Littérature scientifique sur le sujet « French travel narrative »
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Articles de revues sur le sujet "French travel narrative"
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Bédard-Goulet, Sara. "Carte blanche to Travel Narrative." Journeys 22, no. 1 (2021): 39–55. http://dx.doi.org/10.3167/jys.2021.220103.
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The “spatial turn” in the humanities has pointed out how space is produced and how it is affected by power relations, while critical geography has identified the impact of these relations on cartographic representation of space. The presence of maps in travel narratives thus carries certain ideologies and influences the narratives. In Un livre blanc: récit avec cartes [ A Blank Book: Narrative with Maps ] (2007), contemporary French author Philippe Vasset attempts to describe the fifty blank spaces that he has noticed on the topographic map of Paris and its suburbs and visited over a one-year period. This article analyzes the major impact of maps on this narrative and the representation of space that it creates. Despite a direct experience of these “blank spaces”, the narrator is affected by a “cartographic performativity” that prompts him to treat space as a map, and he aims to write as a disembodied cartographer.
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Scott, David. "Simultaneity of Time and Weather in ‘Exotic’ Climates: The Experience of French Writers in Africa and the Americas." Nottingham French Studies 51, no. 1 (2012): 113–21. http://dx.doi.org/10.3366/nfs.2012.0011.
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This paper sets out to explore the ways in which certain climates (desert or jungle) perceived by western travellers to be ‘exotic’ affect their perceptions of time and weather (in French the word ‘temps’ covers the meaning of both English words). A particular effect repeatedly noted by nineteenth and twentieth-century French travel writers is that of simultaneity, either of weather patterns in certain mountain (vertical) or desert (horizontal) environments, and/or of a telescoping or dilation of linear temporal sequence. The disorientation experienced as a result of this, combined with a lack of narrative or historical reference in the spaces travelled through, leads typically to a feeling of lack of time or the illusion of entry into a mythical time. The implications of this phenomenon will be explored in the work of three French travel books: Eugène Fromentin's Un Eté dans le Sahara (1856); Henri Michaux's Ecuador (1928) and Jean Baudrillard's Amérique (1986).
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Fleuret, Sebastien. "Backpackers’ Tourism and Health: A Narrative Literature Review." Geographies 4, no. 1 (2024): 40–51. http://dx.doi.org/10.3390/geographies4010003.
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Backpackers are an unusual category of travellers. Their unique mobility patterns, spatial practices, and the areas they travel through expose them to health situations that remain largely unexplored to date. This article conducts a narrative literature review (across six different databases in English and French) in this domain and highlights key contributions. The results show that backpackers frequently experience health problems during their trips. They are described as being more at risk than other tourists and more inclined to adopt harmful behaviours. However, the majority of related studies lack contextualisation, which is an advantage of geographical analysis. Moreover, given the limited volume of the existing literature, this review serves as an invitation to geographers to delve deeper into this intriguing field.
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Tritha, Abdelaziz. "Travelling to the Secular or Journeying Inside The Self: Jurje Zaidane’s Gaze on European Modernity (Rihla Ila Oroba 1912, A Travel To Europe)." International Journal of Language and Literary Studies 6, no. 1 (2024): 243–58. http://dx.doi.org/10.36892/ijlls.v6i1.1561.
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Starting from his confrontational allegiance and parochial thesis, namely in his Essays and Lectures of William Robertson Smith(1912), William Robertson Smith discredits Arab travellers for their zealous keenness to discover Western cultural intricacies. He has examined the cultural practices and social kinships of Semite people and studied their theologies. William Robertson Smith went as far as to assume that “The Arabian traveller is quite different from ourselves. The labour of moving from place to place is a mere nuisance to him, he has no enjoyment in the effort, and grumbles at hunger or fatigue with all his might” (Smith, 1912, p: 498). My particular interest is in Jurje Zaidane’s Rihla Ila Oroba (1912) as a culturally inspired travel account to France and England. It is not only a voyage to discern the intricacies of the Western civilizational repositories but an interesting endeavour to demonstrate the long-standing tradition of Arabs’ presence in British and French cultural repertoire. His voyage shows the extent to which Arabs were inspired by Western modern logos. Jurje Zaidane minutely lingers on infinitesimal details of each country. I argue that this travel is a parallel occidentalist discourse that tries to create a counter-discursive narrative. Jurje Zaidane, from the perspective of a well-versed essayist, novelist and erudite traveller, cross-examines French and English cultural contexts. Ranging from the narration of public spaces to comments on French and English women, the journey towards the Other is vicariously shifted to Self-inquiry and discovery. Broached from a postcolonial micro-historicist approach, this paper aims at stultifying both the orientalist discourse and the occidentalist premise predicated on Hassan Hanafi’s allegiance to Occidentalism. This article concludes that Zaidane’s travel displays heterogeneous discourses that do not re-install sharp divisive between the East and the West.
