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Following advances in ethology, leading to the idea that animals think, suffer and even make plans for the future ; data from anthropology, showing how many societies regard animals as individuals in their own right ; and deductions of philosophy, whereby if an animal counts as an individual then it has rights, the human/animal boundary is experiencing vast changes. This questioning, illustrated by works such as Animal Liberation (1975) by Peter Singer, has collateral effects : by « liberating » animals, other barriers are also broken down and thus a whole range of fantasies about inter-species sex can be imagined. Although logically conceivable, this revolution poses problems of a symbolic nature. Speculation about bestial practices, with their associated ensemble of injuries, diseases and other « punishments » (natural and supernatural) remind us that the removal of imaginary differences has catastrophic effects : far from ensuring peace, it creates disorder and fuels conflicts.
Keywords: Dalla Bernardina, frontière homme/animal, zoophilie, antispécisme, éthique animale, initiation, anthropologie de la nature, Dalla Bernardina, Human-Animal Boundary, Bestiality, Anti-Speciesism, Animal Ethics, Initiation, Anthropology of Nature, Dalla Bernardina, frontera hombre/animal, zoofilia, anti-especiesismo, ética animal, iniciación, antropología de la naturaleza
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In this article, the complete output of Félix Leclerc is the basis for exploring a “text-with-accompaniment” model of analysis. It begins with a literary analysis of Leclerc's lyrics, in particular the song “Les Rogations” in the context of the songwriter's pre-1970 nationalist thinking (Monière, 1977; Balthazar, 1986; Dumont, 1996). The musical analysis then focuses on relationships between the musical trends that influenced Leclerc and the guitar accompaniment techniques he displayed in his recorded songs (Green, 2001; Tagg and Clarida, 2003). By means of this type of analysis, we attempt to challenge two widespread beliefs about Leclerc: that his career was divided into no more than two periods– before and after the October Crisis of 1970; and that he maintained a strong aesthetic bond with the hallowed European French “chanson” tradition.
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Keywords: arts visuels, interdisciplinarité, littérature, musique, théories esthétiques, aesthetic theories, interdisciplinarity, literature, music, visual arts
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It's hard to prove objectively, but it is safe to say that the Paul series is undoubtedly the most influential work in the history of Quebecois comics. In my paper, I will attempt to identify and explain the reasons for this success. In particular, I will show that beyond the narrative and graphic qualities of Michel Rabagliati's series, there are aspects that operate on a subjective, emotional level: the choice of the autofictional genre, the transparency of the comic artist, his sensitivity, his astonishing ability to recreate the past (personal as well as collective), the geographical and historical anchoring, the accuracy of the language, the proximity of the dramatic stakes for readers. I will elaborate on all of these aspects that contribute to readers being challenged and connecting with the story, as well as on more technical aspects, such as the highly graphic drawing style, which gives the hero a schematic face that acts like a mask, onto which every reader can project his or her own face. Paul is a lot like Rabagliati… and a little like each one of us.