Le jour où la Terre en avait vu d'autres. Tome 1 ; suivi de La tension ajarienne

La partie création de ce mémoire se veut soutenue par une tension narrative reliée à la curiosité suscitée par le personnage principal, de prime abord énigmatique, qui se dévoile de façon capricieuse par un changement constant de focalisation et de temporalité. Nathan vit à une ère où l’humanité a frôlé l’extinction, et où tout est à repenser après l’annihilation du virus ramenant les morts à la vie. N’ayant pas été témoin de ces horreurs, ses plus grandes préoccupations concernent son cheminement vers l’authenticité. Saltimbanque de métier, il voyage de communauté en communauté, où chacune a fait ses choix pour recréer le monde. Sa volonté de prôner l’art dans un processus de reconstruction sociale et sa poursuite d’une image perdue le pousseront toujours plus loin dans ses pérégrinations; vers des réalités qui le conduiront à redéfinir son univers. La partie essai s’interroge sur les procédés formant la tension narrative des romans d’Émile Ajar, pseudonyme laissant deviner la plume expérimentée de Romain Gary qui se réinvente dans l’anonymat. L’attention est centrée sur les jeux de narration, le rôle actanciel des personnages et l’orchestration formelle des récits, à savoir s’ils sont assez similaires pour lier les opus et les constituer en une série unifiée. Cette réflexion à la recherche de l’essence de l’oeuvre ajarienne, touchante par ses antihéros souvent démunis dans leur quête existentielle, a été une inspiration pour la rédaction de Le jour où la Terre en avait vu d’autres. Les rêves de Nathan sont racontés à la première personne, rejoignant certaines modalités ajariennes où la psyché des protagonistes se révèle par une narration au “je”. Les questionnements sur la tension narrative ont été déclencheurs de cette première démarche d’écriture romanesque, même si elle est située dans un cadre complètement autre et use d’une plume bien différente de celle d’Ajar.

El cinismo idealista de Alejandro Carrión (Dossier: Narradores ecuatorianos de la década de 1950)

Este ensayo analiza aspectos de la dilatada labor como periodista, crítico literario, narrador de ficción y, sobre todo, la producción poética del ecuatoriano Alejandro Carrión. Señala que su narrativa, desde muy temprano, evidencia el tono satírico que no abandonaría jamás, tanto como su «vocación festiva de la sedición». Destaca su labor como periodista, principalmente con el seudónimo de Juan sin cielo. Menciona algunos aportes de Carrión en tanto crítico literario, recogidos principalmente en la revista Letras del Ecuador. El hilo conductor del ensayo –a ratos nostálgica semblanza– se nutre de una perspectiva inevitable: ciertos rasgos de su personalidad (su experiencia en «romances y serpientes», la vocación de incisivo y mordaz humorista, su «naturaleza confrontacional» y aguda inteligencia), además de sus dotes de narrador satírico y de poeta.

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

Reticent autobiography: Henry Green and Christopher Isherwood at the Hogarth Press

Christopher Isherwood’s Lions and Shadows (1938) and Henry Green’s Pack My Bag (1940) are accounts of the authors’ educations in the 1920s. Published by Leonard and Virginia Woolf’s Hogarth Press, these works use reticent narrators to test the limits of autobiography. In each case, authorial self-presentation complicates the work’s classification in the literary marketplace: Green paradoxically extends his use of a pseudonym to autobiography and Isherwood assigns his own name to his purportedly fictional protagonist, and yet Hogarth published both as novels. The two texts and their publication histories exemplify modernist autobiography’s blurring of the lines between fiction and personal history.

Fanfiction : la anonimicidad, el texto y el armario

This essay looks at slash, a genre within fanfiction, from the perspective of Sedgwick’s theory of the closet, which reflects on the concealing mechanisms associated with homosexuality. While the real author stays in the closet, disguised behind a pseudonym, slash texts present homosexual themes in a very explicit way, often relying on humor or subversive elements. Between these two spheres, the real author and the text, we can find what we call the author’s voice, conscious about the existing homophobic structures, a voice that uses different strategies to shield itself against them. Internet, with the possibility to stay anonymous, serves as a social closet where the masked authors create texts that subvert heteronormativity.

