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Quelle place faire à la beauté dans la pensée des œuvres et des pratiques artistiques - contemporaines ou anciennes - aujourd’hui ? Cette Beauté, entendue comme belle forme classique et harmonie, les « modernes » l’ont si bien injuriée ou rendue convulsive qu’il n’en resterait peut-être plus rien. Y a-t-il lieu de la restaurer ? de l’enterrer ? ou faut-il contre cet « oubli » de la beauté, en rappeler la nécessité, la possibilité, les formes nouvelles ? En donnant la parole aux artistes comme aux critiques, ce numéro de Textuel s’intéresse à l’évolution du statut accordé à la beauté comme critère dans les discours et les pratiques littéraires et artistiques, depuis les premiers emplois esthétiques de ce mot jusqu’à aujourd’hui, ainsi qu'aux valeurs qui lui sont associées en fonction des époques (dis-moi ce que tu trouves (encore) beau et je te dirai qui tu es) et à l’intensité des affects qu’elle suscite.
Aesthetics --- Beauty culture --- Iconography
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History of civilization --- Iconography --- Sebastian [s.] --- Religious Iconography
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Christian special devotions --- iconography --- Iconography --- saints --- Italy --- Saints --- Italie --- Iconographie
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Comparative literature --- Thematology --- History of civilization --- Iconography
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For centuries Christians have engaged their sacred texts as much through the visual as through the written word. Yet until recent decades, the academic disciplines of biblical studies and art history largely worked independently. This richly illustrated volume bridges that gap with the interdisciplinary work of biblical scholars and art historians. Focusing on the visualization of biblical characters from both the Old and New Testaments, essays illustrate the potential of such collaboration for a deeper understanding of the Bible and its visual reception.
Bible --- Iconography --- exegesis --- Bibles --- kunst en godsdienst
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We live in a satirical age unlike any other. There is an abundance of social absurdities to critique, as well as a host of outlets through which to speak out about them. In the 21st century, satire is both mainstream and avant-garde; long-running network shows like Saturday Night Live (1975-) and The Simpsons (1989-); and cable television offerings like Comedy Central's The Daily Show (1996-) and Cartoon Network's Adult Swim as well as popular and critically acclaimed independent films like Get Out (2017) and Parasite (2019) keep satirical content at the center of today's entertainment industry. At the same time, social media has led to an explosion of user-generated satire that can be uniquely tailored to niche and intersectional audiences-especially those whose voices have not traditionally been embraced by and in mainstream media. Regrettably, this flood of satirical content has exacerbated a longstanding struggle for American audiences - the ability to distinguish and appreciate satire. This confusion is particularly troubling for satire that addresses issues related to marginalization, diversity, and inclusion. Even though discussions of disparities related to social categories are prevalent in the public sphere, content that satirizes these processes is increasingly difficult to create and understand. This chapter will define satire as well as a set of satirical strategies before describing how satire serves to disrupt marginalization processes and the difficulties that satirists face in ensuring that their audiences gets the joke.
Sociology of culture --- Mass communications --- Iconography --- Thematology
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