Documents found
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2101.More information
AbstractThe question of familial memory in the Généalogie de Messieurs du Laurens (1631) is approached through an analysis of the “narrative of words.” which seems to be the most striking element of this book of reason. By examining the place given to the narrative of words and the functions it fulfils there, this article aims to show how Jeanne du Laurens organizes the family memoir and transmits it to her descendants. This study sheds particular light on the role and usages of the family memoir in constructing confessional identities.
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2102.More information
This article aims to define writing skill (WS) from a didactic perspective, according to recent research using this concept modelled by Dabène, 1987; 1991 and Reuter, 1996, its two founding authors. A systematic literature review was conducted (Pati and Lorusso, 2011). The analysis of the texts (n = 64) allowed the proposal of a synthesis of the advances in scriptural research and a terminological reflection around the concept of`WS mobilized in the current research in didactic writing. Our contribution makes it possible to define the CS, but also to propose a didactic model of this concept. This model evokes the complexity of relationships within the WS while allowing for the establishment of common benchmarks for researchers, practitioners and learner-writers around the concept of WS.
Keywords: compétence scripturale, écriture, connaissances, habiletés, opérations cognitives, stratégies d’écriture, rapport à l’écrit
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2103.More information
The State of Vermont conveys to the average American a simple way or life ; a tamed but unspoiled rural landscape ; a healthy, balanced environment ; and a kind of sports park, green in summer, white in winter, on the edge of Megalopolis. These amenties have amalgamated to form a composite geographical image, one however, that contradicts the reality of the state. This distorted image, promoted by exaggerative publicity, is a reflection of a larger American search for bliss and stability in the countryside as a foil to the pressures or urban living and rapid social and economic change. Efforts within the state to fulfill the ideal suggest that the image has considerable power of transformation.
Keywords: Image mentale, perception, environnement, mythe et réalité, géographique culturelle, Vermont, États-Unis, Image, perception, environment, myth and reality, cultural geography, Vermont, United States
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2104.
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2106.More information
The paradox of the insolvent enterprises contracting new debts regularly is the motivation of this research. The statistic tests done on a sample of 62 manufacturing firms show that the financial behaviour of these enterprises is mainly explained by two factors : the rate of asset immobilization and the manager's social capital. The impact of the first factor is due to the asset capacity to serve as guarantee, and the impact of the second one is inherent to the possibility offered by the relational networks to get round norms or to reach informal circuits and alternative sources of financing. This last aspect is a beginning of answer to the insolvency and indebtedness paradox. This result denotes the co-existence of two parallel dimensions in Cameroon environment of business. Beside the formal where the lack of confidence and legibility between the actors push financial backers to excesses of prudence, subsist an informal universe where confidence, loyalty and solidarity seem to be cement of the business relationships.
Keywords: Structure financière, Insolvabilité, Endettement PMI, Structure de propriété, Capital social
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2108.More information
In this essay, the authors give voice to their process of adapting the French translation of Halfbreed by the nationally and internationally respected Métis author, storytelling, activist and Elder, Maria Campbell, for the audio book published by Prise de parole. With respect to the publisher's mandate of increasing the accessibility of French literature across Canada, a local team was assembled by Maria. We, the authors of this essay, were part of the team as creative director and narrator. Our process centered on ethics of storytelling, relational care, oralité, originality and local and cultural context. We demonstrate these considerations as our responsibility to Maria, the author of her story, the readers, and to our respective connections, experience and knowledge of place.
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2109.More information
This article offers a critical perspective on the pedagogical direction of what I call “global art histories” in Canada by addressing the apparent impasse posed by the notion of what is euphemistically called “ethnocultural art” in this country. It examines different interpretations of the latter chiefly through a survey of course titles from art history programs in Canada and a course on the subject that I teach at Concordia University in Montreal. Generally speaking, the term “ethnocultural art” refers to what is more commonly understood as “ethnic minority arts” in the ostensibly more derisive discourses on Canadian multiculturalism and cultural diversity. The addition of the term “culture” emphasizes the voluntary self-definition involved in ethnic identification and makes the distinction with “racial minorities.” “Ethnocultural communities,” along with the moniker “cultural communities” (or “culturally diverse” communities), however, is still often understood to refer to immigrants (whether recent or long-standing), members of racialized minorities, and even First Nations, Inuit, and Métis peoples. Not surprisingly, courses on ethnocultural art histories tend to concentrate on the cultural production of visible minorities or ethnocultural groups. However, I also see teaching the subject as an opportunity to shift the classification of art according to particular geographic areas to consider a myriad of issues in myriad of issues in the visual field predicated on local senses of belonging shaped by migration histories and “first” contacts. As such, ethnocultural art histories call attention to, but not exclusively, the art of various diasporic becomings inexorably bound to histories of settler colonialism and Indigenous sovereignty. This leads me to reflect on some aspects of Quebec's internal dynamics concerning nationalism and ethnocultural diversity that have affected the course of ethnocultural art histories in the province. I argue that the Eurocentric hegemonic hold of ethno-nationalist discourses on art and art history can be seen with particular clarity in this context. Moreover, I suggest that these discourses have hindered not only the awareness and study of art by so-called culturally diverse communities but also efforts to offer a more global, transnational, and heterogeneous (or chiastic) sense of the histories from which this art emerges. In today's political climate, the project that is art history, now more than ever, needs to address and engage with the reverse parallelism that chiastic perspectives on the historiography of contemporary art entail. My critique is forcefully speculative and meant to bring together different critical vocabularies in the consideration of implications of the global and ethnic turns in art and art history for the understanding of the other. I engage in an aspect less covered in the literature on the global turn in contemporary art, namely the ways in which the mutual and dialectical relation between “cultural identity,” better described as a “localized sense of belonging” (Appadurai) and the contingency of place may shape, resist, or undermine the introduction of world or global art historical approaches in specific national institutional sites. I argue a more attentive politics of engagement is required within this pedagogical rapprochement to address how histories not only of so-called non-Western art but also diasporic and Indigenous art are transferred holistically as knowledge, if the objective is to shift understandings of the other by emphasizing points of practice in art history as a field, rather than simply the cultural productions themselves. I propose the term “global art histories” as a provisional rubric that slants the study of globalism in art history to more explicitly include these kinds of located intercultural negotiations.
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2110.More information
In Senegal, patriarchy continues to socially and religiously construct and legitimize the under-representation of women in the media. The author aims to show how the ideas inherited from colonization and perpetuated by the Senegalese authorities since 1960, combined with the weight of traditions, put women in silence. Based on a qualitative approach, this study attempts to dissect all the complexity surrounding the silence of women in the media, an attitude that goes far beyond the limits of the media sphere.
Keywords: patriarcat, colonisation, médias de masse, invisibilité femmes