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Dulović, Marija. "L’IMAGE DU MONTENEGRO ET UN POINT DU VUE SUR LA NARRATION DANS LETTRES SUR L’ADRIATIQUE ET LE MONTENEGRO DE XAVIER MARMIER." La mémoire et ses enjeux. Balkans – France: regards croisés, X/ 2019 (December 30, 2019): 193–204. http://dx.doi.org/10.31902/fll.29.2019.14.
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IMAGE OF MONTENEGRO AND VIEWPOINT ON NARRATION IN XAVIER MARMIER’S LETTERS ON THE ADRIATIC AND MONTENEGRO In the present article, we intend to present Letters on the Adriatic and Montenegro by Xavier Marmier, a French traveller and writer who took many trips around the world, including Montenegro in 1852. His journey is described in two volumes, and the second one is mainly devoted to Montenegro (six out of eight chapters). He spent two months in Montenegro and wrote a beautiful testimony of this period, relying on the historical facts, testimonies of the inhabitants and on his personal impressions. In the first part of our paper, we provide a summary of his writing on Montenegro, focusing on points such as the historical context, the living conditions of the people, as well as on their customs and traditions. In the second part, we propose a reflection on the narration and more precisely on the narrative temporality in this work. We seek to identify the different temporal markers in order to explain the use of certain tenses in the narrative. Key words: Montenegro, Xavier Marmier, travel writing, narration, temporality
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Esser, Helena. "Material Girls: Moulin Rouge!’s Neo-Victorian Spectacle and the Real Courtesans of Paris." Victorian Popular Fictions Journal 4, no. 1 (2022): 112–26. http://dx.doi.org/10.46911/irpl4110.
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This article discusses Baz Luhrmann’s 2001 juke-box musical film Moulin Rouge! and its failure to re-think gender despite its clever remix of late-Victorian mass media. After introductions that consider the film’s postmodern mashups of high and low, commonplaces from nineteenth- and twentieth-century popular cultures, the article examines courtesan narratives rooted in two famous novels that the film plays with: La dame aux camélias (1852) by Alexandre Dumas fils and Nana (1880) by Émile Zola. It contrasts them with the lives of real, French celebrity courtesans in order to show the narrative paths of successful powerful women at the fin de siècle that Moulin Rouge! chose not to travel, preferring to endorse, however, ironically, the conservative gender stereotype of women as objects punished for attempting to take charge of their lives and destroyed by consumption in its double sense.
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EDWARDS, NATALIE, and CHRISTOPHER HOGARTH. "Resisting Linguistic Rules in French-Australian Writing." Australian Journal of French Studies 59, no. 1 (2022): 60–72. http://dx.doi.org/10.3828/ajfs.2022.06.
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Recent scholarship has posited the experience of migration as a source of creative, experimental possibilities that allow writers to contest fixed forms of identity; it has also questioned monolingual, monocultural understandings of national literatures that yoke one language to one nation. Building on such work, this article considers French migrant writing that breaks linguistic rules and challenges the norms of national literatures by analyzing various attitudes testifying to multilingualism and linguistic differences in the works of Paul Wenz, Didier Coste and Catherine Rey—authors who had embarked upon their writing careers before migrating, who have settled in Australia and who write from a position of stability and permanence. While travel writers use English to nuance their texts about journeys through Anglophone regions, they ultimately do not displace the primary importance of French in their texts. By contrast, the texts of the writers considered herein articulate both unique understandings of linguistic identity and resistance to linguistic fixity as well as innovative narrative strategies to communicate both.
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Subrahmanyam, Sanjay. "Once bitten, twice shy: A French traveller and go-between in Mughal India, 1648–67." Indian Economic & Social History Review 58, no. 2 (2021): 153–212. http://dx.doi.org/10.1177/0019464621997863.
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This article examines the materials around François le Gouz de la Boullaye, a French gentilhomme (gentleman or minor aristocrat) from the Anjou Province of western France, who visited India twice, once in the late 1640s, and again in the mid-1660s. The result of his first visit, in which he mostly spent time in Surat and Goa, was an extended travel-narrative, the Voyages et Observations, of which two editions appeared in 1653 and 1657. On this basis, Boullaye became a fairly well-known ‘expert’ on Islamic and Indian affairs in Louis XIV’s France. Because of his reputation, he was then chosen as a member of an embassy sent to open trading relations with Safavid Iran and Mughal India in 1664 on behalf of the French Compagnie des Indes. This second visit was not a great success on account of misconceptions regarding diplomatic protocols and because of deep rivalries and divisions amongst rival French actors, including celebrated travellers like Bernier and Tavernier.
