Entre danser pour soi et danser pour les autres : la construction de l'expérience dans le processus de socialisation des danseurs de tango argentin de Montréal

Cette étude ethnographique porte sur le réseau social du tango argentin à Montréal, les valeurs esthétiques du tango, l’interprétation de l’expérience de la danse acquise au cours du processus de socialisation et les différents agents de socialisation. Dans un contexte de réappropriation et de déterritorialisation d’un savoir-faire comme le tango, les références symboliques relatives à son contexte d’origine, son imaginaire collectif et son contexte sociohistorique sont moins accessibles. Ceci semble appeler chez les danseurs montréalais une sorte de surdétermination de l’expérience immédiate, concrète et interactive de la danse dans la construction d’un sens collectif. Cette recherche s’intéresse plutôt à la transposition dans le réseau montréalais de certaines normes esthétiques en lien avec les modalités interactives de la danse. Ces normes esthétiques induisent une attention particulière portée à la qualité de l’expérience se reflétant dans les pratiques et les discours. Ces valeurs esthétiques remontent au contexte d’origine du tango et à la rencontre entre différents univers socialisateurs transnationaux à différentes étapes de son évolution. De ce type de rencontres «transesthétiques», s’est développé un dualisme entre le danser pour les autres et le danser pour soi, dans les représentations et la mise en forme d’une expérience dansée. À Montréal, c’est avec emphase qu’on observe la cohabitation de ces deux systèmes de valeurs en apparence antagonistes où, d’une part, est valorisé l’exhibition du soi et, d’autre part, sont priorisés l’intériorité et l’expérience subjective. En bref, ce mémoire explore les relations complexes qui existent entre les processus culturels et leurs produits, l’expérience et le sens, entre la subjectivité individuelle et la collectivité, et redéfinit l’agentivité des acteurs sociaux en étudiant les modes spécifiques de production du sens dans un art comme la danse.

El Sur como espacio identitario en Torres García, Borges y Solanas

L’étude conceptualise la symbolique du Sud en tant qu’espace identitaire construit par une idéologie politique et une esthétique. Les cartes géographiques inversées (1936, 1943) de Joaquín Torres García (Uruguay) sont une prise de position politique qui affirme le pouvoir d’énonciation des artistes latino-américains de façon indépendante aux centres culturels européens. Sa théorie, l’« Universalisme Constructif », propose un nouvel art pour l’Amérique latine, combinant l’éthique artistique précolombienne et l’abstraction moderniste. Dans la nouvelle « Le Sud » (1953) et l’essai « L’écrivain argentin et la tradition » (1951), Jorge Luis Borges (Argentine) redéfinit la littérature latino américaine, marginalisée et périphérique, en tant que littérature qui a droit à toute la culture occidentale. Il rejette une culture qui ne serait que nationaliste. Le diptyque de Fernando Solanas (Argentine) formé des films Sud (1985) et Tangos, l’exil de Gardel (1988) est étudié à partir de son manifeste « Vers un Tiers- Cinéma » (1969), coécrit avec Octavio Getino. Dans le diptyque, le Sud est un espace de dénonciation des censures de la dictature et de l’impérialisme, mais aussi un espace de rénovation culturelle et identitaire. Dans son cinéma, Solanas utilise un produit culturel régional, le tango, comme outil de dénonciation politique. Tout au long de l’étude, on utilise des notions de Michel Foucault, (hétérotopie) et de Walter Mignolo (le centre amovible) pour approfondir le sens de l’espace Sud.

Tango Femme : placing the lesbian centre stage

The play Tango Femme places the lesbian centre stage by creating characters, narrative and drama in the world of same-sex dancing. The accompanying exegesis examines the problems and issues associated with creating lesbian characters in theatre, using a synthesized, practice led methodology. During the process of imagining, constructing and writing my case study play, I have investigated lesbian theatre productions and companies in order to make sense of my personal experiences in the theatre world. I have also reflected on the lesbian as represented in mainstream theatre and popular culture. Through journal writing and contemplation, I have sought to identify difficulties inherent in writing this type of play, using my own journey as a focus. My study illuminates the historical and sociological circumstances in the eighties and nineties in Australia and concludes that as a lesbian playwright I was caught between a rock and a hard place: the rock being lesbian theatre on a community level, as defined and attended primarily by separatist lesbians, and the hard place being mainstream theatre, located within the dominant, heteronormative discourse. The play Tango Femme has developed in conversation with my reflective practice and research and is written in the space outside the master narrative as "an instance of lesbian discourse" (Davy 1996, p.153).

