La quatrième des Considérations inactuelles de Friedrich Nietzsche (Richard Wagner à Bayreuth) est emblématique en ce qu'elle présente la notion d'événement de façon dialectique. Participant au premier festival de Bayreuth durant l'été 1876, c'est à la fois en tant que spectateur, historien et philosophe, que Friedrich Nietzsche interprète l'événement comme un « cas » (« Der Fall ») ou un symptôme (« Das Symptom »), et saisit la volonté de Richard Wagner dans sa « chute » (« (...) Der Vorfall »), où le spectacle et la décadence sont les valeurs de la culture européenne et de l'Allemagne moderne. De plus, d’une volonté analogue, et d’abord impressionné par la hauteur du compositeur et la puissance de son œuvre totale (Gesamtkunstwerk), c’est à partir d’un « pathos de la distance » que le philosophe va « transvaluer » le cas Wagner après Bayreuth et le faire advenir comme le nouvel événement d’une histoire critique dans laquelle il se comprend lui-même. Alors, c’est comme un « grand » événement que nous interprétons Friedrich Nietzsche à Bayreuth décrit comme la synthèse d’un processus à la fois civilisationnel et culturel. (shrink)

O ensaio trata da IV Consideração Extemporânea, Tichard Wagner em Bayreuth, onde Nietzsche, num momento de tensão, procura compreender o sentido do grande empreendimento que era a fundação do Festival de Bayreuth, dedicado exclusivamente à exibição dos gramas musicais de Wagner. Pode-se notar que Nietzsche já está dividido entre a "metafísica do artista" da juventude e a "fisiologia da rte", que constitui o centro de seu pensamento estético tardio.

El Festival Publicatessen se desarrolla desde hace catorce ediciones en el campus María Zambrano de la Universidad de Valladolid. Está organizado por el alumnado de cuarto curso del grado en Publicidad y RR.PP., con la coordinación directa del profesorado. El objetivo de esta publicación es conocer la valoración de aquellos exestudiantes que han participado, y conocer qué competencias han desarrollado de cara a su vida profesional. Los resultados muestran que es una acción muy positiva para ellos y la reconocen (...) como fundamental para su formación en el mundo de la Publicidad. (shrink)

Patrimônio de Fé e Religiosidade: os Bens Culturais inseridos na Festa do Senhor dos Passos em São Cristóvão, Sergipe, Brasil. (Heritage of Faith and Religiosity: Cultural Objects inserted on the Festival of Senhor dos Passos in São Cristóvão) - DOI: 10.5752/P.2175-5841.2013v11n31p1018 O conceito de Bens Culturais de uma localidade vem passando por novos paradigmas quanto à abrangência e relevância. Nesse âmbito, além do Patrimônio Material de ruas, praças, igrejas, objetos artísticos e históricos, o discurso e ações dos órgãos oficiais (...) e da comunidade, devem também se pautar pela valorização das produções imateriais da cultura. Esses elementos envolvem os sujeitos e os sons produzidos por eles, seus ofícios, memórias, festas e religiosidade. Nesse sentido, o presente artigo visa analisar os Bens Culturais que compõem o cenário da celebração do Senhor dos Passos e descrever os seus valores histórico, religioso e artístico. A metodologia utilizada foi: pesquisa bibliográfica, documental e de campo. Após as três etapas da pesquisa e observação no local, constatado que a Festa do Senhor dos Passos em São Cristóvão possui elementos patrimoniais conectados que a transforma em um evento vinculado à identidade cultural-religiosa da região. Alguns desses elementos já são tombados nos níveis estadual, nacional e mundial, enquanto que outros, embora não reconhecidos pelos órgãos oficiais de salvaguarda do Patrimônio, são valorizados pela comunidade no que concerne a afetividade, memória, dádiva e pertencimento: Patrimônios de Fé, Religiosidade e Culto em Sergipe. Palavras-chave : Patrimônio Cultural. Festa. Religiosidade. Senhor dos Passos. São Cristóvão (Sergipe).The concept of cultural property that belongs to one locality has been going through new paradigms regarding the scope and relevance. In this context, in addition to material assets (streets, squares, churches and historical-artistic objects) the speech and actions of official bodies and the community, should also be guided by the appreciation of intangible productions. Such elements involve the subjects and the sounds produced by them, their crafts, memories, parties and religiosity. In this way, this article aims at analyzing the aspects that make up the scene of the festivities of Senhor dos Passos as a Cultural object and describes its historical, religious and artistic values. The methodology used was the bibliographic, documental and field research. After the three stages of research and on-site observation, it was found that the Festival of Senhor dos Passos in São Cristóvão owns connected heritage elements which turn it into an event linked to the religious-cultural identity of the region. Some of these elements are already safeguarded statewide and at national and global levels, while others, though not recognized by the official bodies of safeguarding of heritage are valued by the local community by affection, memory, donation and belongingness: Heritage of Faith, Religiosity and cult in Sergipe. Keywords : Cultural Heritage. Festivity. Religiosity. Senhor dos Passos. São Cristóvão (Sergipe). (shrink)

