposition to the "anti-Spain". The institutionalisation of a death cult, as well as the transfer of dogmatic, liturgical and ritual elements from the Christian to the political repertoire, were essential for the construction of this culture of war.

International audience ; L'automobile a trouvé en Amérique sa terre d'élection au point d'engendrer une automobile culture caractérisée, entre autres, par ce qu'on a appelé le "facteur M" de la civilisation américaine ("M" pour mouvement, migration, mobilité). On peut donc soutenir avec J. Baudrillard que « L'intelligence de la société américaine réside tout entière dans une anthropologie des mœurs automobiles – bien plus instructives que les idées politiques ». La fiction (notamment le genre spécifique appelé road fiction) a multiplié les usages singuliers de l'automobile et révélé à quel point elle fait partie intégrante de l'American way of life [& death]. À travers l'analyse d'une douzaine d'œuvres exemplaires, cet essai retrace les divers usages que la littérature américaine a pu faire du thème de l'automobile, qui est, à l'évidence, une des sources inépuisables de son originalité, de son dynamisme et de sa vitalité.

International audience ; L'automobile a trouvé en Amérique sa terre d'élection au point d'engendrer une automobile culture caractérisée, entre autres, par ce qu'on a appelé le "facteur M" de la civilisation américaine ("M" pour mouvement, migration, mobilité). On peut donc soutenir avec J. Baudrillard que « L'intelligence de la société américaine réside tout entière dans une anthropologie des mœurs automobiles – bien plus instructives que les idées politiques ». La fiction (notamment le genre spécifique appelé road fiction) a multiplié les usages singuliers de l'automobile et révélé à quel point elle fait partie intégrante de l'American way of life [& death]. À travers l'analyse d'une douzaine d'œuvres exemplaires, cet essai retrace les divers usages que la littérature américaine a pu faire du thème de l'automobile, qui est, à l'évidence, une des sources inépuisables de son originalité, de son dynamisme et de sa vitalité.

The name of Guy Debord remains associated with the memory of May 68, both as an event and as a collective adventure. In fact, May lives in the situationist international (IS), of which Debord had been one of the main facilitators, reaching the top of its historical influence and action. For several years now, the IS, having proclaimed the death of art and literature, had in fact shifted its action from culture to politics, promoting the fight against the performing society and the revolution of everyday life. However, Debord's name also evokes an opposite trajectory, that of a man who, after being one of the main figures of political sedition, withdrew from literature from the late 1970s and gradually turned into a fascinating memorialist that he would eventually be regarded as one of the major writers of the second half of the last century. In order to shed light on the reasons for this surprising contrast, in which we wanted to see a change, this article will reflect ahead and downstream of the 68 event. Upstream, in order to observe how the conviction that literary forms had expired historically could have led the IS to refuse to use and register in the world of letters, on the contrary, formulating the draft of an anonymous and collective statement combined with the social praxis; downstream, in order to see how Debord, having precisely abandoned the philosophy of history underlying these concepts, came to see this in the return to literary, not a regression, but a last resort to what he called 'the bad time'. ; International audience ; The name of Guy Debord remains associated with the memory of May 68, both as an event and as a collective adventure. In fact, May lives in the situationist international (IS), of which Debord had been one of the main facilitators, reaching the top of its historical influence and action. For several years now, the IS, having proclaimed the death of art and literature, had in fact shifted its action from culture to politics, promoting the fight against the performing society ...

The abolition of the death penalty has now become one of the fundamental values of European civilization. Our research will be in the axis of a comparative study between the six founding countries of the current EU. The history and culture common to these six states led to what today is all European citizens, the living entity almost indefinable territory in search of multiple identity, but abolitionist. How are they actually able to impose such a clause morality, within their own institutions to the heart of the legislative union, ie to the point where abolition becomes a sine qua non of entry into the EU? By the uniqueness and cross deflected by the European national histories is what we today reached this understanding effective? What were the architects of this thought: men, networks, political or ideological movements? And why they became involved in such a cause? Their commitment Europeanist he was inseparable from abolitionism, and vice versa? The history of the death penalty and its abolition is part of the history and philosophy of law, history of mentalities, political science and what might be called the civic history. The latter corresponds to the fundamental ideological company law, it is the mark of belonging to the same community in the service of the same nation or ideals. The abolition of capital punishment is the work of particular men, but all belonging to a national context, whether economic, social, cultural or legal. Our study can be meaningful only in terms of all of these many factors. ; L'abolition de la peine de mort est aujourd'hui devenue une des valeurs fondamentales de la civilisation européenne. Nos recherches se feront sous l'axe d'une étude comparée entre les six pays fondateurs de l'actuelle Union Européenne. L'histoire et la culture communes à ces six États ont abouti à ce qu'aujourd'hui tout européen est le citoyen, l'habitant d'une entité quasi indéfinissable, d'un territoire multiple en recherche d'identité, mais abolitionniste. Comment concrètement sont-ils parvenus à ...

