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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: De Meulemeester, Jean Luc;

    In this paper we assess both the benefits of academic freedom and the conditions required for its existence. We propose a long run historical sketch to put forward the institutional and financial characteristics of the Humboldtian model that stressed the very idea of academic freedom. We show how this model influenced the later developments of higher education, both in Europe and the USA. We stress how the post-WW2 massive expansion of higher education led to more utilitarian considerations by the State funding the institutions. The crisis of the 70s and the rise of neoliberalism since the early 80s led to the emergence of a new vision of higher education as a tool for economic performance. In this new and anti-Humboldtian perspective, higher education institutions are monitored from above (regulated competition, selective funding, output-based rather than input-based) and transformed internally into firm-like organizations. We question the potential dangers for academic freedom. info:eu-repo/semantics/published

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    DI-fusion
    Research . 2020
    Data sources: DI-fusion
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      DI-fusion
      Research . 2020
      Data sources: DI-fusion
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    Authors: Louryan, Stéphane;

    Physical anthropology was born in the Université libre de Bruxelles in the years 1880, at the Faculty of Medicine, without direct relationship with the human anatomy. The first anthropologists were there Paul Héger, Victor Jacques and Emile Houzé, who devoted the main part of their researches to craniology. It is the only little before the second Wold War, with François Twiesselmann, that this discipline acquired really the statute of science, while enlarging to statistics and genetics to become anthropobiology. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
    Data sources: DI-fusion
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
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      DI-fusion
      Article . 2019 . Peer-reviewed
      Data sources: DI-fusion
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    Authors: Laoureux, Denis;

    Entre 1888 et 1893, le Cercle des femmes peintres de Bruxelles organise quatre expositions rassemblant 400 tableaux peints par près de 80 femmes. Celles-ci sont décrites par la presse d’époque comme des dilettantes. L’analyse montre pourtant qu’elles présentent un niveau de professionnalisation contraire à l’oubli qu’elles connaissent aujourd’hui. Plusieurs paramètres permettent d’en prendre la mesure. Le réseau relationnel, le niveau de visibilité dans les Salons d’État, les indicateurs de légitimité (prix, titres.) et les valeurs chiffrées des œuvres font ressortir un corpus d’une trentaine d’artistes qu’il conviendrait de réintégrer au canon de l’histoire de l’art de la Belgique fin de siècle. info:eu-repo/semantics/published

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    Purdue E-Scholar
    Other literature type . 2019
    Data sources: Purdue E-Scholar
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    DI-fusion
    Conference object . 2019
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      Purdue E-Scholar
      Other literature type . 2019
      Data sources: Purdue E-Scholar
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      DI-fusion
      Conference object . 2019
      Data sources: DI-fusion
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    Authors: Gallez, Philomène;

