Translating the gothic tradition: St Patrick's Cathedral Melbourne

During the 1850s, England and France were the leading centres of debate over the Gothic Revival. As Barry Bergdoll argues, the issues that loomed large were at once architectural and political: stylistic eclecticism versus national purity, invention versus tradition, nationalism versus cosmopolitanism, as well as the challenge of new building programmes and new materials to the historicist logic of the Gothic Revival position. William Wilkinson Wardell (1823-99), the architect of St Patrick's Cathedral, Melbourne, Victoria, Australia (1858-97) found himself in the midst of this debate. ln.,1858, Wardell's client, James Alipius Goold, Bishop of the Catholic Diocese of Melbourne, found that local circumstances significantly influenced his aspirations for a new Catholic cathedral for Melbourne. The choices Wardell made eventually gave shape to the Gothic Revival in Australia.The New World perhaps echoing Didron, demanded of the past all it could offer the present and especially the future: a Gothic cathedral was deemed a fitting carrier of the principles, morals, beliefs and spirit of a Christian civilisation. Unlike many of his contemporaries in Britain and Europe, Wardell in Australia was to see his Gothic Cathedrals of St Patrick's and St Mary's substantially realised in his lifetime. This paper presents a building history of Wardell's St Patrick's, Melbourne, and critically examines the translations which are embedded in the design and fabric of this nineteenth-century Gothic revival cathedral.

Something in the air - Patrick Pound remixes the NGV collection

Julie Szego speaks to Patrick Pound about his Melbourne Now hit, the beguiling Gallery of Air. Cover story with illustrations.

A identidade crioula em Texaco de Patrick Chamoiseau

Notre dissertation propose un questionnement ayant pour thème l identité créole dans l oeuvre Texaco (1992), du martiniquais Patrick Chamoiseau. Texaco opère une rétrospective de l histoire martiniquaise en y apportant un nouveau point de vue, influencé par la culture populaire martiniquaise, inversant ainsi les représentations traditionnelles forgées à partir des modèles métropolitains. La théorie principale utilisée dans cette dissertation est celle d Edouard Glissant, lorsqu il utilisa la notion de rhizome pour l adapter à la réalité de la culture créole. D après cette perspective, une racine unique, qui représenterait symboliquement une culture unique, tuerait les autres racines se trouvant à son alentour, alors que le rhizome, c est-à-dire la racine multiple, irait à la rencontre des autres racines et se mélangerait avec elles, pour former un ensemble qui s étend à l infini. La théorie présente dans le livre de Patrick Chamoiseau Écrire en pays dominé (1997), s est révélé être d une importance fondamentale dans notre dissertation, en ce qui concerne le questionnement sur l usage de la langue de la métropole dans une ancienne colonie. Cette réflexion va permettre de commencer une discussion à propos de l influence de la culture métropolitaine sur la culture de l ancienne colonie, qui dans ce cas, se voit opprimée. Pour commencer, nous verrons dans la première partie les mécanismes d oppression utilisés en ce qui concerne la négation de l identité créole, s aidant de systèmes de domination linguistiques et culturelles. Dans la seconde partie, nous étudierons l émergence d une identité créole dans Texaco, grâce à une tentative de réecriture d une des possibles histoires de la Martinique

Leitura em Ambientes Cíbridos: a cosmo(a)gonia geométrica de Patrick Burgaud

Contemporary culture is showing us, with growing evidence, that fields of knowledge and spheres of action interpenetrate strongly, forcing us to change behavior in order to connive with the productive and creative new ways. Our scope is to consider the cybrid environment in which we situate the reader in his relations with the poetic productions created in the digital world, from the perspective of a contemporary context of reading done through interfaces and also by a reading of a poem by Patrick Burgaud.

"Mi bèl pawòl, mi!" Rappresentazione delle lingue e della parola nella narrativa di Patrick Chamoiseau e Raphael Confiant (1986-1994)

From 1986 to 1994, Patrick Chamoiseau and Raphaël Confiant published a series of fictional and non-fictional writings focusing on language issues. Interest in these themes can certainly in part be explained by the "surconscience linguistique" that Lise Gauvin attributes to Francophone authors: a linguistic over-awareness which, in the case of these two Martiniquais writers, may be attributed to their Creole-French diglossia. Although we might believe that the idea of Gauvin is right, it doesn't seem enough to explain why the linguistic theme plays such a central role in Chamoiseau's and Confiant's works. Deeply influenced by Glissant's theories on Creole popular culture and Antillean literature (Le discours antillais), they conceived a "Créolité" poetics based on a primarly identity-based and geopolitical discourse. Declaring the need to build an authentically Creole literary discourse, one that finally expresses the Martiniquais reality, Chamoiseau and Confiant (as well as Bernabé, third and last author of Éloge de la créolité) found the «foundations of [their] being» in orality and its poetics in the Creole language. This belief was maily translated into their works in two ways: by representing the (diglossic) relationships occurring between their first languages (Creole and French) and by representing the Creole parole (orality) and its function. An analysis of our authors' literary and theoretical writings will enable us to show how two works that develop around the same themes and thesis have in fact produced very divergent results, which were perhaps already perceivable in the main ambiguities of their common manifestos.