Documents found
-
2671.More information
From the gypsy, Amica, who seduces François, in Le torrent, to the black dancer Jean-Ephrem de la Tour, in Un habit de lumière, to Doctor Nelson who turns the life of Elisabeth d'Aulnières upside down in Kamouraska and Stevens Brown accused of murder in Les fous de Bassans, the Other is a figure that haunts Anne Hébert's entire work. The objective of this article is initially to identify the various manifestations of otherness in order to identify its recurring forms, allowing us to examine the meaning of the omnipresent figure of the Other. Does the character as Other, from the pen of a Quebec author, bring to light the hidden, unacknowledged desires of an individual or a society? What is basically its symbolic power and its function of revelation?
Keywords: Anne Hébert, Anne Hébert, altérité, Alterity, malfaisance, Malfaisance, Eros, Eros, Thanatos, Thanatos
-
2672.More information
This paper deals with the question of how health and illness as well as wholeness and salvation are interrelated. In a first step, it is shown on the basis of Paul Tillich that the human being is to be understood as a dynamic entity and that illness and health are to be understood as dynamic processes. Based on Viktor E. Frankl's concept of “homo patiens”, it is then shown in a second step that man can still find meaning despite illness. Finally, in a last step, Nancy L. Eiesland's concept of the “disabled God” is used to show that Christianity has a symbol that makes it clear that “wholeness” and thus salvation is not necessarily linked to physical integrity.
-
2673.More information
Ethics is related to a semantic of action overcoming instrumental reason; thus, from an ethical perspective, we know that the meaningfulness of acting springs from the inclusion of any practical setting – this being bounded and highlighted by an envisaged aim – in a wider translatability of motives and values. Therefore, an ethical perspective takes root in a critical detachment from the immersion in the action's settings. Ethics is elaborated by a vertiginous discourse that should drive itself beyond morals. As cultural forms stratified in times, morals could be described by a community of discourse, in accordance with an ethical perspective, only if it is possible to gain a second order observation. Ethics concerns the management of identity's values in relation with their destiny's horizon. Every community of discourse elaborates an axiology grounded on the commensurable redistribution of destinies; but inter-community's tension and division of morals continuously bring out the need of the neutralization of a separate destiny. Ethics is, therefore, a level of negotiation of sensible acting that overcomes semantic guarantees given by social fields and language-games: this outcome leads forms of life to recognize the scandal given by a Babel of destinies. Ethics is the border of a form of life that must surpass itself, and go beyond its aim and its own finiteness. For this reason, ethical questions, in spite of their seemingly intractable aspects sub specie semiotica, become a field of investigation potentially elective for the discipline. In fact, this tension inside every form of life to go beyond itself is the primary – albeit tacit – structure of a culture: crossing destinies.
-
2674.More information
AbstractThis paper seeks to explore the way in which trauma undermines the very possibility of a narrative while it makes it necessary. First, a review of the history of the concept of trauma and of trauma theories shows that it is the incomprehensibility of an event for a subject that makes it a trauma. This incomprehensibility is precisely what puts the traumatized subject in a double bind; for, on the one hand, it forces the subject to try to interiorize the event by integrating it into a narrative, while, on the other hand, it prevents the integration of the very event into a narrative. Testimony seems thus to be the kind of narrative able to deal with this double bind as an analysis of concentration camp testimonies (mainly those of Jorge Semprun and Charlotte Delbo) shows in the last part of the article.
-
2675.More information
AbstractPeriodization is essential if film historians are to structure their understanding of the past and have relatively pedagogical aims. Any exercise in periodization, however, is a discourse on history and the result of a meeting of the present (that of the historical subject) and the past (that of the historical object). The resulting hybrid is closer to the position of the perceiving subject than it is to that of the temporal object supposedly being perceived. Periodization is thus a fundamentally constructivist exercise. An initial example of periodization in film history was its centenary in 1995. But what exactly did we celebrate at the end of this one-hundred-year period? Was the “primordial” event the invention of the Lumière Cinematograph and its patenting? If this is the case, to speak without equivocation of “cinema's centenary” is to skirt the proof underlying such a position, which establishes a concordance between Cinematograph and cinema. Or were we celebrating the famous first paying, public screening on 28 December 1895 at the Grand Café in Paris? If so, what is the status of the first screening of Émile Reynaud's Théâtre optique at least three years prior to the invention of the Lumière Cinematograph? What would be the status of magic lantern shows? This article will demonstrate that, in the case of a complex medium such as the cinema, the concept of periodization can only be used in the plural and that any attempt at periodization must accommodate the various cultural series out of whose encounter media arise. We will see that, in the end, it is not an easy task to make the inextricable meshing of a complex medium such as the cinema intersect with a concept as unilineal and simplistic as “period.”
-
2676.More information
The article seeks to show that the painted fly calls for a particular distance. The fly binds together the enunced body and the enuncer's body, forcing the latter to carefully observe forms and textures that will set forth emotional information. The fly places itself between both bodies imagined as flesh, and thus imposes its own representation of values, turning the experience into that of a dysphoric flesh.
-
2677.More information
In the field of social intervention there are currently numerous expectations from both individual actors and institutions to become “reflexive”. This is related to public policies that have become “activating” and to the more global context of a so-called “reflexive” society. This article aims to show how Foucault's conceptual tools allow us to problematize these various uses of reflexivity and their relationship to power in practices, and to identify on that basis certain ethical issues and possibilities in transforming social intervention.
Keywords: travail social, réflexivité, éthique, pouvoir, subjectivation, social work, reflexivity, ethics, power, subjectivation
-
2678.More information
AbstractAccording to Lakoff et al., human beings draw upon "metaphorical expressions" to express their ideas. These are surface expressions of the "conceptual metaphors" that form the structure of a given field of knowledge. As such, the terminology and conceptual structure of one field are used to describe another. In fact, a number of studies have shown that scientific statements, particularly in the field of biomedicine, are often expressed using conceptual metaphors. Indeed, in translation, enunciation in the target language is precisely related to the question of coherence of conceptual metaphors in both source and target languages. Using examples found in English and French biomedical texts, the author analyses the mapping of metaphors in both languages. Particular attention is devoted to the analysis of some generalizations established by Lakoff and related to polysemy and the "invariance principle".
Keywords: approche cognitive de la traduction,, conceptualisation,, métaphore,, langue de spécialité,, biomédecine, cognitive approach to translation,, conceptualisation,, metaphor,, language for specific purpose,, biomedicine
-
2679.More information
Paris, January 7th 2015. By late morning, the Kouachi brothers, Saïd and Chérif, launch an attack against the redaction team of the satirical weekly Charlie Hebdo. Hooded, dressed in black and armed with Kalashnikovs, they decimate the redaction team, causing twelve deaths including eight journalists. This paper aims to study how Renald Luzier («Luz»), press illustrator at Charlie Hebdo, makes peace with death through the graphic novel Catharsis (2015). In other words, how do graphic novels manage to provide meaning to a traumatic experience? How do they participate, with a graphic experience, in making bonds between an unspeakable recent past, an aching present and a possible future? Can they be a way toward (re)construction of self? So many questions that build the essence of this paper, in which graphic novel are not seen as an illustration of a mourning process, but in their symbolic, imaginary and anthropological potentialities, where an illustrator, Luz, experience the death of others in his own life.
Keywords: anthropologie, bande dessinée, catharsis, deuil, mort, trauma, Anthropology, Graphic novel, Catharsis, Mourning, Death, Trauma