Ernest Mathijs
Vrije Universiteit Brussel
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Featured researches published by Ernest Mathijs.
Foundations of Science | 2000
Ernest Mathijs; Bert Mosselmans
The representation of reality is a fundamental concept in the perception of theworld. Its historical consideration leads to an understanding of historical andcontemporary culture. In this paper we specifically investigate theanthropometric stage of cultural development as a historical world view. Wedefine this stage on the basis of René Girards hypotheses on the origin ofculture, and we isolate its principles. Next, we consider the function of art asthe representation of cultural values. We investigate the three major motivesof artistic representation in the anthropometric stage, i.e. beauty, dramatizationand mimesis. We show how and why these motives play an essential partin the obfuscation and explanation of the origin of culture. Finally, we showhow these developments are dealt with in the aesthetics of Plato and Aristotle.
Social Semiotics | 2004
Ernest Mathijs
Discussions of sexuality often revolve around issues of cultural representation and identity. The Belgian film S. (dir. Guido Henderickx 1988), both criticises and exploits representations of sexuality. In doing so, it fails to fit the usual categories of reception in Belgium, thus challenging established views on Belgian cultural identity. Through a focus on a failed reception, which refuses to address the issue of abjection and the submission of the human body to social order, I will show how the radically personal and extreme views of the main character can be linked to a specific cultural context, that of scandal‐ridden Belgium in the late 1990s. The revolt of S. against her abusers then becomes a possible, radical solution from any kind of social order that sees ‘deviant’ sexuality as threatening, and S. becomes a plea for the body as a last refuge against injustice.
Archive | 2013
Ernest Mathijs
Between the late 1960s and 2010, David Cronenberg appeared in twenty-five mostly small roles in films and television shows directed by himself and others.1 Each of these roles can be defined as a ‘cameo role’, and, in each, Cronenberg utilizes a distinct acting style that contributes to the film’s meaning and, as a consequence, its status. In one of the only discussions of Cronenberg’s acting performances, Adam Lowenstein (2004) has described these roles as emphasizing ‘murderous embodiment or bureaucratic disembodiment, often to reveal a combination of both’. Indeed, Cronenberg is mostly cast as distanced, detached, cold and dispassionate, faculties the figures of the serial killer and the bureaucrat share (and which characterize the objectifying impersonal address both are infamous for). It is the double bind between the reception components of the cameo and the particular acting style of Cronenberg that this chapter addresses, and it is my contention that within this double bind, and its management, we can discover the reason why Cronenberg’s cameos should be regarded as a cult supertext: a string of moments stretched across films that, together with the films themselves (both his own and others) and the ancillary materials that circulate around those films, offer a compelling way of understanding his oeuvre’s comments on the world.
Archive | 2011
Ernest Mathijs; Jamie Sexton
Archive | 2008
Martin Barker; Ernest Mathijs
Archive | 2006
Ernest Mathijs
Archive | 2007
Ernest Mathijs; Xavier Mendik
Television & New Media | 2002
Ernest Mathijs
Archive | 2008
Ernest Mathijs
Screen | 2005
Ernest Mathijs