Cultural Studies

Download Des choses cachées depuis la fondation du monde by René Girard PDF

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By René Girard

On savait, depuis los angeles Violence et le Sacré, que toute société humaine est fondée sur l. a. violence, mais une violence tenue à distance et comme transfigurée dans l’ordre du sacré. Dans ce nouveau livre, René Girard applique cette instinct originaire au grand recueil mythique de l. a. mémoire occidentale, c’est-à-dire à l. a. Bible qui est tout entière, selon lui, le cheminement inouï vers le Dieu peaceful de notre civilisation. Il s’ensuit une relecture critique et proprement révolutionnaire du texte évangélique qui apparaît du coup comme un grand texte anthropologique, le seul à révéler pleinement le mécanisme victimaire. Il s’ensuit aussi l. a. fondation d’une nouvelle psychologie fondée sur un mécanisme uncomplicated et universel que Girard appelle l. a. « mimésis » et qui permet de faire le partage entre les processus d’appropriation, générateurs de violence, et les antagonismes, producteurs de sacré. Chemin faisant, on assiste à de magistrales analyses comparatives de Proust et de Dostoïevski, de Freud et de Sophocle, à los angeles lumière de cette proposal nouvelle et qui se révèle particulièrement féconde de « désir mimétique ». René Girard, cette fois, approche du yet, de cette anthropologie générale qui est, de son propre aveu, le projet ultime de son œuvre : c’est pourquoi il nous donne là peut-être un des livres clés pour comprendre les mystères de notre monde et de ses plus lointaines, de ses plus archaïques généalogies.

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Magnetic Rose is a deeply pessimistic meditation on the seductive dangers of nostalgia, and this nostalgia is consistently linked to the feminine. ” Both male and female characters in Magnetic Rose are ultimately victims, subject to and objects of a nostalgic gaze that looks for home within a simulacrum. Eva’s construction is particularly complex because though on the one hand she is performing for the male, on the other hand she is avenging herself against the male and her former audience. In contrast to Magnetic Rose, the female characters in Kon’s three feature films are usually not as darkly presented, but they too are frequently performers who experience some kind of trauma that leads them to retreat into liminal worlds in which the real and the unreal mingle.

The film next cuts to a backstage view as Cham’s members mill around excitedly, full of preperformance jitters. As they finally go on stage, the focus stays on Mima but shows only her back. And, as the title Perfect Blue (in English) flashes across the screen, the film cuts again to Mima, this time in ordinary garb, seated on a train looking at her reflection. This opening sequence establishes a number of important themes in the film. The first is that perceptions cannot be trusted. Again and again throughout the narrative, Kon sets the viewer up, sometimes by showing what appears to be a real sequence only to pull back to show that it is happening on television or on stage.

Indeed Eva, being a hologram, possesses (or is possessed by) absence as her most distinguishing feature. For much of the episode, the men do not even see her hologram but are led on simply by her voice. She, like the “houses in California,” is overtly an object of desire but one that is forever elusive. The fact that this desire is closely associated with memories—of home, love, culture, and family—makes its frustration all the more painful. Magnetic Rose is a deeply pessimistic meditation on the seductive dangers of nostalgia, and this nostalgia is consistently linked to the feminine.

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