Global ETD Search

1	Les temporalités en droit de la famille / Temporalities in family law Bernand, Younes 17 September 2015 (has links) Les temporalités désignent tout à la fois le caractère de ce qui s'inscrit dans le temps et une forme d’agencement du passé, du présent et du futur. L’évolution du droit de la famille marque le passage du modèle traditionnel, fondé sur l’idée d’un mariage perpétuel et source de pérennité des liens familiaux à un nouveau modèle, empreint de « présentisme », construit sur l’indissolubilité du couple parental. Devant le risque de dyschronie de la famille et de rupture du continuum de liens familiaux abandonnés à l’instabilité provoquée par la contraction du temps conjugal, le législateur a été amené à renforcer et à consolider la parenté. L’objectif parait de plus en plus de faire survivre le « couple parental » au « couple conjugal », au nom des intérêts bien compris de l’enfant. On observe, dès lors, un déplacement de la durée de la conjugalité à la parenté. Dans une logique de dissociation de la conjugalité et de la parenté, le temps subjectif, conditionnel et instantanéiste de la conjugalité - s’oppose au temps objectif, inconditionnel et perpétuel de la parenté. / Temporalities signify both all that which, by its nature, occurs in time, and an organization of the past, present and future. The evolution of family law has marked the passage from a traditional model, one based on the idea of perpetual marriage and a source of unending family ties, to a new model imprinted by “presentness”, one built on the indissolubility of the parental couple. Legislators are being led to reinforce and consolidate ideas of parenthood as they are faced with the risks presented by familial desynchronization and of the breakdown of the continuity of family ties abandoned due to the instability met by the shortened time of conjugal life. It would seem that the goal is to let the “parental couple” outlive the “conjugal couple” in order to serve the best interests of the child. Consequently, we can observe a shift in duration from conjugality to parenthood. Through a logical reasoning of disassociating the conjugal from the parental, the conditional, subjective and transitory time of conjugality becomes contradictory to the unconditional, objective and perpetual time of parenthood. Temporalités Présentisme Précarité Instantanéité Stabilité Continuité Conjugalité Parenté Temporalities Presentness Instability Instantaneity Stability Continuity Conjugality Parenthood 340
2	Témoins de l'horreur, images de terreur : pour un portrait du sujet actuel Bergeron, Catherine 11 1900 (has links) No description available. actualité modernité hypermodernité éthique ontologie photographie amateurisme témoin vérité numérique téléphone intelligent instantanéité existence terrorisme terreur altérité mort brutalité atrocité fin vulnérabilité précarité humain actuality modernity hypermodernity ethics ontology photography amateurism witness truth digital smartphone instantaneity terrorism terror alterity death brutality atrocity end vulnerability precarity humanness
3	The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz Mai, Nadin January 2015 (has links) Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films. 791.4302

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