648 research outputs found
Vivre avec le cancer
No full textMénoret Marie, Becchio Mireille, Tremblay Annie, L’Heureux Michel. Vivre avec le cancer. In: Santé, Société et Solidarité, n°1, 2010. Le cancer au quotidien. pp. 87-96
Bill Tremblay, 12th Annual ODU Literary Festival
No full textBill Tremblay is the author of five books of poetry. The poems in Crying in the Cheap Seats, 1971, were called ambitious and intense, natural and sprawling. His vision is turned in on himself and turned back on the world, on the crises of conscience that envelop all men. The Anarchist Heart, 1977, drew this praise: Bill Tremblay\u27s poems are committed to life… . Tremblay looks at his history and moment, tangles with it all, struggles from it and deals it to us in the poem. Home Front, 1978, brought this response: Bill Tremblay\u27s poetry grows like the broadening light of day: discovering new angles and textures in the old human concerns, seeking out the pockets of shadow which mask true motive and feeling. Of Second Sun: New and Selected Poems, 1985, critics said, There is often a wonderful energy...a kind of whirling energy...he has a fantastic grasp of the way human psyches, especially those in distress, move, and he does not encourage the pale esthetic stuff…but writing about the most important experiences... . Duhamel: Ideas of Order in Little Canada, a collection of poems in the voice of a French-Canadian painter living in New England, has been praised for the way the harsh complex clarity and the paradoxically tender compassion of this book make an extraordinary power for the dimensions of its hero. Bill Tremblay offers a unique testament to a world whose brutal fragility has found no other way to speak. Born in Connecticut, Tremblay now lives in Fort Collins, Colorado, and teaches at Colorado State University
Mixing the Immiscible: Improvisation within Fixed-Media Composition
No full textThis paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as ‘the aesthetics of perfection’ and ‘the aesthetics of imperfection’. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research’s main document will also be advocated for, as these trends are happening in the laboratory of live music
Richard Max Tremblay : Portrait
No full text"For over thirty years, Richard-Max Tremblay has created photographs and paintings focussing on the central figure of the portrait. Through an essay and an interview with the artist, author André Lamarre, privileged witness to Tremblay’s work for over twenty-five years, takes us on a journey of discovery into the creative process, artistic approach, and splendour of Tremblay’s work." - Publisher's website
Considérations sur l’art vocal dans l’oeuvre de Gilles Tremblay
No full textL’auteur explore, en tant qu’interprète, quelques-uns des aspects de la musique vocale de Gilles Tremblay en s’attachant exclusivement à l’étude de la morphologie de son écriture lyrique ainsi qu’aux habiletés qu’elle exige. Le travail sur la voix suit deux voies parallèles se nourrissant l’une l’autre : la nature organique de la voix et ses capacités instrumentales. Là se trouve l’enjeu de toute technique vocale. Tremblay se réclame d’un bel canto inclusif tirant autant profit de la nature profondément verbale de la voix que de ses extraordinaires capacités « instrumentales ».From the perspective of a performer, the author discusses certain features of Gilles Tremblay’s vocal works, with particular emphasis on the shape of his lyric output and the performance abilities it demands. Vocal training follows parallel paths of mutual inspiration: the development of the organic voice itself and that of its instrumental capabilities. All vocal technique revolves around this process. The author concludes that Tremblay adheres to an all-encompassing bel canto approach that draws equally from the voice’s natural qualities and from its remarkable potential as an instrument
Le maintien de l’équilibre émotif des intervenants
No full textOppenheim Daniel, Blais Francine, Baszanger Isabelle, Tremblay Martine. Le maintien de l’équilibre émotif des intervenants. In: Santé, Société et Solidarité, n°1, 2010. Le cancer au quotidien. pp. 69-76
Variations sur l’oralité: Victoire! de Michel Tremblay
Get PDFThis contribution focuses on a linguistic study of Michel Tremblay’s novel Victoire! (2020), with the aim
