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281.More information
The article presents a retrospective of the Brazilian poetry along the last century. The main characteristics of the poetic movements that followed each other until 1964 (modernism, postmodernism, generation 45, and the avant-garde and popular poetry movements of the post-war period) are described and connected with the socio-politic context, and the main authors are presented. The progressive development of the poetic creation out of the big cities of the South, in particular in the Nordeste, is highlighted. The various forms of poetic expression during the military dictatorship (1964-1985) (the poema/processo movement, the marginal poetry, the catequese poética movement, and some “independent” poets) are then evoked. The various forms and styles in which poetry is expressed in the aftermath of the dictatorship are described, with emphasis on the poetry written by women and discriminated or exploited minorities (Black people, homosexuals, inhabitants of the favelas). Lastly, the repente and the cordel literature, popular poetic forms still very much alive today, are mentioned, as well as the poetry in indigenous languages, which is gradually beginning to develop and become better known. In conclusion, we analyse the major characteristics of the Brazilian contemporary poetry. The essay is completed by a selection of texts of twelve contemporary Brazilian poets, translated into French.
Keywords: modernisme, postmodernisme, génération 45, concrétisme, néo-concrétisme, tendência, praxis, violão de rua, poema/processo, poésie marginale, catequese poética, repente, modernism, postmodernism, generation 45, concretism, neo-concretism, tendência, praxis, violão de rua, poema/processo, marginal poetry, catequese poética, repente
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282.
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284.More information
Keywords: Linguistique, sémiotique, ethnographie, psychanalyse, phénoménologie, écriture, Linguistics, Semiotics, Ethnography, Psychoanalysis, Phenomenology, Writing
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285.More information
One of the main purposes of this study is to present the most fundamental aspects of the rule audi alteram partem. For example, the author believes that the right to be represented by counsel and the right to a public hearing are necessary conditions to ensure the full implementation of the right to be heard.Further, the right to be heard might be limited by three different restrictions: (1) reasonable delay to serve a motion in evocation; (2) the obligation to follow the route of administrative or quasi judicial process to the end before taking a recourse in evocation; (3) to appeal the decision of the lower court when such an appeal exists and is useful.The author suggests that superior courts should give right to the recourse in evocation every time the rule audi alteram partem has been violated, without taking into consideration other possible recourses. This way of dealing with infringements of the right to be heard would have a beneficial effect in showing to lower courts and bodies the proper direction in the application and fulfilment of that most important right.Article 835.1 C.c.p. has been enacted to ensure an early enforceable execution of decisions rendered by lower courts and bodies. This rule has created a tremendous number of litigations on the sole question of delay. Even when the rule audi alteram partem has been seriously violated, the courts can reject the recourse on a question of delay always subject to unpredictable judgement. The author proposes a new version of article 835.1 C.C.P., that will meet more appropriately the spirit of the rules of natural justice and will preserve the full implementation of the rule audi alteram partem.The author concludes with some lessons to be derived from the two cases, Ferland v. Lachance and Université du Québec v. Larocque in view of his proposals.
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286.
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289.More information
Two Chinese filmmakers, Chen Kaige and Zhang Yimou, are as well known abroad as they are in China. This article seeks to show how the polarisation between their respective approaches to filmmaking derives from the diametrically opposed positions they have adopted. Chen's position is called hanxu or allusive and favours self-reflection, while Zhang's is called yanggang and favours vivid, direct emotion. The article discusses the difference between these two polar opposites, but also explores their underlying unity, the "unthought" dimension, which incorporates sexual difference and Chinese writing.