Ce texte a d'abord paru en espagnol dans la revue Panambí. Revista de investigaciones artísticas, n. 4, Valparaíso, jun. 2017. Nous remercions Christine Esclapez de nous avoir autorisé à le reproduire ici. Introduction L'objectif de ma contribution est double. Rendre compte d'une expérience artistique « participative » que nous conduisons depuis 9 ans au secteur Musiques et Sciences de la Musique d'Aix-Marseille Université : Architectures Contemporaines est un festival universitaire de jeunes - Musique et Musicologie – GALERIE – Nouvel (...) article. (shrink)

Depuis le début des années 2010 fleurissent les publications, les rencontres, les formations qui se placent sous le signe des Film Festival Studies. Depuis longtemps, pourtant, les festivals de films avaient rencontré l’intérêt de chercheurs, issus de diverses disciplines. Une dynamique nouvelle serait-elle donc à l’œuvre depuis la dernière décennie, une volonté explicite de se raccrocher à la perspective très anglo-saxonne des Studies? Ce texte se propose d’ouvrir quelques pistes de réflexion relatives à la spécificité des études portant sur (...) cet objet singulier que constituent les festivals de cinéma et audiovisuel, dans la perspective de poser des jalons propres à l’épistémologie d’un champ de recherche encore à construire. (shrink)

In this paper, I argue that Simone de Beauvoir’s discussion of festivals appropriates Jean-Jacques Rousseau’s own account of the festival and its place in understanding freedom. I begin with a brief summary of Rousseau’s conflicting accounts of the festival from his Discourse on the Origin of Inequality Among Mankind and the Letter to M. D’Alembert. The contrast of these two texts reveals Rousseau’s conception of freedom as circumscribed by the community. Although Rousseau has an idealized virtuous community in (...) mind, the central insight regarding a community’s involvement in the development of freedom is nevertheless echoed in Beauvoir’s description of the festival in the Ethics of Ambiguity. I explore some of the implications of reading Beauvoir’s account of freedom and the festival as influenced by Rousseau and suggest how doing so impacts our understanding of Beauvoirian politics. (shrink)

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, (...) however, the neighbourhood has become a place with bad reputation, “a den of thieves”. The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship. (shrink)

Paris. The Place de Grève is teeming with the city's idle seeking relief from their boredom. Street-singers, story-tellers and showmen are encircled by groups of people in varying moods—some sullen, others eager, some distracted, others attentive. Sweets vendors, mercers and lampoonists attract customers by their words and gestures. A little apart from the crowd, men with grave faces seem to be waiting for something: they are the unemployed, keeping an eye out for a possible hirer. On some days a drumroll (...) precedes several men-at-arms escorting a condemned man and his executioner to the place of execution; the festive atmosphere turns suddenly somber, the crowd becomes silent. If scattered jeers and taunts are heard, more often than not it is just to relieve the tension.The Place de Grève gave its name to the French word for strike, greve. And perhaps something still remains of the liveliness of that gathering-place in today's strikes. The Spanish word for strike, huelga, is near to juerga, Spanish for amusement or diversion. The English “strike,” the German streik, the Italian sciopero, all connote fighting, an exchange of blows. The words themselves thus suggest that a strike may be both militant and festive. (shrink)

New York Film Festival 2000 offered a selected group of internationally and aesthetically diverse films. No trend emerged in the heterogeneous collection of offerings. The spectrum of offerings included both commercially viable and art house genres: the musical, the slice of life, the bio-pic, the meditation on history, the melodrama, the historical/political film, and the classics-on-film tour de force. Herewith a report on eight highlights of NYFF's program: seven beauties and a funeral, though not in that order.

