scholarly journals Aimer, s’aimer à s’y perdre? Les jeux spéculaires de Cahun-Moore

2011 ◽  
pp. 87-114
Author(s):  
Andrea Oberhuber
Keyword(s):  
Claude Cahun ◽  
Alter Ego

Que penser d’une jeune artiste qui se présente tantôt en Méduse ou en beauté orientale, tantôt en bouddha, en haltérophile ou en Gretchen? Que penser de cet autoportrait dédoublé « en damier » qui fait écho au portrait d’une femme « en rayures », celui-ci également dédoublé? Comment décoder des photomontages — tous plus énigmatiques les uns que les autres — conçus en collaboration avec cette même femme « en rayures », et qui se retrouvent intercalés dans un texte intitulé Aveux non avenus? Que signifie « aimer », lorsque l’être aimé est notre alter ego? Cette histoire d’amour entre soi et la projection de soi peut-elle éviter l’abîme? Cet article propose de réfléchir sur la notion d’« aimer » chez Claude Cahun et Suzanne Malherbe alias Marcel Moore, en interrogeant le côté « narcissique » et autoréflexif que révèlent la plupart des autoportraits, l’autobiographie et les photomontages, d’une part, et le désir lesbien stigmatisé à l’époque comme un « faux masque », d’autre part. Dans un deuxième temps, il s’intéressera à ce couple symbiotique que forment l’auteure-photographe Cahun et la graphiste-peintre Moore, symbiose artistique qui leur permet de créer des oeuvres à leur image.

Review of Ernest Jones: Freud's Alter Ego.

1983 ◽  
Vol 28 (10) ◽  
pp. 806-806
Author(s):  
No authorship indicated
Keyword(s):  
Alter Ego ◽  
Ernest Jones

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

Ein Unsterblicher und seine Doppelgänger

2012 ◽  
Vol 2012 (1) ◽  
pp. 79-98
Author(s):  
Gérard Raulet
Keyword(s):  
Alter Ego

Walter Benjamins »destruktiver Charakter«, sein alter ego, ist nicht so einsam, wie es scheinen mag, sondern hat im bürgerlichen Lager, in der Person eines eher konservativen Kulturkritikers und Verteidigers der auserlesensten Bildung, einen Doppelgänger – soweit dieser avantgardistische künstlerische Positionen vertritt. Und dieser Doppelgänger hat ebenfalls einen Doppelgänger: »Monsieur Teste«. Daß es zwischen Benjamin und Valéry zu einem solchen Refraktionsspiel kam, ist kein Zufall. Der Dialog mit Valéry geht bei Benjamin auf das Frühjahr 1925 zurück und bildet einen roten Faden, der in der Verstrickung von Avantgardismus und Kulturkritik am deutlichsten zutage tritt.

Crystallex Int'l Corp. v. Bolivarian Rep. Venez. (3D Cir.)

2021 ◽  
pp. 1-21
Author(s):  
Kevin D. Benish
Keyword(s):  
United States Supreme Court ◽  
The United States ◽  
United States Supreme ◽  
Decision To Leave ◽  
Court Of Appeals ◽  
The Third ◽  
To Come ◽  
Alter Ego ◽  
Oil Company ◽  
The U.S

On May 18, 2020, the United States Supreme Court denied a request by the Bolivarian Republic of Venezuela and its state-owned oil company, Petróleos de Venezuela, S.A. (PDVSA), to review the merits of Crystallex Int'l Corp. v. Bolivarian Republic of Venezuela, a decision by the U.S. Court of Appeals for the Third Circuit. In Crystallex, the Third Circuit affirmed a trial court's determination that PDVSA is the “alter ego” of Venezuela itself, thus permitting Crystallex to enforce a $1.4 billion judgment against Venezuela by attaching property held in PDVSA's name. Given the Supreme Court's decision to leave the Third Circuit's opinion undisturbed, Crystallex is a significant decision that may affect parties involved in transnational litigation for years to come—especially those pursuing or defending against U.S. enforcement proceedings involving the property of foreign states.

