Documents found
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501.More information
AbstractThe purpose of this article is to observe the enigmatic dimension of Gaétan Soucy's L'Immaculée Conception. The article describes the ways in which this specific dimension appears in the novel as part of two major plotlines, and shows that the enigma allows the fictional presentation of specific meanings related to memory, fault and knowledge.
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502.More information
Research framework: Prostate cancer is an older man’s disease. In France, it is most commonly diagnosed among men of 70 years of age. Very often, this type of cancer involves invasive procedures and affects the lives of many patients.Objectives: This article studies the lives of men dealing with prostate cancer and aims, more precisely, to examine the intersections between gender, sexuality and aging as related to the experience of having this illness. Methodology: The study is based on a qualitative research that combines ethnographic fieldwork in hospitals and semi-structured interviews with patients, relatives and professionals. Results: The results detail two dimensions of prostate cancer experience. The first concerns how men diagnosed with prostate cancer deal with biomedical discourses and practices. The care relationship is described as structured by age and gender. The second dimension of the prostate cancer experience studied in this article looks into the effects of the illness on identity and personal biography. The repercussions affecting the subjective definition of aging as well as gender relations and identifications are presented in their plurality.Conclusions: Our methodological approach used the intersectionnality of age, gender and sexual norms in the study of the prostate cancer experience. This helped to uncover a better understanding of the tensions involved in this delicate subject. Contribution: The adoption of intersectionality as a theoretical framework shed a new light on how aging men cope with illness.
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503.More information
This essay explores the visualization of culture in the late eighteenth and early nineteenth centuries by examining the spectacle surrounding the death of a beautiful woman in sentimental texts. Focusing on Rousseau's Julie, ouLa Nouvelle Héloïse, I argue that this novel highlights the relationship between interpretation and identity formation by outlining a style of reading that concentrates on the visual aspects of interpretation. Central to my study is the idea that Rousseau considered the imagination as the primary medium through which interpretation occurred. This is an unstable medium in that the passions were believed to influence the imagination and limit one's ability to read properly. Rousseau thus sought to repress passion and contain the imagination through an image presented in the form of a spectacle – the image of the feminine ideal. This image, stabilized in death, needed to be internalized in the reader's heart and mind. Readers would then interpret bodies/texts/objects – and their own identity – through an imagination that is controlled by this enduring symbol, allowing them to have access to “truth,” and to regain a sense of unity and happiness that is often lost in modern society.
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504.More information
This article focuses on the part of Brigitte Haentjens' work where she breaks with pure dramatic aesthetics to investigate interartistic areas. Many of her plays are characterized by a non-textocentric approach or the use of non-traditional theatrical materials. Accordingly, Haentjens calls upon a number of artistic disciplines including performance art, dance, chorality and environmental theatre with a view to offering a spectacular contract that differs slightly from that of the rest of her work, one that oscillates between multiple artistic poles, not merely theatre. This use of the body is a particularly effective way to account for tensions between individuals and the group, rely on a convergent dialogism and deepen, through contact with other arts, the critical, feminist perspective that she favours.
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505.More information
Mademoiselle Clairon (1723–1803) was indisputably one of the greatest actresses of her time. She wrote her memoirs shortly before her death in response to a range of defamatory discourses aimed at damaging her reputation. Of these, the libels entitled Histoire de Mademoiselle Cronel accused Clairon of harbouring depraved intentions and revealed how the practice of dramatic art continued to meet with harsh criticism in the 18th century. This analysis focuses on these defamatory libels as well as the memoirs describing the actress's life and career. Both texts discuss the social emancipation Clairon experienced. Her particular case suggests that women from humble beginnings who chose a theatrical career placed themselves on the margins of society. Nevertheless, this marginal position enabled a social emancipation that was rare in the Ancien Regime.
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