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Pennéguès, Maëlle. "A Newly Unearthed Travelogue: Relation to Siam in 1685, by Jean Basset." Journal of the Siam Society 112, no. 1 (2024): 163–72. http://dx.doi.org/10.69486/112.1.2024.8a.
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This notice introduces a newly discovered travelogue by Jean Basset, detailing his 1685 journey to Siam as part of the French embassy led by Chevalier de Chaumont. Preserved in Lyon, the manuscript offers fresh insights into the young missionary’s experiences, complementing existing accounts of 17th-century diplomatic relations. Basset’s narrative, marked by factual detail and occasional personal reflections, sheds light on the challenges of maritime travel and diplomatic encounters. Furthermore, his portrayal of Siamese culture, particularly Buddhism, invites nuanced exploration. This rediscovery not only enriches our understanding of historical maritime voyages but also offers a raw, unfiltered glimpse into the experiences of a young missionary navigating foreign cultures.
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Pérez-Simon, Maud. "The Khan as ‘Meta-Emperor’ in Marco Polo’s Devisement du Monde." Medieval History Journal 20, no. 2 (2017): 385–410. http://dx.doi.org/10.1177/0971945817718650.
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Marco Polo’s Le Devisement du Monde (end of the thirteenth century) is one of the earliest, longest and more detailed travelogues of the Middle Ages. Widely read, the text not only describes the travels of its protagonist, but equally furnishes a comprehensive overview of Mongolian culture, society and territories. This article analyses the categories Marco Polo uses in order to describe the Khan’s realm and his exercise of power. The author rarely uses the notion of emperor in his narrative, although he clearly recognises the Khan’s claim to universal rule. The reasons behind this reluctance can be explained in several ways. First, Marco Polo became acquainted with the main languages in the regions under Mongolian rule; it might thus have seemed natural to him to use the ‘correct’ titles. Second, the French vernacular word ‘empire’ might have been reserved, in his mind, for the rulers of the ‘Roman Empire’ (in the Latin West and/or the Greek East). Finally, it seems that Marco Polo sought to ascribe to the Khans a kind of power and authority that surpassed even the might of the emperors in Europe, and this specificity could best be expressed by using a Mongolian title that, finally, was not entirely synonymous with the notion of empereur. All in all, these observations imply that the Devisement du Monde can be read not only as a travel narrative, but also as a treatise on the understanding of imperial power.
Thèses sur le sujet "French travel narrative"
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Patkar, Manjiri. "Virtual imagery in nineteenth century French travel narratives perception and description of architectural space /." Diss., University of Iowa, 2002. http://ir.uiowa.edu/etd/192.
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Vauloup, Jeanne. "D’une Grèce l’autre : l’écriture de l’histoire dans les récits de voyage en Grèce de Chateaubriand et Edgar Quinet." Thesis, Université Clermont Auvergne (2017-2020), 2017. http://www.theses.fr/2017CLFAL013/document.
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Au sortir de la domination ottomane, les voyageurs français se rendent en Grèce dans l’optique de parcourir une terre chargée d’histoire, au passé glorieux mais au présent décevant. Chateaubriand et Quinet sont de ces écrivains-voyageurs qui rendent compte de la situation de crise vécue au tournant de la guerre d’indépendance hellène (1821-1830). Au travers de leur regard d’ « hommes-frontières » – à la fois écrivains et historiens – ces peintres français du paysage grec ont décrit une Hellade plurivoque, au début et à la fin de la guerre de soulèvement national. Cette étude questionne l’intrusion de l’histoire dans leurs récits de voyage fictionnels et rend compte de la fabrique de leur pensée grecque sise au cœur de leurs carrières respectives. L’historiographie romantique en est alors à ses prémisses dans la mesure où l’histoire émerge à peine comme discipline scientifique. C’est pourquoi, par le prisme de la littérature et de l’imagination, le récit de voyage se présente comme un genre idoine à l’écriture de l’histoire, propre à la fragmentation des discours par le travail du palimpseste. Tels des Janus aux yeux tournés vers le passé autant que vers l’avenir, Chateaubriand et Quinet en Grèce s’inscrivent dans l’histoire de leur temps, au tournant des Révolutions européennes, par le biais d’une écriture de l’histoire immédiate tout en peignant des paysages à portée historique<br>Early after the fall of the ottoman domination, the French travelers went to Greece in order to wander through a land full of history, with a glorious past but a deceiving present. Chateaubriand and Quinet were writers and travelers who reported the crisis lived at the turning point of the Hellenic war of independence (1821-1830). Through their gaze of “borders-men” – both writers and historians – these French painters of the Greek landscape described a plurivocal Hellade, at the beginning and the end of the war of national uprising. This study question the intrusion of history in their fictional travel narratives and report the making of their Greek thought situated at the heart of their respective career. The romantic historiography was just at its premises because history as a scientific discipline was barely emerging. Thus, through the prism of literature and imagination, travel narrative was a fitting genre for writing history, propitious to the fragmentation of speeches by the work of palimpsest. As Januses with their eyes turned to the past as well as to the future, in Greece, Chateaubriand and Quinet inscribed themselves in the history of their time, at the turning point of the European Revolutions, through a writing of the immediate history while painting landscapes with historical dimension
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Villa, Elena Marie. ""Le serpent qui danse " representations of the dancer in nineteenth-century french travel narrative and fiction /." Diss., 1998. http://catalog.hathitrust.org/api/volumes/oclc/40742951.html.
