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Alexander Vialatte (1901-1971) translated almost all of Kafka's works into French, and was also an influential Kafka scholar; his various readings of the opus form the basis for major orientations in current criticism. During the same period, Vialatte was also writing his own works, which are largely independant of those of Kafka. While the analogies between the works of these two authors are often vague — a troubling oddness, an obsession with classification, feelings of guilt without misdeed — and although direct borrowings are scarce, it is nonetheless possible to discover affinities between Vialatte and Kafka in La dame du Job and Le fidèle berger, novels of secrets and rules, in La maison du joueur de flûte, a Kafkaesque parbole, and in Les fruits du Congo, a novel published in 1951. In examining these novels, one may better understand the nature of the enigmatic “ false idea that is crucial to me ” of which Vialatte spoke when discussing how his personal reading of Kafka contributed to his own literary creations.
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AbstractTranslators on a Tight Rope: The Challenges of Translating Edwidge Danticat's Breath, Eyes, Memory and Patrick Chamoiseau's Texaco — For Caribbean intellectuals and scholars, translation of Caribbean literary texts has a key role to play for breaching the language barriers in the Caribbean and fostering regional integration. However, most publishing houses are located in the industrialized North, i.e. in countries which had colonial interests in the region. The targeted market of these publishers is located in a region which tends to exoticize the Caribbean. Henceforth, translating Caribbean literature can be like walking on a tight rope, since the translator would have to negotiate carefully between exoticism and faithfulness to the Caribbean culture. In addition, at least for the Dutch, French and English-speaking Caribbean, there is also the issue of bilingualism: use of French in relation with use of Haitian / Martinican / Guadeloupian Creole, use of English with Jamaican / Trinidadian Creole or a French-based Creole (Dominica, Grenada, and St Lucia). Against this background, we examined two translations, one from English into French (Edwidge Danticat's Breath, Eyes, Memory, 1994), the other from French into English (Patrick Chamoiseau's Texaco, 1992). We analyzed the translators' strategies in order to convey the Haitian and Martinican cultures. We also discussed their rendering of the bilingual shifts present in both texts. One translator was more successful than the other, which also raised the issue of 'scholar' translation versus 'non scholar' translation. In conclusion, Caribbean academics have to be watchful of the translations of literary works of the region since these translations, which do not aim primarily at the regional audience will nevertheless impact on cultural relationships in the region.
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We are in Burkina, in the land of the Lobi, during a great fertility ritual. The ethnologist is in the field with her young son. A call from France : their dog (Bellina) is suffering from a terrible disease. They can reduce her suffering with palliative treatments. The child cries for the one he thinks of as his little sister. The Lobi, made aware of the situation, recommend instead putting her down as soon as possible in order to make a great soup of her, as the cynophagy ritual requires. Two different viewpoints, approaches and behaviours are suddenly face to face, discussed and commented on. They are analysed through graphic discussion, field anecdotes gathered from completely unrelated studies and stories of myth-like quality. Put forward, these rambling discussions highlight the violent disconnect as much as they reveal crucial and surprising links, uniting man to dog, in France and in Burkina.
Keywords: Cros, rites de mort, cynophagie, parenté, empathie, barrières interspécifiques, dessins projectifs, Cros, Death Rituals, Cynophagy, Parenthood, Empathy, Interspecific Borders, Story Telling, Cros, Ritos de muerte, cinofagia, parentesco, empatía, barreras inter-especificas, dibujos proyectivos
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This article engages with the concept of the cultivated pedagogue, not from the perspective of professional development, but rather from the point of view of a basic reexamination of culture in Western societies. More specifically, it outlines the beginnings of an answer to the question: What is a cultivated pedagogue in the context of the cultural crisis? The first part of this article sketches the two main faces of the cultural crisis: the crisis of reason and the crisis of values. The second part clarifies the term “culture” while bringing out the complexity of the concept it refers to. The third part develops a concept of the cultivated pedagogue while fending off the double danger of staying locked into either “a past without a present” or “a present without a past.” Finally, the article presents a number of features with which we can sketch an outline of what a cultivated pedagogue might be.
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The year 2014 marks the 20th anniversary of the Generation project, a biennial Canada-wide composition contest organized by the Ensemble contemporain de Montréal (ECM+), conducted and artistically directed by Véronique Lacroix. This article examines the compositional approaches of the four 2014 laureates: Marie-Pierre Brasset (Canada), Alec Hall (Canada/USA), Evelin Ramon (Canada/Cuba) and Anthony Tan (Canada/Germany). The author provides a foundation to reflect on the concept of style regarding the creative processes of up-and-coming composers in the Canadian contemporary music scene.Firstly, the idea of style is defined in the context of the article. The compositional processes of the ECM+ Generation2014 laureates are then examined according to this concept. The four composers share a certain stylistic dialect, while clearly demonstrating their own independence. In their works and thoughts, there is a particularly strong inclination towards the archetypes of Western classical music, such as traditional lyricism and personal expression. In analyzing their concepts of style, research and ongoing experimentation were also found to be significant approaches used by the four laureates. Lastly, personal expression was the third major issue that emerged from the study. In conclusion, it was found that the assumption of critical responsibility, by the composers, of the constraints that determine their given style can be a powerful creative tool in their work.