Documents found
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221.More information
In 2016 Michael Snow and Mani Mazinani improvised on vintage analog synthesizers in Yonge-Dundas Square, filling Toronto's busiest commercial commons with retro-futuristic sonic filigree; almost fifty years earlier, Otto Joachim's four-channel electronic sound installation Katimavik furnished the Canadian Pavilion at Expo 67 in Montreal with uncannily similar sounds. In both cases, listeners perambulated amongst a sonic-spatial architecture defined by publicness and auditory plurality. In the intervening decades, non-profit artist-run centres proliferated across the country, offering refuge for local experimentalists to develop their craft in the name of regional and national cultural growth. Such is experimental music's longstanding position on the margins and centres of listening in Canada: its history as a niche practice is replete with attempts to insert itself into the everyday. I argue that the diffusion of experimental music into increasingly quotidian spheres in Canada offers a way to understand how place is engendered through the intersubjectivity of listening—an act implicated in a range of agentive processes. Different from other listening contexts, in listening to experimental music we become interpellated into a relational nexus where the loci of composition, performance, and perception become distributive and unstable. I thus suggest that listening to experimental music in Canada can be thought of as a “listening out” an “attentive and anticipatory communicative disposition.” The examples serve as case studies for refiguring the engagement between creative music and the commons in Canada—what experimental music can “mean in the world.”
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222.More information
In his 1995 seminal work, The Translator's Invisibility, Lawrence Venuti examines the impact of how translations are reviewed on the visibility of the translator. The American scholar contends that a fluent translation approach, which ultimately makes the work of the translator “invisible” to the final reader, is the main criterion by which translations are read and assessed by reviewers; any deviations from such fluent discourse are thus dismissed as inadequate. The present research will draw upon a corpus of British and French reviews collected from two broadsheet supplements in each country to analyze the extent to which the media's reviews of published translations continue to reinforce—or indeed challenge—the notion of translators' invisibility. The research will demonstrate that, whilst fluency and transparency are still revered by a large number of reviewers, especially in the UK, the reviews in this corpus show a remarkable degree of openness towards diverse translation approaches.
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The interest of comparative literature as its divided relation to the function of translation. Critique of the terror of European humanism and insistence on the minoritarian reading of literature, on translation as an encounter with difference.
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224.More information
Keywords: modernité, crise Anthropocène, écriture francophone, épistémologie, nativisme
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A discussion of Création du monde et limites du langage. Sur l'art d'écrire des philosophes juifs médiévaux by David Lemler.
Keywords: Medieval Jewish Philosophy, Epistemology, Esotericism, Cosmogenesis, David Lemler
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This essay goes through a series of life tropes in the work of Jacques Derrida and insists on three main dissonant themes : being French, speaking French, and being a Jew. These biographems point to an aporetic discrepancy in the effort of autobiographical totalization : while they are necessary, it seems impossible to go along with them. The notion of “devenir marrane” seems the way out of this entanglement.