Atlante - Revue d'études romanes

<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>349</b><br />
<br />
<b>Deprecated</b>:  Creation of dynamic property plxFeed::$clef is deprecated in <b>/var/www/html/core/lib/class.plx.feed.php</b> on line <b>45</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.plugins.php</b> on line <b>66</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.plugins.php</b> on line <b>495</b><br />
<br />
<b>Deprecated</b>:  Creation of dynamic property plxMyBetterUrls::$article is deprecated in <b>/var/www/html/plugins/plxMyBetterUrls/plxMyBetterUrls.php</b> on line <b>25</b><br />
<br />
<b>Deprecated</b>:  Creation of dynamic property plxMyBetterUrls::$category is deprecated in <b>/var/www/html/plugins/plxMyBetterUrls/plxMyBetterUrls.php</b> on line <b>26</b><br />
<br />
<b>Deprecated</b>:  Creation of dynamic property plxMyBetterUrls::$static is deprecated in <b>/var/www/html/plugins/plxMyBetterUrls/plxMyBetterUrls.php</b> on line <b>27</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.plugins.php</b> on line <b>495</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.plugins.php</b> on line <b>495</b><br />
<br />
<b>Deprecated</b>:  Creation of dynamic property spxtynimce::$spxname is deprecated in <b>/var/www/html/plugins/spxtynimce/spxtynimce.php</b> on line <b>28</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.plugins.php</b> on line <b>495</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>408</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>538</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>961</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>664</b><br />
<br />
<b>Deprecated</b>:  Function xml_parser_free() is deprecated since 8.5, as it has no effect since PHP 8.0 in <b>/var/www/html/core/lib/class.plx.motor.php</b> on line <b>664</b><br />
<br />
<b>Warning</b>:  Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in <b>/var/www/html/core/lib/class.plx.feed.php</b> on line <b>266</b><br />
<?xml version="1.0" encoding="UTF-8" ?>
<rss version="2.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom">
<channel>
	<title>Atlante - Revue d&#039;études romanes - Tag corps</title>
	<link>https://atlante.univ-lille.fr/tag/corps</link>
	<language>fr</language>
	<description></description>
	<atom:link xmlns:atom="http://www.w3.org/2005/Atom" rel="self" type="application/rss+xml" href="https://atlante.univ-lille.fr/feed/rss/tag/corps" />
	<lastBuildDate>Thu, 21 Jun 2018 09:48:00 +0200</lastBuildDate>
	<generator>PluXml</generator>
	<item>
		<title>09. Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo</title> 
		<link>https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html</link>
		<guid>https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html</guid>
		<description>&lt;p&gt;Juan Carlos Baeza Soto&lt;br /&gt;Universit&amp;eacute; de Cergy-Pontoise&lt;br /&gt;AGORA EA 7392&lt;br /&gt;p. 48-79.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;laquo; &amp;Eacute;corcher l&amp;rsquo;absolu. Corps et identit&amp;eacute; de l&amp;rsquo;&amp;acirc;me dans les nus de Manuel &amp;Aacute;lvarez Bravo&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; La lumi&amp;egrave;re semble tendre vers la perfection humaine dans les corps nus que Manuel &amp;Aacute;lvarez Bravo propose dans&amp;nbsp;&lt;em&gt;Miroir noir&lt;/em&gt;(1947),&amp;nbsp;&lt;em&gt;Fruit d&amp;eacute;fendu&lt;/em&gt;&amp;nbsp;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&lt;/em&gt;&amp;nbsp;(1979) ou&amp;nbsp;&lt;em&gt;Sieste dans l&amp;rsquo;herbe&lt;/em&gt;&amp;nbsp;(1979). La lumi&amp;egrave;re victorieuse des t&amp;eacute;n&amp;egrave;bres est en r&amp;eacute;alit&amp;eacute;, dans une perspective azt&amp;egrave;que du monde, toujours d&amp;eacute;pendante du combat et de l&amp;rsquo;accident. C&amp;rsquo;est pourquoi les nus du photographe mexicain se r&amp;eacute;clament de l&amp;rsquo;accident et de l&amp;rsquo;absence. Le cadrage particulier des nus d&amp;rsquo;&amp;Aacute;lvarez Bravo accorde &amp;agrave; la lumi&amp;egrave;re une identit&amp;eacute; qui repose sur la diff&amp;eacute;rentiation&amp;nbsp;: sans la rencontre du corps, la lumi&amp;egrave;re ne serait qu&amp;rsquo;apparence. Les nus de Manuel &amp;Aacute;lvarez Bravo ouvrent de la sorte &amp;laquo;&amp;nbsp;un acc&amp;egrave;s sensible &amp;agrave; l&amp;rsquo;ontologie&amp;nbsp;&amp;raquo; (Fran&amp;ccedil;ois Jullien)&amp;nbsp;; ils offrent au regard de la connaissance un corps d&amp;eacute;sireux d&amp;rsquo;&amp;eacute;claircie.