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Journal articles on the topic 'Corps humain – Danse'

Author: Grafiati
Published: 13 April 2024

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1

Malka, Liora. "La danse ou la mort : l’art de la terreur sans le sang." Protée 27, no. 1 (2005): 47–52. http://dx.doi.org/10.7202/030540ar.

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La vidéo de Robert Wilson, La Mort de Molière, contient quatre scènes où l’action peut être identifiée à une danse. Bien qu’une danse communique toujours l’image d’un corps humain en mouvement, cette production de Wilson génère une distinction et, par la suite, une interaction entre un corps dansant et d’autres images du corps, celles entre autres du corps de Molière mourant. Mon analyse porte plus spécifiquement sur ces interrelations entre le corps dansant et le corps mourant, afin de mieux comprendre celles entre le monde fictionnel de Molière et l’univers esthétique de Wilson.
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2

Preljocaj, Angelin. "« Le média de la danse, c’est le corps humain »." Hermès 80, no. 1 (2018): 96. http://dx.doi.org/10.3917/herm.080.0096.

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3

Chemillier, Marc, Jean Pouchelon, Julien André, and Jérôme Nika. "La contramétricité dans les musiques traditionnelles africaines et son rapport au jazz." Anthropologie et Sociétés 38, no. 1 (2014): 105–37. http://dx.doi.org/10.7202/1025811ar.

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La mise en mouvement du corps à travers la danse, la présence d’une pulsation régulière qui rythme ces mouvements et le fait de contrecarrer cette pulsation par des événements musicaux placés à côté, ce qu’on appelle la « contramétricité », sont des points communs à la plupart des musiques africaines traditionnelles. Ils témoignent à la fois d’une disposition universelle du système cognitif (capacité du corps humain de se synchroniser avec des signaux sonores périodiques) et d’une dimension profondément culturelle dans la mesure où la contramétricité s’est développée dans ces musiques beaucoup
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4

Dehouve, Danièle. "El cuerpo y lo virtual: Danzas y combates en Mesoamérica / Le corps et le virtuel : danses et combats en Mésoamérique." Revista Trace, no. 83 (January 31, 2023): 5. http://dx.doi.org/10.22134/trace.83.2023.867.

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En Hispanoamérica, las representaciones festivas son manifestaciones colectivas que se distinguen de la vida cotidiana y se pueden analizar con la ayuda de varias categorías, entre ellas, las danzas, las luchas, los espectáculos, los ritos y los juegos. En la actualidad, en el México indígena y rural, se utiliza comúnmente el término genérico de danza, que se refiere a una variedad de prácticas de origen diverso, derivadas tanto de los rituales teatrales prehispánicos como del teatro evangelizador colonial. La danza es una representación con motivo de una fiesta patronal con más o menos espect
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Plancke, Carine. "Rythmomimisme et gestuelle dansée." Anthropologie et Sociétés 36, no. 3 (2013): 137–52. http://dx.doi.org/10.7202/1014169ar.

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Une caractéristique de la performance dansée est d’orienter l’attention sur le mouvement en tant que tel et d’induire une conscience proprioceptive aiguë. Elle a dès lors le potentiel de faire apparaître dans son accomplissement même la double action d’incorporation et de dilatation de la gestuelle humaine, identifiée par Marcel Jousse, ainsi que le rapport mimétique de l’individu au monde qui s’y réalise. Cet argument est exploré pour l’ikoku des Punu du Congo-Brazzaville. Dans cette danse qui célèbre la fertilité, un va-et-vient entre des danseurs de sexe différent donne lieu à une phase d’a
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6

Kardis, Kamil, Maria Kardis, Gabriel Pala, Tadeusz Bak, and Michal Valco. "The culture of the body in the media space of postmodern society." XLinguae 14, no. 4 (2021): 312–23. http://dx.doi.org/10.18355/xl.2021.14.04.21.

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According to M. Fforde, the era of postmodernity is characterized by a form of cultural collapse, as it reveals many phenomena indicating that contemporary humans are on the path towards ‘desocialization.’ This process represents an overall cultural shift as well as changes in the existing anthropological paradigms. This paper is dedicated to an analysis of the issue of religion as social capital in conditions of increasing societal risks. We work with an hypothesis that sociopathological phenomena are rather determined by cultural and secularization factors. In our article, we argue that deso
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7

Thorström, Tony. "Toward an Ontology of Emergence: Agency Materialization and Redistribution Processes in Jean-Michel Truong’s Le Successeur de pierre." IRIS, no. 38 (June 30, 2017): 81–91. http://dx.doi.org/10.35562/iris.1083.

