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On the Hostility to Handicraft, Aesthetic Labour and the Politics of Work in Art
This book provides a new history of the changing relationship between art, craft and industry focusing on the transition from workshop to studio, apprentice to pupil, guild to gallery and artisan to artist. Responding to the question whether the artist is a relic of the feudal mode of production or is a commodity producer corresponding to the capitalist mode of cultural production, this inquiry reveals, instead, that the history of the formation of art as distinct from handicraft, commerce and industry can be traced back to the dissolution of the dual system of guild and court. This history needs to be revisited in order to rethink the categories of aesthetic labour, attractive labour, alienated labour, nonalienated labour and unwaged labour that shape the modern and contemporary politics of work in art.
A Critique of Current and Past Norms
The current erotic landscape is contradictory: While the West sees greater sexual and erotic freedom than ever, there is also a movement to restrict the behaviour of various sexual minorities. Expanding and Restricting the Erotic addresses the way in which the erotic has been constrained and freed, both historically and at present. Topics range from the troubling way in which the mainstream media represents the erotic, to the concept of friends with benefits. Other chapters explore female eroticism, from contemporary female hip hop artists to Latin American women seeking to express their eroticism in the midst of sexual repression. Medieval and Early Modern medical conceptions of the female body are explored, as are ancient Greek erotic practices. Finally, the controversial area of teenage girls’ erotic representation is analysed.
The Culture of Boredom is a collection of essays by well-known specialists reflecting from philosophical, literary, and artistic perspectives, in which the reader will learn how different disciplines can throw light on such an appealing, challenging, yet still not fully understood, phenomenon. The goal is to clarify the background of boredom, and to explore its representation through forgotten cross-cutting narratives beyond the typical approaches, i.e. those of psychology or psychiatry. For the first time this experienced group of scholars gathers to promote a cross-border dialogue from a multidisciplinary perspective.
The Challenge of Legal Protection
The complex nature of industrial design, which combines functional and aesthetic elements, allows different modes of protection: cumulative, separate or partially overlapping regimes are applicable according to different legal systems. The legal framework is rapidly changing, especially in Europe where the principle of cumulation of a special sui generis regime for protecting industrial design with copyright rules has been established. In the last decade, national courts of some Member States conferred to the “cumulative regime” a peculiar meaning, other courts enforced design rights in line with the interpretation given by the Court of Justice of the EU. The copyright/design interface is presented here to a wider, non-specialist audience, taking as a starting point the notion of industrial design derived from design studies, on the border between art and science.
Silence, Implicite et Non-Dit chez Rousseau/Silence, the Implicit, and the Unspoken in Rousseau prend acte d’un grand nombre de publications ayant trait à l’analyse par Rousseau des langues et du langage, de la parole par rapport à l’écriture, de la voix (y compris la voix de la nature). Mais ce volume se consacre tout particulièrement au fonctionnement et aux effets du silence, de l’implicite et du non-dit dans la pensée de Rousseau. Son approche est à la fois polyvalente et cohérente, et ses réflexions sur le silence sont associées à d’autres préoccupations esthétiques, politiques, et morales de son œuvre.

Silence, Implicite et Non-Dit chez Rousseau/Silence, the Implicit, and the Unspoken in Rousseau capitalizes on a great number of publications dealing with Rousseau’s analysis of languages and language, speech versus writing, of voice (including the voice of nature). But this volume is particularly dedicated to the study of the functioning and the effects of silence, the implicit and the unspoken in Rousseau’s thought. His approach is both polyvalent and consistent, and his reflections on silence are associated with other aesthetic, political, and moral concerns in his work.

Abstract

The chapter discusses Rousseau’s effective use of silence and implicitness. Where in Rousseau’s work, not as a subject but as a resource, are silence, the unsaid, the implicit? A part of the argument is that Rousseau has, in writing, an excellent command of the resources of rhetoric, including those of all three terms in our title. When, in the Dictionnaire de musique, Rousseau writes, « On sait que le bruit peut produire l’effet du silence, et le silence l’effet du bruit », he gives the measure of a subtle understanding that could be equally pertinent for speech and writing.

