Documents found
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10372.
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10373.More information
Keywords: Littérature occitane, Ecriture féminine, Félibrige, Culture limousine, Langue occitane
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10377.More information
AbstractIn 1949, anthropologist Marius Barbeau recruited Margaret Sargent, a young classically trained musician from Ontario to work for him at the National Museum of Canada. As the first ever musicologist to be employed by this institution, Sargent's first task was to transfer Barbeau's wax cylinder sound recordings to magnetic tape. While working on Barbeau's massive collection, Sargent became interested in collecting folksongs and proposed to him the idea of going to Newfoundland to do research. With Barbeau's support, in 1950 she spent eight weeks in the province, collecting folksongs, fiddle tunes, and other folklore materials mainly in St. John's and Branch. Despite launching the first Canadian funded research into Newfoundland's folksong traditions, little is known about Sargent's activities for the National Museum mainly because she published nothing of her Newfoundland work. Instead, her successor Kenneth Peacock is often viewed as launching this research. Although Peacock later visited the province six times, eventually publishing a three-volume collection Songs of the Newfoundland Outports (1965), it was Sargent who initiated the Museum's folksong research program in that province. This essay, which is based in part on interviews with Sargent, as well as her field notes and tapes, provides a detailed account of her Newfoundland fieldwork and of the kinds of material she was able to acquire during her one summer of fieldwork. It highlights the fieldwork challenges Sargent faced while in Newfoundland and how her groundbreaking fieldwork paved the way for Peacock's later research.
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10378.More information
This article explores the manner in which Le Parfum du jour est fraise by Pascale Petit illustrates the concept of performativity in the literary context, and how the performative character of the poem lends itself to a translational rereading of the work. The analysis will focus first on a discussion of the general conceptual contours of performativity. Next we examine how the “voice” in the poem – the speaker who commands, controls and manipulates all – erases the distinction between the reader and the narratee, and how the voice manages to control and shape the reader as a subject of a quasi-scientific experiment. Finally, the discussion will explore performativity in translatology and in the experience of the translation of this text into English.
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10379.More information
In postulating, on the one hand, that the textual construction of the figure of the artist—whether the artist be a writer, a painter or a musician—necessarily involves elements of the autofictional and, on the other hand, that relationships between the artist and instances of legitimization are illustrated via metaphoric treatment at the level of spatialization, this article discusses the ways in which the short story depicts the artist as well as the practice and reception of his art. The article's central premise is that the conditions of real production inflect the construction of fictional conditions to the extent that the more the artist perceives legitimacy, the more the imaginary artist tends to circulate within defined spaces and of institutional order. The selection of writers included in this study allow for the testing of this premise given that each of the authors writes or wrote as a resident of western Canada while maintaining an individual relationship with a different Francophonie and, as a result, with different literary institutions. The writers in question are Marguerite-A. Primeau, Lise Gaboury-Diallo, Gisèle Villeneuve and Claudine Potvin.