Search

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mémoire de fille (2016) est une œuvre entièrement traversée et même structurellement sous-tendue par la présence des livres, éléments clés dans l’enquête menée par Annie Ernaux au moment où elle se fait métaphoriquement lectrice d’elle-même. Tout le récit peut ainsi se (re)lire au prisme des lectures, faites ou à venir, qui jouent avec/de la construction personnelle et interrogent l’(im)permanence de soi. C’est cette dimension qu'investit cet article en analysant la façon dont la lecture est mise en œuvre dans Mémoire de fille pour montrer qu’elle est simultanément voie et voix. Entendons par là une lecture comme voie de l’écriture (dimension scripturale : faire se réaliser l’enquête) et comme voix de soi (dimension identitaire : s’entendre et se (re)trouver).

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ABSTRACT: This article, which forms part of our research into Algerian women's literature in French, looks at the writing of urban space as a place where freedom is sought and a legacy passed on. In reading Elissa Rhais's “Blida” and Assia Djebar's “Nulle part dans la maison de mon père”, we found that women don't just write to bear witness to an experience or to claim freedom; their writing transcribes and forever inscribes their cities in a memory and a universal heritage. Consequently, women's writing about urban space is a question of heritage. Our contribution aims to understand and recognise the mechanisms put in place by Elissa Rhais and Assia Djebar to transpose their realities into a fictional universe where it is and will be a question of memory, identity and speaking out. RÉSUMÉ : Le présent article qui s'inscrit dans le cadre des recherches sur la littérature féminine algérienne de graphie française, s'intéresse à l'écriture de l'espace urbain comme lieu de quête de liberté et de transmission d'un héritage. En effet, en lisant le texte d’Elissa Rhais «Blida» et le roman d’Assia Djebar «Nulle part dans la maison de mon père», nous avons constaté que les femmes n'écrivent pas que pour témoigner d'un vécu ou revendiquer une liberté ; leur écriture transcrit et inscrit à tout jamais leurs villes dans une mémoire et un héritage universel. Par conséquent, l'écriture de l'espace urbain par les femmes est une question de matrimoine. Notre contribution vise à connaître et reconnaître les mécanismes mis en place par Elissa Rhais et Assia Djebar pour transposer leurs réalités dans un univers fictionnel où il est et sera question de mémoire, d’identité et de prise de parole.

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In o Sol se põe em São Paulo, Carvalho's writing promotes an exercise of alterity, enabling contact with the other and self-awareness. The narrator, who has been given the task of narrating a story that does not belong to him, starts to reflect on his own past and identity. Through the narrative exercise, his linguistic and cultural fracture expands, since he perceives in himself the lack of identification with the cultural repertoire that is part of his origins. From this space, from where he reports the origin of the other, his awareness of not belonging is reinforced, which intensifies his existential anguish. The breakdown of the bond with his origins leads to instability, fragmentation, hybridization, a game between being and seeming to be chosen as constituent elements of his identity. Therefore, the narrator realizes that his identity representation, as well as that of so many others, takes place through the narrative of the individual in transit, of the moving being, of the identity under construction. [ABSTRACT FROM AUTHOR]

Geopolitical, territorial and memory issues related to colonial heritage: The Case of Sidi Ifni, former Spanish enclave. The city of Sidi Ifni in Morocco is a typical example of the extraordinary complexity of the links between heritage, territory, memory, identity and politics and where heritage is unfairly held hostage to the different conflicting interests of several actors; some approaches place these conflicts of interest at the heart of the heritage issue. Through this article we want to show that the territorial approach to heritage is not the only basis for the process of creating heritage, there is also the political and geopolitical approach which considers heritage as a political and geopolitical instrument. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dr Marcel Taibé, Mémoire et reconstruction de l’identité en contexte diasporique

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article sheds light on how the Arab diasporic hybrid identity has been shaped by place. It also emphasizes the importance of memory for Arab Muslim Anglophone women writers, who turn to this compensation strategy to overcome the painful sense of loneliness, in the “host land.” The purpose of this study is to show how the protagonists of Leila Aboulela’s The Translator (1999) and Randa Abdelfattah’s Does my Head Look Big in This? (2005) skillfully define themselves and dispel the myths about the Arab culture in the West. [ABSTRACT FROM AUTHOR]