Resumo Tambor de Mina é o nome da religião afro-brasileira no Maranhão e na Amazônia estabelecida a partir de São Luís desde meados do século XIX. Existem duas casas fundadas por africanos que se continuam: a Casa das Minas Jeje, de origem daomeana e a Casa de Nagô, iorubana de onde derivam a maioria dos terreiros de Mina recentes e atuantes. Trata-se de religião muito ritualizada e discreta, envolvida em segredos e mistérios cuja mitologia é pouco comentada e os rituais (...) muito desenvolvidos. As religiões afro-brasileiras se caracterizam pela realização de festas com transe, danças e comidas que atraem muitos participantes. A comida é bastante para oferecer a todos e distribuir as sobras. A fartura nas festas maiores constitui um dos elementos de prestígio das casas. O texto baseia-se em entrevistas com líderes de um terreiro antigo e de duas casas recentes, sobre comida de santo nas festas. Na linguagem de Mauss o sacrifício constitui obrigação que estabelece uma comunicação entre o mundo sagrado e o profano. O preparo e o consumo da comida de santo permitem conhecer aspectos do sincretismo e dos simbolismos nos rituais. Palavras-chave : Religiões afro-brasileiras; comida de santo; sincretismo; festas; ritual.Tambor de Mina is the name of the Afro-Brazilian religion in Maranhão and Amazon established in São Luís (capital of Maranhão state) since the mid-nineteenth century. There are two matrix-houses founded by Africans: Casa das Minas Jeje , a Dahomean origin house and Casa de Nagô , originally Yoruba and from which most of the Tambor de Mina 's houses come from. It is a very ritualized and discrete religion, involved in secrets and mysteries whose mythology is not frequently commented upon and its rituals are highly developed. Afro-Brazilian religions are characterized by the performance of parties with trance, dance and food which attract many participants. Food is enough to be offered to everyone and have the remains distributed. The abundance of food during the bigger festivities constitutes a prestige element to the houses. According to Mauss, sacrifice is an obligation that establishes communication between sacred and profane. The preparation and consumption of holy feast food allow us to know aspects of syncretism and symbolisms in rituals Keywords : Afro Brazilian religions; holy feast food; syncretism; festivals; ritual. (shrink)

This work presents the diverse fields of expertize, various viewpoints, ideas and rich experiences in this field. This collection stresses on importance of the perception of Gift of Life in a Pluralistic Society .

The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to (...) the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival. (shrink)

Les Panathénées, la « fête de tous les Athéniens », est de toutes les festivités de la Grèce antique la plus richement documentée. Les sources montrent que la fête était une représentation vivante de la ville. Elle avait lieu tous les étés : tous les quatre ans se tenaient les Grandes Panathénées, et les autres années, les Petites Panathénées. Cette fête célébrait la victoire des dieux sur les Géants, et en particulier le rôle d’Athéna dans cette victoire. Le cœur religieux (...) de la fête était u... (shrink)

ZusammenfassungIm 18. Jahrhundert kommt ein historisch neuer Typus des Festes auf: das Bundesfest als Gründungsakt. Im Zuge der Dekorporierung wird das Fest zum Medium bürgerlicher Assoziation, die allmählich auf das Politische ausgreift. Im Kontext der Verzeitlichung im 18. Jahrhundert entbindet sich das Fest seiner vormaligen Funktion zyklischer Zeitreproduktion und bildet eine futurisch-utopische Form aus. Dabei avanciert der Eid, der entinstitutionalisiert wird und als universales Kohäsionsritual Verbreitung findet, zum zentralen Element einer Dramaturgie feierlicher Kommunion, in der das Fest als epochaler ›Übergangsritus‹ (...) den Zeitenumbruch zu imaginieren und zu forcieren sucht. Von der Ebene bürgerlicher Sozialbeziehungen steigt dieser neue Festtypus mit der Französischen Revolution auf die Ebene politischer Repräsentation auf.In the 18th century a new type of feasts evolve: the covenant festival as a founding act. As the corporative society dissolves, the bourgeoisie uses festivals as an instrument of social cohesion. Those associations gradually promote a political claim. Since modern society develops linear and progressive time patterns, the festivals lose the task of cyclically reproducing time. Instead, the new utopian festivals seek to imagine and to push the turn towards a new age. They therefore fulfill the function of modern ›rites of passage‹. Being detached from institutions and becoming a ritual of universal social cohesion, the oath becomes the crucial element of the festivals’ dramaturgy seeking social fusion. From the social sphere, the bourgeois covenant festivals rise to the level of political representation in the French Revolution. (shrink)