Texte intégralLivres sur le sujet "French travel narrative"
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Gustave, Flaubert. Flaubert in Egypt: A sensibility on tour : a narrative drawn from Gustave Flaubert's travel notes & letters. Penguin Books, 1996.
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Garnier, Francis. The French in Indo-China: With a narrative of Garnier's explorations in Cochin-China, Annam and Tonquin. White Lotus, 1994.
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Hugo, Victor. En voyage: Alpes et Pyrénées. Pyrémonde-Princi Negue, 2007.
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Nunes, José Horta. Formação do leitor brasileiro: Imaginário da leitura no Brasil colonial. Editora da Unicamp, 1994.
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Chenu de Chalezac, Guillaume, 1672-1731 and Vigne Randolph, eds. Guillaume Chenu de Chalezac, the French boy: The narrative of his experiences as a Huguenot refugee, as a castaway among the Xhosa, his rescue with the Stavenisse survivors by the Centaurus, his service at the Cape and return to Europe, 1686-9. Van Riebeeck Society, 1993.
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Garane, Jeanne. Odysseys: Travel narratives in French = Odyssées: recits de voyage en Francais. Brill, 2017.
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The travel narratives of Ella Maillart: (en)gendering the quest. P. Lang, 2006.
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1788-1857, Correard Alexandre, ed. Narrative of a voyage to Senegal in 1816: Undertaken by order of the French Government ... Marlboro Press, 1986.
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Côté, Jean-François. The function of contemporary travel narratives in the French, Anglo and Latin Americas: Mixing and expanding cultural identity. Edwin Mellen Press, 2011.
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Weiss, Judith, Nicole Clifton, and Ivana Djordjevic, eds. Waldef. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781641894067.
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This first English translation of Le Roman de Waldef makes a significant representative of the French literature of medieval England accessible for the first time. Its wide-ranging content provides an ideal introduction to a number of themes in medieval literature, making it suitable for a variety of undergraduate and graduate courses. The fast-moving romance plot of this early thirteenth-century tale recounts the ancestry and exploits of Waldef and his two sons, set against a history of pre-Conquest England. The narrative shares themes and incident types with other important insular romances, including the Lai of Haveloc, Boeve de Haumtone, and Gui de Warewic. Waldef’s scope, interest in battle, and political stratagems bear reading alongside medieval chronicles, while secret love affairs connect it with other romance literature of the period, and adventures across a wide area of the known world provide affinities with medieval travel narrative.
Chapitres de livres sur le sujet "French travel narrative"
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Kullberg, Christina. "Constructing the Self Between Worlds." In Points of Entanglement in French Caribbean Travel Writing (1620-1722). Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23356-2_3.
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AbstractThis chapter shifts the attention toward another point of entanglement, namely the construction of the travelers’ self as a changing narrative category within the travel narratives. Drawing on recent research around the complex development of the notion of the self in the seventeenth century, the argument is that the self is unstable and multiple; it mediates between the space of reception (France) and the space described (the Islands). The self thus becomes a site where the effect of otherness can be traced: it becomes a narrative locus of unsettlement where the impact of early island society and its people is visible on several levels. The first section is devoted to the conditions governing travel writing in order to understand how the travelers used this strategically in their representations of the islands in terms of both distance and embodiment. The second section centers on Labat’s travelogue in order to analyze how that embodiment led to the construction of an experimental self influenced by the islands: the individual traveler’s experience becomes a way to think through the social body’s experience. The third section examines how the self negotiates encounters with others. By interrogating the figure of the commentary, it questions the construction of a discourse of ambivalence, bordering on sentimentality, with regard to enslaved peoples and enslavement as an institution. The last section looks closer at engagements with Indigenous peoples in terms of an anxiety of influence: the narratives configure that influence through style. The travelers, it claims, both underscore and distance themselves to uphold an intermediary position.
