229 research outputs found
André Breton’s Nadja: A \u3cem\u3eVagabonde\u3c/em\u3e in a \u3cem\u3eFemme Fatale’s\u3c/em\u3e Narrative
No full textThrough diverse styles of written and visual text (diary and pseudo-autobiographical narrative, drawings and photographs), André Breton—the narrative agent of Nadja (1928, revised by the author, 1962) who happens to share the author\u27s name—sets forth to recount his interactions with a mysterious âme errante whom he follows literally down a myriad of Parisian streets and figuratively to diverse avenues of self-understanding. However, if Breton initially finds himself intrigued—dare we say obsessed—by the eponymous Nadja, as the narrative progresses her aimless wandering, telepathic powers and free association speech eventually bore, unnerve and even frighten him. In fact, Nadja\u27s errant words and actions become so threatening for Breton that he ceases to see her in the best interest of his own wellbeing. At the work\u27s conclusion, Nadja\u27s wandering is put to an end when she is interned in an insane asylum; as if to underline his change of heart, Breton does nothing to free or even visit Nadja, preferring instead to pursue a far safer and less enigmatic love interest
Стратегии конструирования идентичности в мусульманском хип-хопе. Разносторонний анализ творчества немецкого рэпера Сахиры
No full textThe aim of Nadja Thoma's paper is to explore how young Muslim artists construct identity within contemporary hip-hop culture in Germany. Using the example of the rapper Sahira,the author focuses on the following questions: Which strategies are used to express religious identities in hip-hop? Which modifications of the traditional hip-hop culture can be observed within and through elements of Muslim culture and religion? The data used in the paper ranges from visual resources (a CD cover and the logo of the record label) to song lyrics and interview excerpts.In the first section of her paper the author offers an orientation towards hip-hop culture, introducing a number of important cultural concepts for the successive discussion. Then she provides an overview of discussions about the permissivity of music, especially hip-hop andIslam. Finally, Thoma deals with identity construction in German hip-hop culture and discusses of how cultural and religious identity is constructed in the work of the German rapper Sahira. At the conclusion, Nadja Thoma states, that multimodal analysis shows that German Muslim rap is the achievement of a recontextualization process, wherein a global cultural model has been adapted to a specific audience in a different reception country. Beyond the mere use of different languages as markers for ethnic belonging, Sahira uses religious visual codes and linguistic phrases in order to transgress ethnic differences and monocultural, monoreligious or Islamophobic conceptions which, in her opinion, could restrict communication. Furthermore, the different visual and linguistic elements are a demonstration of Sahira's ability to insert new elements into the existing hip-hop culture, one of the abilities which label someone a good and real rapper.Надя Тома анализирует в своей статье способы конструирования мусульманской идентичности средствами современной молодежной культуры на примере немецкой хип-хоп-исполнительницы палестинского происхождения Сахиры. Констатируя широкое распространение альтернативной музыкальной культуры, в частности хип-хопа в субкультуре молодых мусульман Германии, автор задается вопросом, какие стратегии используют современные мусульманские рэперы для выражения своей конфессиональной идентичности, как модифицируются стандарты хип-хоп-культуры в преломлении исполнителей мусульман и в соединении с элементами традиционной исламской культуры и религии. Исследуя обширную дискографию немецкого хип-хопа, Тома демонстрирует, что взаимодействие ислама и хип-хопа носит обоюдный характер, что выражается в росте числа принимающих ислам рэперов немусульманского происхождения. Рассматривая пример Сахиры как case-study, исследовательница приходит к выводу, что в этом примере проявляется процесс «реконтекстуализации», когда глобальная культурная модель (в данном случае, музыкальный стиль) адаптируется к потребностям специфической мусульманской аудитории отдельной страны. При этом религиозная символика и знаковая система используется как для преодоления этнолингивистических различий разных групп аудитории исполнителя, так и для разрушения монокультуралистских и исламофобских стереотипов германского общества. Таким образом, Сахира утверждает себя не только как истинная мусульманка, но и как «реальный» рэпер
Imagem e palavra: o jogo surreal das fotografias em Nadja, de André Breton
No full textThis paper aims to understand the inclusion of photographs in the novel Nadja (1928), by André Breton. Although the author states that they would be used to eliminate excess description, one realizes that perform other functions. They may represent a portal between the real world and the surreal present in the novel, forming a parallel between the word and the image. Thus, through an intertextual game they would be the link that refers the reader to the reality, but also induces observe the world from a more unusual point of view, more unusual than the purely documentary photographs.Este trabalho tem por finalidade compreender a inserção de fotografias na obra Nadja (1928), de André Breton. Embora o próprio autor afirme que elas seriam usadas para eliminar o excesso de descrição, percebe-se que desempenham outras funções. Elas podem representar um portal entre o mundo real e o mundo surreal presentes no romance, formando um paralelo entre a palavra e a imagem. Assim, através de um jogo intertextual elas seriam o elo que remete o leitor à realidade, mas também o induz a observar o mundo sob outro ponto de vista, mais inusitado que o das fotografias puramente documentais
Neguentropia e surrealismo. Uma leitura de Nadja, de André Breton