The supervision tango : perceptions of supervisors of international graduate students in Engineering and IT

This paper, which was part of a larger study, reports on a survey that explored the perceptions of 69 graduate supervisors regarding issues in supervision from three higher education institutions in Australia. Factors that contribute to student success in higher education research degrees are many and diverse, including a complex dance of student factors, supervisor factors, and their supervisory context factors, and those informed by cultural and language differences. Therefore, a complex system approach using Bayesian network modelling was used to explore how student and/or supervisor factors influence the success of culturally and linguistically diverse (CALD) graduate students in Engineering and IT. Findings suggest that key factors include the experience of supervisors in terms of experience with the Australian higher education system, personal cross-cultural experience.

Trayectorias líricas : del romancero español al tango argentino

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII : Actas de las X Jornadas Internacionales de Literatura Española Medieval, 2011, y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo.

El tango en la obra de Juán José Castro

Resumen: Juan José Castro utilizó como material el tango para algunas de sus obras a lo largo de casi 20 años. Era ciertamente un conocedor del género, ya que lo había practicado en su juventud. Actualmente, es considerado un actor paradigmático cuando se aborda la cuestión del neoclasicismo y la utilización de materiales vernáculos en la música académica argentina. El propósito de este trabajo es señalar la presencia del tango en su obra y la articulación en la misma de los lenguajes culto y popular. A diferencia de otras incorporaciones del tango en la música académica, la de Castro es integradora y elabora a partir de la selección de determinados materiales “tanguísticos” un tango propio, reconocible a lo largo de su obra.

Statement submitted by the United States of Brazil to the President of the United States of America as arbitrator : under the provisions of the treaty concluded september 7, 1889, between Brazil and the Argentine Republic

Exposição que os Estados Unidos do Brazil apresentam ao Presidente dos Estados Unidos da América como árbitro seguindo as estipulações no Tratado de 7 de setembro de 1889, concluído entre o Brazil e a Republica Argentina.

Can a change in the spawning pattern of Argentine hake (Merluccius hubbsi) affect its recruitment?

Argentine hake (Merluccius hubbsi) inhabit waters of the Southwest Atlantic Ocean between 22° and 55°S, at depths ranging from 50 to 500 m (Cousseau and Perrota, 1998). This species has historically been among the more abundant fish resources in the Argentine Sea, where its biomass has ranged between one and two million metric tons annually since 1986 (Aubone et al., 2000). In this area, there are two identified fishing stocks, limited by the 41°S parallel. The southern group (Patagonian stock) is the more important with an abundance of about 85% of the total biomass estimated for this species in 1999 (Aubone et al., 2000). During the late 1990s, the spawning biomass of both stocks and their recruitment indices declined drastically, both of which were attributed to an increase in exploitation (Aubone et al., 2000).

Early life history of the Argentine sandperch Pseudopercis semifasciata (Pinguipedidae) off northern Patagonia

The Argentine sandperch Pseudopercis semifasciata (Pinguipedidae) sustains an important commercial and recreational fishery in the northern Patagonian gulfs of Argentina. We describe the morphological features of larvae and posttransition juveniles of P. semifasciata and analyze the abundance and distribution of early life-history stages obtained from 19 research cruises conducted on the Argentine shelf between 1978 and 2001. Pseudopercis semifasciata larvae were distinguished from other larvae by the modal number of myomeres (between 36 and 38), their elongated body, the size of their gut, and by osteological features of the neuro- and branchiocranium. Pseudopercis semifasciata and Pinguipes brasilianus (the other sympatric species of pinguipedid fishes) posttransition juveniles were distinguished by their head shape, pigmentation pattern, and by the number of spines of the dorsal fin (five in P. semifasciata and seven in P. brasilianus). The abundance and distribution of P. semifasciata at early stages indicate the existence of at least three offshore reproductive grounds between 42−43°S, 43−44°S, and 44−45°S, and a delayed spawning pulse in the southern stocks.

