Big bad wolves by Aharon Keshales and Navot Papuchado: all for revenge.

“Big Bad wolves” by Aharon Keshales and Navot Papuchado is a revenge thriller of strong bloody controversy with quick hand-held shootings and eye-catching photography. Based on the fear-some archetype of wolf, its title brings to the fore the issue of pushing somebody-a potential criminal- into revealing the truth as well as the way this process needs to be done. From one side, we all remember the quote: “the end justifies the means”. On the other hand, how long will it take to elucidate the murder mystery instead of spreading violence and dispersing its seeds like those dead leaves of September?

Miki the cop (Lior Ashkenazi), Dror the suspect and also schoolteacher (Rotem Keinan) and Gidi the father of the last victim (Tzahi Grad) stay together, down in a remote basement until the tortured suspect decides to disclose the secret place where the head of the little dead girl has been kept or buried. In this concentric circle of violence, except for Gidi, his father Yoram (Doval'e Glickman) also gets involved in a more austere manner, cultivating the entrenched belief seen in some old cops that harder is better and better means harder. No mercy for the guilty.

Until the end, “Big Bad Wolves” is a movie worthy of attention because it manages to keep its question marks, whilst –from time to time- the camera takes our look high gradually to trigger anxiety and make the story more intricate so as to captivate us. In general, the recurrent intense music of Haim Frank Ilfman keeps pace with the script story successfully and so it is well incorporated in the plot. In conclusion, the movie is not so frightening but don’t go if you are a passionate lover of mushy romantic novels. There’s “blood” here, the existence of which may be repulsive sometimes.

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

Les yeux sans visage, 1960, de George Franju : pas seulement classique

C’est de ce film merveilleux de Franju –« Les yeux sans visage »- que va s’inspirer Pedro Almodovar pour créer son film « La piel que habito ». Voilà l’histoire classique qui traite le problème de sauver notre peau au détriment des autres. Le film nous présente plusieurs champs de réflexion sur les rapports, les sentiments et même sur les instincts. En tous cas, il convient de dire que c’est le thème de l’emprisonnement qui nous a le plus attiré l’attention. Puisque l’emprisonnement constitue la mort symbolique, la fille du docteur Génessier(Pierre Brasseur), Christianne (Edith Scob), « perd » toujours, enfermée dans sa chambre sans miroirs afin qu’elle ne puisse pas voir son visage détruit après un accident grave. En même temps, son père travaille avec sa « secrétaire », une femme complice. Elle (Alida Valli) sait ce qui se passe avec les filles aux yeux bleus qui ne rentrent jamais si elles arrivent à la maison - laboratoire du docteur.     

Dans « Les yeux sans visage » de George Franju nous assistons au destin tragique de Christianne (Edith Scob), qui ne peut plus supporter sa vie secrète : pour les autres, sauf son père et sa secrétaire complice, elle est officiellement morte. Pour elle-même, elle est un objet caché. Donc, la narrative du film l’expose comme une fille tragique, privée d’amour, privée d’espoir. C’est pourquoi, à la fin, nous voyons sa réaction agressive au nom de la liberté. Elle ne veut plus être coupable, elle devient « capable ». Lorsque elle réagit comme ça, le poids retombe sur son père, le docteur Génessier(Pierre Brasseur), qui a commis des crimes inacceptables. En guise de conclusion, l’histoire du film est pour la justice et la défend à travers la solution animale, c'est-à-dire à travers les animaux qui représentent le monde des instincts. Le docteur fait preuve d’orgueil, reconnu par la société, mais à la fin, sa mort le rend le personnage le plus tragique : c’est un professionnel et un criminel en même temps. En fait, le docteur est la vraie personne sans visage, aux yeux criminels, celui qui n’a pas hésité à transgresser la loi! C’est un film exceptionnel qui nous montre que nous devons aimer le cinéma et ses moments particuliers. Musique amusante, photographie très intéressante. 

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

          

The Congress by Ari Folman: conceptual animation

Based on the science fiction and satirical novel “ The Futurological Congress” of Stanislaw Lem, “The Congress” directed by the Israeli Ari Folman indicates he has a knack for creating a surrealistic kind of conceptual animation so as to cover even hard sociopolitical aspects of his subject in a cultural framework. Five years after “Waltz with Bashir”, Ari Folman considers his new movie as being his naughty kid, a hellion, who causes problems everywhere. On the other hand, he loves this child very much as the most representative piece of him. That’s what he said to the audience, at the 19^th International Film Festival of Athens, “Nychtes Premieras” yesterday evening.

