Documents found
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9732.
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9734.More information
The comparison of two samples collected ten years apart (2014 and 2024) illustrates how the characteristics of written elements in the public space of the city of Aosta have evolved. Émile Chanoux square is located in a relatively stable glottopolitical context, where the autochthonous minority language Francoprovençal coexists with the two official languages, Italian and French. The linguistic choices manifested in the signage produced by official (top-down) and commercial (bottom-up) actors reveal the roles and functions they attribute to each language. After one decade, the square has become increasingly Italian-speaking and monolingual. This development is highlighted through an analysis of the languages present, their interrelations, the textual multilingualism, their semantic references, and the morphosyntactic complexity of the units of analysis. The study is based not only on data from the ‘regular' linguistic landscape but also takes particular account of stickers affixed spontaneously by different actors. On the one hand, the findings shed light on the enduring characteristics and components of a linguistic landscape; on the other hand, they provide empirical evidence of the dynamic nature of the Valdostan linguistic situation.
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9735.
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9737.
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9738.More information
Published in 1866, the Mémoires of Philippe Aubert de Gaspé (1786-1871) extend the rich tradition of French memorialists of the classical period, belonging to a genre that embodies both historical chronicling and self-narrative. As such, they are marked by the underlying tension that constitutes memoirs as a genre, and studying the manuscript of Aubert de Gaspé's memoirs—one of the few surviving modern manuscripts of 19th-century Quebec—is highly relevant to the understanding of this tension. Examining the hesitations and second thoughts whose traces are apparent in the fragmentary writing of the work enables us to read the genesis of a text and the genealogy of a genre in which, in the margins and beneath the deletions, are negotiated the key features of a way of writing history based on the representation of an ethos defined by the “exquisite” figure of “l'homme d'esprit d'autrefois.”
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9739.
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9740.More information
In the last fifty years, Congolese popular dance music (also known as “Congolese rumba” and “La musique zaïroise”) has become something of a musica franca for much of sub-Saharan Africa. As Congolese like to say, the captivating sound of their music, firmly grounded in Africa's encounter with Afro-Cuban culture, has “colonized the rest of the continent”, but the music has gone through a series of important aesthetic changes since it first emerged in the urban colonial centers of the Belgian Congo. Despite this rich history, limited research has been done on the subject and very little has been published on Congolese popular music from the point of view of aesthetics. By tuning in on local conversations about certain aspects of the music's structure and form, this text attempts to understand how Congolese popular dance music transcends the ugliness of la conjoncture and how this particular expression of beauty enables us to explore the relationship between aesthetics and politics. Drawing from the philosophical hermeneutics of Hans-Georg Gadamer, the metaphor of listening is used to argue that the impossibility of hearing music from someone else's point of view should not stop us from trying to listen.
Keywords: culture populaire, esthétique, Kinshasa, écoute, philosophie herméneutique, popular culture, aesthetics, Kinsasha, listening, hermeneutics