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Kullberg, Christina. "Navigating Archipelagos." In Points of Entanglement in French Caribbean Travel Writing (1620-1722). Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23356-2_2.
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AbstractThis chapter situates travel writing in the Caribbean region, looking at how geography might enter productively in travel narratives as a point of entanglement. Using Glissant’s notion of archipelagic thinking alongside Henri Lefebvre’s and Michel de Certeau’s theories of the construction of space, it argues that whereas the travelers sought to territorialize the islands, the archipelago drew them into more erratic movements, which impacted on the ways in which they presented the Caribbean. Indigenous ways of life notably introduce ruptures in the narrative of conquest. The chapter starts with an analysis of how travelers negotiated their representation of space with an existing European island imaginary. The next section offers an examination of the limitations of discursive acts of control, such as naming, at the point of encounter of the histories, cultures, and geographies of the region. The last two sections look at spatial practices following de Certeau’s distinction between mapping and touring space. It pays attention to movements between islands and interrogates how ways of practicing space both draw from and are contrasted with other ways of living the archipelago.
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Kullberg, Christina. "Conclusion… or Alternative Beginnings." In Points of Entanglement in French Caribbean Travel Writing (1620-1722). Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23356-2_5.
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AbstractThis book set out to challenge the silence of a messy period of Caribbean history by relocalizing early colonial travel writing to the Caribbean and by paying attention to textual disjunctions and temporal overlaps. The concluding chapter offers a discussion about what the readings of early modern travel writings might entail for (French) Caribbean literary history. More precisely, it teases out the possibility of putting this past to work in terms of alternative beginnings for a literature that has to a large extent been governed by a colonial distant center. The chapter gathers the findings that have been made throughout the critical readings of travel writing, synthesizing how archipelagic geography, self as site of mediation and influence, and, most importantly languages allow a new understanding of how the shaping of imperial and racial power was constructed in the narratives while also being disrupted by other forces and by creativity. It further engages in a broader discussion of how to retrieve traces from the archive while resisting nostalgia and sentimentality, by interrogating the works of scholars such as Saidiya Hartman, Simon Gikandi, and David Scott, along with Édouard Glissant.
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Kullberg, Christina. "Introduction: Tracing Entanglements in the Seventeenth Century Caribbean." In Points of Entanglement in French Caribbean Travel Writing (1620-1722). Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23356-2_1.
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AbstractThis introductory theoretical chapter makes the case for reading seventeenth-century French travel writing to the Caribbean in situ. Using Édouard Glissant’s notion of point of entanglement, it argues for a shift in perspectives that would seek to undo the colonial bias of early modern texts and seek other entangled ramifications of French Caribbean literature. In so doing, the book brings attention to ways in which enslaved and Indigenous peoples actively contributed to shaping early colonial society and, indeed, the representations of it. The first section discusses discourses of silencing around French coloniality in the period and presents the theoretical points of departures that have been guiding the work. The following section is devoted to a more thorough discussion of the notion of baroque and how this book uses it as an operative concept to read through the entanglements of travel writing. The third section gives a contextual framing for the analysis. It sketches the history of the period that the travel narratives describe and presents the population of the islands. Finally, the fourth section offers a more detailed account of the travelogues, their writers and the predicaments that dictated these texts, and ends by outlining the chapters or points of entanglement that will be approached, namely geography, the self, and language.
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Kullberg, Christina. "Other Tongues." In Points of Entanglement in French Caribbean Travel Writing (1620-1722). Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23356-2_4.
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AbstractThis chapter examines languages as a third point of entanglement that has both spatial and temporal ramifications while at the same time being sites where domination is both sustained and disrupted. It starts by describing the linguistic reality of the islands in the seventeenth century discussing how the plurilingualism that existed caused challenges for the narratives, which had to abide to contemporary aesthetics. The analysis show that travelers engaged with languages as praxes and were forced into conceiving languages as processual constantly changing in relation to other languages, existing languages as well as languages in the making. Focusing principally on Breton’s dictionary, it demonstrates how travelogues testify to the inherent creativity in language crossings. The second section looks at the inclusion of direct speech in travelogues as framed within codes of representation that dramatized Indigenous and enslaved peoples, staging them for particular purposes and following rhetorical conventions. The final section challenges these formal forms of representation looking at scenes of exchanges in everyday life asking how this expression of control over other peoples’ expression also turned into sites where others would “talk back.” Throughout the chapter, Glissant’s thoughts on the role of language in the shaping of French Caribbean Baroque as well as Sarduy’s reading of Baroque language will be made operative together with theories around hetero- and translingualism.
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Arnell, Malin. "In the Beginning There Is an End." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_16.
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In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.