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À travers l’ouvrage Le Successeur de pierre (1999) par Jean-Michel Truong et à la lumière des théories de Félix Guattari, de Mark B. N. Hansen et de Brian Rotman relatives aux multiples virtualités de l’être humain, cet article étudiera la narration romanesque de l’imbrication des nouvelles technologies de l’information et de la communication (NTIC) dans les processus de matérialisation et d’agentivité du posthumain. Dans son roman, Truong nous invite en effet à repenser la contextualité du corps et de l’identité humaine en substituant un point de vue anthropocentrique et dualiste à une ontolo
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8

Thorström, Tony. "Toward an Ontology of Emergence: Agency Materialization and Redistribution Processes in Jean-Michel Truong’s Le Successeur de pierre." IRIS, no. 38 (June 30, 2017): 81–91. http://dx.doi.org/10.35562/iris.1083.

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À travers l’ouvrage Le Successeur de pierre (1999) par Jean-Michel Truong et à la lumière des théories de Félix Guattari, de Mark B. N. Hansen et de Brian Rotman relatives aux multiples virtualités de l’être humain, cet article étudiera la narration romanesque de l’imbrication des nouvelles technologies de l’information et de la communication (NTIC) dans les processus de matérialisation et d’agentivité du posthumain. Dans son roman, Truong nous invite en effet à repenser la contextualité du corps et de l’identité humaine en substituant un point de vue anthropocentrique et dualiste à une ontolo
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9

Anderson, Christopher, Arne Eigenfeldt, and Philippe Pasquier. "The Generative Electronic Dance Music Algorithmic System (GEDMAS)." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (2021): 5–8. http://dx.doi.org/10.1609/aiide.v9i5.12649.

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The Generative Electronic Dance Music Algorithmic System (GEDMAS) is a generative music system that composes full Electronic Dance Music (EDM) compositions. The compositions are based on a corpus of transcribed musical data collected through a process of detailed human transcription. This corpus data is used to analyze genre-specific characteristics associated with EDM styles. GEDMAS uses probabilistic and first order Markov chain models to generate song form structures, chord progressions, melodies and rhythms. The system is integrated with Ableton Live, and allows its user to select one or s
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10

Masurelle, Aymeric, Ahmed Rida Sekkat, Slim Essid, and Gaël Richard. "TPT-Dance&Actions : un corpus multimodal d’activités humaines." Traitement du signal 32, no. 4 (2015): 443–75. http://dx.doi.org/10.3166/ts.32.443-475.

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Masurelle, Aymeric, Ahmed Rida Sekkat, Slim Essid, and Gaël Richard. "TPT-Dance&Actions : un corpus multimodal d’activités humaines." Traitement du signal 33, no. 1 (2016): 113–30. http://dx.doi.org/10.3166/ts.33.113-130.

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Masurelle, Aymeric, Ahmed Rida Sekkat, Slim Essid, and Gaël Richard. "TPT-Dance&Actions : un corpus multimodal d’activités humaines." Traitement du signal 33, no. 1 (2016): 131–51. http://dx.doi.org/10.3166/ts.33.131-151.

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13

De barros, Mayra Giovaneti, and César Donizetti pereira Leite. "entre corpos, danças e educações: uma experiência infantil." childhood & philosophy 19 (May 31, 2023): 01–28. http://dx.doi.org/10.12957/childphilo.2023.69054.

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This paper is the result of reflections inspired by observing and participating in dancing sessions with children. Our experience of the latter led to the production of images that provoked a variety of questions, and invited us to think about the relationships between bodies, dance, and various forms of education. Among these questions were: what clues about the experience of human embodiment are given through observing children’s dance? What can children teach us through participating with them in this performative medium, and what are its implications for education, most especially in light
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14

Da Silva, Aila Regina. "O corpo mediador: dança e mediação no museu." Repertório, no. 28 (December 5, 2017): 390. http://dx.doi.org/10.9771/r.v0i28.25018.