The abolition of the death penalty has now become one of the fundamental values of European civilization. Our research will be in the axis of a comparative study between the six founding countries of the current EU. The history and culture common to these six states led to what today is all European citizens, the living entity almost indefinable territory in search of multiple identity, but abolitionist. How are they actually able to impose such a clause morality, within their own institutions to the heart of the legislative union, ie to the point where abolition becomes a sine qua non of entry into the EU? By the uniqueness and cross deflected by the European national histories is what we today reached this understanding effective? What were the architects of this thought: men, networks, political or ideological movements? And why they became involved in such a cause? Their commitment Europeanist he was inseparable from abolitionism, and vice versa? The history of the death penalty and its abolition is part of the history and philosophy of law, history of mentalities, political science and what might be called the civic history. The latter corresponds to the fundamental ideological company law, it is the mark of belonging to the same community in the service of the same nation or ideals. The abolition of capital punishment is the work of particular men, but all belonging to a national context, whether economic, social, cultural or legal. Our study can be meaningful only in terms of all of these many factors. ; L'abolition de la peine de mort est aujourd'hui devenue une des valeurs fondamentales de la civilisation européenne. Nos recherches se feront sous l'axe d'une étude comparée entre les six pays fondateurs de l'actuelle Union Européenne. L'histoire et la culture communes à ces six États ont abouti à ce qu'aujourd'hui tout européen est le citoyen, l'habitant d'une entité quasi indéfinissable, d'un territoire multiple en recherche d'identité, mais abolitionniste. Comment concrètement sont-ils parvenus à ...

Among the joyals that can be found on the internet, YouTube gives a conference given in Budapest on 7 April 1990 by Vilém Flusser, the most generous founding grandfather of mediology, just a few months before his death. According to a rather common discourse at the time, he described the overthrow of the Ceausescu regime as a sign of a new situation in the culture of images, sanctioning the advent of a 'post-historical' era in which television took control of reality. During this 24-minute speech, which summarises some of the thesis developed throughout his career, Flusser offers a contrast between events and events on which I will rely to shed light on a number of issues of media rhythm. By bounding on quotes from this document, I would like to suggest that our political agentivity deserves to be designed not only in terms of rhythm, but also in the "metre" of poetic versification (Alexandrin, octosylle), in an effort to assert the driving force from a necessarily biased but nevertheless resonant point of view. ; International audience ; Among the joyals that can be found on the internet, YouTube gives a conference given in Budapest on 7 April 1990 by Vilém Flusser, the most generous founding grandfather of mediology, just a few months before his death. According to a rather common discourse at the time, he described the overthrow of the Ceausescu regime as a sign of a new situation in the culture of images, sanctioning the advent of a 'post-historical' era in which television took control of reality. During this 24-minute speech, which summarises some of the thesis developed throughout his career, Flusser offers a contrast between events and events on which I will rely to shed light on a number of issues of media rhythm. By bounding on quotes from this document, I would like to suggest that our political agentivity deserves to be designed not only in terms of rhythm, but also in the "metre" of poetic versification (Alexandrin, octosylle), in an effort to assert the driving force from a necessarily biased but ...

Today, turning the dark page of lebanese civil war chapter that hit the country for fifteen years, and after all these years of war, death and destruction that the country has lived despite its conflicts, the germ of sectarianism remains present in its constitutional mosaic. Where is the question that arises : will there be a postwar period for culture ? The war left deep traces of course, but civil society is mobilising and it is particularly in the arts where it finds the outcome. Moreover, diversity of the Lebanese population, composed of different ethnic and religious groups, has contributed to the cultural melting pot of a country in its perpetual artistic boil. Currently, social medias and Internet network, Web 2.0 applications and digital devices invade our daily life, and the advent of ICTs which have enabled the development of a completely new economy that is one of the digital economy, called Internet economy also, producers and consumers have changed their behavior. It is important to question the role and impact of new ICT technologies of virtual culture in Lebanon, relying on contemporary artists practices who are "committed" with their "online" status. What messages do they use to promote their ideas and art ? In this context, we identify the key players of the digital mediation to bring out the most relevant cultural practices of different institutions in Lebanon. Such are the challenges, among others, in which we are interested in our thinking. ; Aujourd'hui, en tournant la page du chapitre sombre de la guerre civile au Liban qui a frappé le pays pendant quinze ans, et après toutes ces années de guerre, de mort et de destruction que le pays a vécu malgré ses conflits, le germe du confessionnalisme demeure présent dans sa mosaïque constitutionnelle. Une question se pose : une culture de l'après-guerre est-elle possible ? La guerre a laissé des traces profondes certes, mais la société civile se mobilise et c'est particulièrement dans le domaine artistique où elle trouve une issue. Par ailleurs, la ...

