Documents found
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3062.
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3063.More information
Lodyans, the Haitian skill of succinctly conveying a story, for example, with both a critical mind and a unique sense of humor, is passed down from generation to generation. At the same time, it can be used to transmit local knowledge, to enhance collective identity, and to critique the dominant social order. Few researchers are interested in this intangible cultural heritage. This article aims to analyze lodyans in its dialectical dimension, and particularly from the perspective of Professor Maximilien Laroche. What does “Bay lodians” mean? What is the place of Justin L'hérisson in the art of lodyans? How can we incorporate lodyans in science education?
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3064.More information
AbstractUelen is a settlement inhabited by coastal Chukchi and Yupik people who do not only hunt sea animals but also carve their ivory. Archaeological excavations in Uelen testify that ivory carving has existed there at least since the beginning of our era. When whale hunters and traders came in Uelen in the 19th century, traditional ivory carving turned into an ethnic handicraft. In 1931, Uelen residents were the first to open an ivory carving workshop in Chukotka. In the mid-1930s, they benefited from the valuable help of the Russian artist and art critic Alexander Gorbunkov, who encouraged them to develop their own artistic potential. By the end of the 1930s, Uelen carvers and engravers had acquired their particular artistic style based on their deep knowledge of the Arctic hunters' customs, expressive images of polar animals, and the natural beauty of walrus tusk. The involvement of a large number of Uelen inhabitants in ivory carving was the main reason for its preservation during the Second World War and the difficult aftermath. New tendencies, including human and folklore themes, emerged in the 1950s-1970s alongside traditional hunting depictions. In the 1980s and 1990s, Uelen artists included in their art some patterns from prehistoric ornaments. While many Chukotka artists are using new creative ways in the 2000s, Uelen carvers in general keep closer to tradition. For them, ivory carving has become a symbol of the vanishing culture of their ancestors.
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3065.More information
In 1902, Georgina Lefaivre began writing for a number of periodicals. She made journalism her profession in 1905, the year she started writing for Le Soleil, a daily newspaper based in Québec, the city where she was born. She contributed short columns until 1922. In 1919, Ginevra published a book entitled En relisant les vieilles pages, which contained short texts published between 1906 and 1918. In 1922, under another pseudonym, she published a second collection titled Billets de Geneviève. Education focused on happiness through the preparation for roles traditionally assigned to girls forms the framework of her observations. Aspiring to a discreet and modest happiness would be the secret to avoiding all that is inevitable in the daily life of wives, and especially of mothers, which the majority of these girls will become. Several themes are recurrent in the two collections, modernity and the influence of the neighbouring United States make an appearance in the second one.
Keywords: Georgina Lefaivre, Geneviève, Ginevra, chroniqueuse, journal, femmes, éducation, Québec, ville, Le Soleil, Georgina Lefaivre, Geneviève, Ginevra, columnist, newspaper, women, education, Québec, city, Le Soleil
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3066.
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3068.More information
AbstractHow and up to what point do yesterday's and today's immigrants share public cultural space in Quebec? Issues of exclusion/inclusion evolve in step with changes in the very definition of Quebec identity and of the heritage that symbolizes it. How are immigrants represented? Individually and/or collectively? Are they integrated or separated? Passive or active? Are they more often linked to their community of origin or their Quebec experience? By analyzing the exhibits Memories and People of Québec Then and Now, both focusing on the theme of identity and presented at Quebec City's Musée de la civilisation, this article intends to question the ways immigrants are represented and current strategies of intercultural mediation.
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3069.More information
AbstractInstead of adopting a " culturalist " approach to obstacles to development or going back to the " traditional-modern " opposition in its classical form of a continuum or an antithesis, the author studies development from the perspective of more or less unique combinations in which different modes of production interact in a given society and form their own particular obstacles. From this point of view F. H. Cardoso first analyzes the change produced in the mode of production which was prevalent in the nineteenth century in Latin America as a result of a combination between foreign control of the export economy and a more developed technology on the one hand, and, on the other, the means for local groups to participate in power and to use wealth. Thus, in " enclave economies " the old ruling class exercises a domination which is strictly political and, because there is no local class of entrepreneurs, the establishment of an internal economy requires a more or less profound social and political revolution, whereas elsewhere the model can be more liberal. Independently of this variant, in all countries where industrialization is late, the national production system is in a position of structural dependence simply because of its integration in modern industrial society : the characteristics which are imposed upon it, in technological matters, for example, accentuate the phenomenon of marginality and create a new duality in the middle of the urban-industrial sector itself. Thus, the type of development itself generates its obstacles here, and not the resistance of institutions linked to the traditional culture.