Documents found
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This article explores the relationship between history and fictional literature and calls into question the resistance of historians to make use of fiction as a documentary source. It is proposed that history does not have a privileged contact with "reality" but is itself a construct, a representation, and as a narrative, it is confronted with the problem of fiction. The text tries to answer the following question: what are the perceived problems and results of an intellectual history of Québec based on a fictional corpus or which includes the fictional?
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This article looks into the discursive specificities of Esther Mujawayo's testimonial, SurVivantes (“Survivor and alive”), taking into consideration how it came to fruition and seeking to examine how the telling shaped the tale in countless ways. The characteristics of testimonials are now known thanks to R. Dulong. Nonetheless, one still needs to explore the impact of culture on testimonial practice, using such tools as the meta-language needed to anchor readers in a foreign culture, the syntax that may derive from either the requirements of the testimony or the patterns of a culture favouring oral expression, or the unpredictability of the subject referring to several issues either hinted at or outlined in the discourse.
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325.More information
Reflectivity is a popular theme that in its own manner reflects an important evolution in the way social practices are thought about. For this very reason, however, its conception is still unstable and it has multiple senses and usages, to say the least. Undertaking conceptual work on the notion of reflectivity first requires that one show how it has undergone the normative inflation that has established it as such an expected logical category that critiquing it almost seems unthinkable. This very (overly) positive aura must be dissipated so that rigorous theoretical work can emerge. The present article proposes to contribute to a theory of reflectivity by describing the area of dispersion of the notion's use, distributed across five logical levels.
Keywords: réflexivité, pratiques professionnelles, sociologie, reflectivity, professional practices, sociology
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Over the past few decades, Montreal filmmaker Bernard Émond has established himself as a leading Quebec film director with a body of work that goes against the grain of dominant trends, earning him undeniable critical success and international recognition. The present article will focus on a singular phenomenon in his work, namely a generic porosity which has enabled Émond to try out different ways of championing the importance of developing an ethical stance through the creative act. The article's initial hypothesis is that Émond has turned from documentary to fiction because the latter is best suited to responding to this ethical demand. From this perspective, we can look back on the means a creator uses to share an ethical point of view in a work of fiction.
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Ce mémoire porte sur le renouvellement de la notion de métaphore comme modalité d'indécidabilité. Partant de la définition qu'en donne Paul Ricoeur comme « synthèse de l'hétérogène » et Jacques Rancière comme « composition de l'hétérogène », nous montrerons qu'un déplacement de la métaphore vers sa fonction poético-philosophique et non plus rhétorique, telle qu'elle apparaît depuis Aristote, est essentiel pour comprendre comment il est possible aujourd'hui de la considérer comme façon d'appréhender le monde. Trois hypothèses sont à l'origine de cette étude. La première tient à la différence que pose Ricoeur entre le muthos du récit et celui de la métaphore qui nous a permis d'articuler l'importance de remplacer le modèle rhétorique aristotélicien. La deuxième, reprise du symptôme et de l'image dialectique chez Georges Didi-Huberman, …