Du Roman au théâtre : le motif du Graal réactualisé dans les textes de théâtre de Jean Cocteau, Julien Gracq et Jacques Roubaud/Florence Delay

Ce travail analyse les transformations du Graal en comparant sa représentation dans les romans médiévaux et dans trois textes de théâtre modernes. Le Graal, apparu dans la littérature au Moyen Âge, reste une source d'inspiration pour les écrivains modernes au point de gagner, avec le temps, un statut légendaire. L'objet de prédilection de la littérature arthurienne a évolué de façon significative dès le Moyen Âge, où il reste cependant confiné aux formes narratives. Après le « festival scénique sacré » (Bühnenweihfestspiel), Parsifal, de Wagner présenté en 1882 à Bayreuth, des œuvres plus récentes réactualisent le mythe en cherchant à l'adapter au théâtre. Jean Cocteau, en 1937, dans Les Chevaliers de la Table Ronde, présente un Graal inaccessible, immatériel. En 1948, Julien Gracq, dans Le Roi Pêcheur, inscrit le Graal dans l'opposition entre le profane et le sacré. Jacques Roubaud et Florence Delay, dans les éditions de 1977 et 2005 de Graal Théâtre, optent pour une récriture où les représentations du mythe se côtoient et se confrontent. Ces textes de théâtre modernes, où la représentation du Graal se situe au cœur du projet d'écriture, entrent ainsi en relation directe avec les œuvres médiévales. Ils s'inscrivent dans une redéfinition de l'objet qui se renouvelle sans cesse depuis Le Conte du Graal de Chrétien de Troyes. Dans les trois cas, la représentation du Graal entretient des relations contradictoires de filiation et de rupture avec la littérature arthurienne de l'époque médiévale. L'hypothèse principale de cette recherche se situe dans la problématique de la récriture comme transformation d'un héritage. Plus précisément, il sera question de comprendre comment la représentation du Graal dans les textes de théâtre pose problème et comment cette question est modulée, travaillée par les auteurs en termes rhétoriques, stylistiques et dramaturgiques. L'utilisation de la parodie, d'anachronismes et de voix dramatiques nouvelles, par exemple, permet aux auteurs modernes de revisiter et de changer le rapport à l'objet. Le Graal se redéfinit dans des contextes historiques et dans un genre distincts de leur source du Moyen Âge.

Parodies satiriques et documentaires expressionnistes : la représentation critique de la célébrité dans l'œuvre cinématographique de William Klein

Thèse de doctorat effectuée en cotutelle au Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences, Université de Montréal et à l’Institut de recherche sur le cinéma et l'audiovisuel (IRCAV), Arts et Médias, ED 267, Université Sorbonne Nouvelle – Paris 3

L’esthétique loufoque chez Éric Chevillard (incongru, topoï, série)

Les récits d’Éric Chevillard appartiennent sans conteste à la catégorie des « fictions joueuses » décrites par Bruno Blanckeman (2002, p. 61) en ce qu’ils entretiennent un rapport ambigu avec la littérature, souvent détournée au moyen de la parodie, du pastiche ou d’une esthétique loufoque. Cet article propose un petit essai de typologie du loufoque chez Éric Chevillard au travers de trois œuvres, « Du hérisson » (2002), « Le vaillant petit tailleur » (2003) et « Oreille rouge » (2005), dans lesquelles on identifie cette pratique du détournement générique. Il met ainsi en évidence trois traits majeurs du loufoque : l’incongru, le détournement des topoï et l’écriture sérielle. [...]

La reforma a la acción de tutela contra providencias judiciales

En el primer semestre de 2006, en el marco del segundo período de la legislatura 2005-2006, la Honorable Representante Gina María Parody organizó en las instalaciones del Congreso de la República un debate sobre la noción y el alcance de la Acción de Tutela respecto a providencias judiciales, tema de gran discusión por parte de diferentes sectores del Gobierno Nacional así como de las Altas Cortes, la Academia y la Doctrina en general. En ese orden de ideas, la Facultad de Jurisprudencia y la Decanatura del Medio Universitario de la Universidad del Rosario, a través de su Observatorio Legislativo y de Opinión, solicitaron a algunos docentes su opinión sobre el referido tema de amplia polémica, con el fin de presentar al público en general argumentos que sustenten las múltiples posturas que al respecto existen. Así las cosas, en el presente documento encontrarán recogidos los comentarios preliminares y generales de la posición sobre el tema en debate emitida por los doctores José Roberto Herrera, Manuel Fernando Quinche y Juan Enrique Medina, docentes de la Facultad de Jurisprudencia. El objetivo de esta publicación no es otro que el de brindar herramientas para adelantar este debate que cotidianamente se surte sobre este tema en diferentes escenarios de la vida nacional, y servir de sustento para el trabajo de aquellos que en adelante le den vida a éste tema al interior del Congreso, quizá de manera concreta en la realización de una iniciativa legislativa, como recientemente se ha anunciado.

