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  1. <<Le>> philosophe noir des lumières Anton Wilhelm Amo, vue à travers la fiction littéraire
    Author: Kpao Sarè, Constant
    Published: [2018]
    Publisher:  Peter Lang, Brussels

    Anton Wilhelm Amo (environ 1703-1758), philosophe des Lumières connu pour sa peau noire, doit être également vu aujourd’hui comme un personnage de la Weltliteratur chère à Goethe. À ce titre, il soulève des problèmes liés aux représentations... more

    Location:
    Universitätsbibliothek Bielefeld
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    Unlimited inter-library loan, copies and loan

     

    Anton Wilhelm Amo (environ 1703-1758), philosophe des Lumières connu pour sa peau noire, doit être également vu aujourd’hui comme un personnage de la Weltliteratur chère à Goethe. À ce titre, il soulève des problèmes liés aux représentations contenues dans les discours diasporique, postcolonial et africaniste, notamment celles des voix interdites, inaudibles ou dominées. Cet ouvrage s’attache à l’analyse de ces représentations dans les fictions littéraires autour du personnage d’Anton Amo que nous offrent la Japonaise Yoko Tawada, l’Allemand Johannes Glötzner et le Ghanéen Jojo Cobbinah. En tirant profit des théories et concepts développés dans les études postcoloniales (Said, Bhabha, Spivak, Achebe, etc.), il s’intéresse aux différents discours tenus au nom des diasporas postcoloniales et des préoccupations interculturelles

     
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  2. Biblical Coens
    Can We Laugh Now?
    Author: Walsh, Richard G.
    Published: 2019

    A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collection of essays, indicates that Coen brothers’ films frame characters in harsh, amoral worlds. This esthetic "framing" is similar not only to Camus’... more

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    Location:
    Index theologicus der Universitätsbibliothek Tübingen
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    A review of Coen criticism, specifically attending to Elijah Siegler’s recent, significant collection of essays, indicates that Coen brothers’ films frame characters in harsh, amoral worlds. This esthetic "framing" is similar not only to Camus’ analysis of the absurd, but also to the "feel" of some biblical narratives. Where Camus urges one to move beyond the absurd to absurd creation and biblical narratives press on to faith - at least, in most religious readings of them - the Coens laugh. A selective overview of the use of bibles in Coen brothers’ films demonstrates that the Coens’ biblical hermeneutic is risible. Their films frame bibles in amoral worlds, displace the Holy Bible, deploy popular bibles, twist and subvert bibles, reduce bibles to implicit backgrounds, and use bibles to laugh at characters, stories, and the human condition. In this, the Coens are also laughing at themselves. The article concludes by asking whether the Coens’ hermeneutic can help academics read biblical narratives differently and, perhaps, even learn to laugh at themselves as they read.

     
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    Source: Union catalogues
    Language: English
    Media type: Article (journal)
    Format: Online
    Parent title: Enthalten in: The journal of religion and film; Omaha : [Verlag nicht ermittelbar], 1997; 23(2019), 2, Artikel-ID 4, Seite 1-29; Online-Ressource

    Subjects: Coen brothers; noir; comedy; Daniel; Job; biblical epic