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Théorie littéraire et fragilité du divers
L’infini culturel est autour de nous, mais, comme l’horizon, il tend à fuir sous nos yeux. Il est sur les murs investis par le street art ; ou dans les toiles d’araignée auxquelles Tomás Saraceno a rendu homage ; ou dans les timbres-poste qui, comme savaient Walter Benjamin et Italo Calvino, sont des fenêtres ouvertes sur le monde.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.
Théorie littéraire et fragilité du divers
L’infini culturel est autour de nous, mais, comme l’horizon, il tend à fuir sous nos yeux. Il est sur les murs investis par le street art ; ou dans les toiles d’araignée auxquelles Tomás Saraceno a rendu homage ; ou dans les timbres-poste qui, comme savaient Walter Benjamin et Italo Calvino, sont des fenêtres ouvertes sur le monde.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.
Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.
How can medieval art explain Jerusalem’s centrality in the world faiths of Christianity and Islam? This book delves into that topic by examining how Jerusalem was creatively represented and reimagined in several intriguing Christian and Islamic artworks in the later Middle Ages (c. 1187 to 1356).
The book considers how European Catholic crusaders, Eastern Christian sects, and diverse Muslim factions displayed Jerusalem’s architecture to express their interpretation of the holy city’s sanctity and influence. These examples demonstrate how artworks can reflect Jerusalem’s importance to these faiths in the past and illuminate our understanding of its status into the modern era.
The book considers how European Catholic crusaders, Eastern Christian sects, and diverse Muslim factions displayed Jerusalem’s architecture to express their interpretation of the holy city’s sanctity and influence. These examples demonstrate how artworks can reflect Jerusalem’s importance to these faiths in the past and illuminate our understanding of its status into the modern era.
How can medieval art explain Jerusalem’s centrality in the world faiths of Christianity and Islam? This book delves into that topic by examining how Jerusalem was creatively represented and reimagined in several intriguing Christian and Islamic artworks in the later Middle Ages (c. 1187 to 1356).
The book considers how European Catholic crusaders, Eastern Christian sects, and diverse Muslim factions displayed Jerusalem’s architecture to express their interpretation of the holy city’s sanctity and influence. These examples demonstrate how artworks can reflect Jerusalem’s importance to these faiths in the past and illuminate our understanding of its status into the modern era.
The book considers how European Catholic crusaders, Eastern Christian sects, and diverse Muslim factions displayed Jerusalem’s architecture to express their interpretation of the holy city’s sanctity and influence. These examples demonstrate how artworks can reflect Jerusalem’s importance to these faiths in the past and illuminate our understanding of its status into the modern era.