Documents found
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Between 1920 and 1940 in New England, the Franco-Americans experienced an important transformative acculturation, specifically those of the second generation. Evolving in a very particular social, economic, cultural, and historical context, this group will undergo major changes. In this particular context, the risks taken by immigrants in America, both in terms of identity and economic perspectives, are real. This situation will be partially seen through the lens of second-generation Franco-American writers such as Jack Kerouac.
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This article proposes a philological and historic analysis of the Talmudic name Ben Pantera. It is suggested that this ancient expression has to be understood as corresponding to a period in which the Jews wished to think of Christianity, choosing the person of Jesus as an emblematic figure of this reality. The expression Ben Pantera expresses mockery and even scorn towards Jesus. It must be placed back in a period in which, on account of the doctrinal controversies between Jews and Christians, the two religions had consummated a Parting of the Ways and acknowledged each other as rivals. Thus, Ben Pantera appears to be the oldest mention of Jesus in the Talmudic literature.
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AbstractWhen Memory is Cross-Cultural Translation: Eva Hoffman's Schizophrenic Autobiography — This article approaches the question of what happens when the text to be translated or rewritten as a result of cross-cultural experience is the self — how is the resulting autobiography to be read? Its answer takes the form of the theorizing of Deleuze and Guattari. It is contended that the potentiality characterizing the position of linguistic alterity experienced by bilingual authors, such as Hoffman, is the underlying assumption in Deleuze and Guattari's work. By identifying the connections between schizophrenia and minor literature and by delineating minor from minority literature, one can better understand the dynamics necessitating self-translation and the forms which cross-cultural writing can take.
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The poetry of Denis Vanier is generally viewed as an expression of revolt, transgression, violence, obscenity and abjectness—in a word, excess. Does the figure of the extreme rebel prevent us from seeing Vanier's work as it is? A careful reading of Vanier's last seven collections provides a better view of the subject as he produces himself in his writing. This subject seems to be radically affected, and exceeded, by the ordeal of the unbearable, an ordeal of instinctual origin. The figures shaped by the work of poetic creation derive from a religious imaginary giving rise to an experience of the sacred in its black or evil dimension: the subject experiences himself as predestined to damnation by a radically evil, “extremist” God with whom he identifies himself as a sacrificial victim consenting to “illumination through degradation”. Two of these figures are analyzed here: the murderer and the traitor or renegade.
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In 2016 Michael Snow and Mani Mazinani improvised on vintage analog synthesizers in Yonge-Dundas Square, filling Toronto's busiest commercial commons with retro-futuristic sonic filigree; almost fifty years earlier, Otto Joachim's four-channel electronic sound installation Katimavik furnished the Canadian Pavilion at Expo 67 in Montreal with uncannily similar sounds. In both cases, listeners perambulated amongst a sonic-spatial architecture defined by publicness and auditory plurality. In the intervening decades, non-profit artist-run centres proliferated across the country, offering refuge for local experimentalists to develop their craft in the name of regional and national cultural growth. Such is experimental music's longstanding position on the margins and centres of listening in Canada: its history as a niche practice is replete with attempts to insert itself into the everyday. I argue that the diffusion of experimental music into increasingly quotidian spheres in Canada offers a way to understand how place is engendered through the intersubjectivity of listening—an act implicated in a range of agentive processes. Different from other listening contexts, in listening to experimental music we become interpellated into a relational nexus where the loci of composition, performance, and perception become distributive and unstable. I thus suggest that listening to experimental music in Canada can be thought of as a “listening out” an “attentive and anticipatory communicative disposition.” The examples serve as case studies for refiguring the engagement between creative music and the commons in Canada—what experimental music can “mean in the world.”
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In his 1995 seminal work, The Translator's Invisibility, Lawrence Venuti examines the impact of how translations are reviewed on the visibility of the translator. The American scholar contends that a fluent translation approach, which ultimately makes the work of the translator “invisible” to the final reader, is the main criterion by which translations are read and assessed by reviewers; any deviations from such fluent discourse are thus dismissed as inadequate. The present research will draw upon a corpus of British and French reviews collected from two broadsheet supplements in each country to analyze the extent to which the media's reviews of published translations continue to reinforce—or indeed challenge—the notion of translators' invisibility. The research will demonstrate that, whilst fluency and transparency are still revered by a large number of reviewers, especially in the UK, the reviews in this corpus show a remarkable degree of openness towards diverse translation approaches.