McCoy and Sarcophilus Harrisii Boitard, 1842 - A diabolical relationship

Frederick McCoy contributed to the knowledge of the fossil record of the Tasmanian Devil Sarcophilus harrisii Boitard, 1842 in Victoria by including a number of figured specimens in the Prodromus of the Palaeontology of Victoria. However, an article McCoy wrote under the pseudonym 'Microzooni highlighted his anti-Darwinian thoughts and embraced a successionist viewpoint. The article, entitled 'Pre-historic Tasmanian Devils', is an interesting account of zoogeography from a successionist perspective, and is used here to contrast McCoy's anti-evolutionary viewpoint with modern Darwinian thought. A number of fossil sarcophilines discovered since McCoy's death illustrate the shortcomings of McCoy's favoured anti-Darwinian viewpoint when discussing the nature of evolution and extinction.

Frederick McCoy and the naturalist tradition

From August 1869 until May 1871, an anonymous naturalist under the pseudonym 'Microzoon' published a superb series of articles in a weekly Melbourne newspaper, The Australasian. The author was undoubtedly Frederick McCoy. The Microzoon articles provide a valuable early record of
aspects of the natural history of Victoria, in particular the bird life, but also covering a selection of other topics including snakes, insects, fish, molluscs, geology, palaeontology and stratigraphy.

Facilitating post traumatic growth

Background: Whilst negative responses to traumatic injury have been well documented in the literature, there is a small but growing body of work that identifies posttraumatic growth as a salient feature of this experience. We contribute to this discourse by reporting on the experiences of 13 individuals who were traumatically injured, had undergone extensive rehabilitation and were discharged from formal care. All participants were injured through involvement in a motor vehicle accident, with the exception of one, who was injured through falling off the roof of a house.
Methods: In this qualitative study, we used an audio-taped in-depth interview with each participant as the means of data collection. Interviews were transcribed verbatim and analysed thematically to determine the participants' unique perspectives on the experience of recovery from traumatic injury. In reporting the findings, all participants' were given a pseudonym to assure their anonymity.
Results: Most participants indicated that their involvement in a traumatic occurrence was a springboard for growth that enabled them to develop new perspectives on life and living.
Conclusion: There are a number of contributions that health providers may make to the recovery of individuals who have been traumatically injured to assist them to develop new views of vulnerability and strength, make changes in relationships, and facilitate philosophical, physical and
spiritual growth.

Democratising the literary experience: metafiction in the novels of Agusta Wibisono

This paper is a study of the intersection of text, context and presentation in Agusta Wibisono's two novels based on the wayang shadow puppet theatre of Central Java, Balada Narasoma (The Ballad of Narasoma) (1990) and Balada Cinta Abimanyu dan Lady Sundari (The Ballad of the Love of Abimanyu and Lady Sundari) (1990). It should be observed from the outset that in the field of modern Indonesian literary studies Agusta Wibisono is a virtually unknown figure, and in Indonesia his two novels are long out of print and now extremely hard to find. The publishing house responsible for the novels' initial print run, Pustakakarya Grafikatama, is now defunct. Adding to the enigma surrounding this man, Agusta Wibisono is in fact a pseudonym for a writer and a pilot in the Indonesian airforce, Mohammad Agus Suhadi.

Time to make a difference: using action research to foster student engagement

This paper reports on a project, funded by the Victorian Department of Education and Training (Australia), undertaken to explore the capacity for teachers to develop innovative teaching and learning strategies aimed at improving the educational experiences of students in the middle years. Central to this charter was the need for local schools to form Clusters, share ideas and develop strategies designed to improve student engagement and connection. In forming the Buxton (pseudonym) Cluster, four schools came together to declare their shared interest in improving student connection through the teaching and learning of mathematics. The 22 teachers involved in the project shared a broad concern that the traditional pedagogies built up around the maths discipline were contributing to the wider level of student disconnection observed in the middle years. In thinking about change, the group were attracted to constructivist approaches to pedagogy in which learning opportunities and tasks are varied sufficiently to appeal to the various learning styles and aptitudes of learners. Favouring an action research framework teachers involved in the project embarked on the implementation of pedagogic reforms aimed at improving levels of student engagement.