This research explores the transformation of landscape in contemporary visual culture, where aesthetics dialogues intensively with the political and social, through an intercultural perspective between the United states, Italy and France. Rather than from an exclusively artistic or geographic point of view – moving beyond the outdated thesis of a "landscape death" as developed in the 1980s – the landscape is considered as a notion and a media object in circulation, a potential medium for the creation of national and cultural visual identities, of the imaginaries and the sense of places. Firstly, we situate the contemporary photographic landscape in its relation to some Euro-American artistic traditions and cinematographic practices, addressing and developing underlying questions of intericonicity and crossed gazes. Secondly, we investigate the role of contemporary landscape photography within the strategies of visualization and planning of territories and environments, in other words in its documentary function for geographical, architectural or urban projects, which are often materialized by exhibitions. Thirdly, we observe the transformation of the landscape according to the evolution of digital media. Indeed, starting from Web 2.0 we see a new hybridization between artistic, institutional and amateur images which circulate on the same networks and a fracturing of the ontological barrier between fixed and moving images. The geo-localization and the articulation of images to geographic information systems, as well as the miniaturization of mobile devices, contribute to the constitution of a new scopic system which no longer respects the visual conventions of the traditional landscape « view » and of the central perspective. ; Cette recherche explore la transformation du paysage dans la culture visuelle contemporaine, dans une perspective interculturelle entre États-Unis, Italie et France, et sous une acception où l'esthétique dialogue étroitement avec le politique et le social. Contre la thèse dépassée d'une « ...

Today, turning the dark page of lebanese civil war chapter that hit the country for fifteen years, and after all these years of war, death and destruction that the country has lived despite its conflicts, the germ of sectarianism remains present in its constitutional mosaic. Where is the question that arises : will there be a postwar period for culture ? The war left deep traces of course, but civil society is mobilising and it is particularly in the arts where it finds the outcome. Moreover, diversity of the Lebanese population, composed of different ethnic and religious groups, has contributed to the cultural melting pot of a country in its perpetual artistic boil. Currently, social medias and Internet network, Web 2.0 applications and digital devices invade our daily life, and the advent of ICTs which have enabled the development of a completely new economy that is one of the digital economy, called Internet economy also, producers and consumers have changed their behavior. It is important to question the role and impact of new ICT technologies of virtual culture in Lebanon, relying on contemporary artists practices who are "committed" with their "online" status. What messages do they use to promote their ideas and art ? In this context, we identify the key players of the digital mediation to bring out the most relevant cultural practices of different institutions in Lebanon. Such are the challenges, among others, in which we are interested in our thinking. ; Aujourd'hui, en tournant la page du chapitre sombre de la guerre civile au Liban qui a frappé le pays pendant quinze ans, et après toutes ces années de guerre, de mort et de destruction que le pays a vécu malgré ses conflits, le germe du confessionnalisme demeure présent dans sa mosaïque constitutionnelle. Une question se pose : une culture de l'après-guerre est-elle possible ? La guerre a laissé des traces profondes certes, mais la société civile se mobilise et c'est particulièrement dans le domaine artistique où elle trouve une issue. Par ailleurs, la diversité de la population libanaise, composée de différents groupes ethniques et religieux, a contribué au métissage culturel d'un pays en perpétuelle ébullition artistique. À l'heure actuelle où Internet et réseaux sociaux, applications du Web 2.0 et dispositifs numériques envahissent notre quotidien, et à l'avènement des TIC qui ont permis le développement d'une économie totalement nouvelle à savoir numérique, appelée aussi économie d'Internet, les producteurs et les consommateurs ont modifié leur comportement. Il est important de questionner le rôle et l'impact des nouvelles technologies d'information et de communication dans la culture virtuelle au Liban, en nous appuyant sur les pratiques d'artistes contemporains « engagés » et leur présence « en ligne ». Quels messages utilisent-ils pour promouvoir leurs idées et leur art ? Dans cette optique, nous recensons les principaux acteurs de la médiation numérique afin de faire émerger les pratiques culturelles les plus pertinentes des différentes institutions au Liban. Tels sont les enjeux auxquels, entre autres, nous nous intéressons dans notre réflexion.