“The Futurological Congress” is a symbolical novel of political character. It regards the way power works and controls people. Polish Stanislaw Lem (1921-2006), whom we know better from Solaris, wrote a satirical text of political insinuations where industry is the power that confirms its value by deceiving –and, thus, damaging- the individuals treated as isolated but also as productive and profitable units.

So the story existed. Moreover, Folman had a personal experience relating to a former famous actress, who was not recognizable recently in Cannes due to her age. He included the feeling of this fact in the script. Whereas, the essential, for him, was to focus on the actress who would incorporate his vision to make a movie even for his personal status, by broadening the novel subject into a wider cultural scale so as to approach the issues of age and sadness in time, of compromise, decay and deception after all. Luck supported him and, given that he had the chance to meet Robin Wright at an international meeting, he proposed her acting in his movie by showing her excerpts as if the script were made exclusively for her. We know what followed.   

“Release your chemistry to the world”: this could be the motto of any enterprise, any collective source of images and patterns, so as to control people by seducement and bet on both their sexuality and libido nature. Robin Wright is the actress who goes through this adventure of becoming somebody else. She is an aging woman and so, this is an important reason for lending her image to Miramount Studios. There, they will convert her into a digital actress with a scanned body of an everlasting youth. No wonder. This is the profitable slogan: “for ever young”. Less powerful, less beautiful, less attractive is painful. And Wright pays the price.

What happens, anyway, when people still think, deprived of action and creativity? They are sad and need pills to survive. Although Robin Wright sold her movie rights to Miramount, her decision made her suffer, because she promised not to act again. Instead, she got a computer-generated character. This is the first level of decay, when action has nothing to do with you but with your icon. This is the first compromise.

After 40 minutes around, here the book reference title comes: the congress. Twenty years later, Robin goes to attend “the Futurological Congress”, where Miramount Studios highlight their brand-new technology. It’s about the second level of decay, when your mind gets rotten and lacks in originality, creativity, space actually! According to the movie, people can now transform themselves into animated avatars like that of Michael Jackson appearing later in the “Chemical Party”. Their salvation is hidden in a pill. Miramount Studios now bet on Robin’s giving people the right to become her avatars. First, Robin makes the insane agreement but, all of a sudden, she realizes that she consented to become a product in a pill. So she denies officially before the public and, thus, saves herself from being killed by enemies of technological monopoly. Then, Miramount Nagasaki Police imprison and are about to execute her, but later a modern protector appears and takes her to the “Chemical Party”. On the other side of this chemical world, of course, there is…truth. Robin explores the new condition but still misses her son and wants to find him, years later, looking for his presence in time.

In conclusion, “The Congress” is a symbolical movie about the human composure beyond –and except for- the technological insanity. However, according to Julia Kristeva[1], sadness, the depressive emotion, can be interpreted as a form of defense against the process of cutting-up. It is claimed that sadness reconstructs and reunifies the “ego” that regains unity through this emotion sheath.

Consequently, “The Congress” has a closer look at time, from a subjective aspect, when things are occasions of a personal trip and reconsideration in time. That’s why this “hellion”, this naughty kid, is beloved by Folman. It is a mirror of his feeling – I won’t define it as stress, for it is much more- towards his course in time. From this symbolical standpoint, Robin is a Muse, a soul, and Aaron is her son who awaits and seeks an answer like a modern Telemachus. Why sadness? Why truth? Because –otherwise- we would not have started from a denial to end up in a kind of deception and judge the deceptive side of life as well as of things. Because –otherwise- we would not have pursued our creativity so as to release this body adventure confessed by the emotion. Sadness indicates detachment. It is an impulse for addressing ourselves to symbolism so as to correlate experiences of reality together.

(Well done Mr. Folman, but no pills provided after your movie…) 

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[1] Julia Kristeva, Soleil noir, Dépression et mélancolie, Gallimard, Paris 1987.

Fatal by Lee Don-Ku: a Korean counter movie

Here the counter-cinema comes, which means no famous names appear but ordinary ones that bet on performing the difference. “Fatal” by Lee Don-Ku is a good reason for having a closer look at excerpts of distant culture that build an ethical code on guilt and responsibility. However, the inevitable of the script could be shown from scratch instead of watching something predictable. Playing with time and movie scenes could attain better results perhaps in an after all interesting filmic approach that comes from South Korea.