No full textNadja, written by the French author Andre Breton, holds the position of having implemented the aesthetics and semantics proposals of the Surrealist Manifestos, especially the 1924’s, which is a kind of foundation document of the movement. The inspired Breton’s peroration, in the artistic plan, states itself against descriptive and stilted novels, which are based on the idea of illusion of representation, and, on the social plan, challenges the perception of reality as an suprasensible truth by the idea of work and progress, excluding the crazy person from the social enviroment and locking him up in a real Kafkaesque hell, materially and conceptually. In a kind of otherness, Nadja’s protagonist, a Nietszche reader, will be a flaneur, widely aware; it will be up to him to decide whether and how the free association, the childlike simplicity, and the coherency in the madness should be (re)considered. These ideas are the determinants of a new perception of the world to Breton, and even more loyal to the earth than the metanarratives of the West. As opposed to the utensil men, described by Sartre in Aminadab (1947) as those who give themselves up to a tedious/utilitarian life, Breton’s protagonist represents what can be classified as a counterpoint, through the moral of resistance, giving Surrealism the nonentropic job of Modernism as a kind of last breath.Nadja (1928), do francês André Breton, guarda a condição de haver realizado, estética e semanticamente, as propostas advindas dos Manifestos Surrealistas, sobretudo ao de 1924, espécie de documento fundador do movimento. A inspirada peroração de Breton, no plano artístico, volta-se contra os romances descritivos e empolados, claudicados à ideia de ilusão da representação, enquanto, no plano social, contesta a percepção da realidade como uma verdade suprassensível, pelo viés do trabalho e ideia de progresso, excluindo o louco do seio social e trancafiando-o em verdadeiro inferno kafkiano, material e conceitualmente. Como uma espécie de alteridade, o protagonista de Nadja, leitor de Nietzsche, será um flanêur amplamente consciente; caberá a ele estabelecer a medida em que ideias como: livre associação, simplicidade infantil e a coerência na loucura, devam ser (re)consideradas, determinantes de uma nova percepção do mundo, para Breton, muito mais fiel à terra que as metanarrativas estruturais do Ocidente. Em oposição aos homens-utensílios, descritos por Sartre, em Aminadab (1947), como aqueles que se entregam à vida tediosa/utilitária, o protagonista de Breton exerce o que pode ser classificado como um verdadeiro contraponto, pela moral de resistência, dando ao Surrealismo o múnus neguentrópico do Modernismo, como uma espécie de suspiro derradeiro
A busca que nunca termina: modernidade, romance e poesia em Nadja, de André Breton
No full textIn a context of extreme rationalization and utilitarianism, that of the first decades of the twentieth century, the surrealist vanguard emerges as a way of endurance, seeking to perform and to find in art a place of fantasy and freedom which the modern world does not allow individuals to fully and autonomously live in. This pursuit for the meanings of life and the world, a trait of the problematic individual in conflict with his surrounding reality, as asserted by Georg Lukács, is manifest in the figure of Andre Breton, narrator and representation of the author himself in Nadja. In the beginning of the novel, he wanders aimlessly around the streets of Paris hoping to find in the big city – the greatest symbol of modernization – the sensory, the poetic, the essential, and the liberating experiences idealized by the surrealist art. Thus, the novel represents, on the one hand, the surrealist ideal of a poetic existence and a vital poetry in capturing the delicate and stormy relationship between the narrator and Nadja, who represents the very idea of freedom and creation, effulgent manifestation of desire, source of fascination and magical enchantment of existence; on the other hand, the novel also expresses the disappointment towards the transience of a passion that, being so overwhelming, simply cannot last. The aesthetic and artistic recreation of a sensual and idealist experience dissipates when faced with a reality that is always stronger and more abrasive than the poetic dream is able to endure.Em um contexto de racionalização e utilitarismo extremos, o das primeiras décadas do século XX, a vanguarda surrealista surge como forma de resistência, buscando realizar e encontrar na arte um espaço de sonho e liberdade que o mundo moderno não permite que os indivíduos vivam de forma completa e autônoma. Esse movimento de busca pelo sentido da vida e do mundo, característico do indivíduo problemático, como denomina Georg Lukács, desajustado da realidade que o cerca, fica claro na imagem de André Breton, narrador e figuração do próprio autor em Nadja (1999), pois desde as primeiras páginas do romance ele se lança pelas ruas de Paris, esperando encontrar na grande cidade, justamente o símbolo máximo da modernização, as experiências sensíveis, poéticas, essenciais e libertadoras idealizadas pela arte surrealista. Nesse sentido, o romance representa, de um lado, o ideal surrealista de uma existência poética e de uma poesia vital ao flagrar a delicada e tempestuosa relação do narrador com Nadja, representação da ideia mesma da liberdade e da criação, manifestação fulgurante do desejo, fonte de fascínio e encantamento mágico da existência; mas, por outro lado, o romance também expressa a desilusão diante da transitoriedade de uma paixão tão avassaladora que não pode durar, a recriação estética e artística de uma experiência sensual e idealista que se dissipa diante de uma realidade sempre mais forte e abrasiva do que o sonho poético pode suportar
A busca do infinito por meio da figura feminina em Nadja, de André Breton, e Voyages de l’ autre côté, de Jean-Marie Gustave le Clézio
No full textPublished in 1975, Voyages de l’autre côté, by Jean-Marie Gustave Le Clézio, critically recovers some ideals of the surrealist vanguard in the image of the character Naja Naja that is explicitly associated with the main character of Nadja (1928), by André Breton. Similar to the surrealists, Le Clézio subverts man’s relation with the world by suppressing the daily, utilitarian and practical aspect of life. The author breaks with the surrealist ideas due to his belief that the absolute does not need to be searched in any abstract reality, because it is concretely present in the core of the real. Thus, Le Clézio takes as his own the surrealist vanguard, updating his desires in the context of the contemporary literature.
