Liste des résultats
Il y a 13 éléments qui correspondent à vos termes de recherche.
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Présenter un article d’opinion, une chronique ou un éditorial
par Anne Robtael,
publié le 05/09/2017
- Le format scolaire des présentations d’article de presse à l’oral (épreuve présente dans de nombreux concours) consiste habituellement à résumer, puis à “commenter” le document choisi, ce qui signifie en fait le mettre en perspective. Les conseils de méthode suivants sont tout particulièrement adaptés aux articles d’opinion et aux éditoriaux.
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Seeing Between the Lines: Terence Davies’s The House of Mirth and the art of adaptation
par Wendy Everett,
publié le 02/03/2015
- Examining Terence Davies’s adaptation of Edith Wharton’s The House of Mirth, this article identifies ways in which the creative interpretation of the filmmaker may serve to open up new insights into both the original text and the language of cinema itself. It considers, in particular, aspects such as music, painting, and visual metaphor in its presentation of cinema as an essentially multilayered and complex medium which requires of the spectator an imaginative and creative engagement, just as the novel requires of the reader.
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Analysing front pages
par Clifford Armion,
publié le 20/01/2015
- A front page tells you a lot about the contents of a newspaper and its attitude towards the news. Even if the traditional format difference between broadsheet newspapers and the more compact tabloids is disappearing – most papers are now printed in the same size – you can still easily recognize serious newspapers from tabloids. Tabloids usually have a large red masthead, very bold typeface and eye-catching pictures. The more serious papers have more text on the front-page and a plainer layout. Contrary to tabloids, broadsheets have no puns or jokes in the headlines and use a more formal language. Here are the main features you will find in any front-page…
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End of Story
par Avital Ronell,
publié le 19/01/2015
- "For my part, I practice affirmative dissociation. Prompted mostly by a Nietzschean will to fiction and love of masks, I “fake it ‘til I make it,” assuming shrewd yet fragile identities, rotating signatures, reappropriating for myself syntactical maneuvers and rhetorical feints."
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Nikolai Grozni: The Whispers of Music Lost
par Nikolai Grozni,
publié le 10/09/2014
- “Only the words break the silence, all other sounds have ceased,” writes Beckett in his Texts for Nothing. Or does he sing it? If words were the only sounds, then a sentence would be the only melody. We might never understand which came first—the words or the melody. Perhaps the first humans knew how to sing long before they knew how to talk. In this Dionysian vision of antiquity, all mortals were originally musicians. Music was the only thing that mattered. People understood each other by inventing mimetic melodies and singing together in tune. They appeared, loved, suffered, worshipped the gods and died like opera singers on stage.
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The Truth of Pussy Riot
par Masha Gessen,
publié le 21/02/2014
- A great work of art is also often not immediately recognizable. Five young women entered the enormous Cathedral of Christ the Savior early in the morning on February 21, 2012, took off their overcoats to expose differently colored dresses and neon-colored tights, pulled on similarly neon-colored balaclavas, climbed up on the soleas (having lost one of their number in the process—she had been grabbed by a security guard), and proceeded to dance, play air guitar, and sing a song they called a “punk prayer,” beseeching Mother of God to “get rid of Putin.”
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In Praise of Babel
par Robyn Creswell,
publié le 22/11/2013
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Like Jewish and Christian commentators, Muslim exegetes understood the Babel story to be a parable of how mankind’s hubris, in the form of a desire for knowledge or an attempt to reach the heavens, leads to divine punishment. The subsequent confusion of human idioms and scattering of peoples is a second fall from grace, an expulsion from the paradise of monolingualism. Henceforth, translation becomes at once necessary and impossible—impossible in the sense that no translation could ever match the transparency of the original Ur-Sprache. So the Islamic tradition, like the Judaic one in particular, comes to bear a tremendous nostalgia for the lost language of Eden.
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We’re All Translators Now
par Esther Allen,
publié le 15/11/2013
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As our language ceases to dominate cyberspace (our share of the Web has fallen to about 27%), we English speakers are hesitantly stepping out of our monolingual sphere and evincing renewed interest in foreign tongues. Language learning websites like Livemocha and Matador Network seem to crop up like mushrooms, Rosetta Stone is a publicly traded company whose stock is up 41% year to date, and last year’s top-rated YouTube video — remember? —was in Korean (with a few repetitions of “hey sexy lady” thrown in for nostalgia’s sake).
