679 research outputs found
Le téléphone des familles
No full textTHE FAMILY TELEPHONE Martine Segalen This article evaluates the role of the telephone in family relations between three generations. Noting the existence of both the « duty to call » and « not to call », the author highlights the fact that no other household appliance conveys so much emotion. Whereas some people react to the telephone with loathing, others see it as a source of pleasure.LE TELEPHONE DES FAMILLES Martine Segalen L'article tente d'évaluer le rôle du téléphone dans les relations familiales établies entre trois générations. Constatant qu'il existe aussi bien des « devoirs d'appel » que de « non-appel », l'auteur note qu'aucun appareil domestique n'est porteur d'autant d'émotions. Le téléphone suscite en effet chez certains une réaction d'horreur, alors qu'il existe pour d'autres un « téléphone plaisir ».Segalen Martine. Le téléphone des familles. In: Réseaux, volume 17, n°96, 1999. Communication et personnes agées. pp. 15-44
L'esprit de famille à Nanterre
No full textFamily spirit in Nanterre, Martine Segalen.
Using a study describing family relations in an urban environment in Nanterre (Hauts-de-Seine), 1840 to 1980, the author, as an anthropologist demonstrates that between the masses and the individuals the family played a singularly complex and strong part. In that old industrial suburb, destined to massive immigration and to the change from manufacturing to services, family networks stimulated solidarity and sociability. The family, between the couple and the relatives, has never been the secret chilly refuge of self-centered individuals.Segalen Martine. L'esprit de famille à Nanterre. In: Vingtième Siècle, revue d'histoire, n°14, avril-juin 1987. Dossier : Masses et individus. pp. 35-44
In Memoriam Martine Broda
No full textThe author introduces the French poet and essayist Martine Broda. After recalling some concepts from “L’amour du Nom”, an essay on love lyricism and poetry, the author presents “Deslumbramientos” -his own translation of «Éblouissements» –as well as some concepts of the Brodian poetics: the link between poetry and language, the role of the horror and the unnameable, the ethical dimension of poetry, the illumination of the other... This article ends with 7 poems by Broda and their translation into Spanish by Veyrat.L’auteur présente la poète et essayiste française Martine Broda. Après nous avoir rappelé quelques concepts contenus dan “L’amour du Nom”, essais sur la poésie et la lyrique amoureuse, l’auteur nous présente “Deslumbramientos” -la traduction qu’il a fait d’ “Éblouissements”- et les concepts majeurs de la poétique brodienne: la liaison entre poésie et langage, la fonction de l’horreur et de l’innombrable, la dimension éthique de la poésie, l’illumination de l’autre… L’article s’achève par la reproduction de 7 poèmes de Broda et sa traduction à l’espagnol par Veyrat
La naissance de l'agence nationale pour l'emploi. Institution et mission de service public
No full textMARTINE MULLER In 1967, a new public institution was formed : "L'Agence Nationale pour l'Emploi" (The National Employment Agency). It replaces the "Bureaux de placement" (employment agencies). The author studies how its tasks are defined, and what constraints it has towards its "employer", the State. The article ties together the political debate and the first moments of its implementation.Résumé : En 1967, une nouvelle institution publique est crée, l'Agence nationale pour l'emploi. Elle se substitue aux Bureaux de placement antérieurs. Comment sont définies ses missions, avec quelles contraintes envers son tuteur, l'Etat, pour le compte de qui elle agit. L'article relate le débat politique et les premiers moments de la mise en oeuvre.Muller Martine. La naissance de l'agence nationale pour l'emploi. Institution et mission de service public. In: Sociétés contemporaines N°3, Septembre 1990. Gestions du social. pp. 19-32
In memorian Martine Broda, Nancy 1947-Paris 2009
No full textRésumé: L’auteur présente la poète et essayiste française Martine Broda. Après nous avoir rappelé quelques concepts contenus dan “L’amour du Nom”, essais sur la poésie et la lyrique amoureuse, l’auteur nous présente “Deslumbramientos” -la traduction qu’il a fait d’ “Éblouissements”- et les concepts majeurs de la poétique brodienne: la liaison entre poésie et langage, la fonction de l’horreur et de l’innombrable, la dimension éthique de la poésie, l’illumination de l’autre… L’article s’achève par la reproduction de 7 poèmes de Broda et sa traduction à l’espagnol par Veyrat.Abstract: The author introduces the French poet and essayist Martine Broda. After recalling some concepts from “L’amour du Nom”, an essay on
love lyricism and poetry, the author presents “Deslumbramientos” -his own translation of «Éblouissements» –as well as some concepts of the Brodian poetics: the link between poetry and language, the role of the horror and the
unnameable, the ethical dimension of poetry, the illumination of the other... This article ends with 7 poems by Broda and their translation into Spanish by Veyrat
Déviance sous le maccarthysme : de l’« un-American » au « male impersonator »
No full textThis article examines the phenomena of division and codification into masculin and féminin roles between lesbians during the 50ies in the USA and highlights the part of the given political and social environment in the construction of identity.
