Documents found
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333.More information
AbstractA network of small literary periodicals distributed the principles of Paris-based Aestheticism throughout the industrialized world at the end of the nineteenth century. These publications formed clear links across national borders, and those links were often manifested as translations that helped disseminate knowledge and form a sense of artistic belonging. However, the relations within the network could also be actively negative, as various receptive strategies used translations and commentaries to defend national rather than international aesthetics. In periods of political tension between France and Germany, such relations were further complicated by use of a wider intercultural space. From 1871, cross-cultural links in the network significantly drew on intermediaries from Belgium, Holland, Alsace and Switzerland, cultural spaces between the main centers of the French-German network. A more centralized desire for intercultural space was nevertheless manifested in 1895, when the Mercure de France and the Neue deutsche Rundschau jointly organized questionnaire surveys of the cultural relations between France and Germany. The strategic use of intercultural space in these circumstances can be shown by following the translations into French of Wagner and Nietzsche, which could have extended the network and increased cross-cultural understanding. By the end of the century, however, most of the potentially affirmative relations had unraveled and intermediaries began to take sides. The points of contact in the network, including the translators and translations, began to mark out differences rather than extensions, as Europe tilted toward the wars of the twentieth century.
Keywords: cross-cultural links, French-German network, nineteenth century, small literary periodicals
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334.More information
AbstractThis paper examines the strategies adopted by Arab translators to contextualize Disney comics within the Arab culture, with particular reference to Egyptian and Gulf translators. The researcher attempts to establish the ways in which Arab translators, working under the supervision of three major publishing houses in the Arab world, intervene to adapt the source text to the target context and culture. The researcher also attempts to analyse the way Disney characters have been portrayed in the target text and examines the new dimensions added to Disney characters' performance, actions, speech, etc. in the translated context.
Keywords: Arab culture, comic translation, culture, Disney, translation strategies
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335.More information
This article is a theoretical contribution. First, it proceeds to a presentation of third wave feminism, determines its relationship with second wave feminism and enhances its heuristic scope. Secondly, it proposes a strict delineation of the postmodern field. Two attitudes are determined, here called le postmoderne du vide and le postmoderne du décentrage. Finally, this work reflects upon the postmodern and feminism(s), especially third wave feminism, in their effects and common sense as well as in their differences.
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336.More information
AbstractScientific ideologies swirl throughout Stoker's two most gothic novels, Dracula (1897) and The Lair of the White Worm (1911), and this essay will address those ideologies as literary manifestations of just some of the “weird science” that was permeating late-nineteenth- and early-twentieth-century Europe. Specifically, the essay examines racial theories, physiognomy, criminology, brain science, and sexology as they appear in Stoker's two novels. Stoker owned a copy Johann Caspar Lavater's five-volume edition of Essays on Physiognomy (1789), and declared himself to be a “believer of the science” of physiognomy. The second major “weird science” infecting the gothic works of Stoker is the new field of criminology, or the bourgeois attempt to codify, control, and exterminate criminal elements in the human population. Stoker drew on both Havelock Ellis's The Criminal, published in 1890, and the Italian Cesare Lombroso's work, Uomo Delinquente (1876), a book that was available to Stoker in a two volume French translation published as L'Homme Criminel (1895). Stoker derived a number of his passages about the workings of the brain from the theories of the well-known professor of physiology, W. B. Carpenter, founder of the notion of “unconscious cerebration,” a concept developed in his book Principles of Mental Physiology (1874). Finally, Richard von Krafft-Ebing published his pioneering text on sexuality in 1886, Psychopathia Sexualis, with Special Reference to Contrary Sexual Instinct: A Medico-Legal Study, and invented the scientific study of sex. Of a piece with criminology, sexology attempted to categorize and medicalize human behaviors in such a way that all would become clear to the informed and enlightened bourgeois consciousness. As another weirdly scientific effort to “discipline and punish,” sexology sought to transform crime into perversion, and the man or woman suffering from vampiric tendencies became just another case study of sexual deviancy.
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337.More information
AbstractIn this essay, I contest the view of recent historicist and New Historicist critics that the London books of The Prelude feature a “conservative view” of the city and capitalism. I argue that Wordsworth does not flee the social variety and perceived chaos of London in preference for his bourgeois domestic retreat in Grasmere. However, nor do I suggest that Wordsworth offers a “proto-Marxist” critique of capitalism. Instead, I show that the use of allegory in The Prelude enables Wordsworth not only to convey the alienating character of the city (and the law of the market dominating it), but also to explore London's affective and imaginative potential. I argue that Wordsworth affirms the city and nature, and that his critique of certain aspects of London cannot be reduced to any ideological position – Burkean or Painite, for example.Drawing on Adorno's claim that the successful work of art “transcends false consciousness”, I submit that Wordsworth's commitment to the autonomy of the aesthetic reflects a distinctly undogmatic politics (“Lyric” 214). Embodied solely as art, Wordsworth's critique balks at any instrumental realisation. Opposing the anti-aesthetic bent of some historicist writers, I argue that Wordsworth's art is permanently adversarial and does not harden into either a political manifesto or false consciousness. Simultaneously affirmatory and critical, The Prelude is relatively free of ideological prejudice in its exploration of the full diversity of feeling.
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340.More information
AbstractThis paper explores the relationship between the structural models and different trade indices which can be used to quantify Quebec and other Canadian regions export sector. An attempt is made to measure the degrees of specialization of exports for fifty goods, the interprovincial and international export intensity indices for the five Canadian regions, and the export performance indices for the provinces under study. The conclusion highlights the importance of the east-west Canadian trade, specially for the internal provinces. Finally, the Quebec commercial characteristics in relation with those of other Canadian provinces (and the need to take them into account when formulating a federal trade policy) are outlined and stressed.