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"The Travel Narrative As Sketch: préfaces, avertissements, avant-propos." In Beginnings in French Literature. Brill | Rodopi, 2002. http://dx.doi.org/10.1163/9789004334175_009.
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Leask, Nigel. "Alexander von Humboldt and the Romantic Imagination of America: The Impossibility of Personal Narrative." In Curiosity and the Aesthetics of Travel Writing, 1770-1840. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780199247004.003.0007.
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Abstract On 1 August 1804 the ship La Favorita anchored off Bordeaux after a 27-day Atlantic crossing from Philadelphia. On board was the Prussian savant and explorer Alexander von Humboldt and his compagnon de voyage, French botanist Aimé Bonpland, returning to wide celebrity in Europe after their privately financed five-year expedition to the Spanish colonies of tropical America. Writing to his old friend K. K. Freiesleben from on board the same day, while awaiting quarantine clearance, Humboldt described his return journey from Mexico via Cuba and the United States.
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Belnap, Heather, Corry Cropper, and Daryl Lee. "“La Loi nouvelle”." In Marianne Meets the Mormons. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044670.003.0002.
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The rise of Romantic Socialism in France across the turbulent July Monarchy and Second Republic led French writers to place Mormonism among the radical utopian movements agitating for a response to the Social Question. This chapter analyzes key writings by anarchist and geographer Élisée Reclus, who conjured Mormons as a threat to the state; naturalist Jules Rémy, whose travel narrative Voyage au pays des Mormons provided a seminal eyewitness account; and economist Jean Reybaud, whose Études sur les réformateurs contemporains devoted its longest chapter to Mormons alongside others on Saint-Simonians, Fourierists, and Icarians. Mormon polygamy and collectivist economics were taken seriously as both a successful social model and a dangerous threat to religion, family, and property.
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"Travel Narratives in the Seventeenth Century." In A History of Modern French Literature. Princeton University Press, 2017. http://dx.doi.org/10.1515/9781400885046-014.
Texte intégralActes de conférences sur le sujet "French travel narrative"
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
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Soares, Cleibiany da Silva, and Marcos Vinicius. "Atuação do enfermeiro frente às intercorrências durante hemodiálise." In IV SEVEN INTERNATIONAL MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/sevenivmulti2023-029.
Texte intégralRésumé :
Introdução: A insuficiência renal crônica, também chamada de doença renal crônica, é uma condição clinica caracterizada pela perda lenta do funcionamento dos rins, cuja principal função é remover os resíduos e o excesso de água do organismo. Toda essa problemática contribui para o declínio no organismo do indivíduo, apresentando uma diversidade de manifestações clinicas que trazem prejuízos. Por ser irreversível, o tratamento ocorre como uma forma de substituir a função renal, A diálise é normalmente necessária quando a função renal é perdida. Em geral, a maioria dos pacientes tolera bem a hemodiálise, no entanto, podem ocorrer efeitos colaterais da hemodiálise. Objetivos: Evidenciar a atuação do enfermeiro frente às intercorrências que podem ocorrer em indivíduos com insuficiência renal crônica durante as sessões de hemodiálise; descrever as principais intercorrências que podem ocorrer durante as sessões de hemodiálise; e delimitar as intervenções desenvolvidas pelo enfermeiro frente às intercorrências durante a hemodiálise. Método: Trata-se de um estudo de revisão narrativa de literatura, com abordagem qualitativa. Resultados: Foram separados então 13 artigos para uma leitura analítica e aprofundada. Esses estudos foram dispostos no quadro a seguir contendo informações a respeito deles. Discussão: As complicações mais comumente associadas incluem hipotensão, cãibras musculares, náuseas e vômitos, dor de cabeça, prurido, febre e calafrios. Muitas das complicações estão associadas à hipotensão. Raramente, ocorrem complicações potencialmente fatais, como arritmias e outras complicações cardiovasculares. Conclusão: O enfermeiro inserido nesse contexto além de prestar assistência, auxilia para identificação precoce dessas complicações, para poder interferir adequadamente, além disso, promover a saúde e bem estar mesmo diante das limitações impostas pela doença.
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Belarmino, Guilherme, and Joao Massarolo. "Análisis de la producción de contenidos transmedia en la serie ‘Sintonia’." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.170.g340.