Russell's Other Alter Ego

Dialogue ◽  
1988 ◽  
Vol 27 (4) ◽  
pp. 701-709
Author(s):  
R. E. Tully
Keyword(s):  
Free Trade ◽  
Women's Suffrage ◽  
Complex Character ◽  
Tariff Reform ◽  
Alter Ego ◽  
Women’S Suffrage

This is the first volume in the Collected Papers which deals exclusively with Russell's non-technical writings and, chronologically, it is the immediate successor of volume 1. Volumes 2 through 7 cover roughly the same span of years as volume 12 (1902–1914) but are devoted to his technical writings on mathematics, logic and philosophy. Of this group, however, only volume 7 has so far been published. The contents of volume 12 are intended to show two contrasting sides of Russell's highly complex character: the contemplative (but nonacademic) side and the active. The latter is much easier to delineate and much more widely known. During 1904, Russell rose to defend traditional Liberal principles of free trade and to assail the British government's protectionist proposals for tariff reform. His various articles, book reviews, critiques and letters to editors are gathered here. Three years later, he campaigned for election to Parliament from Wimbledon as the Women's Suffrage candidate against a staunch anti-suffragist. The outcome was never in doubt, not even to Russell, since Wimbledon was a safe seat for the Conservatives, and in the end Russell lost by a margin greater than 3-to-l, but his fight had been vigorous and had managed to gain national attention.

Les liens affinitaires, des alter ego ?

2005 ◽  
Vol n<sup>o</sup> 44 (1) ◽  
pp. 49-78
Author(s):  
Claudine Attias-Donfut ◽  
François-Charles Wolff
Keyword(s):  
Alter Ego

Husserl and Levinas

2018 ◽  
Vol 26 (51) ◽  
pp. 115-126
Author(s):  
João Carvalho ◽  
Keyword(s):  
Transcendental Phenomenology ◽  
Fundamental Difference ◽  
The Other ◽  
Close Reading ◽  
Key Concepts ◽  
Alter Ego

This paper presents two different, although related, approaches to the problem of the experience of the other person: E. Husserl’s phenomenology of intersubjectivity and E. Levinas’ ethics. I begin by (1) addressing the transcendental significance of the experience of intersubjectivity in the broader context of Husserl’s transcendental phenomenology. I then turn to (2) Husserl’s solution to the paradox of constituting the alter ego, identifying and elucidating the key‑concepts of his inquiry. I hold that throughout his analysis there is a dominant underlying meaning in which the alterity of the other person is progressively suppressed and, ultimately, elided. Finally, I discuss (3) the consequences of Husserl’s analysis of the other in light of Levinas’ ethics. I hold that Husserl’s claim that there is a fundamental difference between the experience of myself and my analogical experience of the other is the basis upon which Levinas’ develops a new concept of experience, not as perception but as encounter. Upon close reading, I claim that Levinas’ revision of the topic of alterity is, ultimately, a consequence of Husserl’s transcendental analysis of intersubjectivity.

scholarly journals Leonor Fini, maga del trasformismo

2018 ◽  
pp. 201
Author(s):  
Alessandra Scappini
Keyword(s):  
Female Figures ◽  
The Fantastic ◽  
Alter Ego

<p><strong>Riassunto</strong> Leonor Fini (Trieste, 1987 - Parigi, 1996) è una pittrice e scrittrice singolare che lavora nel tempo delle avanguardie storiche avvicinandosi all’<em>entourage</em> del surrealismo a Parigi. Il senso del meraviglioso e l’onnipotenza del desiderio che emergono dalle sue storie e dalle sue opere pittoriche sono aspetti comuni all’avanguardia, anche se non ha mai aderito al movimento. Le figure femminili, gli animali totemici e gli ibridi dipinti o descritti sono simbolici e riflettono il suo gusto per il metamorfismo proprio di una personalità e di un <em>alter ego</em> prossimi all’universo fantastico.</p><p><strong>Abstract</strong> Leonor Fini (Trieste, 1987 - Paris, 1996) is a singular woman painter and writer who works in the period of historical avant-gardes approaching the <em>entourage </em>of surrealism in Paris. The sense of the marvelous and the omnipotence of desire that emerge from her stories and her pictorial works are common aspects in the vanguard, even if she has never joined the movement. The female figures, totemic animals and hybrids painted or described are symbolic and reflect her taste for the metamorphism of a personality and an <em>alter ego</em> close to the fantastic universe.</p><p><strong>Keywords  </strong>Leonor Fini, surrealism, desire, marvelous, fantastic.</p>

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