The author dissociates from the prevailing conception of these phenomena as a reproduction as a heterosexual society and accounts for the masculinity of « hutches » as a straight response to a repressive regime.Caraglio Martine. Déviance sous le maccarthysme : de l’« un-American » au « male impersonator ». In: Revue Française d'Etudes Américaines, N°70, octobre 1996. L'écologie aux Etats-Unis. pp. 72-86
Martine aux archives : appréhender l'auctorialité sérielle dans les archives Casterman
No full textLa série Martine de Gilbert Delahaye et Marcel Marlier fait l’objet d’un désintérêt critique frappant par rapport à l’immensité de son succès commercial. Produits industriellement dans le contexte d’une massification de l’album pour jeunes enfants, ces albums sériels témoignent de la modernité technique de Casterman, à qui ils offrent une manne considérable. Les archives Casterman, déposées aux Archives de l’État à Tournai, offrent une entrée fascinante dans la fabrique de l’album sériel. Les statistiques de vente de la maison Casterman et le dossier auteur de Marcel Marlier permettent ainsi de suivre l’affirmation progressive et paradoxale d’une auteurisation dans le cadre d’une collection de masse. En tant qu’illustrateur d’albums produits en masse, Marlier se voit doublement minorisé – et largement méprisé au sein même de l’entreprise Casterman, dont il fait pourtant la fortune. Rémunéré au forfait, Marlier passe progressivement au droit d’auteur ; le succès considérable de l’univers visuel qu’il crée avec Martine finit, par effet de contamination, par faire école dans le reste de la collection « Farandole ». L’énonciation éditoriale se voit peu à peu concurrencée par l’affirmation inattendue d’une auctorialité visuelle.The Martine series by Gilbert Delahaye and Marcel Marlier strikingly lacks critical attention, when compared to the immensity of its commercial success. Industrially produced in the context of a massification of young children’s literature, these serial picturebooks testify to the technical modernity of Casterman, to whom they offer a considerable windfall. The Casterman archives, deposited in the State Archives in Tournai, thus offer a fascinating insight into the making of the serial picturebook. The publishing house’s sales statistics and Marcel Marlier’s author file allow us to follow the progressive and paradoxical affirmation of authorship within the framework of a mass collection. As an illustrator of mass-produced picturebooks, Marlier was a commissioned worker for Casterman, whose fortune he nevertheless made. Paid on a flat-rate basis, Marlier gradually switched to copyright; the considerable success of the visual universe he created with Martine ended up, through a contamination effect, in the rest of the “Farandole” collection. The editorial enonciation was gradually replaced by the unexpected rise of a visual authorship
The Working Papers of Hugo Grotius:Transmission, Dispersal, and Loss, 1604–1864
No full textThe Working Papers of Hugo Grotius is the first full-length study of the handwritten documents initially used by the author of Mare Liberum (1609) and De Jure Belli ac Pacis (1625) in his day-to-day activities as a scholar, lawyer, and politician, but subsequently incorporated into his own or other archives. Martine van Ittersum reconstructs a process of transmission, dispersal and loss that started during Grotius’ lifetime and ended with the papers’ auction in 1864. This is also a study of archival afterlives. Our understanding of Grotius’ life and work is shaped by the conscious decisions of previous generations to retain or discard documents, frequently for the sake of individual lives and careers, family honour and/or larger political and religious ends
Carnaval annexé. Essai de lecture d'une fête romaine