Maternal effects on fecundity and egg quality of the Patagonian stock of Argentine Hake (Merluccius hubbsi)

The influences of age, size, and condition of spawning females on fecundity and oocyte quality were analyzed for the Patagonian stock of Argentine Hake (Merluccius hubbsi). Samples of mature females were collected in the spawning area as part of 2 research surveys conducted in January 2010 and 2011, during the peak of the reproductive season. Batch fecundity (BF) ranged between 40,500 (29 cm total length [TL]) and 2,550,000 (95 cm TL) hydrated oocytes, and was positively correlated with TL, gutted weight, age, hepatosomatic index (HSI), and the relative condition factor (Kn). Relative fecundity ranged between 85 and 1040 hydrated oocytes g–1 and showed significant positive relationships with gutted weight, HSI, and Kn; however, coefficients of determination were low for all regressions. Dry weights of samples of 100 hydrated oocytes ranged between 1.8 and 3.95 mg and were positively correlated with all variables analyzed, including batch and relative fecundity. Multiple regression models created with data of the morphophysiological characteristics of females supported maternal influences on fecundity and egg weights. Within the studied size range (29–95 cm TL), larger individuals had better somatic and egg condition, mainly revealed by higher HSI and hydrated oocytes with larger oil droplets (275.71μm [standard error 1.49]). These results were associated with the higher feeding activity of larger females during the spawning season in comparison with the feeding activity of young individuals (<5 years old); the better nutritional state of larger females, assumed to result from more feeding, was conducive to greater production of high-quality eggs.

Aesthetic campaigns and counter-campaigns. Jorge Luis Borges and a century of the Argentine detective story (1877-1977)

This cultural history of Argentine crime fiction involves a comprehensive analysis of the literary and critical traditions within the genre, paying particular attention to the series of ‘aesthetic campaigns’ waged by Jorge Luis Borges and others during the period between 1933 and 1977. The methodological approach described in the introductory chapter builds upon the critical insight that in Argentina, generic discourse has consistently been the domain, not only of literary critics in the traditional mould, but also of prominent writers of fiction and specialists from other disciplines, effectively transcending the traditional tripartite ‘division of labour’ between writers, critics and readers. Chapter One charts the early development of crime fiction, and contextualises the evolution of the classical and hardboiled variants that were to provide a durable conceptual framework for discourse in the Argentine context. Chapter Two examines a number of pioneering early works by Argentine authors, before analysing Borges’ multi-faceted aesthetic campaign on behalf of the ‘classical’ detective story. Chapter Three examines a transitional period for the Argentine crime genre, book-ended by the three Vea y Lea magazine-sponsored detective story competitions that acted as a vital stimulus to innovation among Argentine writers. It includes a substantial treatment of the work of Rodolfo Walsh, documenting his transition from crime writer and anthologist to pioneer of the non-fiction novel and investigative journalism traditions. Chapter Four examines the period in which the novela negra came to achieve dominance in Argentina, in particular the aesthetic counter-campaigns conducted by Ricardo Piglia and others on behalf of the hard-boiled variant. The study concludes with a detailed analysis of Pablo Leonardo’s La mala guita (1976), which is considered as a paradigmatic example of crime fiction in Argentina in this period. The final chapter presents conclusions and a summary of the dissertation, and recommendations for further research.

It Takes Two to Tango: Entrepreneurship and Creativity in Troubled Times – Vietnam 2012

Strikingly, most literature suggests that market competition will push firms to take creativity/innovation seriously as matter of death or survival. Using the data, we examined creativity methods (Napier and Nilsson, 2008; Napier, 2010) in conjunction with three influential cultural values – namely risk tolerance, relationship, and dependence on resources – to assess how they influence decisions of entrepreneurs.The primary objective of this study focuses on perceived values of entrepreneurship and creativity in business conducted within a turbulent environment. Our initial hypothesis is that a typical entrepreneurial process carries with it “creativity-enabling elements.” In a normal situation, when businesses focus more on optimizing their resources for commercial gains, perceptions about values of entrepreneurial creativity are usually vague. However, in difficult times and harsh competition, the difference between survival and failure may be creativity. This paper also examines many previous findings on both entrepreneurship and creativity and suggests a highly possible “organic growth” of creativity in an entrepreneurial environment and reinforcing value of entrepreneurship when creativity power is present. In other words, we see each idea reinforcing the other. We use data from a survey of sample Vietnamese firms during the chaotic economic year 2012 to learn about the ‘entrepreneurshipcreativity nexus.’ A data set of 137 responses qualified for a statistical examination was obtained from an online survey, which started on February 16 and ended May 24, 2012, sent to local entrepreneurs and corporate managers using social networks. The authors employed categorical data analysis (Agresti, 2002; Azen & Walker, 2011). Statistical analyses confirm that for business operation, the creativity and entrepreneurial spirit could hardly be separate; and, this is not only correct with entrepreneurial firm, but also well established companies. The single most important factor before business startup and during early implementation in Vietnam is what we call “connection/relationship.” However, businesspeople are increasingly aware of the need of creativity/innovation. In fact, we suggest that creativity and entrepreneurial spirit cannot be separated in entrepreneurial firms as well as established companies.