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<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo hete
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15

Brezavšček, Pia, and Alja Lobnik. "Impulstanz 2019: A few thoughts." Maska 34, no. 198 (2019): 133–37. http://dx.doi.org/10.1386/maska.34.198-199.133_1.

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Abstract During their residence in Vienna, the editors of this magazine visited a part of the ImpulsTanz festival in order to map international trends in contemporary dance. They established that, following an increase in the production of contemporary dance, interest in theory (the Maska magazine being an important part of this scene for several years now) experienced a decrease. They divided the production into three categories: A Dance of Great Names (mentioning Ivo Dimchev with Selfie Concert, Jonathan Burrows with Rewriting, a piece by Wim Vandekeybus/Ultima Vez Go Figure Out Yourself and
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Teatro & Dança, REPERTÓRIO:. "Prise en compte des enjeux esthétiques et de santé en danse contemporaine professionnelle: paroles de chorégraphes, interprètes et répétieurs [Sylvie Fortin]." REPERTÓRIO, no. 13 (November 16, 2012): 55. http://dx.doi.org/10.9771/r.v0i13.4014.

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Dans cet article, j’aborde comment la santé est négociée selon plusieurs aspects de la pratique professionnelle de la danse. Alors que plusieurs chorégraphes, en sous-texte de leurs oeuvres, dénoncent des injustices humaines, nous pourrions escompter une considération de la santé et du bien-être des artistes qui donnent corps à ce regard sur le monde. Nos résultats d’entrevues auprès d’une quarantaine de chorégraphes, répétiteurs et interprètes professionnels s’apparentent toutefois à ceux d’autres études en regard de la passion et de la vocation souvent évoquées pour expliquer les atteintes c
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17

Mehr, Samuel A., Manvir Singh, Dean Knox, et al. "Universality and diversity in human song." Science 366, no. 6468 (2019): eaax0868. http://dx.doi.org/10.1126/science.aax0868.

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What is universal about music, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world’s societies, as well as a discography of audio recordings. The ethnographic corpus reveals that music (including songs with words) appears in every society observed; that music varies along three dimensions (formality, arousal, religiosity), more within societies than across them; and that music is associated with certain behavioral contexts such as infant care, healing, dance, and love. The discography—analyzed through machine summaries, amateur
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18

Char, Carla, and Marlucy Alves Paraíso. "UMA DANÇA-MENOR EM UM CURRÍCULO-DANÇANTE." Revista Espaço do Currículo 16, no. 2 (2023): 1–20. http://dx.doi.org/10.15687/rec.v16i2.67279.

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Este artigo mostra como um currículo-dançante, criado a partir de experimentações com dança no território de um currículo em ação, se reinventou e desencadeou outros modos de aprender ao se conectar com uma dança-menor, aquela que está nos corpos estudantis e é frequentemente marginalizada no currículo maior. Utilizou-se como metodologia o dançarilhar, isto é: uma composição feita de cartografia + dança e que se inspira tanto nos estudos de Gilles Deleuze e Félix Guattari como no “Andarilho” de Nietzsche para apostar em um currículo-dançante. O objetivo deste artigo é mostrar como um currículo
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19

Kellett-Betsos, Kathleen. "La séduction, l’abject et le corps féminin dans les romans de Maurice Henrie." Voix Plurielles 9, no. 1 (2012): 35–49. http://dx.doi.org/10.26522/vp.v9i1.605.

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Maurice Henrie offre dans sa fiction un mélange de réalisme et de fantastique qui donne lieu à une critique sociale percutante. Connu surtout pour ses nouvelles, Henrie a également publié trois romans : Le balcon dans le ciel (1995), Une Ville lointaine (2001) et Le Chuchotement des étoiles (2007). Chez Henrie, la représentation de l’abject relève d’une équivalence établie entre la vie cérébrale au masculin et la vie corporelle au féminin. Il appert que l’œuvre d’Henrie participe de la « somotaphobie », ou dévalorisation du corps humain par rapport à l’esprit. Dans les trois romans de Maurice
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20

Slights, William W. E. "The Narrative Heart of the Renaissance." Renaissance and Reformation 38, no. 1 (2002): 5–23. http://dx.doi.org/10.33137/rr.v38i1.8746.

