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The clash of two worlds : a study of North African immigration into France
Get PDFThe purpose of this thesis is to provide the reader with an understanding of the history of North African immigration into France and explain how the current conditions were formed. A further objective is to decipher how the circumstances for North Africans in France have improved or worsened in comparison to its beginnings. Emphasis is put on the cultural and political events that have happened in recent years and how they have molded the current state into what it is today. Findings will show that the beginning of the Beur movement sparked the creation of Islamic-xenophobia in France, but also generated a new awareness of problems with assimilating North Africans into French culture
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The Representation of Discrimination in French Society In the Film La Haine
No full textThe purpose of my thesis is to recognize the social injustice that existed in France 20 years ago and continues to result in social dysfunction today. I have used the film La Haine (dir. Mathieu Kassovitz, 1995) to examine past events in France’s history and have compared them to more current events in France and the U.S. I have researched the history of immigration in France, the film’s cultural impact, and present day French society. By this, I have determined that class-based injustice remains extremely relevant in modern French society. Anger and hatred still fuel criminal acts from terrorists, police, and even civilians. Key words: France, La Haine, social injustice, police brutality, immigratio
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
LA POÉTIQUE DU PAYSAGE CHEZ EDOUARD GLISSANT
No full textIl s’agit dans cet article d’analyser la poétique du paysage dans l’œuvre d’Edouard Glissant en se focalisant surtout sur son premier roman, La Lézarde. Ce qui nous intéresse dans cette analyse n’est pas seulement la façon par laquelle ce paysage est subjectivisé, senti, vécu et interprété par les personnages/narrateurs, mais surtout ce que ce paysage représente en termes d’identité et de la relation à l’Autre. Autrement dit, nous examinerons comment Edouard Glissant s’inspire de cette thématique du paysage pour l’élaboration de sa poétique du Rhizome, c’est-à-dire de la Relation
La poetique du paysage dans l\u27oeuvre d\u27Edouard Glissant, de Kateb Yacine et de William Faulkner
Get PDFThis dissertation examines the different ways in which Edouard Glissant, Kateb Yacine and William Faulkner combine landscape, history and identity in their work. The depiction of landscape in literature is not new, but the French Romantics in the 19th century, for instance, tended to describe the beauty of landscape without conceiving any rapport between landscape and humankind, and thus created a gap between the two. For Kateb and Glissant, landscape is also a witness of History. The (hi)story of their respective communities has been confiscated and shattered by the respective colonizers, hence the necessity to recreate it through the poetics of land. However, because of the different contexts some differences in the conception and use of landscape arise between these three writers. In the case of Kateb Yacine, the Algerian landscape is the repository for the ancient history of North Africa. The North African people have to turn to their landscape in order to recreate their history and redefine their identity. For Edouard Glissant, the landscape was an accomplice of the Caribbean People. When the slaves escaped the plantation confinements the wilderness was their only refuge. It is then essential for the Caribbean community to take roots in this land in order to create its own history. In the case of William Faulkner, the land of his Yoknapatawpha county is presented as the podium where some injustices in the South took place, such as the dispossession of Indians, the spoliation of their lands, slavery, and above all the tragedy of the Civil War
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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The Listening Cure: Theorizing Gender Fluid Performance through Katharine Hepburn’s Transatlantic Accent
Get PDFMy mother named me after Hollywood icon Katharine Hepburn, but what made a working-class girl grow to love this posh celebrity so much? The obvious answer is that my mother aspired to be posh herself; but lack of money or sophistication were not the only things impacting her potential— there was also gender. The voices in my mother’s home and school told her to be a woman, to do the things society expected of a woman, and leave the rest to men. In my estimation, though, Katharine Hepburn was the one voice that subverted these socially constructed imperatives. My thesis emphasizes the importance of voice in gender performance by conducting close-listenings of Sylvia Scarlett (Cukor, 1935) and The Philadelphia Story (Cukor, 1940) in order to better understand how Hepburn’s Transatlantic accent contributes to the gender fluid persona that drew my mother’s attention and affection.
While many look to Hepburn’s progressive fashion sensibilities as evidence of her non-traditional gender performance, consideration of her “fake” accent is often dismissed simply as a marker of her upper-class status. However, I argue that Hepburn’s voice is equally important as her appearance in terms of defying a classically feminine persona, and ask instead how the classist, historic, and psychoanalytic underpinnings of the geographically ambiguous Transatlantic track with its gender fluid implications. The films I examine represent two periods of Hepburn’s career. Although her star image shifted slightly after being labeled “box office poison” in 1938, attention to her accent reveals a consistent element of fluid gender constitution, and as a style of spoken English used to this day to portray characters outside the realm of binary gender performance
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