Texte intégralRésumé :
El proyecto analiza cómo el funk, un estilo musical afrobrasileño, ha sido retratado por el audiovisual brasileño. Realiza un estudio de caso de Sintonia (2019), una coproducción de Netflix / Kondzilla, centrándose en dos aspectos fundamentales: (1) la construcción narrativa de la serie y sus personajes, un análisis de la trama a partir de Robert Mckee (1997) y Christopher Vogler (1992) como lineamientos y (2) la estrategia transmedia, basada en los conceptos de cultura participativa, convergencia mediática e inteligencia colectiva de Henry Jenkins (2009). El estudio utiliza la definición de Jenkins de la narración transmedia como un proceso en el que los elementos de una ficción se dispersan sistemáticamente en múltiples plataformas de contenido con el propósito de crear una experiencia de entretenimiento unificada y coordinada, en la que cada medio contribuye de una manera única. El análisis también mapea los canales de distribución utilizados por Sintonia y su contribución al desarrollo de la narrativa, de sus personajes y del universo de ficción. El análisis enumera las decisiones estratégicas transmedia de los productores basadas en los siete principios transmedia en el trabajo de Jenkins: propagabilidad vs. profundidad; Continuidad vs. Multiplicidad; Capacidad de inmersión frente a extracción; Construcción del Universo Ficticio; Serialidad; Subjetividad y Performance. La hipótesis es que, en términos narrativos, Sintonia consagra la Jornada do Funkeiro en plataforma de streaming. Jornada do Funkeiro o Funker’s Journey es un término original que define una historia moderna y contemporánea, contada miles de veces y en diferentes formatos, omnipresente en la obra de Kondzilla, con estatus mítico en el barrio pobre brasileño. La historia es la saga de un joven pobre que lucha contra las dificultades económicas, los prejuicios, la falta de apoyo y otras adversidades para cumplir su sueño de convertirse en un MC exitoso. A través de su camino gana fama y dinero y cambia su vida para mejor, obedeciendo a una condición innegociable: no olvidar nunca sus raíces sociales. La fidelidad a esta narrativa guía la estrategia transmedia de la serie y sirve como código de coherencia a los productores en su interacción con el público. Sintonia retrata la vida y los conflictos de tres jóvenes cubriendo temas universales como la fama, el crimen, los prejuicios, la desigualdad, el trabajo, los conflictos familiares y la fe. El protagonista de la historia es MC Doni, un joven de un barrio pobre de la ciudad de São Paulo, la más grande de Brasil. MC Doni es un protagonista activo, entra en conflicto con el mundo y las personas que lo rodean para lograr su objetivo de convertirse en un MC exitoso. Sus conflictos internos incluyen la baja autoestima, la timidez, el estigma de ser un habitante de tugurios, el miedo a decepcionar a su familia y, sobre todo, el miedo a fracasar.
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Marín García, Teresa. "(A)topia(s). Una indagación artística sobre malestares deslocalizados y estrategias de invisibilidad." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.6138.
Texte intégralRésumé :
(A)topia(s) se propone como una investigación basada en arte. Es un proceso de indagación que a través de la práctica artística trata de reflexionar sobre ciertas formas de malestar deslocalizado de la sociedad actual. Se recurre al concepto de atopía como metáfora de una reacción hipersensible, que surge como respuesta (individual o social) frente a diversos estímulos ambientales que caracterizan el contexto de la globalización. Lo atópico alude a lugares inespecíficos, cambiantes y de difícil localización, pero cuyas reacciones se encarnan en situaciones concretas y particulares. (A)topia(s) se inicia en 2006 como un diario gráfico y textual que exploraba territorios difusos entre lo documental y la ficción, de forma lúdica, crítica y reflexiva. Posteriormente se van ampliando los medios de experimentación visual: objetualizando los textos, construyendo objetos y explorando posibilidades gráficas y narrativas audiovisuales. Este proceso de experimentación práctica se desarrolla de forma paralela a la investigación y definición de un glosario de conceptos clave, definitorios de la sociedad globalizada y que tiene como rasgo común su difícil localización y su condición de invisibilidad, como son: poder, capitalismo, precariedad, miedo, vigilancia, censura, amor, deseo, libertad, conocimiento. (A)topia(s) se plantea como una experimentación crítica de resistencia, posicionándose desde el hacer y asumiendo la duda, la discontinuidad y la interferencia como aspectos clave del proceso. La materialización se concibe como parte del proceso reflexivo, prestando atención a lo cercano, poco visible o infravalorado, como los objetos cotidianos, los materiales débiles y los actos mínimos. El proceso experimental se ha centrado metodológicamente en la exploración del tránsito ente medios, las posibilidades simbólicas y narrativas del “montaje” y el desarrollo de estrategias audiovisuales de invisibilización como recursos disruptivos del discurso.http://dx.doi.org/10.4995/ANIAV.2017.6138
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Henríquez Ortiz, Valentina Paz. "El documental chileno de post-dictadura y la dimensión performática del lenguaje audiovisual en el conflicto político." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9014.
