By Aurélie Névot
L. a. relation maître-disciple « défie toute étude d’ensemble », a écrit George Steiner, tant elle se singularise par los angeles pressure entre ses cadres multiples et son caractère precise. Socle de l’édifice social, elle s’incarne entre deux personnes, tout en constituant le médium de los angeles pensée en partage. C’est en multipliant les angles et en diversifiant les domaines où cette relation s’exerce que pareil phénomène peut être approché. Tel est le propos de cet ouvrage rassemblant philosophes, historiens et ethnologues. De l’Académie d’Athènes à l’enseignement dans les associations scolaires et universitaires en Europe contemporaine, de filiations spirituelles et musicales hindoues à des pratiques chamaniques de Chine, les auteurs s’interrogent sur les acteurs de los angeles transmission – orale ou livresque, parlée ou muette, gestuelle ou musiquante –, et l’intimité de ces « passeurs de query ». Confucius dit transmettre mais ne pas innover, tout en considérant que de l’ancien émane l. a. nouveauté ; Fichte fait du rapport maître-disciple los angeles situation de l’éclosion du savoir. Autant de events dans des civilisations et des temps différents qui déploient toutes les facettes de cette rencontre interpersonnelle. Autant d’occasions de mettre en lumière l. a. continuité, los angeles perdurance de l’objet à transmettre.Une réflexion stimulante sur un phénomène social mal connu : los angeles transmission du savoir.
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Additional resources for De l'un à l'autre : Maîtres et disciples
Wadia writes in his memoir: [Lanka dahan] was tagged to an American feature ﬁlm at the old West End Cinema of Seth Rustomji Dorabji Wellington situated just behind the Girgaum Police Court. The roadside and the compound of the cinema used to be chokeful with bullock carts in which devoted people from small towns and villages nearby – Bombay came to have a ‘darshan’ of their beloved gods, Shree Ram and Shree Hanuman. As a westernized Parsee youngster I had a hearty laugh at the sight of a muscular Seeta played by a male artiste (Salunke) as also the allpowerful tail of Shree Hanuman made of rope.
While the religious image is held to be efﬁcacious in ﬁlms as it is elsewhere, cinematic special effects of beams of vision and of light moving from eye to eye emphasise the very nature of the religious image whether in the mythological ﬁlm, such as Jai Santoshi Maa, or in moments in other ﬁlms where images become efﬁcacious, such as Amar, Akbar, Anthony (see Chapter 4). 20 1111 2 3 4 5 6 7 8 9 1011 1 2 3 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 1 2 3 44111 Filming the Gods As Sean Cubitt has noted (2004: 53), the cinema drew on the use of special effects in theatre.
Nasik contains Panchavati, where Rama, Sita and Lakshman lived during their exile in the forest. However, the space inbetween these two was the British military base of Deolali, a constant reminder of the colonial presence. 41 The audience Before we can examine how the audience viewed these religious ﬁlms, we need to place them in the wider context of ﬁlm viewing during the silent period. H. Wadia (1977), who writes about cinema going in his memoirs. In Chapter 1, he describes how he and his school friends went to the cinemas every Saturday and Sunday, seeing around four or ﬁve ﬁlms over the weekend.
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