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Les fictions de tels écrivains que Boccace, Dante, Shakespeare et Harvey ont été influencées par la redécouverte par les anatomistes de la Renaissance des documents de l’Antiquité sur la dissection, ainsi que par des
 redéfinitions théologiques du cœur comme le site d’intériorité spirituelle. Ces représentations diverses du cœur apportent de façon paradoxale du réconfort et de la terreur à la fois, en juxtaposant l’incertitude spirituel et le corps matériel. On en obtient un aperçu de la signification de la condition humaine dans un monde de plus en plus perturbé par l’avènement de la sci
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21

Soutan, T. "L’art comme interface entre les domaines scientifique et spirituel dans les doctrines de Delsarte et Steiner (XIXe-XXe siècles)." STAPS 18, no. 42 (1997): 73–89. http://dx.doi.org/10.3406/staps.1997.1087.

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Cette recherche a été entreprise afin de comprendre les relations entre les champs scientifique, mystique et artistique et les premières doctrines de la motricité humaine. En effet, si la science impose son modèle dès la fin du XVIIIe siècle, elle dépasse son propre domaine en investissant les relations entre corps et âme. Face aux modèles biologique et psycho-corporel, le modèle artistique tend à s’ouvrir à la dimension spirituelle. Choisissant l’analyse de contenu comme technique d’investigation, cette étude s’est intéressée aux modèles ternaires corps-âme-esprit de François Delsarte (1811-1
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22

Mesager, Mélanie. "Qu’est-ce que l’art chorégraphique peut montrer du corps migrant ? Une étude des chorégraphies Ethnoscape de Cécile Proust et Rester. Étranger de Barbara Manzetti." Voix Plurielles 15, no. 2 (2018): 33–48. http://dx.doi.org/10.26522/vp.v15i2.2072.

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Lorsqu’une chorégraphie comme Ethnoscape de Cécile Proust, qui traite du sujet des migrations humaines, est présentée sur scène au public, elle se trouve prise dans un contexte de réception politique et éthique d’autant plus brûlant qu’il touche à une actualité immédiate et médiatisée. C’est cette rencontre que l’article proposé commence par interroger : comment rendre présents les corps des immigrés, à travers leurs témoignages, leurs voix, leurs images ? Leur présence différée ne marque-t-elle pas inéluctablement leur absence ? Comparant ce projet avec celui de Barbara Manzetti qui fait veni
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23

Brezavšček, Pia, and Alja Lobnik. "Impulstanz 2019: Nekaj misli." Maska 34, no. 198 (2019): 129–32. http://dx.doi.org/10.1386/maska.34.198-199.129_1.

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Povzetek Urednici pričujoče revije sta v okviru rezidenčnega bivanja na Dunaju obiskali del festivala ImpulsTanz, da bi zmapirali mednarodne trende na področju sodobnega plesa. Ugotovili sta, da je na sodobnoplesni sceni ob povečani produkciji upadel interes za teorijo, kamor se že vrsto let pomembno umešča tudi delo revije Maska. Produkcijo sta razvrstili v tri kategorije: ples velikih imen (tu omenita Iva Dimcheva z delom Selfie Concert, Jonathana Burrowsa z delom Rewriting, komad Wima Vandekeybusa/Ultima Vez Go Figure Out Yourself ter klasiko DD Dorvillier/Human Future Dance Corps: No Chang
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24

Lartigue, Angel. "Science at the Club: Putrefaction as an artistic medium." Technoetic Arts 18, no. 2-3 (2020): 173–84. http://dx.doi.org/10.1386/tear_00036_1.

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Science at the Club explores the architecture of the nightclub space as a nucleus for queer testimony, relating it to a judiciary courtroom. This performance challenges legal doctrines of forensic identification and the binary of life and death, by transforming biological and forensic material into ephemeral essences within the performance of the dance floor. Divided into a case study surrounding my performances at nightclubs, research courses taken in human remains recovery and visits to various burial sites of South Texas, I pull from a variety of interdisciplinary studies relating to queer
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Hoang, Nhat M., Kehong Gong, Chuan Guo, and Michael Bi Mi. "MotionMix: Weakly-Supervised Diffusion for Controllable Motion Generation." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 3 (2024): 2157–65. http://dx.doi.org/10.1609/aaai.v38i3.27988.

