Academic literature on the topic 'Citations espagnoles'

Le apeo ou deslinde de heredades c'est un type de document avec plein valeur diplomatique et juridique, même si ce fait a été ignoré longtemps par la recherche specialisée. Dans cet article on décrit comment ces documents etaient rédigés dans les sources du village medieval espagnol de Sepúlveda (XVe siècle). Le apeo est rappresenté par sept documents differents, emis au long d'un mois, dans lesquels un propriétaire tâche de délimiter toute sa propriété, soit il des proprietes urbai­nes que rurales. Dans ces documents on peut trouver dix actes juridiques: peti­tion, licence et ordre pour faire le apeo; édition des annonces publiques et citations; fixation de la date pour la réalisation de l'apeo; concession de faculté au notaire; presentation des personnes qui devaient fair l'apeo (les apellés apeadores dans les documents); jurement et exécution du apeo.

SUMMARY Social and stylistic patterns which indicate language change in progress may also indicate changes of social identity across time and place. Research into three strategies for framing direct quotations in Puerto Rican Spanish finds a potential case of change from below. Yet, social and stylistic patterning of the variable may also be a function of the evolving identities of individuals within the community as they age, enter the job market, and find new places to live and people to speak with. The case for change in progress becomes apparent through a close comparison of the direct quotation variable with the stable variable of word final S. Comparable analyses are provided of word final S and direct quotation strategies across stylistic and social dimensions of San Juan, Puerto Rico. Stable word final S reveals slight age grading, a match between stylistic and social stratification, and a female favoring of standard forms. Moreover, children reproduce the class rankings which characterize adults. The variable of direct quotation strategies diverges considerably. An apparent time difference is traced by two of the three direct quotation strategies, with females favoring one and males the other. Peak probabilities of nonstandard or innovative use occur among teenagers for both female and male speakers. Other features include a mismatch between stylistic and social stratification and a striking reversal of class rankings between adults and children. A competing interpretation of the data finds evidence for age grading, the influence of gender identity in the teen years and subsequent marketplace prescriptivism in the post-teen years. Because a balanced interpretation of the data calls for two competing interpretations, two are provided. RÉSUMÉ Les comportements sociaux et stylistiques qui indiquent un changement linguistique en cours peuvent également être indices de changements d’identité sociale à travers le temps et l’espace. Nos recherches sur trois stratégies de citation directe en espagnol portoricain identifient un cas potentiel de changement à partir des couches sociales inferieures. Pourtant, le comportement social et stylistique de cette variable pourrait aussi refléter l’évolution identitaire des individus dans la communauté lorsqu’ils vieillissent, entrent sur le marché du travail, et changent de quartiers et d’interlocuteurs. Une comparaison serrée de cette variable de la citation directe avec la variable stable du S en position finale permet d’avancer l’hypothèse d’un changement en cours. La variable stable du S en fin de mot est légèrement stratifiée selon l’âge, et présente une correspondance entre les stratifications stylistique et sociale ainsi qu’une préférence pour les formes standardes chez les femmes. Qui plus est, on retrouve chez les enfants la même stratification sociale qui caractérise le comportement des adultes. La variable des stratégies de citation directe s’écarte considerablement de cette configuration. Une difference en temps apparent émerge dans deux des trois stratégies de citation directe, dont l’une est préférée par les femmes et l’autre par les hommes. La probabilité d’emploi des formes non standardes ou innovatrices atteint son niveau le plus élevé chez les adolescents des deux sexes. Cette variable est marquée aussi par l’absence de convergence entre les stratifications sociale et stylistique, alors que la stratification sociale par classes connaît une inversion frappante entre les adultes et les enfants. Alternativement, on peut interpréter ces données comme des indices de stratification par l’âge, de l’influence de l’identité du genre pendant l’adolescence, et ensuite du normativisme imposé aux adultes par le marché du travail. Puisqu’une vision équilibrée des données demande deux interprétations concurrentes, on en fournit deux. ZUSAMMENFASSUNG Soziale und stilistische