Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen

The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, thus debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ distance structured by the ethnographic film, in which African societies were represented as ‘the other’. Souleymane Cissé’s Yeelen exemplifies this tension, transposing into cinematic form oral storytelling techniques in the depiction of a power struggle within the covert cult of the komo, a Bambara initiation society unfamiliar to most non-Bambara viewers. This paper demonstrates how the film negotiates this tension via music, which interpellates the international spectator by eliciting a greater identification with the protagonists than that determined at a visual level, while encoding a verisimilitude to rituals that may otherwise be read as the superstitious practices of ‘the other’. In this way, music and image in Yeelen operate as parallel, though often overlapping, discourses, bridging the gap between the film’s culturally specific narrative and formal components, and its international spectators.

Réécriture et défamiliarisation dans Mercier et Camier de Samuel Beckett, suivi de Deux hommes-parures

Dans ce mémoire de recherche-création en littératures de langue française, j’aborde la question des rapports entre les procédés de réécriture (par exemple, l’intertextualité, l’intratextualité et l’autotextualité, mais aussi les figures de la répétition et de la correction) et l’effet de défamiliarisation (ou de distanciation) au moyen d’un essai sur le roman Mercier et Camier de Samuel Beckett et d’une création littéraire de mon cru : un livre-objet constitué de trente et une feuilles non paginées et non reliées, sur lesquelles je réécris autant de fois l’incipit de Bouvard et Pécuchet, de Gustave Flaubert, en recourant à une mise en page qui défie le mode de lecture linéaire. Autant mon essai que ma création s’appliquent à montrer que les procédés de réécriture peuvent être employés pour produire un effet de défamiliarisation visant la fonction représentative de la littérature.

A estrutura dialógica nos contos de Llanson: entre o lírico e o dramático

Pós-graduação em Letras - IBILCE

Traços épico-brechtianos na dramaturgia portuguesa: O render dos heróis de Cardoso Pires e Felizmente há luar! de Sttau Monteiro

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Teatro épico no Brasil: sobre a atualidade de Brecht

Pós-graduação em Ciências Sociais - FCLAR

Not “just words”: Exposure to homophobic epithets leads to dehumanizing and physical distancing from gay men

We examined whether homophobic epithets (e.g., faggot) function as labels of deviance for homosexuals that contribute to their dehumanization and physical distance. Across two studies, participants were supraliminally (Study 1) and subliminally (Study 2) exposed to a homophobic epithet, a category label, or a generic insult. Participants were then asked to associate human related and animal-related words to homosexuals and heterosexuals. Results showed that after exposure to a homophobic epithet, compared with a category label or a generic insult, participants associated less human-related words with homosexuals, indicating dehumanization. In Study 2, we also assessed the effect of a homophobic epithet on physical distance from a target group member and found that homophobic epithets led to greater physical distancing of a gay man. These findings indicate that homophobic epithets foster dehumanization and avoidance of gay people, in ways that other insults or labels do not.