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Django
Django Reinhardt was arguably the greatest guitarist who ever lived, an important influence on Les Paul, Charlie Christian, B.B. King, Jerry Garcia, Chet Atkins, and many others. Yet there is no major biography of Reinhardt. Now, in Django, Michael Dregni offers a definitive portrait of this great guitarist. Handsome, charismatic, childlike, and unpredictable, Reinhardt was a character out of a picaresque novel. Born in a gypsy caravan at a crossroads in Belgium, he was almost killed in a freak fire that burned half of his body and left his left hand twisted into a claw. But with this maimed left hand flying over the frets and his right hand plucking at dizzying speed, Django became Europe's...
Picturing the Maghreb
Picturing the Maghreb critiques photographic and verbal representations, with a focus on four of the most prominent French-language writers of recent years: Michel Tournier, J.M.G. Le Cl-zio, Tahar Ben Jelloun and Le=la Sebbar. Their activist writing reframes a picture of Maghreb produced by two centuries of Orientalist misrepresentation. The book explores photography as a metaphor for other sorts of representation and examines the cultural impact of actual photographs.
The Anthem Companion to Maurice Halbwachs
This book seeks to place Halbwachs in his historical and intellectual context, showing that his work was sensitive to the events of his time, and that the development of his analysis could be influenced by happenstance. The book does this, not by summarizing or synthesizing his thinking, by the growing literature embodied by many sociologists and historians of social sciences, published for the most part in scientific journals, that focus on the sociological thought that Halbwachs developed in his writings. Then come many studies that emerge from the history of ideas and epistemology: these are entirely devoted to a particular facet of Halbwachs’ work, either to place it in its scientific context or to discuss it on the basis of fundamental cognitive issues.
Azag and the children
Yahya sees the situation of the people of Gaza. He is old enough to have memories of what life was like here in 2009, which he learnt from his mother, his uncle and several neighbours who all died that same year. With his cousin Isra, they imagine uniting the children of the area to do something that will improve their daily lives. So, they create a group of young people like themselves who congregate in the courtyard at the back of a ruined, abandoned house. Using the debris of wood, stones and other fragments of the city left lying there, they make themselves a roofless shelter, where together, having a lot of fun, they create a new friend whom they name AZAG. With him, they reinvent their...
L'interprétation de la matrice
L'interprétation de la matrice est un texte de fiction qui ne peut en aucun cas prendre la forme roman. La fiction est celle d'un auteur exaspéré par ses personnages en demande permanente de nouvelles histoires, et qui décide de les anonymiser donnant de facto le pouvoir au vingt-trois pronoms dits personnels (en incluant en et y). La matrice est constituée de 426 cellules contenant chacune une combinaison de deux ou trois "détenus". Ces 426 cellules (y compris les 23 cellules individuelles occupées par les 23 pronoms) sont interprétées à tour de rôle durant les 366 jours d'une année bissextile, plus les 29 jours de l'année suivante. Le protocole d'interprétation central qui em...
La Méditerranée au temps du monde
Comment saisir la Méditerranée, ce nom donné à un espace, dans le temps qui lui est propre? Comment ajuster au mieux les regards portés sur le monde méditerranéen aux formes du temps qui se succèdent? Les généalogies sont complexes et les angles d'approche divers. Les vagues du temps s'entrecroisent, s'interpénètrent et interagissent les unes sur les autres. Le temps de l'antique comme le temps des grandes découvertes, le temps de la modernité comme le temps de ce qui vient après et que nous ne savons pas encore exactement comment nommer... Pour tenter de mieux comprendre ce monde méditerranéen aux multiples visages, qui se métamorphose selon les époques et se joue des ryt...
Photo-texts
What do photographs want? Do they need any accompaniment in today's image-saturated society? Can writing inflect photography (or vice versa) in such a way that neither medium takes precedence? Or are they in constant, inexorable battle with each other? Taking nine case studies from the 1990s French-speaking world (from France, North Africa and the Caribbean), this book attempts to define the interaction between non-fictional written text (caption, essay, fragment, poem) and photographic image. Having considered three categories of 'intermediality' between text and photography - the collaborative, the self-collaborative and the retrospective - the book concludes that the dimensions of their interaction are not simple and two-fold (visuality versus/alongside textuality), but threefold and therefore 'complex'. Thus, the photo-text, as defined here, is concerned as much with orality - the demotic, the popular, the vernacular - as it is with visual and written culture. That text-image collaborations give space to the spoken, spectral traces of human discourse, suggests that the key element of the photo-text is its radical provisionality.
The Dark Precursor
Deleuze’s and Guattari’s philosophy in the field of artistic research Gilles Deleuze’s intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze’s subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze’s concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama on the intersection between music, art, philosophy, and scholarship. The forty-eight chapters in this publication present a kaleidoscopic view of different fields of knowledge and art...
Liberté, libertés, entre Europe et Méditerranée
La Liberté ne surgit pas hors du temps ou de l'espace. Elle s'inscrit dans une histoire, traverse de multiples généalogies et se déploie en libertés, plus ou moins concrètes et réelles. Pour certains il ne s'agissait que de libertés " formelles", alors que pour d'autres ces libertés ont été une référence centrale à partir desquelles une véritable résistance a pu s'opérer, à travers notamment un mouvement solidaire sur l'ensemble du continent européen, dans les années soixante-dix et quatre-vingt, autour des libertés et des droits de l'Homme, et qui s'est achevée avec la chute du Mur de Berlin en 1989. Or ce qui s'est joué en Europe ne semble pas avoir eu de prolongemen...
Le pays d'Avignon
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