Muster, die fortschreitende sprachliche Veränderungen andeuten, können auch ein Hinweis für ort- und zeitunabhängige Veränderungen sozialer Identität sein. Forschung, die sich mit drei Strategien direkten Zitierens in puertorikanischem Spanisch beschäftigt, kann auf Veränderungen von Unten hinweisen. Soziale und stilistische Muster können auch durch eine sich entwickelnde Identität des Einzelnen in der Gemeinde hervorgerufen werden. Dabei können Faktoren, wie zum Beispiel Alter, das Eintreten in den Arbeitsmarkt, Veränderungen in der Wohnsituation und soziale Kontakte eine Rolle spielen. Fortschreitende sprachliche Veränder- ungen werden durch Vergleiche der Variable direkter Zitate und der Variable s-Wortendung sichtbar. Vergleichende Analysen von s-Wortendung und direkten Zitierstrategien, die mehrere stilistische Kategorien und soziale Gruppen San Juans (Puerto Rico) umfassen, werden in dieser Untersuchung dargestellt. Der beständige Gebrauch von s-Wortendung deutet auf eine altersbedingte Entwicklung, eine Parallele stilistischer und sozialer Schichtung und die Bevorzugung von Standardformen von Frauen hin. Zudem setzen sich bei Kindern Klassenunterschiede Erwachsener fort. Der Gebrauch direkter Zitierstrategien, dahingegen, ist weniger beständig. Altersunterschiede scheinen für den Gebrauch von zwei der drei Zitierstrategien massgeblich zu sein, wobei eine Strategie von Männern und eine von Frauen bevorzugt wird. Die grösste Wahrscheinlichkeit für den nicht-standardisierten und innovativen Gebrauch von Zitierstrategien ist bei weiblichen als auch männlichen Teenagern zu finden. Zudem lässt sich keine klare Verbindung von stilistischen und sozialen Schichten aufzeigen. Dahingegen setzen sich aber bei Kindern Klassenunterschiede Erwachsener nicht fort. Die Daten lassen unterschiedliche Interpretationsmöglichkeiten für altersbedingte Einflüsse, Einflüsse durch Geschlechteridentität in den Teenagerjahren und anschliessende arbeitsmarktbedingte Normen zu. Da die Daten auf mehrere Weisen interpretiert werden können, werden zwei mögliche Interpretationen dargestellt.

“In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approach to adaptations is therefore to investigate the ways in which the various re-interpretations partake of the (initial) work and concretise latent aspects in a new historical and cultural context. This article analyzes how, and to what ends, the re-contextualising of Georges Bizet’s Carmen in other media—flamenco dance and film – changes, distorts and subverts our perception of the opera’s music. The text under analysis is Carlos Saura’s 1983 movie about a flamenco transposition of Bizet’s Carmen. I discuss this film in terms of how flamenco music and dance, on the one hand, and the film camera, on the other hand, gradually demystify the fascinating power of Bizet’s music, as well as its clichéd associations. Although these forms displace and defamiliarise music in many ways, the main argument of the analysis centers on how flamenco dance and the film image foreground the artificiality of the exotic sections from Bizet’s opera, as well as their inadequacy in the Spanish context, and also on how the film translates and self-reflexively comments on the absence of an embodied voice for Carmen. “C’est la Carmen! Non, ce n’est pas celle-là!” As the credits from Carlos Saura’s Carmen are displayed against the backdrop of Gustave Doré’s drawings, we can hear the chorus of the cigarières from Bizet’s opera singing “C’est la Carmen! Non, ce n’est pas celle-là!”. Why did the director choose this particular section of Bizet’s Carmen with which to begin his film? Moreover, what is the significance of combining Doré’s drawings with these words? In a way, we can say that the reality/illusion polarity signified by the sung words informs and gives a preview of one of the movie’s main themes—the futility of an adapter’s attempt at finding a “true” Carmen. The music’s juxtaposition with Doré’s drawings of nineteenth-century espagnolades adds to the idea of artifice and inauthenticity: Saura seems to be dismissing Bizet’s music by pairing it with the work of another one of the creators of a stereotyped (and false) image of Spain. Demystifying the untrue image that foreigners have created of Spain is one of the film director’s main concerns in his adaptation of both Bizet and Mérimée’s Carmen. The movie’s production history reinforces this idea. In his book on the films of Carlos Saura, Marvin D’Lugo notes that in 1981 the French company Gaumont had approached Saura with the project of making a filmed version of Bizet’s Carmen, “with a maximum of fidelity to the original text” (202), an idea which the director clearly rejected. Another important aspect related to the production history is the fact that Antonio Gadés, the film’s