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Controllable generation of 3D human motions becomes an important topic as the world embraces digital transformation. Existing works, though making promising progress with the advent of diffusion models, heavily rely on meticulously captured and annotated (e.g., text) high-quality motion corpus, a resource-intensive endeavor in the real world. This motivates our proposed MotionMix, a simple yet effective weakly-supervised diffusion model that leverages both noisy and unannotated motion sequences. Specifically, we separate the denoising objectives of a diffusion model into two stages: obtaining
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Murray-Browne, Tim, and Panagiotis Tigas. "Emergent Interfaces: Vague, Complex, Bespoke and Embodied Interaction between Humans and Computers." Applied Sciences 11, no. 18 (2021): 8531. http://dx.doi.org/10.3390/app11188531.

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Most Human–Computer Interfaces are built on the paradigm of manipulating abstract representations. This can be limiting when computers are used in artistic performance or as mediators of social connection, where we rely on qualities of embodied thinking: intuition, context, resonance, ambiguity and fluidity. We explore an alternative approach to designing interaction that we call the emergent interface: interaction leveraging unsupervised machine learning to replace designed abstractions with contextually derived emergent representations. The approach offers opportunities to create interfaces
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27

Wang, Jiacan, Mo Chen, Hongyan Zhang, and Fang Ye. "Intangible Cultural Heritage in the Yangtze River Basin: Its Spatial Distribution Characteristics and Influencing Factors." Sustainability 15, no. 10 (2023): 7960. http://dx.doi.org/10.3390/su15107960.

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The intangible cultural heritage in the Yangtze River Basin is rich and complete, therefore revealing its spatial distribution characteristics and influencing factors can provide a scientific basis for the diversified cultural protection and inheritance in the Yangtze River Basin and the high-quality sustainable development of the region. This study sets a total of 1250 national intangible cultural heritage from the first batch to the fifth batch in 11 provinces, municipalities, and autonomous regions which the main stream of the Yangtze River flows through as the research object. The results
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Pujante González, Domingo. "Apertura: No hay palabras..." HYBRIDA, no. 5(12/2022) (December 27, 2022): 3. http://dx.doi.org/10.7203/hybrida.5(12/2022).25813.

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Il me regarde. Parfois il murmure des mots que je ne comprends pas. Et puis il s’assoit sur le lit, et il rabat les couvertures. Il dit mon nom tout bas, tu dormais, mon amour ? Là il n’y a plus d’espoir, je sais que ça commence. J’ouvre les yeux sur le noir de la chambre qui peu à peu s’éclaire et dévoile le visage de papa.
 Il n’y a pas de mots pour ce qu’il me fait dans la chambre. Voix coupée, je ne pourrai jamais le dire. À moi seule je le dis pour ne pas me perdre de vue.
 Lori Saint-Martin (1999). Mon père, la nuit (p. 7). L’instant même.
 
 Nous voilà au troisième s
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Guilherme, Sylviane, and Silvia Aparecida de Sousa Fernandes. "Dancing Rupestres: the radical of the body in intentional aesthetic movement." Revista Brasileira de Estudos da Presença 12, no. 3 (2022). http://dx.doi.org/10.1590/2237-2660113530vs.

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Abstract: The text presents a critical analysis of the roots of dance from the perspective of historical and dialectical materialism, the formulations of Marx and Engels, and of the Marxist aesthetes who followed them, proposing a study of the concept, reason and purpose of dance for the human race. It approaches themes such as work as the founding category of the human being. It then discusses human body movement as free creation work, intentional body movements of work and the process of their transition into dance movements. Finally, based on studies on human manifestations developed on the
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KAPTAN, Merve. "LE SAMA : DANSE ET PHENOMENOLOGIE." Milli Folklor, September 22, 2023. http://dx.doi.org/10.58242/millifolklor.1309806.

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Au départ, une question d’érudit : quelle conception de la danse soufie pouvons-nous développer en premier lieu ? Cette question implique certainement un examen approfondi des traditions soufies turques. Or, au sens où nous, les modernes, l’entendons, en ce qui concerne le corps visible, il n'existe actuellement qu'une gesticulation très vivante et raffinée. Mais au regard de l’argumentation d’ensemble, il semble possible d'affirmer que la danse est finalement considérée comme un écart, même excessif, par rapport à un état ‘normal’ du corps communicant, du corps qui parle et gesticule dans l'i
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D’Abronzo, Thais Helena. "Images as Apparitions of the Body: Ilka Schönbein’s loving game." Revista Brasileira de Estudos da Presença 12, no. 3 (2022). http://dx.doi.org/10.1590/2237-2660118932vs02.

