Documents found
-
372.More information
Pier Paolo Pasolini grew up under the ventennio nero: twenty years of grandiloquent stagings of romanità against a marble backdrop manipulated by a selective archaeology. The study of these earliest texts makes it possible to trace the genesis of Pasolini's resistance to what the historian Eric Hobsbawm has called “the [fascist] invention of traditions.” By analyzing the three fundamental schools on which Pasolini, in his correspondence, claims to draw—Longhi, studies of language (hermeticism and dialect) and Freud—along with the concepts (history, tradition) he contests in his earliest texts with respect to fascism, this article shows the development of a way of thinking about artistic invention, understood in the etymological and archaeological sense of bringing to light facts which are invisible because they are excluded from the official ideology, relegated to the sidelines and forbidden to depict. The article concludes with a succinct analysis of Pasolini's translation of fragments of the ancient Greek poet Sappho, one of the first examples of a Greek model that would inform his entire future oeuvre.
-
373.More information
Any exhibition, like other language forms, conveys ideas, points of view and allows visitors to navigate within an imaginary space. In this article, the focus is on situations where fictional mechanisms are set up and where curators come to claim a position as authors, taking advantage of singular choices in the design of the exhibition display, the selection of objects or the way mediation texts are written.
-
375.More information
For Anna Giaufret, comic is a genre torn between the desire to go against the standard norm and the will to respect it (2019, p. 116). These two attitudes towards language – one in favor of varieties and the other leaning on the standard – are both staged in Acadian comics Acadieman (2002-2017) by Dano LeBlanc and Capitaine Acadie (2019 et 2021) by Daniel and Dany Bouffard. More specifically, I will study the three first issues of Acadieman and the two volumes of Capitaine Acadie. My hypothesis is that a normative language goes hand in hand with normative aesthetics and representations. Conversely, the use of a more flexible language not only exposes the “low” and non-normative, but also allows for the play with different kinds of norms.
Keywords: Bande dessinée, littérature acadienne, chiac, Acadieman, Capitaine Acadie, Comics, Acadian literature, chiac, Acadieman, Capitaine Acadie
-
376.More information
Framed from an auto-ethnographic theoretical and conceptual point of entry, this paper intends to reflect on two Indigenous peoples' folktales told by two raconteurs, Louis Bird, an elder and storyteller from the Swampy Cree Nation (Canada), and the author, who is an African (Shona) storyteller. The two tales are traditional and were handed down orally, which makes the date of their creation or context unknown. Yet, despite the huge geographical and geo-political situatedness between the Shona (Zimbabwe) and the Cree (Canada), it is elements of cultural parallelism in the worlds of the two stories that are striking as they seem to converge and comment on multiple conceptual and thematic strands such as belonging, dispossession, displacement, domination and destabilisation. Besides the remarkable way that they use time as a literary device, both stories seem to demonstrate the ability of traditional Indigenous tales to function as possible legitimate historical records that can possibly offer multiple readings that speak to different audiences beyond a group's cultural context.
-
378.
-
379.
-
380.