Mythes grecs au figure: De l'antiquite au baroque

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... Aristotle stressed that theatrical performance involves a skillful imitation of social life and the mythical universe of the gods; Vernant (cf. Georgoudi & Vernant, 1996) consequently argues that this imitation implies a magical evocation of the divine, which in turn may (or may not) lead to a transfiguration of the body of the actor. The gods may 'shine' through the actors and thus become actually present. ...
The Greek gods are collectively designated in the literary sources as Olympian, with a clear reference to their seat on the top of Olympos mountain, or more generally in heaven. Beginning with nineteenth-century scholarship, Olympian deities have been considered a monolithic divine category separate from the chthonic deities in a dichotomous understanding of Greek religion.
In this article, I shall argue that concepts of Creoleness are used both to formulate an ethics of modern time and mobility, and to form social realities whose experience, among others through tourism, brings this very ethics alive. Creoleness presents itself here as a powerful allegory to think about time in terms of a linear process, as ‘history’ emanating in an imaginary point of purity and origin, and leading towards a state of increasing melange and ‘creolisation’. Through a historical and ethnographic study of landscape poetic, spatial planning and museum initiatives in the Indian Ocean island of La Réunion, I will show how the island and islanders were made to inhabit and ultimately to perform this allegory as a means to participate in a global modernity. Through the particular focus on a recent museum project, the article will point to the ambivalences underlying this new sign-economy within which facets of the islanders’ everyday life are elevated as to be or become a ‘model for the world’.
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