choreographer and actor for Don José’s part, had previously created a ballet version of Bizet’s Carmen, based solely on the second act of the opera. The 1983 film production is then the result of Carlos Saura—the film director attempting to reframe the French opera in the Spanish context—and Antonio Gadés—the flamenco troupe director—collaborating to create a Spanish dance version of Carmen. The film’s constant superimposition of its two diegetic levels—the fictional level, consisting in the rehearsal scenes, and the actual level, which coincides with the characters’ lives outside of and in-between rehearsals—and the constant blurring of the lines separating these two worlds, have been the cause of a plethora of varying interpretations. Susan McClary sees the movie as “a brilliant commentary on ‘exoticism’: on the distance between actual ethnic music and the mock-ups Bizet and others produced for their own ideological purposes” (137); to D’Lugo, the film is an illustration and critique of how “the Spaniards, having come under the spell of the foreign, imposter impression of Spain, find themselves seduced by the falsification of their own cultural past” (203). Other notable interpretations come from Marshall H. Leicester, who sees the film as a comment on the fact that Carmen has become a discourse and a cultural artifact, and from Linda M. Willem, who interprets the movie as a metafictional mise en abyme. I will discuss the movie from a somewhat different perspective, bearing in mind, however, McClary and D’Lugo’s readings. Saura’s Carmen is also a story about adaptation, constantly commenting on the failed attempts at perfect fidelity to the source text(s), by the intradiegetic adapter (Antonio) and, at the same time, self-reflexively embedding hints to the presence of the extradiegetic adapter: the filmmaker Saura. On the one hand, as juxtaposed with flamenco music and dance, the opera’s music is made to appear artificial and inadequate; we are presented with an adaptation in the making, in which many of the oddities and difficulties of transposing opera music to flamenco dance are problematised. On the other hand, the film camera, by constantly foregrounding the movie’s materiality—the possibility to cut and edit the images and the soundtrack, its refusal to maintain a realist illusion—displaces and re-codifies music in other contexts, thus bringing to light dormant interpretations of particular sections of Bizet’s opera, or completely altering their significance. One of the film’s most significant departures from Bizet’s opera is the problematised absence of a suitable Carmen character. Bizet’s opera, however revolves around Carmen: it is very hard, if not impossible, to dissociate the opera from the fascinating Carmen personage. Her transgressive nature, her “otherness” and exoticism, are translated in her singing, dancing and bodily presence on the stage, all these leading to the creation of a character that cannot be neglected. The songs that Bizet adapted from the cabaret numéros in order to add exotic flavor to the music, as well as the provocative dances accompanying the Habaňera and the Seguidilla help create this dimension of Carmen’s fascinating power. It is through her singing and dancing that she becomes a true enchantress, inflicting madness or unreason on the ones she chooses to charm. Saura’s Carmen has very few of the charming attributes of her operatic predecessor. Antonio, however, becomes obsessed with her because she is close to his idea of Carmen. The film foregrounds the immense gap between the operatic Carmen and the character interpreted by Laura del Sol. This double instantiation of Carmen has usually been interpreted as a sign of the demystification of the stereotyped and inauthentic image of Bizet’s character. Another way to interpret it could be as a comment on one of the inevitable losses in the transposition of opera to dance: the separation of the body from the voice. Significantly, the recorded music of Bizet’s opera accompanies more the scenes between rehearsals than the flamenco dance sections, which are mostly performed on traditional Spanish music. The re-codification of the music reinforces the gap between Saura and Gadés’ Carmen and Bizet’s character. The character interpreted by Laura del Sol is not a particularly gifted dancer; therefore, her dance translation of the operatic voice fails to convey the charm and self-assuredness that Carmen’s voice and the sung words fully express. Moreover, the musical and dance re-insertion in a Spanish context completely removes the character’s exoticism and alterity. We could say, rather, that in Saura’s movie it is the operatic Carmen who is becoming exotic and distant. In one of the movie’s first scenes, we are shown an image of Paco de Lucia and