In the dreaded park : Gwen Harwood and subpersonality theory

'In the Dreaded Park', first published in the Bulletin in 1961 under Gwen Harwood's first pseudonym, Walter Lehmann, is an example of Harwood listing one of her subpersonalities. It is the best illustration of a site of conflict between scholars of Gwen Harwood's poetry and she is the first person to use the word 'dreaded' in her poem.

Left-wing melancholies

With the recent passing of the world's "best-known unknown filmmaker," Chris Marker, it is axiomatic that left-wing melancholy now includes the ongoing loss of previously lost causes – a paradox that suggests the true address of all lost causes worth defending is a strange confluence of past and futural states, as one state. This double loss as gain is also the primary mark of the "landscape" of pessimistic optimism that also denotes the foremost position to occupy today in the battles associated with capitalist End Times (Slavoj Žižek's term). Cultural ecology is no longer what it once was – that is to say, a strange amalgam of vernacular essences perpetrated in the rather forlorn 1970s and/or the insistent and incessant production of difference. Instead, cultural ecology invokes spectral civil war – arguably the very state of things today – and the return of "the dead" in the persistence of forms of high-formalist and high-conceptualist works of art and architecture. This paper examines the late works of the late Chris Marker, including the very short videos he uploaded to You Tube under the pseudonym "Kosinki" from 2007 to 2011, an event contiguous with his return to exhibiting very-still photography from 2006 to 2011. Marker's simultaneous returns to still photography and the short film-essay are both magnificent gestures toward the austerities required of present-day media to effect the necessary "return" to what is always present in one form or another anyway – the non-place between world and world-to-come.

Unsafe abortion as a birth control method: maternal mortality risks among unmarried Cambodian migrant women on the Thai-Cambodia border

Reproductive health research and policies in Cambodia focus on safe motherhood programs particularly for married women, ignoring comprehensive fertility regulation programs for unmarried migrant women of reproductive age. Maternal mortality risks arising due to unsafe abortion methods practiced by unmarried Cambodian women, across the Thai-Cambodia border, can be considered as a public health emergency. Since Thailand has restrictive abortion laws, Cambodian migrant women who have irregular migration status in Thailand experimented with unsafe abortion methods that allowed them to terminate their pregnancies surreptitiously. Unmarried migrant women choose abortion as a preferred birth control method seeking repeat “unsafe” abortions instead of preventing conception. Drawing on the data collected through surveys, in-depth interviews, and document analysis in Chup Commune (pseudonym), Phnom Penh, and Bangkok, the authors describe the public health dimensions of maternal mortality risks faced by unmarried Cambodian migrant women due to various unsafe abortion methods employed as birth control methods.

Bloom filter based secure and anonymous DSR protocol in wireless ad hoc networks

Wireless ad hoc networks, especially in the hostile environment, are vulnerable to traffic analysis which allows the adversary to trace the routing messages and the sensitive data packets. Anonymity mechanism in ad hoc networks is a critical securing measure method employed to mitigate these problems. In this paper, we propose a novel secure and anonymous source routing protocol, called SADSR, based on Dynamic Source Routing (DSR) for wireless ad hoc networks. In the proposed scheme, we use the pseudonym, pseudonym based cryptography and the bloom filter to establish secure and anonymous routing in wireless ad hoc networks. Compared to other anonymous routing protocol, SADSR is not only anonymous but also the secure in the routing discover process and data transmission process.

A social justice scrutiny of the seating service experiences: what can we learn?

The paper presents the social justice findings from a study into the Australian  (wheelchair) seating service experience. As this study explored the insider's perspective, three participants' examples are shared (in the presentation) to demonstrate the benefits accorded to equality, equity and equal opportunity and the injustices experienced when denied;
- Brian* (pseudonym) a young Australian whose two accessories for his power chair changed his life.
- Donna* whose adult son was provided a heavy standard manual wheelchair instead of the power chair requested.
- Vince* a young self-employed businessman whose newly provided robust power chair is crimping his productivity.