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ABSTRACT This Article presents aspects of Ilka Schönbein’s trajectory, a German puppeteer and dancer, in particular her game with the puppet and the singular way with which her images and her dance challenge the body. And it is these aspects that makes their images-bodies encounter the transgressive game and movements of Bataille’s and Georges Didi-Huberman’s eroticism. With them and Ilka, image and body are confused and, in this encounter, the image opens to the apparitions of the body: vital and funereal processes that jolt and disrupt the contours of correct human figures. Ilka Schönbein’s
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Bessa, Pedro, and Mariana Assunção Quintes dos Santos. "Presença e morte: o carácter efémero das artes do corpo." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a119.

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This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architect
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Zhang, Yi, and Mengni Zhang. "Machine learning model-based two-dimensional matrix computation model for human motion and dance recovery." Complex & Intelligent Systems, September 12, 2020. http://dx.doi.org/10.1007/s40747-020-00186-9.

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Abstract Many regions of human movement capturing are commonly used. Still, it includes a complicated capturing method, and the obtained information contains missing information invariably due to the human's body or clothing structure. Recovery of motion that aims to recover from degraded observation and the underlying complete sequence of motion is still a difficult task, because the nonlinear structure and the filming property is integrated into the movements. Machine learning model based two-dimensional matrix computation (MM-TDMC) approach demonstrates promising performance in short-term m
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Tsambu, Léon. "5 - La scène musicale populaire kinoise à l’épreuve du genre et de l’androcentrisme." Africa Development 45, no. 4 (2021). http://dx.doi.org/10.57054/ad.v45i4.627.

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Dans une perspective théorique genrée et transdisciplinaire (théories des champs et de l’intersectionnalité), le présent article discute de l’androcentrisme en tant qu’ensemble de rapports de pouvoir focalisés sur l’hégémonie masculine, tel qu’il se déploie sur la scène musicale populaire de Kinshasa. L’enquête a démontré qu’assujettie sexuellement, débauchable ou « bien d’échange », la femme (chanteuse, choriste, danseuse) a en outre été soumise à un faisceau d’oppressions professionnelles par l’homme à travers a) une division sexuée du travail qui l’a confinée à la tâche érotique de la danse
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Kacprzak, Aleksander. "Afryka oczyma świata zachodniego – językowy stereotyp Afryki i jej mieszkańców w języku duńskim." Conversatoria Linguistica, no. 13 (January 26, 2022). http://dx.doi.org/10.34739/clg.2021.13.03.

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The present paper aims to investigate the way in which Africa is perceived by Danish speakers in light of the most petrified linguistic expressions and corpus data. As it turns out, the received picture is largely negative, with elements such as POVERTY, DISEASES, LACK OF DEMOCRACY, WARS and ETHNIC CLASHES in its foreground. Moreover, in the majority of the analyzed contexts Africa is presented as a cluster of similar countries facing the same challenges, with little room for the awareness of the great cultural diversity that flourishes on the continent. In this context, it is also worth addin
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Abbas, Herawaty, and Brooke Collins-Gearing. "Dancing with an Illegitimate Feminism: A Female Buginese Scholar’s Voice in Australian Academia." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.871.

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Sharing this article, the act of writing and then having it read, legitimises the point of it – that is, we (and we speak on behalf of each other here) managed to negotiate western academic expectations and norms from a just-as-legitimate-but-not-always-heard female Buginese perspective written in Standard Australian English (not my first choice-of-language and I speak on behalf of myself). At times we transgressed roles, guiding and following each other through different academic, cultural, social, and linguistic domains until we stumbled upon ways of legitimating our entanglement of experien
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Na, Ali. "The Stuplime Loops of Becoming-Slug: A Prosthetic Intervention in Orientalist Animality." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1597.

