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Partie à l’aventure sur les routes du Nicaragua, déambulant, flânant, mon appareil photographique à la main, j’ai cherché à capturer l’âme de bâtiments laissés pour compte. « J’ai visité des lieux historiques, où étaient passés les pirates et les conquistadores, des lieux colonisés par les Anglais, les Espagnols et les Américains. J’ai visité des villes et villages isolés, des forêts vierges et des marchés bondés. J’ai vu des églises grandioses et de modestes chapelles qui avaient célébré d’heureuses naissances et avaient vu partir des héros de guerre. » Je me suis immergée dans cette étonnante culture. Touriste, vagabonde, étrangère, voulant immortaliser les dernières traces visibles d’événements historiques qui ont imprégné l’histoire et la culture nicaraguayenne. J’ai ainsi produit une série de photographies qui ont engendré …
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In this article we share an analysis of the discourse produced and distributed by groups and individuals struggling against patriarchy and heterosexism who share an anti-authoritarian analysis and organisational form. Out of our reading of zines, brochures, newspapers, video/DVD compilations, music albums and Internet sites, have emerged three trends: the first produced by materialist feminists that is clearly in continuity with the previous political generation, the second that relates to women-of-color feminism and a third, produced by radical queer groups, who attempt to deconstruct woman as a sexual identity and to invent a politics of multiple identification.
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The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its origins as a literary genre and the screen adaptations that followed. Emphasis is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre the argument: Gilligan's Island as an example of the former, more conventional aesthetic, and Lost as an example of the new approach. Although both series became exceedingly popular, other notable programs are considered, two of which involved Canadian production teams: Swiss Family Robinson and The Mysterious Island. Finally, connections are drawn between robinsonnades and the emerging post-apocalyptic genre as it has moved from cinema to television.
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AbstractBetween 1844 and 1858 a total of 576 convicts, nearly all of them Chinese, were transported from Hong Kong to other British colonies. For the government this was a convenient, deterrent and inexpensive punishment in a jurisdiction troubled by high crime and low conviction rates. For the convicts the experience was a varied one: some served out long sentences with little prospect of return; others rebelled, escaped, or killed themselves. In 1858, when the last destination closed its doors to Hong Kong's transports, the colony was forced back on its own resources: with a prison dangerously overcrowded during a period of war and disorder, it faced a penal crisis similar to that experienced in England 75 years earlier. This article explores the policies, practices and experiences of transportation from early British Hong Kong and links the demise of transportation with controversial revisions of the colony's penal policies in the 1860s.
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This article demonstrates that Carlos de Sigüenza y Góngora’s Infortunios de Alonso Ramírez (1690) engages the discourse of pity to create an imperial community. While the article builds on recent scholarship that has emphasized the global context of Ramírez’s travels, it shows that geographical displacement is not the only type of movement in this text. Infortunios also demands that readers be moved on an affective level in order to prove their capacity to feel for an imperial peer. In this regard, it is not geopolitics alone, but also affective transits that determine the boundaries and binds of Spanish empire.
Keywords: afecto, affect, emoción, emotion, piedad, pity, asco, disgust, Infortunios de Alonso Ramírez, Infortunios de Alonso Ramírez, Carlos de Sigüenza y Góngora, Carlos de Sigüenza y Góngora