The subject of the film regards the rape of a young girl, Jang-mi (Yan Jo-a), by a gang of youths who know each other. This fact is going to mark their lives, even though the boys act in a sense that life goes on. Among them, Sung-gong (Nam Yeon Woo) makes the difference because he feels guilty and needs to be forgiven for that night. His looking for Jang-mi’s life, as soon as they meet each other out of the blue, ten years later, in a church group, is constant. The lasting impression on spectators is that he is tortured by memory burden and wants to be released by telling the truth to Jang-mi. However, he shares nothing with her but some slight insinuations about his pain. When Jang-mi expresses herself in a night gathering, Sung-gong decides to become her voice of fulfilling her desire. The future is unknown and the end always near, to remember Jim Morrison. “Fatal” has a very powerful scene of night confession that leads to the end of the story, whilst the good interpretations are among the good points of the movie. Moreover, the crazy dreams of Sung-gong make us predict he is going to take Jang-mi’s role in order to punish her torturers as well as himself in an attempt to be excluded by his past and mind. It is a way to split his mind and soul from his body. However, what could be constructed better is the sequence of action. On the other hand, “Fatal” is worthy of note to open a dialogue regarding the way countries construct their profile and cultural codes through cinema and movie production.    

http://www.koreanfilm.or.kr/jsp/films/index/peopleView.jsp?peopleCd=10055132

Also for Korean films:

http://www.modernkoreancinema.com/

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

The Conjuring by James Wan: a blockbuster of horror

Inspired by a true story of the 70’s James Wan directs a strong movie of slamming doors, dead animals and demonic forces located in a lonely farmhouse. Carolyn and Roger Perron (Lili Taylor and Ron Livingston) live there with their five daughters, when mystery develops itself gradually up to the point of intimidation. They seek help and so they ask from a couple of paranormal investigators, Ed Warren (Patrick Wilson) and Lorraine (Vera Farmiga), to solve the mystery of their unexpected guest in the house after showing them the ropes.

Although the blockbuster’s clichés are evident, the latest movie of James Wan is a logical horror construction with an interesting rhythm and powerful image. Why see it? Because you are absorbed in the plot narrative and you forget any thoughts about objectivity and story, as this is a reason for doing so. Why not? Because some expressions dependent on clichés, such as the permission of Vatican, are somehow repugnant to make imagination roll on. We say logical but ok, not theological. Anyway, it is nothing more than a horror movie. Don’t seek daisies in the desert.   

 

Fruitvale station: where memory locks you in

A real tragic story -relating to the sudden death of the young Afro American Oscar Grant (exceptional Michael Jordan) shot by a police officer at Fruitvale station in the first hour on the first New year day of 2009- directed by Ryan Coogler, makes spectators empathize with the problem; no wonder why it is easy to happen when every city has at least one victim to declare in a similar case. In Athens, the sudden death of Alexandros Grigoropoulos on the 6^th of December, in 2008, has been kept in our memory. Anyway, this film brings into question how well you can cope with tragic and unfair life by revealing your artistic skills or talents.

Ryan Coogler who directed “Fruitvale station” has worked with imprisoned youth at San Francisco's Juvenile Hall. Maybe his experience from that period made him build a strong memory full of personal stories that needed special care and an eye on them. When the tragic death of Oscar Grant took place, cause and reason crossed one another. So, Coogler had a story and, moreover, a personal experience to be involved.

However, the way you choose to film the last 24 hours of a 22 year old victim on the last day of the year before the new one comes, is not an easy one unless you want to end up in a commonplace script. Although it is certain that real cinema makes spectators feel as spectActors and think of public issues as citizens of the world, in terms of intent and realization, this movie did not treat its subject in a more artistic way, that is, through music role or scenes’ sequence. Therefore, it did not meet the expectation to become an overall interesting movie. Given that the plot is normal and the sequence of events tends to be predictable, we just watch a story of which the end is known; no surprise. On the other hand, the interpretations are very good in order to feel what’s going on. We certainly like Oscar when he is jobless, helps an unknown woman by giving her his cell phone, takes cares of a stray dog, hugs his daughter and kisses his wife Sophina (Melonie Dias). We watch his effort to fix and take his life back without going to jail again. But all these scenes, beyond life representation, do not seem to correlate in order to give birth to something else. In a cell phone story, when one rings another, we are much embedded in reality; then we end up in metro reality before the racism hot issue comes to the fore and the “sudden” murder takes place. In conclusion, “Fruitvale station” managed to gain the audience award and the grand jury prize of the dramatic competition of Sundance but did not manage to cause something more than real empathy in a common ground. The strong personal cry of somebody in the dark before lights were turned on to make us stroll downtown in Athens is also an indication of this truth.  

