Documents found
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192.More information
The materiality of the cinematographic image makes film an "art" of the present. Film, institutionalized as narrative (of anti-narrative with the avant-garde), took on the role of representing the past. But when film resists the literary model and explores its own materiality, its images produce a different temporality, one that threatens the linearity and the dialectics of Western history. This article deals with the problematic of time in the work of the Italian film-director Pier Paolo Pasolini. In particular the author discusses how his "going back to mythical past" in fact leads to the production of a temporality where prehistory and history are no longer organized along a horizontal, or a vertical, axis. Myth and history coexist and contaminate each other. At the same time, their coexistence dramatizes the break that keeps them apart. In this regard, Pasolini's work becomes especially interesting in his "Third World" movies (from Oedipus Rex to Notes for an African Orestes, to The Trilogy of Life, etc.) that stage the mediation, accomplished by audio-visual technique, between Western culture and other cultures and that criticize the idea of development and progress, and, consequently, of a universal and linear temporality.
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193.More information
This article compares the works and careers of Leo Africanus, Moroccan geographer born in Granada, and of the Morisco Ahmad al-Hajarî, focusing on their contributions to travel literature and to the development of Oriental studies in Europe.
Keywords: Jean Léon l'Africain (v. 1490- v. 1554), Ahmad al-Hajarî (1569 ou 70 – après 1640), Orientalisme, littérature de voyage, Morisques, écrivains marocains, Leo Africanus (ca. 1490-ca. 1554), Ahmad al-Hajarî (1569 or 70 – after 1640), Orientalism, travel literature, Moriscos, Moroccan writers, Juan León el Africano (ca. 1490-ca. 1554), Ahmad al-Hajarî (1569 o 70 – después de 1640), orientalismo, literatura de viajes, Moriscos, escritores marroquí
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194.More information
In Nicolas Dickner's coming of age novel Nikolski, the protagonists' emancipation and self-determination are conditioned by the absence of family ties. The three protagonists, who are free from stereotypes, discover their identity by means of stories, events, travels and contacts that destiny seems to send to them. As their emancipatory processes are essentially determined by the places in which they dwell, this article focuses on the analysis of these in-between places where the familiar and the unfamiliar meet, and that result in fortuitous encounters changing the course of the characters' lives. These developments will be analyzed through the notion of the contact zone, which enables an in-depth study of the effects of the liminal places and encounters between the characters.
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195.More information
In this essay, the author tries to delineate contemporary Quebec's religious sensibility by analyzing two recent artistic works: Bernard Émond's film La neuvaine (2005) and Alexis Martin's play, Bureaux (2003). They both contain manifestations of spiritual uneasiness, born from the spiritual disenchantment experienced by the post-Quiet Revolution Québec. In this respect, a special attention is given to the void left by the social and cultural disappearance of Catholicism, which had been a strong element of Québécois cultural identity in the past. To fill this void, "therapeutic religion" in various guises prevails over traditional religion, and tends to blur the line between spiritual quest and psychological comfort. Only the arts, in confronting this state of spiritual anxiety, seem able to pose the question of transcendence in a radical way.
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196.More information
This article relate the story of Henri de Ste Gême, a Saint Dominguan refugee who travelled across the Atlantic world between 1769 and 1842. Involved as a military in the French and Haitian Revolutions, his privateering, smuggling and business activities will lead him in Cuba as well as in New Orleans. His arrival in 1809 is related to a great migration wave where 10,000 saint-dominguan refugees set a foot in New Orleans. Ste Gême will be recognized as a principal financier in Lafitte's privateering as much as his participation in the Battle of New Orleans where General Andrew Jackson will recognized Ste Geme as valuable. Ste Geme left New Orleans in 1818 to get back in France with his wife, leaving behind him three colored children and give control of his habitation to some friends. management and distribution of the enslaved. Finally, this article will examine some features of these German villages to serve as a base of comparison with settlements in New France.
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