GRAINE DE CRAPULE FILM

Deligny has in common with the intellectuals of the second half of the XXth century their refusing fixations about identity and their metaphorical thinking of discontinuity: While he never stops writing, trying to be published, it is also never to stay put, to stay clear of ideological hijacking, to remind one that research always finds the researcher beyond or below the image, to which he is fastened, on the moving and frail field of experimentation. Deligny has broken away for good with social activism. He mistrusts corporations and their allegiance to technique and pre-constituted knowledge. At the asylum and in the communist party. Throughout these pages, Deligny remains what he was, a school teacher, an educator, an intellectual without an assigned discipline, an inventor.

I loved it, as it is highly likely a lot of people love someone, decide to live a life with that someone. While never trying to undo the share of legend he voluntarily kept alive, these introductions re-establish some of the historic facts, on the background of which his action and work come to light. The correspondence is way too vast. Thus begins a ten year-long unsettled period of his life. For it is, on the contrary, his profound irresponsibility which interests him, as his inability to assert these rights and the imprecision on his status as a person. The second one being the metaphor. In English, Fossils have it rough only translates the first meaning. At a time when the field of education is being reduced to a subfield of the neuro-sciences and subjected to the norms of book-keeping efficiency, it is high time to look back into the human depths of certain authors possessed of great inspiration, and, in particular, to Fernand Deligny.

He reads a lot yet he is never one of these enthusiast readers for whom reading turns into a second life. Take the word as you wish: Such stands come from a critique of language, which lead Deligny to live with autistic children. About Psychiatryread also.

Deligny, Another View of That Profound Human Part in Us – L’Humanit√© in English

As early as the sixties, he almost systematically uses the dictionary and etymology as references: His rejection of specialities another form of fixation about identity is motivated by the same concern for efficiency. He poses and casually tackles scholarly texts; he rarely names his sources, quotes from memory and in no particular order. These are former workers or craftsmen: What are these pages?

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Even with the insane, the delinquents, those left by the way-side, the dissidents, Despite their graphic appeal, these transcriptions are impermeable to the status of work of art, whether primitive or hraine.

Deligny, Another View of That Profound Human Part in Us

Finally, to call upon the eternally revived presence, rather than the return, of a pacified yesteryear, a luminous time of stones and traces.

Images take up a lot of space. The whole work bears the sign of this double demand. A chronological presentation of his work has the advantage to arrange a complex material made of texts, articles, issues of journals, drawings, maps, photographs, films. He was then fifty-three; he had already spent thirty years of his life with backward and maladjusted children and adolescents, he was to spend thirty more years with autistic children.

Thus, his perception of the asylum and of what he does not call insanity is both philosophical and poetic. Deligny wrote it inat the psychiatric clinic of La Borde. It is not the last one. Despite the peculiarity of the narrative, despite the clues he offers between the lines to his obsessive fear of the disappearance of the father, we chose not to reissue this text.

He invents a spatial device, customs, a cartography, a language. Throughout these ccrapule, Deligny remains what he was, a school teacher, an educator, an intellectual without an assigned discipline, an inventor. The official grounds for his suspension from the C.

Deligny warns the first educators against normalization and the grip of moral standards, which come crapu,e hide the social cause for delinquency. Deligny is also interested by photography, seen as an another trace. It also points at crapupe form of reduced epic, almost farcical, sometimes burlesque, so far away from these works he admires, works by Conrad, Melville, Cervantes, Stevenson.

He never looks for the object of the trace which has disappeared.

He never left France, spoke no language except his own, showed no regret whatsoever for the experience of that strangeness. Deligny deals with autism yet he is no psychiatrist; and even worse, maybe, he shelters autistic persons yet has no intention to cure them.

It seems that his dealing with works of social sciences is more intuitive than analytic: He mistrusts corporations and their allegiance to technique and pre-constituted knowledge. Writer, teacher and film-maker, from onwards, Deligny the “educator” experimented with an entirely novel approach to the care of autistic children.

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Deligny said of himself that he was “born to write”. His struggling with the mastery over fiction and over the distance, which bounds him to the characters, explain his giving up on the genre.

Going back to the setting of the asylum, diving again in a form of writing both narrative and realistic, would have loaded down the structure of the collection. Yet, to him, the image will always be somehow childlike, somehow primitive.

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This edition, created by Sandra Alvarez de Toledo, sheds light on their crapul. Les Vagabonds efficacesa chronicle of his staying at the C.

Taking advantage of the disorder brought along by the war, he drastically changes the organization chart of the asylum rather than its hierarchy: Relentlessly, Deligny goes on writing. Well, marginals exist, and form a world of their own. To define an adaptive environment rather than a set of abstract rules. What does it mean, to become someoneto make a name for oneself? The avatars of fiction are followed by the peace and quiet of an idealized document, focused on Janmari. In Septemberhe writes to Louis Althusser: About a film to be made.

Such a vocabulary stems from an experience of space lived through psychotic symptoms. Between andDeligny publishes seven books.

That same year, the collection is published in French: Most of the maps have been lost. The infinitive marking is the accomplished form of such a permanency, referring to no other thing, to no Other. He is torn between a deep-rooted rejection of anticommunism and a profound disagreement with the ideological conditioning of the party.

Thus begins a ten year-long unsettled period of his life. This freeing up of the imagination mirrors his dominant preoccupation: The small handwriting is fine and cursive, hastened by time and the pressure of memory.