Thesmophories à Athènes, une fête exclusivement féminine. Cette analyse permet de montrer comment les femmes interviennent, en contexte rituel, dans le domaine de la délibération politique. Il s’agit d’abord de discuter – à partir de l’analyse comparée de quelques passages des Thesmophories d’Aristophane et des Euménides d’Euripide – les hypothèses formulées par les archéologues sur la localisation de la fête des Thesmophories. Cette fête a en effet été associée à la Pnyx ou à l’Eleusinion ; nous proposons de la placer (...) dans les environs immédiats du lieu de réunion du conseil de l’Aréopage d’Athènes, à l’ouest de l’Acropole, et sur la même colline que l’Aréopage. Il s’agit ensuite de comparer les actes politiques masculins et les rituels féminins décrits à l’occasion de la fête des Thesmophories. L’enjeu est de comprendre si la « délibération » féminine de caractère politico-judiciaire qui est décrite dans la pièce d’Aristophane reflète un possible discours des femmes d’Athènes qui pouvait être perçu comme parallèle ou « similaire » à celui des hommes. En un sens et en prolongeant une étude de Christopher Faraone, il s’agit de savoir si les femmes d’Athènes rendaient effectivement une forme de justice lors de la fête des Thesmophories. Enfin il s’agit d’évoquer les discours alternatifs qui semblent avoir été produits par les femmes dans cet espace situé au cœur civique et politique de la cité. (shrink)

Knapp sechs Jahre nach Rudolf Heinz' sechzigstem Geburtstag und dem auf dieses Ereignis ausgerichteten Erscheinen der Festschrift "Kontiguitäten. Texte-Festival für Rudolf Heinz" (Christoph Weismüller [Hg.] unter Mitarbeit von Ralf Bohn, Wien: Passagen 1997) folgt die Nachbearbeitung der "Kontiguitäten" und deren Produktion. Die Post-Skripts zum Texte-Festival für Rudolf Heinz setzen ein mit den Dokumenten der Feierlichkeit der Festschriftüberreichung: Laudatio, Geburtstagskomposition - inklusive Audio-CD -, Photographien der Festschriftübergabe. Unter dem topos Festschrift-Mechané folgt diesen Initialien die Korrespondenz von Heide Heinz und (...) Christoph Weismüller nebst notwendigen Paraphrasen und Hinweisen. Die Après nehmen einschlägige Kontiguitäts-Effekte auf, die mit der Fertigstellung der Festschrift, der Feierlichkeit der Übergabe, ihrer Distribution und ersten Nachbearbeitungen ihrer Konstitution einhergingen oder diesen folgten. Die Katamnese von Heide Heinz und Rudolf Heinz sowie weitere Korrespondenzen - Heide Heinz mit Ralf Bohn, Doris Dorner, Axel Schünemann; Rudolf Heinz mit Manfred Pohlen - finden sich als Zuträge ein. (shrink)

Au iie siècle avant notre ère, Délos a vu se créer près de vingt-cinq fonds, par des hommes et des femmes, Déliens et étrangers, et, un cran plus haut dans la célébrité, par des rois hellénistiques ou leurs agents. Les chercheurs s’accordent à penser que ces fonds permettaient d’organiser des fêtes (surtout éponymes : Antigoneia, Eutycheia, Philonideia, Ptolemaieia, Stesileia, etc.), et se sont concentrés sur la motivation politique, sur les objectifs et les effets de la douzaine de cas royaux. Cet (...) article fait l’hypothèse que le grec des comptes déliens a été mal interprété ; les fonds ne finançaient pas des fêtes éponymes en soi, mais la récurrence modeste de rituels qui étaient établis à l’occasion d’événements familiaux importants, comme les mariages et les décès ; ce phénomène délien particulier a davantage à dire sur la véritable piété que sur la grande politique, et il offre davantage de points communs avec le culte familial hellénistique qu’avec la culture des fêtes. (shrink)