https://presses-universitaires.univ-amu.fr/ ; International audience ; This chapter focuses on the "truncated branch" of contemporary Spanish culture constituted by the republican exile of 1939 (in its senses of diaspora and cultural corpus). It proposes to study the process of its "reintegration" to the nation during the democratic Transition. The crisis of the Franco regime and the death of the dictator opened to exiles the possibility of return. The chapter analyzes thus the reception of these returns from exile in Transition Spain, and more precisely the public uses of the figure and the production of the exiled intellectuals by the determining actors of this process (governments, opposition groups and the media). The starting hypothesis is that these "returned" intellectuals posed the problem of taking the 1931 republican model into account in the elaboration of the post-Francoist project of state and society, a rupture model hardly compatible with the reform process finally designed. How was the return of the exiled republicans in Transitional Spain welcomed? What political and discursive strategies did the different actors of the transitional process use to integrate exile into their new logics of action? Under what conditions, and at what price, could the intellectuals and the exiled militants be integrated into the society, culture and political life of post-Franco Spain? ; Este capítulo de libro se centra en la "rama truncada" de la cultura española contemporánea que constituye el exilio republicano de 1939 (tanto en su sentido de diáspora como de corpus cultural); y propone estudiar el proceso de su "reintegración" a la nación en el momento de la Transición democrática. La crisis del régimen franquista y la muerte del dictador abren en efecto a los exiliados la posibilidad del retorno. El capítulo analiza la recepción de estos retornos del exilio en la España de la Transición, y más precisamente los usos públicos de la figura y la producción de los intelectuales exiliados por los actores determinantes ...

International audience ; This study aims to show the symbolism of waste in the culture of the inhabitants of the Assôkô country and the different strategies put in place to fight more effectively against the proliferation of garbage in their societies, guarantee of a preservation of the degradation of their environment. It bases itself on a method of analysis of the conception of Assôkô residents on the issue of sanitation and some of their cultural rites and practices related to health. This work helps to understand that the insalubrity symbolized for the peoples eotilé and essouma of Assôkô country the impurity of the body and the soul. It was thus a spring of misfortune and death for these two size of human being. Hence the establishment of a rigorous policy of waste management by the high dignitaries of the Assôkô country. It is imposed on the sweeping of houses, the collective and weekly cleaning of streets and other public places, the payment of garbage on the edge of the village, the prohibition to throw garbage in the sea and in the lagoon. ; La présente étude vise à montrer le symbolisme des ordures dans la culture des habitants du pays assôkô et les différentes stratégies mises en place pour lutter plus efficacement contre leur prolifération dans leur société, gage d'une préservation de la dégradation de leur environnement. Elle se fonde sur une méthode d'analyse de la conception des habitants d'Assôkô sur la question de l'insalubrité et de certains de leurs rites et pratiques culturelles en lien avec la salubrité. Ce travail permet de comprendre que l'insalubrité symbolisait pour les peuples éotilé et essouma du pays assôkô l'impureté du corps et de l'âme. Elle était donc une source de malheur et de mort pour ces deux dimensions de l'être humain.D'où la mise en place d'une politique rigoureuse de gestion des ordures par les hauts dignitaires du pays assôkô. Ladite politique est axée sur le balayage obligatoire des habitations, le nettoyage collectif et hebdomadaire des rues et autres lieux publics, le ...

At a time when Angola looks into the raw material resources and democracy as the opportunities for development, it is urgent to pause on the question of human resources. A true development necessarily means the promotion of the human person and its lived culture through the dialectics of life and death. Our research on "Cultural Exclusion and Salvation in Jesus Christ in the present context of Angola" takes man in his cultural and religious conditions. So, facing exclusion as a denial of the humaneness of the other and the salvation promised to all men, we propose an inclusion as a salvific force laid down by Jesus the Messiah and as announced in the Gospels, the inclusion to realise in all modes : political, social, religious and cultural. In proposing inclusion as a paradigm of salvation, we emphasize on the mission of the Church which is essentially an active witness of Jesus Christ of which the pro-existence reveals the face of inclusive love of God understood as the mercy and a total gift of life. ; A l'heure où l'Angola voit dans les ressources en matières premières et dans la démocratie des opportunités pour le développement, il est urgent de faire une halte sur la question des ressources humaines. Un vrai développement passe nécessairement par la promotion de l'homme et de sa culture habité par la dialectique de la vie et de la mort. Notre recherche sur "L'exclusion culturelle et le salut en Jésus-Christ dans le contexte actuel de l'Angola" prend l'homme dans sa condition culturelle et religieuse. Ainsi, face à l'exclusion comme déni de l'humanité de l'autre et du salut promis à tout homme, nous proposons l'inclusion comme puissance salvifique posée par le Messie Jésus et annoncée dans l'Évangile, inclusion à réaliser sur tous les modes : politique, social, religieux et culturel. En proposant l'inclusion comme paradigme du salut, nous soulignons la mission de l'Église qui est essentiellement témoignage actif de Jésus-Christ dont la pro-existence révèle le visage de l'amour inclusif de Dieu compris comme ...