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What are the possibilities of a body? This is a question that is answered best by thinking prosthetically. After all, the possibilities of a body extend beyond flesh and bone. Asked another way, one might query: what are the affective capacities of bodies—animal or otherwise? Philosophers Gilles Deleuze and Félix Guattari focus on affectivity as capacity, on what the body does or can do; thinking through Baruch Spinoza’s writing on the body, they state, “we know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into compositio
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Dutton, Jacqueline Louise. "C'est dégueulasse!: Matters of Taste and “La Grande bouffe” (1973)." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.763.

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Dégueulasse is French slang for “disgusting,” derived in 1867 from the French verb dégueuler, to vomit. Despite its vulgar status, it is frequently used by almost every French speaker, including foreigners and students. It is also a term that has often been employed to describe the 1973 cult film, La Grande bouffe [Blow Out], by Marco Ferreri, which recounts in grotesque detail the gastronomic suicide of four male protagonists. This R-rated French-Italian production was booed, and the director spat on, at the 26th Cannes Film Festival—the Jury President, Ingrid Bergman, said it was the most “s
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Murphy, Ffion, and Richard Nile. "Writing, Remembering and Embodiment: Australian Literary Responses to the First World War." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.526.

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This paper is part of a larger project exploring Australian literary responses to the Great War of 1914-1918. It draws on theories of embodiment, mourning, ritual and the recuperative potential of writing, together with a brief discussion of selected exemplars, to suggest that literary works of the period contain and lay bare a suite of creative, corporeal and social impulses, including resurrection, placation or stilling of ghosts, and formation of an empathic and duty-bound community. In Negotiating with the Dead, Margaret Atwood hypothesises that “all writing of the narrative kind, and perh
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Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno
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Polain, Marcella Kathleen. "Writing with an Ear to the Ground: The Armenian Genocide's "Stubborn Murmur"." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.591.

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1909–22: Turkey exterminated over 1.5 million of its ethnically Armenian, and hundreds of thousands of its ethnically Greek and Assyrian, citizens. Most died in 1915. This period of decimation in now widely called the Armenian Genocide (Balakian 179-80).1910: Siamanto first published his poem, The Dance: “The corpses were piled as trees, / and from the springs, from the streams and the road, / the blood was a stubborn murmur.” When springs run red, when the dead are stacked tree-high, when “everything that could happen has already happened,” then time is nothing: “there is no future [and] the
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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2409.

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 All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).
 
 
 As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see
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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese
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Kadivar, Jamileh. "Government Surveillance and Counter-Surveillance on Social and Mobile Media: The Case of Iran (2009)." M/C Journal 18, no. 2 (2015). http://dx.doi.org/10.5204/mcj.956.

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Human history has witnessed varied surveillance and counter-surveillance activities from time immemorial. Human beings could not surveille others effectively and accurately without the technology of their era. Technology is a tool that can empower both people and governments. The outcomes are different based on the users’ intentions and aims. 2,500 years ago, Sun Tzu noted that ‘If you know both yourself and your enemy, you can win numerous (literally, "a hundred") battles without jeopardy’. His words still ring true. To be a good surveiller and counter-surveiller it is essential to know both
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Taylor, Josephine. "The Lady in the Carriage: Trauma, Embodiment, and the Drive for Resolution." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.521.

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Dream, 2008Go to visit a friend with vulvodynia who recently had a baby only to find that she is desolate. I realise the baby–a little boy–died. We go for a walk together. She has lost weight through the ordeal & actually looks on the edge of beauty for the first time. I feel like saying something to this effect–like she had a great loss but gained beauty as a result–but don’t think it would be appreciated. I know I shouldn’t stay too long &, sure enough, when we get back to hers, she indicates she needs for me to go soon. In her grief though, her body begins to spasm uncontrollably, d
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Knopp-Schwyn, Collin, and Michael Fracentese. "Ayo, Bisexual Check." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2967.

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Introduction A 2021 listicle pronouncing “10 Things That Are Bisexual Culture” concludes that “claiming that random things are ‘bi culture’ is the most bi-culture thing of all” (Wilber n.p.). While posed as tongue-in-cheek, the assignment of status as a signifier of bisexuality to seemingly arbitrary actions and items reinforces the notion that bi people seek a distinct visual and cultural identity and struggle to make one. We consider how creators on the algorithmically driven social media platform TikTok responded to an open-ended 2019 prompt (“ayo, bisexual check”) to show off styles and ac
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