Análisis de la influencia de la agenda setting y la imagen en campañas electorales. Estudio de caso: campaña de Gustavo Petro a la Alcaldía de Bogotá

Este trabajo busca hacer un análisis de la influencia de la imagen y la agenda setting en el éxito de una campaña electoral. La mayoría de estudios que tratan esta materia apuntan a la creación de unas normas básicas universales, pero en este tema nada está escrito y la coyuntura tanto geográfica como temporal, juegan un papel fundamental. De acuerdo a lo anterior, este trabajo busca comprobar que dada una coyuntura, hay unos factores específicos que confluyen para llevar a la victoria a un candidato determinado.

Justiciabilidad de los Derechos Colectivos. Balance de la ley de acciones populares y de grupo (Ley 472 de 1998) en sus primeros 10 años 1998-2008.

Este libro presenta un balance del primer decenio de la ley de acciones populares y de grupo en Colombia, elaborado por el Grupo de Investigación en Derechos Humanos de la Universidad del Rosario, con el apoyo de la Defensoría del Pueblo y la Corporación Excelencia en la Justicia. El Diagnóstico realizado con una metodología cuantitativa y cualitativa, presenta aspectos significativos de la aplicación de la Ley 472 de 1998 a fin de formular propuestas, elevar los niveles de protección de los derechos colectivos, perfeccionar y fortalecer estas acciones constitucionales de interés público y plantear una agenda futura de investigaciones en la materia. El texto contiene artículos y ponencias presentados por reconocidos conferencistas nacionales e internacionales que participaron en el Seminario Internacional Las acciones populares y de grupo. Balance de los diez años de la Ley 472 de 1998. Diagnósticos, retos y perspectivas realizado los días 16, 27 y 28 de agosto de 2008. Las ponencias fueron organizadas en páneles: balance del constituyente, del legislador, de los operadores judiciales, del ministerio público y finalmente, avances en la garantía de los derechos colectivos y retos de las acciones de grupo.

Teen TV meets T4: assimilating 'The O.C.' into British youth television

This article explores the presence of imported US Teen TV in the schedules of British youth television and the relationship between the two national forms. Focusing on the broadcast of The O.C on Channel 4 youth strand T4, it considers the role of the spaces in-between programmes in framing the audience’s experience of the imported US text. It demonstrates how the T4 supertext employed presenter performance, critique and parody to assimilate the glamorously aspirational US Teen TV text into the cynically engaged flow of British youth television.

A cloud of smug over outdoor education : South Park, hybrid cars and environmental morality

In an episode of South Park titled ‘Hey, People, You’ve Gotta Drive Hybrids Already’, Stan convinces townsfolk to buy hybrid cars. This reduces the rate of smog but creates a toxic cloud of ‘smug’. In this paper, I use this parody of eco-correctness to interrogate some of Outdoor Education’s environmental aims. Michel Foucault’s later work on the self, morality and governmentality is used to analyse the production of the [neo- iberal] ‘environmentally responsible citizen’. The possibilities and problems of contemporary citizenship discourse are explored in relation to findings from a longitudinal study of students undertaking a tertiary outdoor and environmental education course.

The novel as social satire: 60 years later, the wind done gone and the limitations of fair use

The absence of the doctrine of fair use from Australian copyright law has been a bone of contention in Australia after the Australia-United States Free Trade Agreement (FTA). As the Australian government reformed the Copyright Act 1968 (Cth) in the aftermath of the FTA it eschewed the option of adopting fair use. Instead, Australia chose to incorporate a version of fair use into its existing fair dealing framework. Accordingly, the Copyright Amendment Act 2006 (Cth) inserted ss 41A and 103AA into the Copyright Act. These provisions provide that a fair dealing with a copyright protected work does not constitute an infringement if it is done for the purposes of parody or satire. These provisions codify part of the ratio of the United States Supreme Court in the seminal case of Campbell v Acuff Rose Music. However, the parameters of these new provisions are unexplored and the sparse nature of fair dealing jurisprudence means that the true meaning of the provisions is unclear. Moreover, two cases from the United States, SunTrust Bank v Houghton Mifflin and Salinger v Colting, underline just how important it is to have legal rules that protect literary ‘re-writes’. Both cases involved authors using an original novel to ‘write back’ to the original author and the broader culture. ‘Writing back’ or the ‘re-write’ has a firm basis in literature. It adds something invaluable to our culture. The key question is whether our legal landscape can allow it to flourish. This paper examines the interaction between fair use and literary re-writes.

