Goldsmiths, University of London: Journals Online
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Processing Emotions and Memorising Coursework Through Memory Drawing (Italian Version)
No full textLa memorizzazione tramite disegni e parole è stata oggetto di una ricerca quantitativa in 134 soggetti. Nove settimane dopo la memorizzazione iniziale,la mediana del numero dei disegni ricordati era cinque volte maggiore rispetto alle parole scritte. Subito dopo la memorizzazione iniziale, non c’era nessuna differenza tra il numero dei disegni e delle parole ricordate. Le ricerche qualitative condotte hanno dimostrato come la memorizzazione attraverso il disegno (memory drawingda ora in poi)possa facilitare il processo di apprendimento. Il memory drawinge il procedimento terapeutico hanno rivelato che attraverso questo tipo di disegno può emergere ed essere elaborato del materiale emotivo sensibile. La teoria e i metodi dell’arteterapia si sono rivelati importanti per comprendere come il memorydrawingcontribusica all’elaborazione delle emozioni e faciliti il processo di apprendimento.L’impostazione arteterapeuticaè importante per considerare l’etica e i confini del memory drawinge per creare un ambiente sicuro per gli studenti e i pazienti che lo utilizzano durante il processo educativoo terapeutico
The Nenagh Mutiny of 7-8 July 1865: a re-appraisal
Get PDFMutinies or ‘affrays’ by regular and militia soldiers were a constant feature of British military life and civil-military relations during the eighteenth and nineteenth centuries; neither were they absent from the early twentieth century. This article re-evaluates one such event: that by the North Tipperary Militia in Ireland in 1856. The event is set within both a heretofore lacking Irish social and political context and the broader context of British Army mutinies as a whole
In Praise of General Stanhope: Reputation, Public Opinion and the Battle of Almenar, 1710-1733
No full textThe View from Strasbourg: Translational Readings of Decadence by the Guest Editors
Get PDFThis special issue of Volupté turns to France at the end of the nineteenth century to consider the ways that artists, writers, and critics associated with decadence probed and strained at the limits imposed by received linguistic and artistic forms through translation. The articles gathered here derive from a broader project to explore decadence and translation, funded by the AHRC during 2018 and 2019. Specifically, contributions relate to an event held at the Collège doctoral européen de Strasbourg within the University of Strasbourg during June 2019. The aim of this event was to bring together scholars from the United Kingdom and across Europe in an attempt to establish a comparative understanding of how decadence and translation are approached in different institutions within different countries and in different languages. Translation activity from the nineteenth century was an object of study at this event; it was also a mode of communication for scholars, who came from Belgium, Britain, France, Germany, Norway, and Russia.
 
Proust’s Translations of Ruskin: Generative Degeneration
Get PDFWhat have John Ruskin and Marcel Proust to do with decadence and translation? The latter protested ‘je ne suis pas décadent’ [I am not decadent], the former that he was ‘entirely opposed to translations.’ Proust associated the decadent sensibility with ‘insincérité […], la religion des belles formes de langage, une perversion des sens, une sensibilité maladive qui trouve des jouissances très rares dans de lointaines accordances, dans des musiques plutôt suggérées que réellement existantes’ [insincerity […], worshipping beautiful forms of language, a perversion of the senses, a sickly sensitivity which relishes in esoteric pleasures of distant harmonies or in music which suggests rather than actually exists]. Although he equated the decadent sensibility with an excessive aestheticism, Proust’s translations of Ruskin can be associated with another aspect of decadence, namely degeneration. As he had not studied English, he relied on his mother and his English-speaking friend Marie Nordlinger for a first draft of the translation, which he then improved stylistically. This collaborative work resulted in error and attrition as his translation was not just second, but third hand. Proust also deformed the Ruskin original with his overpowering peritext comprising numerous notes and a long introduction in which he relocates Ruskin’s work in a contemporary French context. At the same time, Proust’s critical apparatus enriches Ruskin’s text and illustrates George Steiner’s point that ‘[t]he work translated is enhanced’. Proust’s translations of Ruskin comply with Steiner’s definition of translation as ‘a mirror [that] not only reflects but generates light’, even if the light projected casts shadows of decadence. The aim of this essay is to examine in what ways Proust’s translation produced a degenerated version of Ruskin, while at the same time having a generative impact on his own writing.
 
Anne-Marie Walters vs. George Starr: Reflections on Gendered Representations within the Special Operations Executive
Get PDFThis article explores gender relations within the Special Operations Executive (SOE) during the Second World War. To do so, it scrutinises the story of its agent Anne-Marie Walters. Although SOE was a trailblazer in recruiting women for military missions, this case study shows how gender prejudices could mark the experience of female agents. Walters’ story indeed shows that her gender involved not only a limitation of her actions in the field, but also how it diminished her credit within SOE’s headquarters and even how it was used against her when she reported serious misconduct by her senior officer
Between Propaganda and Facticity: News Reporting of Non-White Service in the World Wars
Get PDFThe expanding interest in the non-white experience of the World Wars is engaging a growing number of scholars within military history. However, the challenge of documenting the historically marginalised non-white voices remains. This Research Note specifically examines news-reporting of non-white soldiers from South Africa and examines the challenges of colonial and imperial reportage. For this, the Note critically analyses articles published by The Cape Standard (a non-white South African news weekly) on the experiences of non-white soldiers from South Africa who were captured during the Second World War. The Note considers the importance of wartime reporting to bridge the source-gap and to reconstruct subaltern histories of non-white military service
Le ‘modern style’: un intraduisible dans les arts décoratifs
Get PDFL’Art nouveau, réaction contre l’imitation qui paralysait les arts décoratifs, se passe de traduction. Les Anglais, qui se gardent de confondre le mouvement avec les Arts and Crafts dont la relation au passé n’implique pas les mêmes ruptures, l’évoquent en français, à l’exemple de Forster dans Howards End: ‘Stunned, Margaret did not move from the best parlour, over which a touch of art nouveau had fallen’ [Accablée, Margaret attendit dans le ‘grand salon’ qu’avait déjà effleuré l’art nouveau]. De même, le concept de ‘modern style’ n’a de sens qu’en français: la platitude sémantique de cet ‘intraduisible’ ne se prête pas aux féconds transferts dont Barbara Cassin a exploré les distorsions dans différents réseaux terminologiques. Son invention, en pleine anglomanie, se range entre l’inauguration de Maxim’s en 1893 et du Fouquet’s en 1899. La formule ne se dégage que par contraste. Le témoignage d’Aragon citant son oncle Edmond Toucas-Massillon parlant de ‘Modern Staïle’ est le seul indice attestant sa prononciation à l’anglaise. Mais rapidement le journaliste Albert Flament, ami de Proust, s’est moqué du ‘moderne [sic] style’, indiquant que la prononciation française devait l’emporter. L’antéposition de l’épithète dans cette traduction parodique indique en effet que le ‘modern style’ n’est pas ‘the modern style’, le ‘style moderne’ que Robert de La Sizeranne définissait comme ‘une forme à la fois nouvelle et durable pour embellir, depuis la maison jusqu’au joyau, ce qui est utile à la vie’, et auquel il consacra un long article lors de l’exposition de 1900: ‘Avons-nous un style moderne?’ Deux conditions sont nécessaires à sa réalisation: ‘Si l’on ne réalise pas quelque chose de neuf, il n’y a pas de style “moderne”. Mais si l’on ne réalise pas quelque chose de fort, on ne fait pas de “style” du tout’. Peu d’objets répondent à ce double impératif en raison de la suprématie de l’ornement, ‘postiche et surérogatoire’ au lieu d’être lié à l’objet.