Le détour par soi
In his work, Daniel Fabre uses his autobiographical experience both as a resource and as a watermark. In his book Bataille à Lascaux. Comment l’art préhistorique apparut aux enfants, this experience runs all through his research career and his writing. The detour he made via himself involved both Ge...
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| Format: | Article |
| Language: | fra |
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Centre de Recherches Historiques
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| Series: | L'Atelier du CRH |
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| Online Access: | https://journals.openedition.org/acrh/7541 |
| Summary: | In his work, Daniel Fabre uses his autobiographical experience both as a resource and as a watermark. In his book Bataille à Lascaux. Comment l’art préhistorique apparut aux enfants, this experience runs all through his research career and his writing. The detour he made via himself involved both George Bataille’s work – for whom the interpretation of the wall paintings of Lascaux cannot be separate from the experience of their discovering – and the work of Bataille’s analyst. Such a detour enables Daniel Fabre to cross several levels – from an ethnology of prehistoric or even Marian appearances to children, to an anthropology of symbolics and an anthropology of knowledge about the birth of human being. |
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| ISSN: | 1760-7914 |