Texte intégralRésumé :
Uno de los mayores acontecimientos sociales y políticos en la historia reciente de Chile, es sin duda, la dictadura militar extendida entre los años 1973 y 1989. Frente a este acontecimiento, múltiples producciones culturales pueden servir como herramientas críticas para acercarnos al pasado, y una de ellas es el documental. Específicamente el documental de post-dictadura, que como sugiere Antonio Traverso, no refiere a una determinada historiografía, sino a aquellos filmes que guardan una relación crítica con el pasado. Bajo este parámetro, podemos encontrar recientes producciones como El Pacto de Adriana (2017) de Lissette Orozco y El Color del Camaleón (2017) de Andrés Lübbert. Ambos, a través de un relato autobiográfico y familiar, indagan en los relatos de perpetradores. Por un lado, Lissette Orozco descubre que su querida tía Chany trabajó para los servicios secretos chilenos (DINA), y está actualmente acusada de haber cometido crímenes de lesa humanidad; y, por otro lado, Andrés Lübbert decide buscar los orígenes del trauma de su padre, quien fue capturado por la DINA y sometido a entrenamiento militar en contra de su voluntad. A través de ambas películas, es posible ver cómo la primera persona y la autobiografía, son conceptos que se entrelazan con la historia política de un país. En un diálogo constante con el pasado, ambos directores establecen estrategias narrativas para acercase a las ideas de confrontación, reconciliación o reparación, según sea el caso. Entonces surge la pregunta acerca de la subjetividad y de la autobiografía como un espacio político que pueda trascender del yo. De esta manera, los estudios de performance de Diana Taylor, pueden servirnos para establecer una alianza con el lenguaje audiovisual. En este trabajo, buscaremos dilucidar en qué sentido podría la performatividad otorgar un carácter político al lenguaje audiovisual.
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Monteiro, Caique Cahon. "Experiencia estética y cultura digital: Nuevos flujos en el espacio expositivo del arte." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.g57.
Texte intégralRésumé :
Las instituciones artísticas son tradicionalmente lugares de reverberación de la memoria cultural y social. Dichos espacios tienen un carácter de institucionalización del mercado cultural. Las obras de arte contemporáneas y el formato expositivo son factores que configuran las posibilidades de consumo y experiencia de los visitantes dentro de estos espacios. Aprovechando los artificios de su tiempo, el arte y los artistas se apropian de las nuevas Tecnologías digitales, mientras que la cultura digital contextualiza este movimiento, entrelazando nuevos paradigmas en los espacios expositivos de museos, galerías y centros culturales. Está claro que la producción artística que involucra medios digitales en algún nivel crea caminos cada vez más subjetivos e híbridos entre máquina y humano en los procesos. Esto ocurre no solo en el ámbito de la materia prima y en la producción de sus poéticas y narrativas, sino también en todos los contextos sociales actuales, de consumo, acceso y difusión de obras artísticas. En los últimos 10 años ha habido un número creciente de público en instituciones culturales en Brasil (datos de IPEA - Instituto de Investigaciones Económicas Aplicadas), curva que no se asemeja a ningún aumento en la inversión en políticas públicas, mejora en la educación o la cultura. Esta tasa de aumento de visitantes a espacios culturales es similar al aumento en el acceso a dispositivos móviles y el uso de internet y redes sociales, quizás, en algún nivel, muestra que el acceso a internet y la cultura digital pueden estar propiciando un entorno de difusión espontánea para el mercado artístico en Brasil. Con la llegada de los smartphones y el uso constante de esta tecnología en diversos momentos de ocio y trabajo, la costumbre de sacar una foto de cualquier obra de arte se ha convertido en algo normalizado en las instituciones. Este proceso es capaz de generar distintos flujos de medios que reformulan la experiencia del visitante frente al espacio expositivo. De esta manera, el sujeto espectador tradicional y pasivo se mezcla con el sujeto usuario presente en la cultura digital, con su potencial de agencia y capacidad de compartir. Si bien estas fotografías se presentan en la sociedad como un producto cultural, su visualización y distribución se extiende a un nivel computacional. El proyecto de investigación de este máster se propone establecer diálogos entre el campo de la comunicación y las artes, especialmente la cultura digital y la experiencia estética. El objeto de estudio es la producción de imágenes fotográficas realizadas por los visitantes de exposiciones culturales a través de teléfonos inteligentes y compartidas en la red social Instagram. Mediante el uso de inteligencia artificial será posible analizar cientos de imágenes de la red social Instagram que fueron tomadas en el Centro Cultural Banco do Brasil, ubicado en la ciudad de Río de Janeiro, Brasil (institución brasileña con mayor número de visitantes en los últimos 5 años). Este análisis cualitativo y cuantitativo permite reflexionar sobre el carácter mediático contemporáneo presente en los espacios de exhibición de arte y la observación de nuevas experiencias entre público, trabajo y cultura digital.