Documents found
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10152.
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10154.More information
This essay's title is drawn from a 1995 provincial campaign whose objective was to sensitize the population towards new citizens of diverse origins, all of whom shared the "Quebecer's heart." This essay underlines the bilingual character (francophone/anglophone) of Quebec authors and the frequent incorporation of English into their texts, which has been far less conflictual since the 1980s. In a variety of ways, certain examples demonstrate how authors have gone beyond the notion of the "pure wool" Quebecer. Other passages incorporating sentences and/or expressions in English (and on the English language) demonstrate a knowledge of this language that was formerly an enemy. More assured about the status of the Quebec language since the Quiet Revolution, the authors are also more at ease with the use of English in their texts. In the examples studied here, we observe that the English expressions used by these divided authors — with the "Quebecer's heart" — nevertheless require a bilingual reader.
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10155.More information
This article examines the genesis of Quebec studies in Spain: the various factors and driving forces which have played a key role in their development, the sites where they have become visible, and the degree of scientific enrichment they have contributed, whether it be at the teaching level or at the research level. This article touches on issues and research subjects that Spanish researchers have dealt with, and describes the various steps involved in building up this scientific field in Spain, the way in which a balance can be reached between memory, traditions and projects. We lay out the signs of maturity that have been observed, and then propose a series of ways that should continue to be paved in order to improve teaching, the communication within the area of Quebec studies, as well as the dialogue between Quebec studies and Canadian studies.
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10156.
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10158.
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10159.More information
Brazilian musicians Milton Nascimento and Nivaldo Ornelas began working together in the 1960s in Belo Horizonte. This was a decade of great transformations for global geopolitics as well as Brazilian society, which was undergoing a rapid growth of urban centers coupled with rural outmigration. During this period, two fields of cultural production emerged in popular music that would become paradigmatic for Brazilian music, namely, música popular brasileira, or MPB, and Brazilian Instrumental Music. This article aims to describe the intersections of these two fields of artistic production by examining the contributions of saxophonist Nivaldo Ornelas to the recordings of Nascimento's song “Hoje É Dia de El Rey,” understood as manifestations of resistance and resilience of subaltern voices as a decolonial alternative to hegemonic projects—whether within aesthetic, political, racial, or economic scenarios.
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10160.