By Michel Dorais
ISBN-10: 2890057151
ISBN-13: 9782890057159
S’il est une conviction que je n'arrive plus ? taire, c'est que notre fa?on dualiste de concevoir l. a. sexualit? est ?triqu?e, r?ductrice, d?su?te. Les cat?gorie de sexe bricol?es par nos anc?tres et reprises tant bien que mal par nos contemporain n'arrivent plus ? rendre compte de los angeles diversit? humaine.»S’attaquant aux poncifs et aux lieux communs, mais surtout aux int?grismes identitaires qui pi?gent d?s l'enfance notre fa?on de penser et de vivre los angeles sexualit?, Michel Dorais suggest une nouvelle imaginative and prescient de los angeles diversit? des sexes, des genres et de ?rotismes.
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Additional info for Éloge de la diversité sexuelle
Example text
But none of the words used to refer to what is actually taking place allow us to visualize either the spectacle or the people involved in it. Words such as “mass,” “people,” or “crowd” speak to the material presence of what they refer to; yet they have no connection with a speci‹c mental representation. Even “crowd,” which brings to mind the idea of multiplicity, signi‹es much, but shows little. The Broadway pageant does not exist as a spectacle meant to be seen, but as a rhythm that articulates a nearly uninterrupted ›ow of perceptions.
The poem is often read as a paean to the city and as an Emersonian celebration of the transcendent circle binding an individual to his fellow men and women. ”61 M. ”63 The tie that binds Whitman to the crowds of New York transcends the limitations of the present. ” Later, after many years have passed, another ›aneur will also be watching these crowds on the deck of the ferryboat. Yet the endless circulation of life in the poem ends in death. By projecting himself into the time of generations to come, Whitman anticipates both his own demise and the disappearance of all the men and women on the deck of the ferryboat.
Wallach Division of Art, Prints and Photographs, The New York Public Library for the Performing Arts, The New York Public Library, Astor, Lenox and Tilden Foundations ing the distinction between object and subject, Whitman speaks as observer of the city and as the city under scrutiny. He is both watching the spectacle of which he is a part, and impersonating the city of which he speaks. We no longer know whose voice we are hearing, just as we no longer know what is being watched by whom. In “A Broadway Pageant,” Whitman is hypnotized by the Japanese embassy, just like everyone else in the crowd, but he is also observing the dense crowd watching the parade on Broadway.
Éloge de la diversité sexuelle by Michel Dorais
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