"L’Africain" est un roman autobiographique dans lequel Le Clézio entreprend, par le biais de la mémoire, un témoignage sur son passage en Afrique durant son enfance. Dans ce retour formateur, marqué par de nombreuses découvertes, on y voit également une ambition chez l’auteur de corriger l’image biaisée de l’Afrique. En analysant ce retour et ces images, on se retrouve au cœur de la narratologie et de l’imagologie qui nous permettront de comprendre que l’auteur de "L’Africain" a fait ce témoignage pour comprendre la part de l’Afrique dans son identité plurielle et surtout exposer l’image humaniste du vieux continent. - The novel "L’Africain" is an autobiography in which the author Le Clezio undertakes through the memory a testimony on his stay in Africa at his tender age. In this literary account full of discoveries, one can perceive an auctorial ambition to correct the blackmailed image of Africa. While bringing these corrections under serious critical analysis, one finds himself in the stream of narratology and imagology, which would be of help to understand that the novelist makes this testimony in order to propose that, Africa should not be apprehended in a mono-sense, but in his plural-identities, and above all to expose the humanist image of the eldest continent.

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nous nous référerons dans cet article à la mémoire de l’homme, incarné et historique, déterminé par les médiations spatio-temporelles et exposé aux dilemmes éthiques que doit affronter l’ipséité dans sa capacité d’accueillir l’autre telle que la définit Ricœur. Notre réflexion vise la mémoire inquiétée par des médiations propres à la condition existentielle et corporelle du soi moderne, dans un contexte d’ébullition culturelle et technologique. Un tel contexte a en effet des conséquences qui affectent aussi bien l’identité personnelle et collective, que l’exercice des capacités du soi agissant et souffrant – et tout spécialement celui de sa mémoire. Nous examinerons la dimension tant réceptive que dynamique de la mémoire exposée aux fragilisations qui affectent l’identité narrative humaine, en déterminant ses pouvoirs qui laissent des traces au niveau de la conscience et du corps. Nous terminerons enfin notre réflexion par une analyse des effets volontaires et involontaires qui mettent en question la capacité même de la mémoire, en influant sur l’imagination et sur la réponse éthique du soi.

Dans l'œuvre de Leïla Sebbar - écrivaine née en 1941 à Aflou, un petit village rural pas loin d'Alger, l'origine et le destin apparaissent filtrés par une langue, le français, qui est à la fois masque et césure, distance rassurante, mais aussi possession et perte, exil et retour à la maison. La narrative sebbarienne est, en effet, l’expression d'un défi identitaire qui se construit dans l'espace d’un entre-deux culturel et géographique, venant s’inscrire comme le témoignage d'un statut de profonde duplicité historique et ontologique. En utilisant la voix argotique des quartiers de la banlieue parisienne, l’écrivaine se représente comme une croisée, un être fragmenté entre des lieux et la mémoire. Fille d'enseignants de français, Leïla Sebbar a vécu les années de son enfance et de son adolescence en Algérie. Or sa langue maternelle, selon sa volonté et les contingences historiques, est le français; l'arabe, idiome paternel rejeté depuis l'enfance, est une langue qu’elle n'a jamais voulu apprendre,. De ce refus il reste une trace bien marquée dans ses romans où la figure paternelle incarne toujours une condition de migration forcée, agitée par un sentiment de nostalgie et de retour.

La relation identité/tourisme dans le Land de Mecklembourg-Poméranie-Occidentale est assez complexe. Elle s’analyse en effet à plusieurs échelles, allemande et baltique, et à plusieurs niveaux, celui de l’espace et celui de l’individu. La trajectoire d’un Land réunifié où le tourisme littoral est majoritairement germanique en est une raison. Dans ce contexte, l’identité n’est pas une donnée figée, mais un processus, une dynamique spatiale et individuelle. Le tourisme et les pratiques touristiques peuvent être perçus comme une construction identitaire à l’échelle de l’individu, de l’Allemagne et de la Baltique. Sur ce littoral, le tourisme n’est pas un simple outil d’aménagement et de dynamisme économique. Il est un facteur d’intégration identitaire et le cadre baltique génère des pratiques touristiques singulières. Le tourisme peut alors être analysé comme une clé de lecture des touristes allemands et de la société d’Outre-Rhin.

