Documents found
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403.More information
In a career spanning 45 years, David Cronenberg's filmography includes 22 films. Since 1979, Howard Shore has scored 15 of them. Though Cronenberg's world is well known now, the weight of the contribution of his composer remains largely unmeasured. And this, despite the fact that music seems to play a primary role in the director's process since Shore is involved very early on. This unusually early involvement of the composer is indicative of the central role held by Shore and his music: how to define it ? This paper does not seek to determine the functions of film music. Instead, it explores the creative processes that give rise to it. The creative processes of Cronenberg and Shore, who “learned everything together,” thus have similar characteristics. More precisely, they present common artistic figures that gather them into a single artistic vision: the autodidact, the experimenter, the improviser, the painter/sculptor, and the artist-artisan.
Keywords: cinéma, David Cronenberg, musique de film, processus créateur, Howard Shore, cinema, creative process, David Cronenberg, film music, Howard Shore
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404.More information
From their first meeting in Lausanne back in 1984 until Anouilh's passing in 1987, he and Anca Visdei enjoyed a sustained relationship peppered with telephone calls, face-to-face conversations and letters, many excerpts of which are published here. Through them, one discovers a little known side of the playwright: an involved reader, a friendly advisor, and a quasi father figure.
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405.More information
Using Geling Yan's The Banquet Bug and its Chinese translations as a case study, this article attempts to explore what I term “migrating literature” in a transnational and translational framework. Translation is reconceptualised at three levels: contextual, paratextual and textual. This article will first of all examine the very translational nature of immigrant writing from a contextualized reading. It will then look at how paratextual matters re-frame immigrant writing and sometimes impose meaning by analyzing two key paratextual elements, title and front cover. At the end, the gain and loss of meanings will be discussed at the textual level, with an emphasis on the ideological and cultural implications. It also points out the possibility of incorporating readings from translations in other languages and cultures, or translations in other media forms, into the framework of migrating literature.
Keywords: immigrant writing, Geling Yan, transnationalism, re-framing, écriture migrante, Geling Yan, transnationalisme, recadrage
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406.More information
On decolonisation, France, leaning on its often-proclaimed messianic vocation and a long tradition of cultural policy, set in motion a politico-linguistic set-up of French-speaking communities. This was also stimulated by various cultural bouts of enthusiasm springing up simultaneously in the French-speaking surroundings. We shall evaluate the driving force of these identity renewals expressed in various ways throughout the 60's and 70's. In Quebec – by means of a “quiet revolution” accompanying autonomy in the cultural field, of which the best-known forms (singers, poets) are successfully exported into the French-speaking areas. In the French-speaking part of Switzerland, by the emergence of a new generation eager to be involved in breaking up the established lines of a Swiss culture considered rigidified, and expressing its new creative forces in various cultural sectors (cinema, song, theatre, literature) whose reputation rapidly reaches beyond its frontiers. To what extent have the emergence and the development of this French-speaking cultural enthusiasm – whether coming from new institutional centres or from surrounding cultural fields – been considered as a political danger by the Swiss or Canadian federal authorities ? And this, even if not directly related to actions led by separatist movements nor, as in Quebec and in the Swiss Jura, much engaged in an identity struggle based on the defence of the French language. The analysis of bilateral cultural relations Quebec-Switzerland in this important period of the quiet revolution will thus permit the evaluation, for each partner, of the degree of autonomy of its cultural field as opposed to the political sphere.
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407.More information
Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc's compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc's self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc's desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.
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408.More information
AbstractTransposition will mean the sliding from one world into another and, in particular, the transfer of the non-fictitious into fiction. Because it introduces reference data into the universe of the novel, the autobiographical novel exemplifies the process of the hybridization of fiction. Facing the dominant fictionalist pattern refusing to think out the ontological hybridity of the novel, this article aims at legitimizing the notion of the autobiographical novel, whose theoretical relevance can be established in facts (the genesis of texts) as well as in right (from the contractual angle of pacts). As, in critical discourse, the current obliterating of the autobiographical novel is partly due to the vogue for "autofiction", one will try and discriminate between the two genres (insisting on onomastics). But this debate is not only generic, it also has ethical, ideological, esthetic, and scientific stakes.
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