Documents found
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1002.More information
Starting from the point of departure that sex work is a form of service sector labour, this article explores how sex workers, their own understanding of themselves as workers and consumers notwithsanding, are marginalized in the economic sphere. The article draws attention to the implications of the barriers to their income- generating activities (whether they decide to work on the street or not). The article also examines workers resistance and the avoidance strategies they employ attending in particular to how they challenge their marginalization as workers and consumers (obtaining credit cards, mortgages, apartment rentals, etc.). In conclusion, we examine the impact of the laws on the careers of these women noting that while the Criminal Code provisions have a significant impact there are numerous other laws that undermine their ability to define themselves as workers in their own right.
Keywords: Travail du sexe, vie économique, marginalisation, résistance, stratégies d'évitement, prostitution, Sex worker, economic life, marginalization, resistance, avoidance strategies, prostitution, Trabajo sexual, vida económica, marginalización, resistencia, prostitución
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1003.More information
SummaryThe literary text always constitutes, to differing degrees, a combinatory of evaluation and norms. It is this type of algebra that we will try to prove by underlining the complexity of normative interwinings, the role played by evaluators and their qualifications, the discordance among evaluations, and the place occupied by the narrator in this normative montage.
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1006.More information
The poet's word turns all boundaries into a and, better still, it even abolishes the notion of centre,boundary and centre. In A Rainba dos càrceresda Grécia by Osman Lins, the text resists an historical definition, because fiction no longer has privileged rapports except with literature: the object referred to manifests itself in fiction only by its derivation.
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1007.More information
Even though traditional picaresque heroines appeared in narratives written by male authors, feminine writers in the 20th century have developed a type of picaresque that is decidedly "feminine." This article demonstrates the transformation of traditional narrative patterns by analyzing a popular picaresque tale from the late 18th century and by juxtaposing it with works by the Weimar writer Irmgard Keun and by Barbara Frischmuth, a present-day Austrian novelist. Picaresque - one thread in the texture of "feminist" literature - is thus shown to be at once emancipative and diverting.
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1008.More information
To speak of picaresque in the contemporary American novel requires a redefinition of terms. In a mobile society that glorifies freedom and the individual, and has a social hierarchy nowhere as rigid as that of feudalistic Castile, the pícaro is less a victim than marginal. Following Henry Miller, Jack Kerouac revitalizes the picaresque mode by focusing on the U.S. of a disinherited generation and by raising to heroic stature the nearly-sanctified figure of the social delinquent. He transforms the picaresque journey into a spiritual quest but, at times, his writing attains a degree of freedom so solipsistic that he is ultimately led to adopt, unconsciously no doubt, a conventional picaresque posture that has lost its subversive character.
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1009.More information
The exploration of the strategies of argumentation used in French and American critical discourse on the films Decline of the American Empire (1986), Jesus of Montreal (1989) and Love and Human Remains (1994) reveals the cultural filters that govern the appropriation of the works in these two interpretive communities. Moreover, while postulating that language and nationality determine certain identity traits shared by the respective critics and their readers, the analysis also brings to light the motifs of affinity that crisscross and overcome these national divisions.
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1010.More information
This article addresses the notion of history in the French Renaissance tragedies (Des Masures, Rivaudeau, La Taille, Gamier, Matthieu). History traditionally guaranties the truthfulness of the tragic discourse. However, during the time of religious wars, History becomes subject to uncertainty and anxiety. French Renaissance tragedies can be characterized as pathetic rather than didactic or dramatic. Tragic plays are largely unable to decide of the meaning of History, they are only able to register the dominant feeling about historic events. In the tragedies written by Protestant authors in particular, History challenges the Aristotelian criteria, both stylistically and dramatically, since historical facts are more important than the laws of the genre.