Documents found
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21041.
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21042.More information
AbstractThe author tries to show that the anthropological paradigm of embodiment, put forward by Thomas Csordas, who drew his inspiration from Merleau-Ponty among others, is not supported by Phenomenology of Perception but by the intermediate texts from Merleau-Ponty (sections 1-5). In addition, the author proposes that the idea of culturally informed perception, comprised in such texts, allows us to minimize the opposition between conceptualists and non conceptualists in the contemporary debate on perception.
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21043.More information
Many Indigenous communities place issues of identity at the heart of their concerns, having seen their rich cultural heritage threatened by a variety of assimilationist processes. Members of the Atikamekw Nation, and a team of non-indigenous designers from the Université de Montréal have been working together to imagine new ways of facilitating cultural transmission, all the while supporting local, community-based development efforts. This paper presents Tapiskwan, an intergenerational participatory action research project, and discusses the issues, challenges, and opportunities this collaboration has revealed and seeks to address. Territorial transformations have greatly limited community members' access to the raw materials that are central to their material culture. In response to this problem, new ways to highlight participants' visual heritage through the development of artisanal textile and paper products are proposed. In relation to the Indigenous ways of life that are harmonized according to the seasonal activities related to subsistence for each period of the year, a more seasonal approach to the activities of production is proposed, due to several intensive periods per year.
Keywords: Nation atikamekw, identité, patrimoine graphique, produits et art contemporains, développement socioéconomique, Atikamekw Nation, identity, graphic heritage, contemporary products and art, socioeconomic development, Nación Atikamekw, identidad, patrimonio gráfico, productos y arte contemporáneo, desarrollo socioeconómico
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21044.More information
This article highlights the learning experiences of 21 educators who participated in a five-day professional development workshop focused on Making. Based on our analyses of multimodal artefacts (Tweets, reflection cards, and Padlet messages) and of semi-structured interview transcripts, we propose a Maker professional development model for educators. The model emphasizes the importance of professional learning informed by community, that is situated in a physical Makerspace, and that emphasizes collaboration, exploration, Making, reflection, opportunities to construct one's identity, and to engage with research. Based on the learning experiences shared by our participants, we also advance theoretical reflections on the complexities of Maker professional development.
Keywords: mouvement Bricoleur, développement professionnel, formation continue, personnel enseignant, Maker, maker movement, professional development, teacher education, teacher, movimiento Manitas (Bricoleur), desarrollo profesional, formación continua, personal docente, Maker
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21045.More information
AbstractCan we speak of a “Deleuzian aesthetic”? What status did Gilles Deleuze accord art? Does art, for Deleuze, have a “subject”? What was the role of the arts in his work? After the publication of What Is Philosophy?, many critics and commentators on Deleuze believed that they had found in this book the “elements”—in the sense of Kant's Elementarlhere—which would make it possible to determine the answers to these questions. This is how the concepts of percept and affect, for example, were transformed into general concepts that could be “applied” without any modification to the analysis of works of art. What we see when we examine some of the key aspects of Deleuze's work on art is that, if we are to speak of a “Deleuzian aesthetic,” we must look not on the side of a theory of beauty but rather on the side of a theory of “judgment,” taken directly from a re-reading of Kant's major writings on taste and the “subject” of art. We must then enquire into the reasons why Deleuze revisited Kantian transcendental aesthetics. In doing so, we discover the key role played by Kant's third Critique in Deleuze's development of a non-subjective and non-representational aesthetic founded upon a radical calling into question of Kant's conception of the relations between the faculties.
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21046.More information
AbstractScores of well-known artists have been publicly active in Quebec politics since the Quiet Revolution. However, there is surprisingly little empirical data on the political participation of the artistic community as a whole. An extensive survey questionnaire was mailed to a random sample of 470 Francophone artists in Quebec from every major creative and interpretive discipline. The survey's results confirm an exceptional level of politicization : artists in Quebec attempt to influence their friends' voting habits, they contribute more often to political parties than the rest of the population, and they are more likely to attend a rally or to do work for a political party. The data reveal a high degree of nationalist mobilization, regardless of social status, and notwithstanding government or peer pressure, the promise of personal gain, and ethnic resentment. In reality, the political zeal of artists is best explained by the perceived economic, linguistic, and cultural advantages of sovereignty.
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21047.More information
AbstractThe results presented in this article stem from a sociological reflection on school time as a basis for examining the socialization of junior high school students in France. The author raises several questions relating to the integration of the norms and values of school and the relationship between social time and its effect on school performance. The study seems to reveal two types of social action : one positive and one negative. In the first instance, the student opts for a principle of reinforcement of the school by reducing time spent doing nothing and transforming free time into school time. In the second instance, the student adopts a principle of reduction of free time. This distinction allows the author to question how school functions and more importantly, the type of activity proposed by the recreational structure to meet the personal needs of adolescents without jeopardizing the social and temporal demands of school.
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21048.More information
While the hybridity and diglossia of African literatures are accepted realities within the field of postcolonial translation studies, the aesthetics of African literary orality has yet to be explored to the same degree. Nevertheless, it has been demonstrated that the oral aesthetic's socio-cultural and linguistic roots can take on a political dimension. This article will explore the aesthetic issues of a hybrid text from a translation studies perspective with Sardines, the fourth English-language novel of Somali writer Nuruddin Farah. This essay will demonstrate how orality and its traditional formal elements shape Farah's writing. In addition, it will look at the vocal and aural dimensions of orality as a Bermanian vecteur de signifiance, supported by Ryan Fraser's concept of Cratylian translation.
Keywords: postcolonialisme, littérature africaine, oralité, traduction du son, Nuruddin Farah, postcolonial studies, African literature, orality, sound translation, Nuruddin Farah
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21049.More information
The UK-based Punchdrunk company has created several immersive theatre productions since its founding in 2000, which begs the question of why Sleep No More (SNM)—Punchdrunk's immersive production presenting the drama of Shakespeare's Macbeth through dance—has been a long-running, critical and commercial success. Drawing upon statements from Maxine Doyle, choreographer/associate artistic director of SNM as well reflections from SNM performers and spectators of New York City performances between 2012 and the present, dance scholar Julia M. Ritter suggests that SNM's success and popularity as a work of immersive theatre is due in large part to the ways in which dance has been conceptualized and centralized as a methodology intended to facilitate spectator experience. In proposing that SNM functions as a tandem dance between cast members and the spectators, Ritter outlines the ways in which dance is used as primary medium for structuring the content delivered by the paid-professional dancers and deployed as an improvisational method to encourage movement experiences for spectators. Ritter describes how dance, as applied within SNM, offers audiences opportunities to transform their experiences of dance spectatorship while simultaneously enabling them to experience moments of personal discovery and creative agency as they shift between roles of audience participant, creator, spectator, curator, and performer.
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21050.More information
The author has tracked down the evolution of SARS crisis in the world, fromFebruary to June 2003. As he was finishing this, there have been 8,500 SARS casesreported and 810 deaths. So, it is not one of the true mass killers it was supposedto be in comparison with other world past or actual pandemic, such as aids, plague,malaria, tuberculosis, diarrhea diseases, measle, thyphoid fever, or influenza.After some general comments of the virus, called Severe Acute RespiratorySyndrome, he observes the appearance of that pneumonia-like virus in severalAsia-Pacific countries and its subsequent spread to Canada in the Toronto area. Hecomments on the role played by the World Health Oganization. Finally, he describesits impact on the economy in general, particularly the tourist industry, and its minoreffect on the insurance industry, because SARS is excluded from several insurancepolicies. Finally, lessons are drawn, such as some steps to prevent and control thevirus propagation.