8 resultados para Langue populaire
em QUB Research Portal - Research Directory and Institutional Repository for Queen's University Belfast
Resumo:
In this paper I will discuss the form and nature of blason populaire in the Irish language using the major dialectal collections of the early 20th Century as source corpora. I will outline a system of categorisation by which these expressions may be grouped together and examine the local, national and international blason populaire found in the Irish language. I will show that the most salient feature of Irish blason populaire is the lack of proverbial slurs and stereotypes about other countries and nations. Instead, the Irish appear to direct their derogatory humour and mockery at their own people and land; local regions and districts; well-known Irish families, the Catholic Church and, of course, the common trades of the period.
Resumo:
This paper examines the concept of the blason populaire in a corpus of Irish-language proverbial material covering the period 1858-1952. It will demonstrate that the focus of these blasons populaires is primarily regional, as opposed to national or ethnic, and, furthermore, that such proverbs are usually jocular, descriptive, and benign, rarely exhibiting ethnic or racial slurs. The study identifies and analyses the most salient stereotypical characterizations, and the proverbial forms in which they appear.
Resumo:
This article deals with the translation of Patrick Beurard-Valdoye's texts and the inter-cultural dimension (German-French) of his work.
Resumo:
Dans son premier roman, Indiana (1832), Sand établit un réseau de correspondances entre la langue, la performance et l'identité sexuelle qui n'ont pas encore fait l'objet d'une étude approfondie. Or, ces correspondances sous-tendent d'autres romans des années 1830, notamment Lélia (1833), Le Secrétaire intime (1834) et Gabriel (1839). Deux concepts – la performance et la lisibilité – fondent en fait les réflexions de Sand sur la représentation et le genre. Il s'agit dans cet article d'étudier ce réseau d'associations et d'explorer son évolution dans la fiction sandienne des années 1830. Cette analyse permettra de souligner comment, chez Sand, la performativité du genre met en question et trouble la représentation mimétique.
Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s
Resumo:
The influence of Fantômas novels and films on global popular culture is widely acknowledged. From the 1915 Spanish musical "Cine-fantomas" to the 1960s Italian comic book series "Diabolik," "Kriminal" and "Satanik," from Turkish B-movies such as "Fantoma Istanbulda Bulusalim" (dir. Natuk Baytan, 1967) to Julio Cortazar’s anti-imperialist pamphlet "Fantômas contra los vampiros multinacionales" (1975), Pierre Souvestre and Marcel Allain’s original literary series have engendered uncountable translations, adaptations, imitations and plagiarisms that have spread the character’s fame worldwide since its first appearance in 1911.
By focusing on the influence of Louis Feuillade’s film adaptations during the first decade of Fantômas’ long history as a transnational and transmedia icon, this paper aims to contribute to the growing interdisciplinary field that deals with the history of the supranational cultural sphere created by modern media culture. As a sort of archaeology of contemporary cultural globalization, this form of study intends to enrich previous historical surveys that had only taken into consideration specific national contexts. Moreover, it might also rebalance certain “colonizing” accounts that overemphasize the role of the cultural superpowers such as France, the UK or the US, often forgetting the appropriation of the products of international popular culture to be found in other countries. Therefore, this paper examines the transnational circulation of Fantômas films and, in particular, the creative processes engendered outside of France their origin country. As a controversial character and a central player in the relationship between cinema and literature in the crucial years when the feature and serial film boosted and legitimized the film industry, Fantômas represents an exemplary case study to discuss the cross-cultural and cross-media dynamics engendered by popular fiction.