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

Sound city: listen to the myth, stay tuned to the people.

That’s an eye-catching feature documentary with music and interviews, faces and action about the iconic recording studio in Van Nuys of California named “Sound City”. The thing not to forget is: “yes, you can do it on your own, but you’ll be much happier if you do it with others”.  Dave Grohl directed 108 minutes of strong beat and catchy tunes for rock n’ roll and cinema lovers, 2 in one.

When Dave Grohl of Foo Fighters and Nirvana comes at the helm of the project to trace the history of the “famous Sound City”, -the iconic recording studio in Van Nuys of California- and direct a documentary of interviews and music pieces, the story starts with a great asset. Later on, while watching it, we realize why are addicted to rock n’ roll history. The reason why we love this kind of music is because it is the collective result of passion, strong will and talent that some people put together in order to make a thrill surpass their life and themselves. More specifically, Vinny Appice, -the rock drummer of Dio and Black Sabbath-, Joe Barresi, Brian Bell, Paul McCartney and Rick Springfield are some of those who appear on the big screen. In conclusion, the direction of Dave Grohl made mixed words work together, while offering rock appetizers in between. Moreover, it is clear that the outcome of the documentary leads to raise music awareness regarding how –on earth,-today, in the digital era, when we can simulate and manipulate everything, music can still remind us of something human. This is the point: how will we keep music to sound like people? Every word of those who shared a rock thrilling experience and “had no idea what they were doing” –whilst this could be their autobiography title-, is inspiring in a sense that you take life as it comes. Take action; take a step to meet others like you so as to be understandable and happy after all. 

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

Nos héros sont morts ce soir : un film hommage à la synergie

Nos héros sont morts ce soir

D’où venons-nous à l’âge adulte? Nul doute : on est très proches de la littérature. On reste des enfants gâtés, entourés dans nos rapports imaginaires à un monde réel. Voilà donc pourquoi David Perrault, réalisateur et scénariste du film Nos héros sont morts ce soir plonge dans le passé littéraire, parfois idéalisé, afin de nous donner un mélange de mémoire en blanc et noir, en créant un genre cinématographique tout à fait poétique et donc très imposant qui illustre son opinion sur les racines du désir dans et à travers le temps. Evidement, on est exposés au souvenir terrible puisque le miroir du temps est douloureux d’après les exigences de la mémoire qui travaille et s’en va, mobilisée par la lutte acharnée pour la survie. Rien d’ajouter à la « haute couture » des sentiments où leur raffinage cérébral nous offre un résultat très français, c'est-à-dire identifiable, avec une essence de poésie et un esprit d’argumentation.      

    

On se trouve en France, au début des années 60. On voit le rapport professionnel- amical et son déroulement entre Simon et Victor. Simon (Jean-Pierre Martins), catcheur, porte le masque blanc : sur le ring il joue le rôle du « Spectre ». Victor (Denis Ménochet), moins puissant que son collègue, est l’écorcheur mais veut partir de cet emploi dur. Quand Simon lui propose d’être son adversaire au masque noir : « L'Équarrisseur de Belleville », Victor affirme qu’il aimerait être dans la peau de celui qu'on applaudit. Et donc Simon lui suggère d'échanger les masques. Voilà le problème, quand le visage sera reconnu et aucune idée ne pourra durer plus que le temps qui la domine. Bien sur, on est « présents » au souvenir terrible de ces deux hommes dont le désir pour la même femme – désir évident de la part de Simon tandis que Victor en est silencieux- était significatif pour la narration filmique.

Puisque Perrault utilise des noms illustrés, comme ceux de François Rabelais, docteur et écrivain, et de Gérard de Nerval, la variation fictive appartient au monde déjà connu, parcouru. En tous cas, -selon Perrault- il faut qu’on se souvienne que « l’important n’est pas de comprendre mais de prendre ». Dans ce cadre, ce monde se révèle à travers le monde en dehors de l’écran et nous montre les dents de son absurdité. Lorsque l’enjeu de la vie est l’action du « deal », la violence y existe. C’est la morale du film enfin. Très intéressant même si le film Nos héros sont morts ce soir reste dépendant à ses racines. La musique fonctionne aussi comme agent provocateur, à travers laquelle les spectateurs changent d’émotion, de temps et d’espace filmique. Ce trait impose à son tour à ce que la narration filmique expose grâce à son esthétisme poétique : le cinéma synergie.       

