Documents found
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454.More information
This reflection on suffering provoked by organised violence suggests that the suffering generated is, on the one hand, not uniquely a handicap; it can become a source of creative transformation. On the other hand, the current medical and psychological models can frequently, by barely if at all recognising this bivalence of the effects of horror, and by pathologizing the psychological and physiological responses to terror, aggravate the consequences.
Keywords: traumatisme, violence, souffrance, trauma, violence, suffering
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455.More information
This article presents a reflection on the bereavements that occur around Alzheimer's disease, such as the gradual disappearance of key elements that made the patient who they were, from the perspective of their caregivers and close family. By examining the ways in which grief manifests itself amongst family caregivers for patients with Alzheimer's disease, we will question the variable dimensions of grief these family caregivers are exposed to, as they are dealing with a progressive ‘multidimensional death,' in which language and their relationship with the patient plays a key role.
Keywords: Alzheimer, maladie, deuils, proches aidants, reconnaissance, identité, Alzheimer, enfermedad, duelos, cuidadores familiares, reconocimiento, identidad
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456.More information
Notre projet de mémoire s’intéresse à la représentation poétique du temps dans La supplication de Svetlana Alexievitch. Nous nous proposons de suivre de manière chronologique la démarche de l’écrivaine biélorusse qui enregistre les témoignages de rescapés de Tchernobyl avant d’en remanier poétiquement (au sens aristotélicien) la temporalité afin de restituer les empreintes émotionnelles que leurs souvenirs ont gravées au cœur de leur mémoire depuis le contact originaire du corps humain avec les radiations. En prenant principalement appui sur la théorie de la perception pure chez le philosophe Henri Bergson, notre premier chapitre s’intéresse à l’impression générale d’incompréhension à laquelle se réfèrent de nombreux témoins de La supplication et que nous tenons pour un effet des radiations sur la conscience humaine. Quant à notre second chapitre, …
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457.More information
Self-recognition and the impact of family relations are often connected with the theme of identity in the critical discourse on the francophone dramaturgy of Western Canada. Nonetheless, discussion of these concepts has rarely served as the object of focussed analysis. The present article seeks to address this lacuna through an examination of Roger Auger's Suite manitobaine. It will show how two important semiotic functions (the hierarchisation and the integration of dramatic works) constitute a key component of this analysis from the perspective of the literary culture of the spectator. The description of a collection of memorial traces and of symbolic mediations (franglais, social realism and reference to a specific family model) contribute to an explication of the first function. An analysis of the family conflict at the heart of Je m'en vais à Régina casts light upon the second.
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458.More information
AbstractIn the last three decades, media art (in both its analogue and digital forms) has been consistently defended in its alleged ability to, in the words of art critic Jean-Christophe Royoux, to “give concrete form to what, as a rule, vanishes from cinematographic time: the present.” Questions emerge, however, as to what exactly constitutes the present and, more importantly—in works that privilege presentness—how can the past and the future can still be productive categories of time? Indeed, such a privileging might be more problematic than initially thought. This, at least, is what comes out from a study by historian François Hartog who maintains that the prevailing regime of historicity today is not liberating access to the present but presentism: the turning of the present into an absolute value, whose absoluteness means a real disconnection from the past and the future. In such a regime, it is the possibility of history which is threatened with disappearance. This article seeks to examine the apparent incompatibility between new media art's presentist inclination and the sense of history. To investigate this tension, it is imperative to look at artworks that address one of the main challenges of a culture obsessed with the present—the setting of the conditions of the possibility of history. I propose that Craigie Horsfield's work is an original contribution to this line of investigation. Special attention is given here to the three main aesthetic strategies constitutive of the video installation Broadway (2006): the solicitation of attention, the temporalization of the horizon line and the convergence of two viewing positions—those of the spectator and the witness.