of highlighting the devices used by this Quebec writer to represent different levels of orality. After briefly
recalling the characteristics of Tremblay’s writing and the thematic interest of the linguistic question in
this novel, I will structure my analysis according to the typologies of fictional representation of orality defined by Catherine Rouayrenc (2010), namely “oralité normée”, “courante” et “marquee”. After reviewing
the characteristics of each level, I will examine the linguistic features used by Tremblay. The conclusion
will attempt to show how the author succeeds in recreating an authentic portrait of the linguistic situation of Quebec
Variations sur l’oralité: Victoire! de Michel Tremblay
Get PDFThis contribution focuses on a linguistic study of Michel Tremblay’s novel Victoire! (2020), with the aim
of highlighting the devices used by this Quebec writer to represent different levels of orality. After briefly
recalling the characteristics of Tremblay’s writing and the thematic interest of the linguistic question in
this novel, I will structure my analysis according to the typologies of fictional representation of orality defined
by Catherine Rouayrenc (2010), namely “oralité normée”, “courante” et “marquee”. After reviewing
the characteristics of each level, I will examine the linguistic features used by Tremblay. The conclusion
will attempt to show how the author succeeds in recreating an authentic portrait of the linguistic situation
of Quebec
Les avatars de la mère. La réécriture de soi dans le monde de Michel Tremblay
Get PDFAlthough the works of Michel Tremblay are replete with references to other authors, it is the phenomenon of autotextuality that becomes the focal point of the analysis in this article. The author of “Chroniques du Plateau Mont-Royal” and numerous plays and novels binds them all together by resorting to the recurrence of his figures. Thus, the figure of Mother, a figure grafted onto the network of Michel Tremblay’s works, undergoes a metamorphosis from boisterous and authoritarian Nana Tremblay (in the autobiographical prose and drama) to a symbol of ideal motherhood embodied by The Great Mother of Tremblay’s universe. She gives the beginning to both new life and new writing and hence she becomes her writer-son’s inspiration and creative muse.Key words: Michel Tremblay; autotextuality; metamorphoses; mother; writin
La perte des particules
No full textLe présent travail présente une étude quantitative d’un changement dans l’encodage de la direction en ancien (12ème et 13ème siècles) et en moyen français (14ème, 15ème et 16ème siècles), changement associé à la perte des particules dans cette langue. Deux études récentes en ancien français arrivent à des conclusions totalement opposées à propos de la directionalité du verbe et de la particule. Selon Tremblay, Dupuis and Dufresne (2004), les verbes de mouvement de l'ancien français n'étaient pas directionnels, et ce sont les particules qui étaient encodées pour la directionalité. Les recherches de Burnett et Tremblay 2009 ont poussé plus loin l'étude des particules et des prépositions et de leur interprétation. En montrant que toutes les particules de l'ancien français étaient également employées comme prépositions, elles rejettent l'hypothèse de l'homonymie. Leurs analyses tentent également d'expliquer pourquoi les particules aspectuelles et les particules directionnelles sont en distribution complémentaires. Ce sont les verbes qui sont directionnels et qui permettent l'interprétation dynamique des particules, qui sont locatives de façon inhérente.
L'objectif premier du présent travail sera de tester, à partir d’un large corpus électronique, ces deux hypothèses contradictoires quant à la cause du changement. Nous nous pencherons plus particulièrement sur la perte de productivité des particules arrière et avant et verrons que, même si notre étude ne permet pas encore d’exclure complètement l’hypothèse selon laquelle la perte de productivité des particules dans l’histoire du français serait attribuable à un changement de type paramétrique associé à la lexicalisation des préfixes aspectuels sur les racines verbales, l’hypothèse la plus plausible serait que la perte des particules soit le résultat d’un processus de diffusion d’un changement lexical ayant affecté les constructions verbe-particule l’une après l’autre
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