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Translation as Muse: Muse as Teacher
par Mary Jo Bang,
publié le 15/11/2013
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how can reading not add to one’s experience, and in turn influence a person’s writing? And wouldn’t translation especially affect the brain, since translation involves the closest sort of reading, one where the mind simultaneously reads for meaning and tries to access the equivalent word or expression in another language. Wouldn’t reading the word “pelle” in Italian similarly send a message to the brain to access the synaptic record of all past sensory experience having to do with leather: black jacket, kid gloves, car seat, red belt with an alligator buckle, toy-gun holster, shoe shop. Wouldn’t the experiential knowledge of how those various leathers felt be carried along as the translator toggled between two different linguistic systems? And of course each of those leather memories would be connected to other associational memories, some quite rich in subjectivity.
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Narration in the Human Mind
par Siri Hustvedt,
publié le 16/02/2012
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"Human beings are forever explaining themselves to themselves. This is the nature of our self-consciousness. We are not only awake and aware of the world around us, but are able to reflect on ourselves as actors in that world. We reason and we tell stories. Unlike our mammalian relatives who do not narrate their own lives, we become characters in our own tales, both when we recollect ourselves in the past and imagine ourselves in the future. Our ability to represent our experience in language - in those sounds and signs of our essential intersubjectivity - allows us the necessary symbolic alienation required for mental time travel..."
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Shakespeare’s The Rape of Lucrece: the wound that cannot heal
par Clifford Armion,
publié le 17/09/2010
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In Shakespeare's works, the assaults on the body and the marks they leave in the flesh constitute a complex form of language. The shape of the wound, its seriousness, its position on the body, the situation in which it was inflicted, the terms and metaphors used to describe it: all these elements contribute to its semantic load.
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The Language of Gesture: Melville's Imaging of Blackness and the Modernity of Billy Budd
par Klaus Benesch ,
publié le 04/01/2010
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In light of recent studies of both the life of black seamen and of the role of blacks in the Enlightenment, the paper discusses the representation of African sailors in the work of Herman Melville, in particular in his unfinished manuscript Billy Budd, Sailor. As I argue, Melville's imaging of a "noble" black sailor in the opening chapter is crucial to the author's ongoing attempt to untangle the complex relationship of race and modernity. By invoking a non-totalitarian, gestural/visual aesthetics of blackness Melville not only reinforces his earlier critique of modernity's foundation in slavery; he also revivifies and, simultaneously, trans-forms the eighteenth-century tradition of visualizing blacks as tragic witnesses to the para-doxes of the enlightenment. In so doing, Melville couches his argument against racism in a 'gestural' (black) critique of white judgments on blacks that may well be read to foreshadow later, more radical gestures of black pride from zoot-suiters to the raised fists of black pan-thers or the corporeal self-fashioning of the gangster rapper.
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Across the ‘Wide Sargasso Sea’: Jean Rhys’s Revision of Charlotte Brontë’s Eurocentric Gothic
par Sylvie Maurel,
publié le 20/03/2008
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In this article, Sylvie Maurel analyses the Gothic destabilizing machinery at work in Jean Rhys’s "Wide Sargasso Sea". The first Gothic element the author looks at is the demonic agency that haunts the novel. Colonial history lingers in Rhys’s world and accounts for some of the strange and unexpected phenomena that occur on the island. Actually, the narrative is under the double influence of a past set in an actual history of slavery and a future already written in the story of "Jane Eyre". Rhys’s characters have an uncanny prescience of what lies ahead and a sense that they cannot evade repetition. The motif of witchcraft is another element that links "WSS" to the Gothic. The motif goes beyond a picturesque reference to the West Indian context and functions as a metaphor of the relationship between language and power. Christophine’s witchcraft and Rochester’s Eurocentric discourse are two similar attempts at transforming the world through language. The power of language is also reflected in the way the novel constantly brings together multiple voices and conflicting views which seem to hide a secret rather than reveal a final truth. Rochester can only feel the presence of such a secret and risks delirium as he tries to get a grip on something that constantly eludes him.