Réalisateur : David Perrault
scénario : David Perrault
image : Christophe Duchange
montage : Maxime Pozzi-Garcia
son : Thierry Ducos - Rémi Gauthier - Guillaume Leriche
décors : Florian Sanson
musique : Julien Gester - Olivier Gonord

interprètes :
Denis Ménochet
Jean-Pierre Martins
Constance Dollé
Philippe Nahon
Pascal Demolon
Alice Barnole
Yann Collette


http://www.imdb.com/title/tt2876358/?ref_=sr_1
 

19th Athens International Film Festival “Nychtes Premieras”

www.cinemag.gr - http://www.aiff.gr

Borgman of Alex van Warmerdam, just a perfect anti-Hollywood movie

Borgman of Alex van Warmerdam

“Borgman” is inventive as to how it builds a contemporary modern allegory of political insinuations and compact as to how its concise structure serves both plot and narrative. Alex van Warmerdam, the director and writer of Borgman, did not distinguish allegory from symbolism while talking to his spectators in Athens, yesterday night- and what for, really?-. However, the spectators may see an allegorical value in his film. If Ihab Hassan, the American literary theorist, saw ‘‘Borgman’’, he would feel dizzy where to place it, in Modernism or Postmodernism. This is a definitely witty and cerebral film-making, from which the exceptional interpretation of Hadewych Minis (Marina) illustrates the movie subject better and marks it as one of the best choices of the 19th Athens International Film Festival “Nychtes Premieras” for this year, 2013.

Just from scratch we see people living in land drawers, earth boxes. In a while we observe one deprived man looking for shelter in a rich –in appearance- family; his desire is to find a bathroom and have a shower. He is a stranger but claims to be treated as a guest. After the first and absolute denial of the husband, Richard (Jeroen Perceval) to fulfill the man’s request, followed by strong beating, his wife Marina (Hadewych Minis) starts helping the stranger gradually, in an attempt to feel well with her conduct, even though this man is more or less an invader with her own consent. Here the story comes. The man communicates with animals and he is the forerunner of Camiel Borgman (Jan Bijvoet), the new gardener that will be on duty after a sequence of murders and dead heads in ciment down the water. The plot implies the manifestations of the modern way of life that disregard the essence of nature role, whilst nature has deeper impact on human reaction.

We notice the presence of three during the whole movie but not by chance. The gardener is the husband’s choice and only after his approval, he starts working. It is clear that the number “three” provokes not only our interest in the narrative but also it calls upon to assumptions in a more general context; it stirs participation and brings antithesis. It is of “political” value. However, a close look to Ihab Hassan features’ list of Modernism and Postmodernism could make us consider “Borgman” as a modern film that took advantage of the postmodern features.

I would not say that “Funny Games” of Haneke gave Alex van Warmerdam the inspiration to create his own story. But I could say that this is a very good chance to stay unmoved, excited, and passionate by the film atmosphere without thinking anything that relates to sophisticated assumptions. It is a movie, which surpassed the whole of theories- what we have read and seen already- in order to find a place in culture instead of mixing things together. This is the reason why I loved Borgman. It is compact and inspiring. 

http://www.imdb.com/title/tt1954315/

http://en.wikipedia.org/wiki/Ihab_Hassan

also:

www.cinemag.gr - http://www.aiff.gr

L’Interculturel en tant que Charnel

L’Interculturel en tant que Charnel*

Choisissant de voir dans la pratique de la langue française le développement d’une activité interculturelle, on ne peut que constater que le développement parallèle d’une activité psychique où domine la mémoire vue comme un réseau d’amour, de regard éternel. Dans ce cadre, une suite logique est : Je parle-je me souviens-je vois-j’éprouve.

Par rapport à la procédure pédagogique, cette suite logique Je parle-je me souviens-je vois-j’éprouve, est très importante pour que les élèves comprennent qu’ils font part d’un monde plus grand qu’exclusivement grec, plus fascinant que monotone ou univoque. Il n’y a rien du bien neuf à ajouter ici, mais c’est bon de rattraper le temps perdu, c’est-à-dire la mémoire, le désir du futur. La mémoire dont la base est l’interculturel, est plus proche du mélange, de la créativité et de la pensée anthropologique. En fait, « tout progrès culturel est fonction d’une coalition entre les cultures »[1]. Cette maxime de Lévi-Strauss nous encourage à avancer à l’interaction de la culture grecque et française.   