The article explores the conditions enabling the celebration within the context of philosophical, enlightening, and educational activities. The authors contemplate the role of leisure in human life, referencing Plato’s view of leisure as a prerequisite for philosophical discussion, Aristotle’s concept of intellectual leisure for the free citizen, Josef Pieper’s understanding of leisure as a means for personal and spiritual development, and Sebastian de Grazia’s perspective on the interconnection between leisure and creativity, culture, individual freedom, and society. It is argued that (...) leisure as an intellectual activity has not become customary in society since Aristotle’s time and, in the modern world, the definition of this concept is confined merely to the realm of entertainment. This limitation necessitates the search for new forms of intellectual leisure that are relevant in the context of contemporary mass culture. The authors analyze the philosophical ball as a form of intellectual leisure, particularly focusing on the years of experience in organizing annual festive events by the family philosophical club “School of Socrates” at the Central House of Artists in Moscow. The external, attributive form of the philosophical ball is linked with Mikhail Bakhtin’s concept of the carnivalization of culture: its spectacles, theatricality, the presence of masks and costumes, and the involvement of all participants in a unified action. The internal content of the philosophical ball is determined by philosophical concepts, historical figures, or artistic images relevant to the specific era and culture, facilitating the perception and discussion of the proposed philosophical ideas. The narrative is further enriched by a case study detailing the methodological orchestration of a philosophical ball themed around Russian Symbolism. The authors conclude that the philosophical ball, as a form of intellectual leisure, addresses epistemological tasks and serves enlightening and educational functions: it engenders an authentic milieu of philosophical festivity, nurturing the creative impetus of its participants and facilitating a profound and universally accessible experiential odyssey into the realms of worldview and cognition. (shrink)

En El tema de nuestro tiempo Ortega responde filosóficamente al nuevo tiempo que está naciendo desde comienzos del s. XX. La época anterior, la modernidad, ha estado dominada por el binomio formado por el idealismo culturalista y la comprensión economicista de la vida como trabajo. Esta cultura moderna opone razón y vida. Por eso ha entrado en crisis, porque no es capaz de llegar al corazón de los seres humanos ni de orientar la existencia. En El tema de nuestro tiempo (...) Ortega presenta una cultura de la razón vital basada en la síntesis entre lo cultural y lo vital, y en la comprensión de la vida como deporte y fiesta. Solo una cultura que se mantiene en permanente contacto con la vida podrá orientar la existencia. La razón vital comprende la realidad y el conocimiento como perspectiva. (shrink)

Schönheit ist Freiheit in der Erscheinung", so lautet ein berühmter Satz von Friedrich Schiller. Er dachte dabei an die Natur, aber auch an die "schöne Seele" oder an "schönes Handeln". So reicht das Thema dieses Bandes über die Ästhetik im engeren Sinn hinaus und zeigt, dass Schönheit kein Luxus ist. Obwohl fragil und vergänglich und vielfach angefeindet, versöhnt und verbindet sie: niemand kann ohne sie leben.00Schönheit hat noch eine andere Seite. Simone Mahrenholz und Josef Früchtl weisen auf "das gefährliche Schöne", (...) auf die Anziehungskraft des Terrors hin. Wie Rilke das Schreckliche beim Anblick des Engels beschreibt, fordert das Schöne auch zur Reflexion auf. Reinhard Brandt bringt uns zum Mythos, zur Wette von Apoll und Marsyas und zur Rache des Gottes gegen den Pan: die Entdeckung der Schönheit der Melodie wird ihm nicht verziehen. (shrink)

Zusammenfassung Der Text zielt auf eine stadtsoziologische Fundierung aktueller urbaner Bewegungskulturen. Die gängige Annahme sportsoziologischer Befunde ist, jugendliche Bewegungskulturen als Phänomen der Großstadt oder als eine Gegenbewegung zu der Funktionalität der modernern Städte auszuweisen. Demgegenüber wird hier die These entfaltet, dass die postindustrielle Stadt für die Eventisierung und Festivalisierung der Bewegungs- und Sportkulturen erst die sozialräumlichen Bedingungen bereit gestellt hat. Zentrale Vorgänge waren hierbei die Theatralisierung und Musealisierung des öffentlichen Raumes sowie die ästhetische Umdeutung des spezifisch modernen Konzeptes einer normativen (...) Urbanität Die Argumentationsfigur wird über die Zusammenführung zweier soziologischer Diskursfelder, die Stadtsoziologie und der Bewegungs- und Sportsoziologie entfaltet. Zunächst werden die sich zum Teil ergänzenden, zum Teil widersprüchlichen jüngeren Trends der Stadtentwicklung systematisch aufgearbeitet. In einem zweiten Schritt werden sie dann ins Verhältnis zu den vorliegenden sportsoziologischen Befunden städtischer Bewegungskulturen gesetzt. (shrink)