Documents found
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1601.More information
This article addresses the mestizo concept of the deceased's soul, through the study of masses, wakes and processions that take place in urban zones of Cusco (Peru). It focuses on the Puriq wayra hymn, meaning "wandering wind" in Quechua, an essential traditional religious song of the repertoire used to mark the death. As its title suggest, Puriq wayra refers to the moving character of the spirit after death. The lyrics of this hymn evoke the animu, an important concept that describes the vital force that animates people. This analysis is based on field observations made since 1981, mainly in the city of Cusco. It combines a reflexive and anthropological perspective on the musical tributes made in the Cusco cathedral and the cemetery of Almudena, one of the city's popular mestizo neighborhoods.
Keywords: chants, Andes, émotion, mort, harawi
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1602.More information
AbstractWhen affected in a mourning ritual, the human subject experiments with the necessity of rebuilding his life, taking upon himself the lost that has broken its course. In such a context, rituals proceed to an exploration of the territories of the Other (whatever be his representation) in order to initiate a possible regeneration of life. Then music is not only an accompaniment or a secondary contribution, but a central component of mourning. It makes possible the expression of what is somewhat impossible in the ordinary language : the intimate moves of the being, beneath and beyond the possibilities of the words. It invites the subject to experiment the sublime (sub limen), crossing the frontiers of language, and thus contributing towards his survival.
Keywords: Deuil, Sujet, Musique, Rituel, survivre, Mourning, Subject, Music, Ritual, survive
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1604.More information
Our purpose is to study the game literary, understood as the literary network where change agents such as Kossi Efoui, Calixthe Beyala, Sami Tchak, Fatou Diome, Abdourahman Waberi, Alain Mabanckou, Leonora Miano and many others. More specifically, we want understand the impact on diasporal subject what attempts of to (re) invent a Postmodernity, and, from the paradigmatic example of Leonora Miano. The main objective is to articulate her literary production as Tels des astres éteints (2008) et Blues pour Élise (2010) with the debate on modernity and Postmodernity in the public space in France. The following question: by what mode is it a literary singularity in the continuity of the existing?
Keywords: littérature africaine, études francophones, postmodernité, études postcoloniales, sociologie de la littérature, African literature, francophone studies, postmodernity, postcolonial studies, sociology of literature
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1605.More information
Within its genre, Le trésor de la langue (1989) is a unique musical work. A kind of sonic “road movie,” it explores the political, historical and poetic dimensions of the French language spoken in Quebec. Bringing together heterogeneous materials through the technique of sound collage, René Lussier offers a critical listening of the history of Quebec. This interview tracks the compositional process of Le trésor de la langue as well as some of the ethical and political issues involved in the use of sound archives and field recordings in this work. It testifies to the capacity of music to scrutinise recent history in order to answer common questions, beyond what is said and what is silenced in collective memory and official history.
Keywords: René Lussier, Québec, collage sonore, écoute, musique et politique, René Lussier, Quebec, listening, music and politics, sound collage
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1607.More information
In 1982, Grandmaster Flash & The Furious Five's song “The Message” radically changed rap music, in both form and content. It is the starting point for the first great fracture in hip-hop's history. This study traces the evolution that led to this transformation, and the immediate impact it had on artists such as Run-DMC, Rakim, and KRS-ONE, by focusing on the texts and the master of ceremonies (MCs) that perform them. Additionally, the study defines the transition from spoken word poetry that is specifically intended to be performed to written poetry as the result of a reflection on both the form and the content it transmits. From the first party organized by Kool Herc to the single “It's Like That” by Run-DMC, the different phases leading from the Old School to the New School are exposed, with an emphasis on the big movements and tendencies. Special attention is also given to the relationship between the MC and the disc-jockey, since this seems to be the main cause leading to the transformations, while being the source of the conflict that will lead to a fracture in 1985. Even though the historical range of the studied corpus seems narrow, the period between 1973 and 1985 is a source of many struggles and questionings that provide insight into the current state of hip-hop, and maybe, of the music scene at large.
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1608.More information
AbstractIn a previous article (De Surmont, 2001), we highlighted how the arrival ofindustry and mass media transformed the singing career into one of mediator, aninteracting agent of song writing that also had a place in the press, in literature,etc. Certain singers, songwriters, or poets whose poetry was put to song or tomusic, were also sometimes editors (Napoléon Aubin), or printers (Roch Lettoré),hence the tradition of the author-editor-printer. Consider also the multiplefunctions of the journalist during the period beginning with the coming into beingof the French Canadian press through the end of the nineteenth century.1 Afterwards,in the early twentieth century, radio and sound recording became the privilegedplatforms of the song-as-object (l'objet-chanson) which, like the telegraphand other inventions, favoured the circulation of ideas. In this article, wejuxtapose the development of radio with the original song composition (chansonsignée), and show correlations between historical conditions and the function ofradio. Our aim is to better understand those contexts that favoured the birth andevolution of radio itself as well as the broadcasting of a popular culture. Thestudy focuses mainly on the socio-historical dimension of radio and its role insteering the careers of singers or songwriters of the chanson québécoise (ouranalysis could not include all artisans in the music industry such as tour managers,agents, producers, etc.). More generally, we look at the democratization of culturethrough radio.