a group of flamenco singers as they play and sing a traditional Spanish song. This scene is abruptly interrupted by Bizet’s Seguidilla; immediately after, the camera zooms in on Antonio, completely absorbed by the opera, which he is playing on the tape-recorder. The contrast between the live performance of the Spanish song and the recorded Carmen opera reflects the artificiality of the latter. The Seguidilla is also one of the opera’s sections that Bizet adapted so that it would sound authentically exotic, but which was as far from authentic traditional Spanish music as any of the songs that were being played in the cabarets of Paris in the nineteenth century. The contrast between the authentic sound of traditional Spanish music, as played on the guitar by Paco de Lucia, and Bizet’s own version makes us aware, more than ever, of the act of fabrication underlying the opera’s composition. Most of the rehearsal scenes in the movie are interpreted on original flamenco music, Bizet’s opera appearing mostly in the scenes associated with Antonio, to punctuate the evolution of his love for Carmen and to reinforce the impossibility of transposing Bizet’s music to flamenco dance without making significant modifications. This also signifies the mesmerising power the operatic music has on Antonio’s imagination, gradually transposing him in a universe of understanding completely different from that of his troupe, a world in which he becomes unable to distinguish reality from illusion. With Antonio’s delusion, we are reminded of the luring powers of the operatic fabrication. One of the scenes which foregrounds the opera’s charm is when Antonio watches the dancers led by Cristina rehearse some flamenco movements. While watching their bodies reflected in the mirror, Antonio is dissatisfied with their appearance—he doesn’t see any of them as Carmen. The scene ends with an explosion of Bizet’s music heard from off-screen—probably as Antonio keeps hearing it in his head—dramatically symbolising the great distance between flamenco dance and opera music. One of the rehearsal scenes in which Bizet’s music is heard as an accompaniment to the dance is the scene in which the operatic Carmen performs the castaňet dance for Don José. In the Antonio-Carmen interpretation the music that we hear is the Habaňera and not the seductive song that Bizet’s Carmen is singing at this point in the opera. According to Mary Blackwood Collier, the Habaňera song in the opera has the function to define Carmen’s personality as strong, independent, free and enthralling at the same time (119). The purely instrumental Habaňera, combined with the lyrical and tender dance duo of Antonio/José and Carmen in Saura’s film, transforms the former into a sweet love theme. In the opera, this is one of the arias that centralise the image of Carmen in our perception. The dance transposition as a love pas de deux diminishes the impression of freedom and independence connoted by the song’s words and displaces the centrality of Carmen. Our perception of the opera’s music is significantly reshaped by the film camera too. In her book The Hollywood Musical Jane Feuer contends that the use of multiple diegesis in the backstage musical has the function to “mirror within the film the relationship of the spectator to the film. Multiple diegesis in this sense parallels the use of an internal audience” (68). Carlos Saura’s movie preserves and foregrounds this function. The mirrors in which the dancers often reflect themselves hint to an external plane of observation (the audience). The artificial collapse of the boundaries between off-stage and on-stage scenes acts as a reminder of the film’s capacity to compress and distort temporality and chronology. Saura’s film makes full use of its capacity to cut and edit the image and the soundtracks. This allows for the mise-en-scène of meaningful displacements of Bizet’s music, which can be given new significations by the association with unexpected images. One of the sections of Bizet’s opera in the movie is the entr’acte music at the beginning of Act III. Whereas in the opera this part acts as a filler, in Saura’s Carmen it becomes a love motif and is heard several times in the movie. The choice of this particular part as a musical leitmotif in the movie is interesting if we consider the minimal use of Bizet’s music in Saura’s Carmen. Quite significantly however, this tune appears both in association with the rehearsal scenes and the off-stage scenes. It appears at the end of the Tabacalera rehearsal, when Antonio/Don José comes to arrest Carmen; we can hear it again when Carmen arrives at Antonio’s house the night when they make love for the first time and also after the second off-stage love scene, when Antonio gives money to Carmen. In general, this