Question purement rhétorique : est-ce que le français signifie que l’occasion d’habiter ce monde entre regard et mémoire n’est pas encore perdue ?

Cette question relancée d’h a b i t e r le français provient du monde contemporain : les priorités d’aujourd’hui par rapport à la technologie et les entreprises multinationales -d’un coté- font les élèves esclaves qui doivent assimiler et apprendre soit plus vite, soit plus complexe. En y regardant, donc, de plus près, on ne peut que remarquer que le français, dans l’entourage scolaire, fonctionne comme une « réhabilitation du mythe par la modernité »[2] : en effet, la possibilité de mettre le français dans l’esprit de la communication scolaire et surtout dans celui de la nécessité humaine, cultive l’imagination des élèves et les aide en ce qui concerne leur vie professionnelle et leurs rapports humains. Je voudrais ici souligner que l’interculturel vu comme « combustible » ou « noyau » du français décrypte sa force réelle. C’est l’esprit de la philosophie, de l’anthropologie qui le perfore.

D’ailleurs, il y en a plus. Choisissant de voir l’Interculturel en tant que Charnel signifie qu’on s’approche du français comme une expérience privilégiée qui ne consiste pas des éléments fragmentaires mais synthétiques. La question dans ce champ est comment les deux pôles- grec et français- vont se rejoindre, se reconnaître.

Réponse pour atteindre le but de notre question: à travers le jeu pédagogique qui est la base de chaque procédure humaine et date d’antan.

Car, puisque l’élève sort de ses clouages, de sa dépendance à l’anglais comme langue principale chez nous, il parcourt des autres itinéraires avec leurs possibilités : donc, le français l’aide à « s’ouvrir au soi d’un autre pôle (et a fortiori à un autre sujet humain)[3] ». Comme Jacob Rogozinski souligne, -en appuyant sa pensée sur Husserl-,   dans le cadre de la synthèse charnelle et du « chiasme », les pôles n’existent plus, quand les impressions singulières forment le chiasme- c’est-à-dire la pluralité et la synergie- en supprimant la monotonie de la singularité. Son point de départ  Husserlien qu’« entre les impressions de chaque pôle, se crée (alors) une communauté de résonance», va plus loin vers la réception des expériences sur et dans le « moi-chair ». On répète ses paroles : « Alors que les micro impressions polaires sont à l’origine de séquences temporelles plus ou moins brèves, de simples phases au sein du flux, l’archi-impression où ces phases s’unifient est à l’origine du flux, lui-même. C’est ainsi que le chiasme charnel se donne le temps. Tant que ma main droite ignorait ma main gauche, mes impressions tactiles duraient aussi longtemps qu’elle parcourait la surface de la table; dès qu’elle atteignait le bord, ces impressions sombraient dans le passé. Mais voilà que les deux mains se révèlent comme deux pôles d’une seule chair (..)»[4].

En guise de conclusion, on peut voir les deux pôles, grec et français, comme deux mains d’une seule chair afin de « prendre congé » du texte scolaire et mettre en place des méthodes pédagogiques dont la base est l’interculturel et à travers le texte pour que les élèves s’engagent et participent : le plaisir est un pari de « subjectivité » à être gagné ! On termine avec la maxime de Rogozinski : « ma subjectivité ne m’est pas donnée d’emblée, se conquiert de haute lutte. (..). Aucun ego n’est jamais sujet. Il n’y a pas de ‘sujet’, il n’y a que des processus de subjectivation »[5].

   

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[1] Claude Lévi-Strauss Race et histoire, Denoël, réédition 1987, isbn 92-3-202475-6 http://www.anthropomada.com/bibliotheque/LEVI-STRAUSS%20Claude%20-%20Race%20et%20histoire.pdf

[2] Danièle Chauvin « Le livre et le mythe » dans Mythe et Modernité ; Actes du Colloque International Thessalonique 31 octobre- 2 novembre 2002, édition du Laboratoire de Littérature Comparée Thessalonique 2003, p. 187.

[3] Jacob Rogozinski  Le moi et la chair, introduction à l’ego-analyse, les éditions du Cerf, Paris 2006, p. 174.

[4] Jacob Rogozinski  Le moi et la chair, introduction à l’ego-analyse, les éditions du Cerf, Paris 2006, p. 178.

[5] Op, cit. p. 179.

*part du séminaire Créer des itinéraires présenté à I.F.A Athènes, par Photini Papariga et moi, le 6 Septembre 2013