Do we make our dress, or does it make us? What is the relationship between the creator and the creation? Based on the principle of reflexivity, which equally values creative imagination, agency, and the social construction of identity and social boundaries, the making and wearing of dress and the construction of identity are dialectically interrelated. Focusing on the relationships between elites and subordinates, this article highlights the independent initiatives of the subordinates to create and use dress as a means of social representation and social identification as well as to negotiate social boundaries. There is a tradition of struggle in Guinea over the meaning of dress which involves both elites and subordinates, who are equally conscious of the fact that what one makes and/or wears transforms one's body into a "site of memory." This study uses published, archival, and oral sources, including the author's personal memories of post-colonial socialist Guinea, to examine clothing traditions, not only in the context of animist and monotheist Guinean societies but also within colonial and post-colonial socialist and liberal Guinea. [ABSTRACT FROM AUTHOR]

The ancient and classical tradition assume the memoria, which reproduces a stable and hierarchical order, able to base the exemplary and topical value of stories. This "onto-theological" model (Kant) is radically overthrown by the one that prevails in modernity -- since the end of the eighteenth century: forgetting the metaphysical foundation is becoming a paradoxical matrix of memory. Discontinuity becomes the condition of our relation to the past, which can no longer be sustained on an identifiable origin, but must be invented. Modern literature becomes a question of ignorance, and is condemned to construct optimistic (Novalis, Michon, Perec) or pessimistic (Senancour, Tieck, Conrad) answers to this question. [ABSTRACT FROM AUTHOR]

For some time, we have been witnessing a resurgence in the use of the past to legitimize exclusionary identitarian discourses as well as imaginary and often apocalyptic narratives about the world. The expansion of cultural relativism even reaches science denialism. The present article analyzes some recent cases of confronted, re-written or conflict-themed narratives, and connections are made with the discourses of historiography from its controversial theories and methodologies. The potential of history as a social science to refute historicist doctrinal constructions that attempt to legitimize the structures and the hegemonic relationships of power is shown. It is argued how history, as a social science, builds methodical, and therefore, critical knowledge, and it is concluded that said knowledge limits ideological preconceptions and dismantles the arbitrariness of the organic narratives that manipulate, decontextualize and twist the past, to the extent of denaturing and mythicizing it. [ABSTRACT FROM AUTHOR]

Kaouther Adimi et Samir Toumi appartiennent à la génération d’écrivains la plus récente de la littérature algérienne francophone. Écrits dans une Algérie où le temps fait son œuvre et estompe les souvenirs de la guerre de Libération et de la guerre civile, leurs romans sont des fables très contemporaines et leurs personnages connaissent de banales aventures susceptibles d’être vécues par tout citadin et toute habitante d’une métropole, à Paris ou à Alger. Pourtant, malgré la quiétude de leur existence ordinaire, héros et héroïnes connaissent malaise et mal être. Ils sombrent dans la Melancholia Algeriana, un état peuplé de fantômes qu’ils vont devoir identifier et terrasser.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ce travail analyse la construction discursive autour de l’événement conflit mapuche dans deux quotidiens chiliens dans le cadre d’une perspective française de l’analyse du discours. Dans un premier temps, nous avons étudié l’origine historique de ce qu’on appelle le conflit mapuche. Ensuite, nous avons analysé la construction discursive de l’événement conflit mapuche et ses conséquences au niveau social.Finalement, nous avons étudié la représentation que la presse donne des différents participants au conflit. Le corpus est composé d’articles de presse apparus dans les quotidiens El Mercurio et La Tercera, entre mars 2014 et mai 2016

Copyright of Literature / Literatura is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)