song is used to connote Antonio’s love for Carmen, both on and off stage. This musical bit, which had no particular significance in the opera, is now highlighted and made significant in its association with specific film images. Another one of the operatic themes that recur in the movie is the fate motif which is heard in the opening scene and also at the moment of Carmen’s death. We can also hear it when Carmen visits her husband in prison, immediately after she accepts the money Antonio offers her and when Antonio finds her making love to Tauro. This re-contextualisation alters the significance of the theme. As Mary Blackwood Collier remarks, this motif highlights Carmen’s infidelity rather than her fatality in the movie (120). The repetition of this motif also foregrounds the music’s artificiality in the context of the adaptation; the filmmaker, we are reminded, can cut and edit the soundtrack as he pleases, putting music in the service of his own artistic designs. In Saura’s Carmen, Bizet’s opera appears in the context of flamenco music and dance. This leads to the deconstruction and demystification of the opera’s pretense of exoticism and authenticity. The adaptation of opera to flamenco music and dance also implies a number of necessary alterations in the musical structure that the adapter has to perform so that the music will harmonise with flamenco dance. Saura’s Carmen, if read as an adaptation in the making, foregrounds many of the technical difficulties of translating opera to dance. The second dimension of music re-interpretation is added by the film camera. The embedded camera and the film’s self-reflexivity displace music from its original contexts, thus adding or creating new meanings to the ways in which we perceive it. This way of reframing the music from Bizet’s Carmen adds new dimensions to our perception of the opera. In many of the off-stage scenes, the music seems to appear from nowhere and, then, to inform other sequences than the ones with which it is usually associated in the opera. This produces a momentary disruption in the way we hear Bizet’s music. We could say that it is a very rapid process of de-signification and re-signification—that is, of adaptation—that we undergo almost automatically. Carlos Saura’s adaptation of Carmen self-reflexively puts into play the changes that Bizet’s music has to go through in order to become a flamenco dance and movie. In this process, dance and the film image make us aware of new meanings that we come to associate with Bizet’s score. References Arnheim, Rudolf. “On Duplication”. New Essays on the Psychology of Art. Berkeley: U of California P, 1986: 274-85. Blackwood Collier, Mary. La Carmen Essentielle et sa Réalisation au Spectacle. New York: Peter Lang Publishing, 1994. D’Lugo, Marvin. The Films of Carlos Saura: The Practice of Seeing. Princeton, NJ: Princeton UP, 1991. Feuer, Jane. “Dream Worlds and Dream Stages”. The Hollywood Musical. Bloomington, IN: Indiana UP, 1993: 67-87. Leicester, Marshall H. Jr. “Discourse and the Film Text: Four Readings of ‘Carmen’”. Cambridge Opera Journal 4.3 (1994): 245-82. McClary, Susan. “Carlos Saura: A Flamenco Carmen”. Georges Bizet: Carmen. Cambridge: Cambridge UP, 1992: 135-7. Willem, Linda M. “Metafictional Mise en Abyme in Saura’s Carmen”. Literature/Film Quarterly 24.3 (1996): 267-73. Citation reference for this article MLA Style Furnica, Ioana. "Subverting the “Good, Old Tune”: Carlos Saura’s Carmen." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/10-furnica.php>. APA Style Furnica, I. (May 2007) "Subverting the “Good, Old Tune”: Carlos Saura’s Carmen," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/10-furnica.php>.

Cette thèse a pour thème la représentation de la femme dans la parémiologie française et espagnole. Après avoir cerné le concept de proverbe, exposé ses caractères définitoires et tenté une classification des parémies au sein de la phraséologie, cette étude se poursuit avec son double objectif. Le premier est l'élaboration d'un corpus parémiologique français exhaustif, relatif à l'univers féminin, de même qu'un essai critique parémiologique inédit, basé sur la consultation et l'étude approfondies des sources françaises, aussi bien recueils de proverbes que dictionnaires de la langue française. L'étude se poursuit par l'aspect traductologique, l'objectif suivant étant d'établir une correspondance entre ce corpus français et son similaire espagnol pré-établi. Ce second volet précise la démarche du traducteur face à ce problème de correspondance, équivalence ou traduction, analyse les différentes approches possibles en fonction du but recherché et de l'environnement proverbial du texte ou discours considéré, et propose finalement un dictionnaire bilingue français-espagnol des proverbes " féminins ".