In: Silence, Implicite et Non-Dit chez Rousseau / Silence, the Implicit and the Unspoken in Rousseau

Résumé

Renvoyant dos-à-dos un silence religieux absorbé par le mystère de la transcendance et un silence bienséant animé par le désir de plaire, l’éducation rousseauiste ne se complait cependant pas dans de doctes discours inadaptés à l’enfant, mais fait du silence un usage stratégique. Cette contribution montre que l’économie du discours du gouverneur dans l’enfance rendra Émile capable d’entendre ce qui est devenu à beaucoup d’autres inaudible, « la voix des infortunés ». La moralité d’Émile suppose paradoxalement que le gouverneur ait d’abord maintenu l’enfant dans un double silence, celui des passions et celui de Dieu. Émile enfant passe du silence plat du monde des choses à un silence critique mettant à distance l’ordre social injuste. Par son art de manier les silences, le gouverneur rend alors possible la formation réflexive du jugement de son élève. Ce chapitre apporte ainsi un éclairage différent à la question controversée de l’autonomie de l’élève rousseauiste, en faisant valoir la pertinence des stratégies discursives du gouverneur.

In: Silence, Implicite et Non-Dit chez Rousseau / Silence, the Implicit and the Unspoken in Rousseau

Abstract

This chapter aligns silence in a range of Rousseau’s works with the symbol of the corps morcelé. The image of the fragmented body of his Lévite d’Ephraïm depicts torment at its most gruesome level, yet simultaneously serves as the paragon of expressivity, embodying l’éloquence muette for Rousseau. This symbol is likewise born of Rousseau’s own alienation and suffering, both in the persecution that he faces for his writing, and in his subjective experience as corps morcelé facing the limitations of language. The anxiety and alienation that Jacques Lacan identifies within his conception of the corps morcelé is evident in Rousseau’s struggles with language and society. Like silence for Lacan, Rousseau’s mute eloquence of the corps morcelé is symptomatic, as it reveals disparities in the political body and an underlying lack in language, but it is also restorative in its potential to vindicate, as well as to incarnate Rousseau’s own corps morcelé.

In: Silence, Implicite et Non-Dit chez Rousseau / Silence, the Implicit and the Unspoken in Rousseau

Résumé

Ce chapitre examine la place et la signification d’un commentaire sur le silence dans l’Emile afin d’en dégager les enjeux pédagogiques, politiques, et religieux. Afin d’illustrer sa conception de l’éducation négative Rousseau propose dans le second livre d’Emile une anecdote sur l’interprétation à donner au célèbre geste d’Alexandre buvant le breuvage de son médecin. Alors qu’il s’apprête à entrer dans la dispute Rousseau est rappelé à l’ordre: « Tais-toi, Jean-Jacques, ils ne t’entendront pas. » Grâce à cette intervention – de la part d’une femme qui reste anonyme – le jeune Rousseau échappe à une dispute dans laquelle il aurait été désavoué. L’auteur d’Emile va tirer de cette expérience autobiographique une leçon pédagogique: le maître doit savoir se taire et renoncer à la dispute. De fait le silence est essentiel à l’éducation négative : il en est le principe fondamental. Et le silence est également exemplaire au regard de la Profession de foi du Vicaire savoyard. De vertu pédagogique qu’il était dans le second livre le silence devient principe de tolérance dans le quatrième, l’anecdote fournissant la clé de la profession de foi.

In: Silence, Implicite et Non-Dit chez Rousseau / Silence, the Implicit and the Unspoken in Rousseau
In: Silence, Implicite et Non-Dit chez Rousseau / Silence, the Implicit and the Unspoken in Rousseau