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826.More information
AbstractWithin the context of research in a foundry in Romania and the nation's economic and political transformation after Ceausescu, which was conducted by being an employee, the author shows how an approach based upon concepts of gender and symbolic kinship can hinder the course of the investigation. The ethnographer then chooses to “neutralise” her gender in order to displace her role and her informants' expectations about the construction of her object and the undertaking of her research. By adopting external signifiers of masculinity, the author reversed the gendered perceptions of her sex. By the end of her stay, she was no more than a “neutered” ethnologist, a person without a well-defined gender. In this manner the author could displace the peripheral and disruptive consequences of her presence in the field and devote herself fully to the study of the real operation of the company. The article thus proposes a concrete example of the “neutralisation” of gender by the ethnologist herself and draws attention to the effects of this transformation on the context of inquiry.
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828.More information
The Carnets de travailshow how Flaubert built his descriptions by grouping disparate items which consequently are seen as having the same scenographic value. First used on his travels in the Orient, this technic treats all the components of a settings as equivalent entities. By placing all visual items onto the same surface, the observer is distanced from the scene. The technique transforms what is first perceived as an informal assortment of things into an independent structure. Flaubert's frequent use of it makes the setting appear like an ongoing representation.
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830.More information
AbstractOllivier's works have several characteristics that can be considered “ baroque ”. This study examines the role of female characters in the construction of this baroqueness in Mère-Solitude and Les urnes scellées. At the same time, and in order to better assess the evolution of the aesthetics of the Haitian novel, as manifested in the baroque aspect of Ollivier's works, this analysis seeks to contrast the representation of female characters in his oeuvre with that typifying the aesthetics of marvellous realism. It would appear that in marvellous realism the feminine contributes to the elaboration of a decipherable, imaginary world, one that makes sense and creates hope, whereas the baroque creates impenetrable “ sealed urns ” serving to express the anxiety generated by an inconstant, elusive, senseless world. Thus, the baroque appears in Ollivier's works as an aesthetics of the uncertain and of a form of questioning that deconstructs reassuring discourses by means of fabricating incongruous images.