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, nu, azt&amp;egrave;que, corps, identit&amp;eacute;, Mexique, r&amp;eacute;alisme, mati&amp;egrave;res.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;ldquo;Desollar lo absoluto. Cuerpo e identidad del alma en los desnudos de Manuel &amp;Aacute;lvarez Bravo&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&lt;/strong&gt; Parece que la luz tiende a la perfecci&amp;oacute;n en los cuerpos desnudos que Manuel &amp;Aacute;lvarez Bravo propone en&amp;nbsp;&lt;em&gt;Espejo Negro&lt;/em&gt;&amp;nbsp;(1947),&amp;nbsp;&lt;em&gt;Fruta Prohibida&lt;/em&gt;&amp;nbsp;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&lt;/em&gt;&amp;nbsp;(1979) o&amp;nbsp;&lt;em&gt;Siesta en la hierba&lt;/em&gt;&amp;nbsp;(1979). La luz victoriosa de las tinieblas es en realidad, en una perspectiva azteca del mundo, siempre dependiente del combate y del accidente. Por eso los desnudos del fot&amp;oacute;grafo mexicano reivindican el accidente y la ausencia. El peculiar enfoque de los desnudos de &amp;Aacute;lvarez Bravo le concede a la luz una identidad que se fundamenta en la diferenciaci&amp;oacute;n: sin el encuentro de los cuerpos, la luz no ser&amp;iacute;a m&amp;aacute;s que apariencia. Los desnudos de Manuel &amp;Aacute;lvarez Bravo abren entonces &amp;laquo;&amp;nbsp;un acceso sensible a la ontolog&amp;iacute;a&amp;nbsp;&amp;raquo; (Fran&amp;ccedil;ois Jullien)&amp;nbsp;; le ofrecen a la mirada del conocimiento un cuerpo deseoso de claros y escampadas.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, desnudo, azteca, cuerpo, identidad, M&amp;eacute;xico, realismo, materia.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;laquo;Laying Bare the Limitless: Body and the Identity of the Soul in Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s Nudes&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&amp;nbsp;&lt;/strong&gt;Light seems to strive for human perfection in the nude bodies offered by Manuel &amp;Aacute;lvarez Bravo in&amp;nbsp;&lt;em&gt;BlackMirror&amp;nbsp;&lt;/em&gt;(1947),&amp;nbsp;&lt;em&gt;ForbiddenFruit&amp;nbsp;&lt;/em&gt;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&amp;nbsp;&lt;/em&gt;(1979),or&amp;nbsp;&lt;em&gt;Siesta in the Grass&amp;nbsp;&lt;/em&gt;(1979).The shadow&amp;rsquo;s triumphant light is in reality, inan Aztec perspective on the world, always dependent on struggle and accident. It is for this reason that this Mexican photographer&amp;rsquo;s nudes conjure up accidents and absence. The singular framing of Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s nudes gives light an identity that relies on contrast: without coming into contact with the body, light would be without&amp;nbsp;substance. In this way, Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s nudes open up &amp;ldquo;a discernible way into ontology&amp;rdquo; (Fran&amp;ccedil;ois Jullien); to the eyes of knowledge, they offer up a body in thirst of respite.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, nude, Aztec, body, identity, Mexico, realism, substance.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_3_4.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 1 Mo)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:48:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
	</item>
	<item>
		<title>09. Étude des &lt;em&gt;Desastres de la guerra&lt;/em&gt; : entre fantasmagories et visions pré-photographiques. Autour du corps violenté</title> 
		<link>https://atlante.univ-lille.fr/09-etude-des-desastres-de-la-guerra-entre-fantasmagories-et-visions-pre-photographiques-autour-du-corps-violente.html</link>
		<guid>https://atlante.univ-lille.fr/09-etude-des-desastres-de-la-guerra-entre-fantasmagories-et-visions-pre-photographiques-autour-du-corps-violente.html</guid>
