Review of: Roccagloriosa I. L'abitato: Scavo e Ricognizione topografica (1976-1986), edited by M. Gualtieri and H. Fracchia. Centre Jean Berard, Naples,

Malone , C., 1990. American Journal of Archaeology 1993. 97(179-80).

“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Compte rendu: Cyril Trimaille et Jean-Michel Éloy (dir.) (2013), Idéologies linguistiques et discriminations, Paris, L’Harmattan, coll. « Carnets d’atelier de sociolinguistique, 6 », 268 p. [ISBN : 978-2-336-29083-6]

Résumé non disponible

Décolonisation et construction nationale Afrique, Asie et Québec

Remerciements -- Introduction générale: sortie du colonialisme et enjeux de l’édification des sociétés postcoloniales / Patrick Dramé, Pascal Scallon-Chouinard et Françoise Nozati.-- I. Le crépuscule du colonialisme: Les missionnaires catholiques à l’assaut des colonisés africains : un bilan historiographique / Benoît Chartier -- Gandhi, l’Inde coloniale et la philosophie de la non-violence / Julie-Anne Gaudreau -- L’Indonésie en quête d’indépendance : une étude historiographique / Jean-Philippe Martel. II. Les enjeux de l’affirmation d’une identité politique et culturelle : Les nouvelles constitutions africaines : influences et objectifs. Étude de cas du Bénin, du Ghana et du Sénégal / Victor Bilodeau -- La politique culturelle : porte-étendard de l’État et de la nation malienne / Pauline Fougère.—III Quand le Québec s’émancipe : Nègres blancs d’Amérique : entre critiques et dénonciations / Michael Bergeron -- Socialisme et décolonisation dans le Québec de la Révolution tranquille à travers La Revue socialiste et Parti Pris / Stéphanie Jodoin-- La dernière année de la guerre d’Algérie vue par Le Devoir / Myriam Alarie.-- IV. Mémoire traumatique et construction nationale : Les mémoires du génocide de 1904 dans le Sud-Ouest africain allemand / Estelle Bourbeau -- Une équipe, un pays : la réconciliation raciale post apartheid autour du rugby sud-africain / Marie-Claude Beauregard --Biographies des auteurs.

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

De Rousseau ao Imaginário da Revolução de 1802

Cultura Moderna e Contemporânea, n.3