| 000 | 03944naaaa2200925uu 4500 | ||
|---|---|---|---|
| 001 | https://directory.doabooks.org/handle/20.500.12854/112638 | ||
| 005 | 20260216164816.0 | ||
| 003 | oapen | ||
| 006 | m o d | ||
| 007 | cr|mn|---annan | ||
| 008 | 20230814s2022 xx |||||o ||| 0|fra d | ||
| 020 | _aprimaluna16.9782858926404 | ||
| 020 | _a9782858926404 | ||
| 020 | _a9782858926411 | ||
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_aoapen _coapen |
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_a10.46608/primaluna16.9782858926404 _cdoi |
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_aJHB _2bicssc |
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| 072 | 7 |
_aA _2bicssc |
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| 100 | 1 |
_aFrei, Peter _4edt |
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| 700 | 1 |
_aLabere, Nelly _4edt |
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| 700 | 1 |
_aFrei, Peter _4oth |
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| 700 | 1 |
_aLabere, Nelly _4oth |
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| 245 | 1 | 0 |
_aL’obscène, mode d’emploi _bConsidérations intempestives à l’usage du monde contemporain |
| 260 |
_aPessac _bMaison des Sciences de l'homme d'Aquitaine _c2022 |
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| 300 | _a1 electronic resource (146 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 490 | 1 |
_aPrimaLun@ _v16 |
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| 506 | 0 |
_aOpen Access _2star _fUnrestricted online access |
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| 520 | _aMove on ! There is nothing to see … …except, according to Facebook, when it comes to Courbet’s Origin of the World. While the legendary painting attracts more than 3 million visitors a year at the Musée d’Orsay in Paris, it is still subject to censorship, even legal action, in the brave new world of social media. Far from being anecdotal, the case once again puts the obscene center-stage at a time in which new technologies redefine the public sphere and with it the codes and practices of representation. L’obscène, mode d’emploi (“The Obscene, a Manual”) invited scholars and writers to revist the famously troublesome notion of the obscene in its aesthetic, legal and political stakes. The resulting Considérations intempestives à l’usage du monde contemporain (“Untimely Considerations for our Contemporary World”) show that the obscene is best understood not as a concept but as a gesture experimenting with both the impact and the medium itself of representation, thereby asking: What does the obscene have to say about the (im-)possibilities of the Digitial Revolution of our time in which the new codes and practices of representation are still being renegociated? | ||
| 540 |
_aCreative Commons _fhttps://creativecommons.org/licenses/by-sa/4.0/ _2cc _4https://creativecommons.org/licenses/by-sa/4.0/ |
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| 546 | _aFrench | ||
| 546 | _aEnglish | ||
| 650 | 7 |
_aBiography, Literature and Literary studies _2bicssc |
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| 650 | 7 |
_aSociology _2bicssc |
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| 650 | 7 |
_aThe Arts _2bicssc |
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| 653 | _aScandal | ||
| 653 | _aEmotion/Sensibility | ||
| 653 | _aStage | ||
| 653 | _aSpectacle, Performance / Actor / Spectator | ||
| 653 | _aReader | ||
| 653 | _aAesthetic / Art | ||
| 653 | _aPasolini | ||
| 653 | _aTrial | ||
| 653 | _aFilm | ||
| 653 | _aReligion / Church | ||
| 653 | _aBody | ||
| 653 | _aEthics | ||
| 653 | _aCensorship / Prohibition | ||
| 653 | _aPornography | ||
| 653 | _aEroticism | ||
| 653 | _aHays Code | ||
| 653 | _aWar | ||
| 653 | _aViolence | ||
| 653 | _aFake News | ||
| 653 | _aDrone | ||
| 653 | _aNudity | ||
| 653 | _aRepresentation | ||
| 653 | _aGiallo | ||
| 653 | _aWoman | ||
| 653 | _aFeminity | ||
| 653 | _aGirl | ||
| 653 | _aSexuality | ||
| 653 | _aProhibition | ||
| 653 | _aOrder, Category | ||
| 653 | _aSociety | ||
| 653 | _aGaze | ||
| 653 | _aRape | ||
| 653 | _aMurder | ||
| 653 | _aTransgression | ||
| 653 | _aSubversion | ||
| 653 | _aProfanation | ||
| 653 | _aLiberty | ||
| 856 | 4 | 0 |
_awww.oapen.org _uhttps://ressources.una-editions.fr/s/5qejy7WJz2c8g5Q _70 _zDOAB: download the publication |
| 856 | 4 | 0 |
_awww.oapen.org _uhttps://directory.doabooks.org/handle/20.500.12854/112638 _70 _zDOAB: description of the publication |
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