Poetic revolutionaries: intertextuality and subversion

Poetic Revolutionaries is an exploration of the relationship between radical textual practice, social critique and subversion. From an introduction considering recent debates regarding the cultural politics of intertextuality allied to avant-garde practice, the study proceeds to an exploration of texts by a range of writers for whom formal and poetic experimentation is allied to a subversive politics: Jean Genet, Monique Wittig, Angela Carter, Kathy Acker, Kathleen Mary Fallon, Kim Scott and Brian Castro. Drawing on theories of avant-garde practice, intertextuality, parody, representation, and performance such as those of Mikhaïl Bakhtin, Julia Kristeva, Gérard Genette, Margaret A. Rose, Linda Hutcheon, Fredric Jameson, Ross Chambers and Judith Butler, these readings explore how a confluence of writing strategies – covering the structural, narratological, stylistic and scenographic – can work to boost a text’s subversive power.

Art as parodic practice

Perhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

To the very ground of meaning, to vary the ground of meaning

Parody may be understood as the absorption of a revolutionary impulse into the everyday production of meaning as continuous variation and soft subversion. Considered in this way, parody is transformative because it operates on the components within a system of meaning and/or the context, logic or spatial perspective that grounds the possibility of meaning. It is the conditions under which shared meaning, sense and sensation depend that I aim to unpack in order to suggest the ways in which parody can alter a person’s relationship to the world. By approaching parody as a mode of lived abstraction and as an embodied approach to affective self-organisation, body-environment co-construction and a challenge to identity, it becomes possible to move from formal concerns that have characterised parody to a set of transformative practices. Thus parody indicates where the anchors of embodied, embedded, extended, enacted and affective are dug in and hold identity and the ground of meaning in a steady state. This paper will examine how parody moves from the impulse to overthrow and invert — ‘Beneath the street, The beach’—to a collective impulse that moves the ground of meaning into a reconfigurative process that is allows totalised systems of meaning to collide and intersect. What is left is not the rubble and ruins of meaning but revitalised fragments, stems cells of meaning ready-to-be-remade.A lineage of parodic works will be paraded and discussed that directly address the tacit relation of ground, horizon, orientation and position. This parody parade will form the basis of a critique and the analysis of the ontological orientations that for example, opposing systems of perspective insert as the very ground of meaning. The implication of this line of inquiry leads to the assertion that all descriptions of the world, universe and the cosmos are parodies in search of an origin. Totalised or unified images of the ground of meaning are already parodies of a/the set of conditions by which meaning operates that also produce a trajectory that as a lived-abstraction directs or hijacks subsequent productions of meaning

The zombies of sleepy hollow: reimagining Geelong

Place branding is traditionally concerned with drawing on the positive and unique elements of a community to generate investment and build community pride. In 2014 a promotional video was released portraying Geelong as a zombie town, with flamboyant Mayor Darryn Lyons riding in on horseback to save the city and its people. The imagery was more at home in cult zombie cinema than a tourism promotion. Critics berated the video as an ill-conceived stunt that carried a message derisive to the local community. Supporters focused on the bold, creative nature of the endeavour, claiming its potential to ‘go viral’ would enhance Geelong’s media presence, improve the city’s perception and draw visitors to the area. Geelong was first badged ‘Sleepy Hollow’ in the 1860s when the new gold towns of Ballarat and Bendigo boomed, challenging its supremacy as a commercial centre. Geelong prospered in the 1920s through industrialisation, but the moniker has remained. Today, Geelong faces a period of economic uncertainty and transition as it adjusts to major job losses in manufacturing. While this presents significant challenges, it also creates opportunities for the city to re-imagine itself by capitalising on the physical and cultural assets that set Geelong apart. While the zombie video has sparked debate, its success in influencing views of the city is constrained by its references to past stigma and its imposition of a new sense of dystopia in the present. This paper explores the Sleepy Hollow predicament and considers how the branding of Geelong might move beyond parody to better reflect its position as Victoria’s largest regional centre through an approach based on imageability, narrative, assets and investment.