Documents found
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2931.More information
This article explores the cinema of the Kendrick brothers, evangelical pastors turned filmmakers. It analyses the fatherhood discourse they incorporate in their filmography. By mobilizing the concept of hegemonic masculinity, this study aims to elucidate the gender theory underlying the Kendrick brothers’ films and to demonstrate how this theory ultimately aligns with the continuity of their pastoral practice. Indeed, this article seeks to show that the role of the Kendrick brothers’ evangelical cinema is rooted in a deliberate intention to use the image as a tool for theological transmission.
Keywords: cinéma, cinema, evangelicalism, évangélisme, cinéma évangélique, evangelical cinema, masculinity, masculinité, hegemonic masculinity, masculinité hégémonique, crise de la masculinité, masculinity crisis
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2934.More information
Keywords: Construction identitaire, Intimidation homophobe, Soutien familial perçu, Jeunes lesbiennes et gais, Bisexuelles et bisexuels, Québec
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2935.More information
AbstractThis article presents an overview of the literary controversy surrounding the publication of E. M. Forster's so-called homosexual novel, Maurice, in 1971 and its subsequent publication in Spanish. Some critics published revisionist works in which his other novels were presented in the light of the revelations about Forster's own homosexuality whereas others claimed that the novel shares some of the author's major preoccupations as well as the literary themes and techniques present in all his narrative. Then we proceed to review some key concepts in Translation Studies necessary to carry out a comparative study of the text and the Spanish version: communicative translation, translators as cultural mediators, translation competence, factory translation. The study of the two texts covers three major areas: text level (including an analysis of grammatical features, lexicon, narrative style, conversational English), cultural level (studying key cultural concepts in the novel) and literary level (covering some of Forster's key literary features, the notion of muddle, the anticipatory technique). We then proceed to study all these aspects at play in chapter 25, regarded as the turning point in the novel and as a key chapter both at discursive and literary levels. In the final section, we discuss the inadequacy of the choices made by the translators and the way in which they fail to offer the Spanish readership an adequate version both as regards the text per se and as part of Forster's literary production, and we claim that it shares some of the characteristics of what Milton has called “factory translation.”
Keywords: literary translation, literary controversy, culture, factory translation, muddle, traduction littéraire, controverse littéraire, culture, traduction industrielle, désorientation
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2936.
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2937.
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2938.More information
AbstractDirect democracy appeared in California at the beginning of the century in the wake of widespread disillusionment with representative democracy and the Progressive movement. It might provide an answer to similar problems encountered in Quebec and Canada today. However, the initiative and the referendum in California have had such important, unintended consequences that many observers declare them to have changed into the opposite of what their creators intended. The debate these institutions evoke requires a clarification of its underlying values.
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2939.More information
AbstractIn recent years, the practice of film interpretation has come under attack by cognitive film theorists. It is said that interpretive claims are not truth-apt and have no cognitive value. This essay contests this claim by calling on the pragmatic and semeiotic philosophy of Charles S. Peirce. The essay is divided into two parts. The first part examines Peirce's pragmatism and the notion that theories are inescapably inferential and interpretive. The author distinguishes between the pragmatic and the scientific methods, examines the role of habit as a way to bridge the gap of mind/matter dualism, and considers Peirce's realism in the context of his critical common-sensism. The second section looks at some leading ideas in film/literary scholarship on interpretation. In particular, the author questions David Bordwell's critique of interpretive criticism and its reliance on skeptical and nominalist principles borrowed from Stanley Fish. It is shown how Bordwell's distinction between comprehension and interpretation in the cinema rests on the role played by sensory perception in the film experience. The distinction is criticized by adopting a form of empirism—that of Peirce—that is not limited by sensualism. Indeed, for Peirce, perception spreads continuously between the external and the inner worlds. A brief commentary on the work of Umberto Eco and the distinction between interpreting and overinterpreting then leads the author to consider the role of vagueness in interpretation and the problems raised by purpose and relevance of interpretation now defined as all that compels the mind of the spectator through direct—or even indirect—contact with a film. This turn opens up the issues of truth, rationality and normativity in interpretation. The paper concludes with the author arguing that film interpretation constitutes a process whereby signs—including aesthetic signs—can grow in rationality.