No full textWithout attempting a global interpretation of the Roman carnaval, the author uses a specific example, the comparison of the Giostra and Gazzarra to isolate various salient elements of carnaval language. Although these belong to different registers, the information they provide about each other makes it possible for them to be considered as a homogeneous whole. Based on divers types of information, both written and iconographic, the analysis is conducted in three successive stages : an esthetic study of forms, a study of the factors responsible for the phenomena and finally the explicit and implicit values communicated by this official public fete which merged with the ritual of the carnaval and annexed it. How did the reigning Barberini family, through use of symbols taken over and revitalized by the 1634 Giostra del Saraceno, annex the festive virulence of the carnaval and impose their own political system and a socio-cultural model? By the use of ethnological methods, the author is able to shed some light on the carnaval ritual and the way it functioned in Roman society at the beginning of the 17th century.Boiteux Martine. Carnaval annexé. Essai de lecture d'une fête romaine. In: Annales. Économies, Sociétés, Civilisations. 32ᵉ année, N. 2, 1977. pp. 356-380
’Urbs, ’urb girls and Martine Delvaux’s Rose amer
No full textThis article considers representations of exurban spaces in Martine Delvaux’s Rose amer (2009), positioning it in relation to a broader take-up of “regional” spaces in Québec fiction. It argues that Delvaux’s novel is prescient in its blurring of distinct spatial categories. Examining how Rose amer parallels setting and characters, the article argues that it offers an intervention in the politics of memorialization. This is achieved through a focus on the standardized and reproducible, so that the vernacular domestic geographies featured within the novel become everyday monuments to the violence which is daily perpetrated against girls and women.Novelist, essayist, and public intellectual, Martine Delvaux is known for her literary and theoretical engagement with feminism. Not surprisingly, critics tend to focus on the identity politics within her work (Montpetit 2009; Tardif 2017). However, the author is an evocative place-writer. As Chantal Guy points out in a review of Les Cascadeurs de l’amour n’ont pas droit au doublage (Delvaux 2012a), “les lieux, dans les romans de Martine Delvaux […], sont importants” (Guy 2012). In this article, I shall examine how gender and literary geographies come together to particular effect in Delvaux’s Rose amer (Delvaux 2009a), translated into English by David Homel as Bitter Rose (2015a). The novel traces the social mores of white- and blue-collar Québec and Franco-Ontario during the 1970s and 1980s. Its taking up of themes like single-motherhood, domestic labor, and sexual violence is combined with a depiction of everyday middle- and lower-middle-class life in accommodation such as the bungalow and row house. Rose amer can be positioned in relation to broader trends in French-language fiction from Québec, in that, with the exception of the opening section, it is set outside Montréal. The city has tended to dominate Québec prose writing in both of the province’s majority languages since the 1940s, especially since the nationalist assertion of the 1960s known as the Quiet Revolution. However, the last 20 years have seen a growing body of new regional writing in French.In what follows, I propose that the settings of significant parts of Rose amer can be read as inscriptions of what I term “’urb-anization.” As outlined in the introduction to this dossier, ’urbanization is fostered by global communications technologies and the expansion of housing forms in locations which are not quite rural and not quite urban, but various combinations of both. In claiming that Delvaux’s novel mediates this phenomenon, I demonstrate how places within Rose amer have their parallels in fictional characters. Drawing on Delvaux’s concept of “les filles en série” (Delvaux 2013), I argue that the girls in the novel function as individuals and a collective: given identities of their own, they can nevertheless seem to merge into one. Similarly, the village and suburb are distinctive and everyplaces, offering a model of ’urban life which carries an affective charge like those found in other examples of Québec culture of the period, such as Arcade Fire’s smash nostalgia-fest, The Suburbs (2010). There is a tension in Rose amer, however, between affection and an unease at the gendered violence tacitly underlying everyday routines, which ensures that girls are out of place within the domestic landscapes they inhabit. As a consequence, these landscapes become not only emblems of particular moments in North American housing developments, but also monuments to girls’ and women’s unseen pain
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