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The Orient is not a major theme for Dany Laferrière, whose works generally recreate the geography of his personal trajectory from his native island of Haiti to Montreal, the first location of his exile. However, his second text, Éroshima, is made up of motifs from Japanese culture. The author of this article analyzes the ambiguous status of Éroshima's Asian theme, which is the vehicle for a large number of stereotypes. She shows that the narrator is offering a reflection on the resonance of cliché while attempting to outmaneuver it by adopting a poetic mode foreign to Western thought.
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AbstractSilence suits women; further, silent film provides their bodies and faces with a luminous forum. Paradoxically, the most famous actresses in Italy are referred to as “divas” as one would of great operatic singers. As such, cinema borrows the parlance from an art form where voice defines their stature: accentuates their sizzle or emphasises their defeat. Also, whether musical or cinematic, women often are sacrificed to a melodrama's exigencies. Through selected operatic roles, as directed by Puccini at the beginning of the twentieth century, and those of silent film from the same period starring Francesca Bertini, the author strives herein to consider corporal figures from silent silver screen alongside those from the music scene.
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This collection of texts investigates how queerness manifests in contemporary new music practices. Six contributions by queer artists (Annette Brosin, Anthony R. Green, Luke Nickel, Emily Doolittle, Symon Henry and Teiya Kasahara 笠原 貞野) are framed by an introduction and conclusion by Gabriel Dharmoo. Dharmoo's definition of queerness expands beyond sexual orientation and gender identity; it entertains the notion of queerness as an anti-assimilationist stance that defies normalcy, breaks down binaries and reveals the wideness of spectrums. As each statement illuminates how a marginalized experience as queer can profoundly inform ways of conceptualizing, creating, disseminating and understanding artistic output, this range of perspectives aims to broaden our understanding of queerness not only as an identity, but also as an artistic epistemology in and of itself.
Keywords: Queer, musique nouvelle, intersectionnalité, diversité, identité
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The works of Caetano Veloso and Chico Buarque—songs, novels as well as the discourses that these texts engender—are studied here in view of the relationship between art and history, especially when the space of writing and artistic creation comes to be perceived as a space of conflict and, at the same time, a space of translation between the subject and social/political life. Despite their differences and the metamorphoses they undergo, these texts develop different forms of resistance (both to the 1964–1985 military dictatorship in Brazil and to neoliberalism) evident in the way they articulate historical time as an image of resistance (narrative or lyrical).