		<description>&lt;p&gt;Corinne Cristini&lt;br /&gt;Universit&amp;eacute; Paris-Sorbonne&lt;br /&gt;CRIMIC&lt;br /&gt; p. 172-204.&lt;/p&gt;&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;laquo;&amp;nbsp;&amp;Eacute;tude des &lt;em&gt;Desastres de la guerra&lt;/em&gt;&amp;nbsp;: entre fantasmagories et visions pr&amp;eacute;-photographiques. Autour du corps violent&amp;eacute;&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&amp;nbsp;&lt;/strong&gt;Cette &amp;eacute;tude se propose de revisiter les &lt;em&gt;Desastres de la guerra&lt;/em&gt; de Goya en consid&amp;eacute;rant essentiellement deux aspects a priori antinomiques, et qui, pourtant, s&amp;rsquo;auto-alimentent chez l&amp;rsquo;artiste&amp;nbsp;: d&amp;rsquo;une part, l&amp;rsquo;art de la fantasmagorie, et d&amp;rsquo;autre part, une modernit&amp;eacute; esth&amp;eacute;tique transgressive, un nouveau regard &amp;laquo;&amp;nbsp;pr&amp;eacute;-photographique&amp;nbsp;&amp;raquo;. Nous nous interrogerons sur les proc&amp;eacute;d&amp;eacute;s plastiques mis en &amp;oelig;uvre par Goya et sur le primat accord&amp;eacute; au corps&amp;nbsp;tortur&amp;eacute;, viol&amp;eacute;, mutil&amp;eacute;, soumis &amp;agrave; toutes les formes de barbarie. En dernier lieu, nous nous int&amp;eacute;resserons aux &amp;eacute;l&amp;eacute;ments qui conf&amp;egrave;rent &amp;agrave; ces gravures une dimension universelle en mettant l&amp;rsquo;accent notamment sur les sources artistiques et religieuses qui nourrissent l&amp;rsquo;&amp;oelig;uvre goyesque.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&lt;/strong&gt; Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, fantasmagorie, photographie, corps, torture.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;ldquo;Estudio de los &lt;em&gt;Desastres de la guerra&lt;/em&gt;: entre fantasmagor&amp;iacute;as y visiones pre-fotogr&amp;aacute;ficas. En torno al cuerpo violentado&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&amp;nbsp;&lt;/strong&gt;Este estudio se propone revisitar los &lt;em&gt;Desastres de la guerra&lt;/em&gt; de Goya considerando especialmente dos aspectos aparentemente antin&amp;oacute;micos, pero que, en realidad, se autoalimentan en la obra goyesca: por una parte, el arte de la fantasmagor&amp;iacute;a, y, por otra parte, una modernidad est&amp;eacute;tica transgresiva, una nueva mirada &amp;ldquo;pre-fotogr&amp;aacute;fica&amp;rdquo;. Cuestionaremos los procedimientos pl&amp;aacute;sticos usados por Goya y la importancia otorgada al cuerpo torturado, violado, mutilado, sometido a todas las formas de barbarie. Por fin, nos interesaremos en los elementos que confieren a estos grabados una dimensi&amp;oacute;n universal recalcando particularmente las fuentes art&amp;iacute;sticas y religiosas que nutren la obra goyesca.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras claves.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, fantasmagor&amp;iacute;a, fotograf&amp;iacute;a, cuerpo, tortura.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;em&gt;&amp;nbsp;&lt;/em&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Corinne CRISTINI, &amp;ldquo;Study of the &lt;em&gt;Desastres de la guerra&lt;/em&gt;: between Phantasmagorias and Pre-photographic Visions. About the Violated Body&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&amp;nbsp;&lt;/strong&gt;The purpose of this study is to revisit Goya&amp;rsquo;s &lt;em&gt;Desastres de la guerra&lt;/em&gt; by focusing on two aspects which seem contradictory prima facie, but are actually sustaining one another in the artist&amp;rsquo;s work: the art of phantasmagoria on the one hand, and a transgressive aesthetic modernity &amp;ndash; or a new &amp;ldquo;pre-photographic&amp;rdquo; view &amp;ndash; on the other. It examines the plastic processes used by Goya as well as the prominence he gives to the tortured, violated, mutilated body, which has been subjected to every possible form of barbarism. Lastly, it is interested in the elements which convey a universal dimension to Goya&amp;rsquo;s engravings, with a special emphasis on the artistic and religious sources nourishing his work.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Goya, &lt;em&gt;Desastres de la guerra&lt;/em&gt;, phantasmagoria, photography, body, torture.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_10.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 1 Mb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:15:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
	</item>
</channel>
</rss>