Documents found
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Ce mémoire aborde le sujet de la représentation de la femme à travers des lectures comparatives de deux tragédies de l'époque de les Lumières, Emilia Galotti (1772) de G. E. Lessing et Dido (1794) de Charlotte von Stein, ainsi que de deux films nazis, La lumière bleue (1932) de Leni Riefenstahl, et Juif Süss (1940) de Veit Harlan. Outre la dimension diachronique évidente de ce projet, ma recherche est organisée par thèmes. En me référant à plusieurs théories et sources secondaires, j'explore ces œuvres en me concentrant sur trois thèmes spécifiques : la sexualité féminine, le sacrifice féminin et finalement le cadavre féminin. Ces trois thèmes illustrent les étapes de l'instrumentalisation et de l'abus rhétoriques du corps féminin dans ces œuvres. Ce mémoire révèle donc …
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Le langage dramatique de Harold Pinter ne vise pas à virifier une vérité pré-établie au sujet de l'identité de ses personnages, mais il révèle plutôt le processus relationnel dans lequel cette identité est disputée et créée par le truchement de l’interaction dramatique. Nous nous proposons de démontrer que ce processus se déroule en suivant un cycle imitatif dans the Homecoming, l'identité des personnages évoluant au gré des désirs réciproques selon la logique imitative ou "mimétique" illustrée par René Girard dans d'autres sources littéraires. Nous souhaitons continuer l’œuvre de David Savran en ce quiconcerne son analyse "mimétique" de la piece de Pinter, Old Times et prolonqer ses observations sur le désir "symétrique" Pintérien. En outre, nous tenterons aussi d’expliquer la façon dont le judaisme de Pinter …
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Is there a reality in which the victim pays damages to the tortfeasor? This article analyzes Calabresi and Melamed's liability rule for the damaging party (Rule 4), where the damaged party has the right to prevent pollution if the polluter is compensated first. Under the conventional application of this rule, the victim first collects the money and compensates the injurer, and only then is the injurer required to eliminate the nuisance (ex ante). There is no reference to a possibility of the injurer first eliminating the nuisance and only then receiving compensation (ex post). We argue that the timing of the payment should be changed when the activity causing the nuisance has social and economic value. Each version of the rule advances the aggregate welfare in some sense, but also harms it in another.The primary aim of the present article is to introduce a new model for Rule 4 that would guide legislators, regulators, and judges in deciding when to order compensation as a condition for eliminating the nuisance and when to order the injurer to remove the nuisance first and only then collect the funds.This article also introduces a comparative perspective that reveals the potential use of the ex post version of Rule 4, as manifest in sources of the Jewish legal tradition. This comparison further bolsters our proposal in favour of a division between ex ante and ex post versions of the rule.Ultimately, offering two versions for the implementation of Rule 4 would better enable the adaptation of a suitable solution according to the circumstances and thus would widen the possibilities for the rule's use.
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“An Icelandic Driver” is the first English translation of the short story (or novella) “Íslenzkur ökumaður” by the Icelandic-Canadian writer Jóhann Magnús Bjarnason. The story, first published in 1910, offers a unique point of view on turn-of-the-century Halifax, Nova Scotia. While most texts by Icelandic immigrant authors narrowly focus on the experience of their compatriots in isolated rural settlements, this story provides a much richer and more complex portrayal of urban—rather than rural—life. It is inhabited by various immigrants, foreigners, and outsiders, who shape the protagonist’s understanding of his new home. While this portrayal allows for a much more nuanced view, it also reveals a rigid immigrant hierarchy, xenophobia, and antisemitism—all omnipresent and to a large extent internalized by the protagonist.
Keywords: translation, Icelandic-Canadian literature, J. M. Bjarnason, antisemitism, immigration, Nova Scotia
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Keywords: ultra-Orthodox Jews, Palestinian rights, inner-conflicts
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This introduction to “An Icelandic Driver” by Jóhann Magnús Bjarnason aims to provide a critical context for reading the text. The story portrays Halifax as a city of immigrants and depicts the otherwise underdiscussed histories of urban Icelandic immigration. It also relies, however, on the structures of racialized immigrant hierarchy, antisemitism, and Black erasure. This introduction provides background information about Bjarnason’s life and work, and critically analyzes the ways in which his text thematizes national identity and community. It also aims to rectify the stereotypical depictions of Jewish characters in the story, as well as the complete erasure of Black Haligonians, by providing accounts of some of the many Jewish and Black histories of Halifax and Nova Scotia that Bjarnason chooses to omit.
Keywords: Icelandic-Canadian literature, J. M. Bjarnason, antisemitism, immigration, Nova Scotia