Keywords: Le Clézio. French literature. Contemporary literature.Publicado em 1975, Voyages de l’autre côté, de Jean-Marie Gustave Le Clézio recupera de forma crítica alguns ideais da vanguarda surrealista por meio da personagem Naja Naja, que se associa explicitamente à personagem título de Nadja (1928), de André Breton. Como os surrealistas, Le Clézio subverte as relações do homem com o mundo, a fi m de suprimir o caráter cotidiano, utilitário e prático da vida. No entanto, rompe com o pensamento surrealista, pois o absoluto, segundo o autor, não precisa ser procurado em uma realidade abstrata, uma vez que está presente de modo concreto no seio do real. Dessa forma, Le Clézio se apropria da vanguarda surrealista, atualizando seus anseios no contexto da literatura contemporânea.
Palavras-chave: Le Clézio. Literatura francesa. Narrativa contemporânea
Exploring the Role of Empathy in Designing Social Robots for Elderly People
No full textSocial robots are emerging as a valuable tool in promoting holistic person-centered care and well-being among seniors. One aspect that often affects seniors' lives is the feeling of loneliness and social isolation. In the context of the SISTER project, we aim to investigate the acceptance of a personal social robot as a tool to mitigate these aspects. Empathy plays an important role in establishing a human-robot emotional and social connection. As a first phase of our project, we investigate empathy's impact on human-robot interaction when a social robot serves as a senior companion. For this purpose, two robot dialog versions were developed: a non-empathic version, acting as a conversational interface without considering users' emotional states, and an empathic version in which emotion recognition is used to understand and respond empathically to the users' emotional state. Thirty older adults were involved in the study, revealing that, as far as senior-robot interaction is concerned, the empathic condition resulted in a more usable and positive experience showing that this robot's capability should be considered in future developments for personalizing the interaction
Flexibility and security within European labor markets: the role of local bargaining and the different ‘trade-offs’ within multinationals' subsidiaries in Belgium, Britain and Germany
No full text© The Author(s) 2016. In this comparative qualitative study, the authors examine how local bargaining shapes the trade-off between labor flexibility and employment security policies in four multinational subsidiaries in Belgium, Britain, and Germany. They also consider whether and how union power to shape flexibility and security policies is affected by national institutions, the way that multinationals organize their subsidiaries, and local contextual factors. Findings support this multilevel, interdependent framework. Trade-offs are shaped by differences in workers' structural power in specific local subsidiaries. Differences in inter-subsidiary organizational configurations, markets, and technologies modify how unions can leverage collective resources to wield power in their relationship with management.sponsorship: VALERIA PULIGNANO is a Professor at the Katholieke Universiteit Leuven. NADJA DOERFLINGER is affiliated with Katholieke Universiteit Leuven. FABIO DE FRANCESCHI is affiliated with Katholieke Universiteit Leuven. This research received a grant from the Onderzoektoelage OT/10/015 and the Federale Wetenschappelijk Onderzoek G.0773.11 ("Multinationals in Europe between flexibility and security"). We thank Paul Marginson for his very useful comments on a previous version of this paper. We are very much grateful to the editor and the three reviewers for their insightful comments. We thank also the participants at the ILERA symposium "Collective bargaining and the flexibility-security agenda," Amsterdam, June 20-22, 2013, for their stimulating feedback. Additional results and copies of computer programs used to generate the results presented in this article are available from the lead author at [email protected]. (Onderzoektoelage|OT/10/015, Federale Wetenschappelijk Onderzoek|G.0773.11)status: Publishe
- …
