Si les longs métrages du cinéaste algérien Tariq Teguia peuvent être décrits comme des « fictions cartographiques » traversées d’intensités documentaires, cet article analyse en détail deux films brefs où quelques scènes énigmatiques mettent en scène des mouvements de retournement qui construisent deux portraits où la personne du cinéaste se trouve à la fois documentée et disséminée, diffractée à travers des rencontres et de multiples territoires.

Standard accounts of derivational morphology assume that it is incremental: some words are formed on the basis of others, and each derivational family has a base from which all of the other words are derived. The importance of the base has been questioned by paradigmatic approaches to morphology, which posit that word systems are about multidirectional relationships between words and paradigm cells, in which no word has a privileged status. This paper seeks to test which of these two views makes (...) more accurate predictions about speakers’ cognitive representations of derivational families. We perform an acceptability judgement experiment in which speakers are asked to evaluate the acceptability of a pseudoword conditional on another pseudoword in the same derivational family. We find that speakers are aware of implicative relationships between words in the same family, and that they opportunistically exploit probabilistic relationships between surface words, regardless of whether the base form is the predictor, the target of prediction, or not at all involved in the task. (shrink)

In his oration Against Ctesiphon, Aeschines mentions the power his rival Demosthenes had during his term as treasurer of the theoric fund (ἐπὶ τὸ θεωρικόν). Many modern assumptions about the function of the Athenian financial administration and politics between the end of the Social War (357-355 BC) and the early 330’s BC are based on Aischin. Ctes. 25. This article argues for taking into account an emendation brought forward by the early 19 th century British scholar Peter Paul Dobree. (...) His suggestions, as will be shown, correspond better to the rhetorical structure of Aeschines’ argument than the prevailing reading and change the interpretation of the treasurers’ responsibilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

Loin de se concevoir comme une énième biographie d’Anne de Bretagne, cette étude présente l’un des plus beaux manuscrits enluminés de la bibliothèque de la reine de France : les Vies des femmes célèbres. Actuellement conservé au musée Dobrée de Nantes (Ms. 17), cet ouvrage constitue l’unique exemplaire connu d’un texte composé en 1504, à la demande de la reine, par Antoine Dufour († 1509). Il fut agrémenté, en 1506, d’une splendide ornementation picturale attribuée à Jean Pichore. Ce manuscri...

In C.Q. 1935, 72–82 and 150–163 I published some observations on Herodotus which were the by-product of a translation. Those which follow are the similar by-product of a lexicon. It says much for the delusive simplicity of Herodotus that it is still possible to reap a critical crop from an author who has been read by Reiske, Dobree and Cobet. Had van Herwerden not edited Herodotus, the harvest would have been twice as large.

Since its inauguration in 1932, the Whitney Biennial has fostered contemporary artistic innovation and diversity, becoming a highly anticipated event in the art world. The 2010 Biennial is curated by Francesco Bonami and Gary Carrion-Murayari and features works by approximately 55 artists working in a variety of media and practices. Uniquely, this catalogue serves as both a handsome accompaniment to the 2010 exhibition and an insightful exploration of the significance of this acclaimed and often controversial event throughout its history. In (...) addition to presenting full-colour reproductions of the selected artists' recent work, the curators have prepared a joint essay on the 2010 exhibition, and a group of writers contributed brief entries on the represented artists' techniques, influences and recent work. Exhibition: Whitney Museum of American Art, 25 February - 30 May 2010. (shrink)