Documents repérés
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421.Plus d’information
La télévision et d'autres médias français ont pris l'habitude, entre 2001 et 2004, de parler de « voix québécoises », comme s'il s'agissait d'un ensemble homogène dans les chansons d'aujourd'hui. Mais cette étiquette est trompeuse : sous son apparence unificatrice on constate la dispersion des réalités musicales. L'analyse de deux chansons le montre : entre « Parle-moi » par Isabelle Boulay et « Chéri tu ronfles » de Lynda Lemay, les contrastes se multiplient, concernant la forme, le langage harmonique, les techniques vocales utilisées et le rapport entre texte et voix.
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422.Plus d’information
This article proposes a “lecture du genre” (gendered reading) (Boisclair 2002) of the works of Philémon Cimon (L'été, Les femmes comme des montagnes), Pierre Lapointe (Pierre Lapointe, Sentiments humains) and Ariane Moffatt (Aquanaute, Le coeur dans la tête, Tous les sens). The study of songs that appear on albums by these three artists branches from an interrogation of their gendered subjectivities between real person and persona, showing how subjectivities shaped their compositions. Using the concept of sex and gender as separate categories, the representation of sexual and gender identities can be explored within the songs in which the artists' identities are embedded. By observing the articulation of identity and gendered rhetoric (especially the romantic rhetoric) of the selected songs, it is possible to account for the reproduction of compulsory heterosexuality and the clichés that prescribe gender roles, as well as the shifts in meaning, permutations, and blurred boundaries that allow for resignifications of gender. In Cimon's work, the masculine perspective is replicated, whereas the value of the feminine lies in its ability to enchant the subject and arouse desire. In contrast, Lapointe's and Moffatt's songs depict queer characters and narratives, despite the fact that they did not claim publicly their queer identities when they launched these albums.
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