    La présente thèse a pour objet d’étude les entrepreneures montréalaises du XXe siècle, entendues au sens strict de propriétaires principales d’au moins une entreprise privée de production ou de distribution de biens ou de services. Il s’agit, plus précisément, de définir et d’analyser les caractéristiques personnelles de ces femmes et celles de leurs entreprises, d’examiner les enjeux qu’elles affrontent collectivement, d’explorer les récits tenus à leur sujet par elles-mêmes ou par autrui et de situer les transformations de ces différents éléments dans le contexte urbain de Montréal de la période 1920-1980. Il est question, plus fondamentalement, de porter un regard critique sur la perception de ce phénomène et sur ce que nous considérons être la construction discursive de son caractère exceptionnel.L’analyse quantitative des recensements du Canada et des annuaires de commerce Lovell met en lumière l’existence, largement minoritaire par rapport au groupe des hommes, de femmes à la direction d’entreprise entre 1920 et 1980, leur concentration dans les commerces de détail et les services et la croissance exponentielle de ce groupe à partir des années 1960. Cette tendance apparaît comme la conséquence de l’entrée massive des femmes, et notamment des femmes mariées, sur le marché du travail salarié, mais aussi de la tertiarisation de l’économie à partir de la Seconde Guerre mondiale. Une petite minorité de ces femmes qui occupent des postes de gestion sont propriétaires de leur entreprise. Elles exercent leur profession principalement dans les petits commerces de détail d’alimentation, de mode ou encore de salons de beauté, sont mariées, tiennent leur boutique au cœur des quartiers montréalais à majorité francophone, et ce, pendant moins de 8 ans. La croissance et la décroissance de ce groupe avec l’année 1940 comme date charnière s’expliquent principalement par une activité entrepreneuriale féminine temporaire pendant les années de crise économique.Une certaine élite de cette collectivité d’entrepreneures montréalaises a, conjointement avec d’autres femmes salariées, formé les rangs de l’Association des femmes d’affaires de Montréal (de la Fédération nationale Saint-Jean-Baptiste), du Business and Professional Women’s Club ou du Committee of Trades, Business and Professions for Women (du Montreal Local Council of Women). Ces groupements sont principalement des lieux de réseautage et de socialisation pour leurs membres. Ils se sont, cependant, aussi engagés pour améliorer la situation des femmes en affaires. Les francophones, surtout actives pendant la première moitié du siècle, ont défendu un enseignement commercial pour les femmes et soutenu les modistes face aux pressions des commerces de gros, des manufactures et des employées du secteur. Les anglophones, de leur côté, se sont principalement concentrées sur la défense du travail salarié des femmes et se sont plutôt positionnées, à partir des années cinquante, en faveur de l’accès des femmes aux postes à responsabilité tant dans le secteur privé que public et tant comme propriétaires que comme gestionnaires salariées. Après la Seconde Guerre mondiale, quelques femmes francophones intègrent aussi le bastion masculin de la Chambre de commerce du district de Montréal (CCDM). Entre 1957 et 1971, cette institution met en place un comité qui rassemble les forces vives de l’entrepreneuriat, de la direction d’entreprise ou du salariat féminin. La question de la dépendance de ce regroupement aux autorités (masculines) de la CCDM génère rapidement des tensions et reste tangible tout au long des quinze années d’existence du Conseil des femmes membres (CFM) de la CCDM. En effet, l’analyse des activités du CFM de la CCDM proposées exclusivement à ses membres (féminins) ou menées de concert avec les autres membres (masculins) de la CCDM et des discours prononcés au sujet de l’intégration des femmes au sein de cette institution démontre la persistance, dans cet univers, d’une stricte conception genrée des rôles dans le monde des affaires francophone. Enfin, seul un nombre restreint d’entrepreneures qui ne connaissent que des « succès » commerciaux et correspondent à la définition de la « féminité » — soit des entrepreneures « exceptionnelles » — a une visibilité dans les revues populaires, les documents des fédérations d’associations de femmes et de la CCDM. Ces femmes n’agissent que dans les domaines « féminins » du vêtement, de la beauté ou du petit commerce spécialisé. Elles sont rapidement reconnues sur le marché montréalais, provincial, national, voire international. Si elles n’en sont pas originaires, elles se forment en France ou aux États-Unis et y séjournent régulièrement pour se procurer leurs matériaux. Elles offrent des produits et des services de qualité, adaptent leurs prix aux origines de leur clientèle (toujours féminine) et dirigent un personnel (souvent des femmes). Elles ne connaissent que rarement l’échec. Elles conjuguent, de plus, leurs obligations maternelles et professionnelles à la perfection, soignent leurs commerces « comme des maîtresses de maison » et exercent leurs activités à domicile. Au contraire, lorsqu’elles osent intégrer des bastions « masculins », elles connaissent la discrimination et de très grandes difficultés. La Chambre de commerce de Montréal, quant à elle, initialement silencieuse sur l’entrepreneuriat féminin, ajoute, au tournant des années soixante, dans un contexte favorable à l’entrepreneuriat francophone et aux empires familiaux, une caractéristique supplémentaire à cette entrepreneure idéale, celle d’être l’héritière d’une entreprise florissante d’un père ou d’un mari. Ce modèle, s’il s’adapte au contexte spécifique des francophones de Montréal et se transforme lors des moments de rupture de 1945 et 1960, reste, fondamentalement identique tout au long du XXe siècle et conditionne notre perception de l’entrepreneuriat féminin.Ultimement, l’analyse et la confrontation de ces données quantitatives et discursives forcent à poser, plus largement, un regard critique sur la question de la constante « exceptionnalisation » de l’entrepreneuriat féminin. Il ressort de cette analyse que les femmes qui s’adonnent à ce type d’activités professionnelles sont, elles-mêmes, profondément influencées par ces différents schémas de pensée pour se définir et agir, mais, surtout, que les discours qui véhiculent des informations relatives aux entrepreneures montréalaises en sont aussi fondamentalement inspirés. Or, cette caractéristique apparaît surtout comme une construction discursive, intrinsèquement liée aux idéologies capitaliste, patriarcale et, pour les francophones de Montréal, nationaliste. Il semble donc nécessaire de la relativiser et de la démystifier.Cette thèse s’inscrit dans l’historiographie nord-américaine et européenne qui, en croisant les réflexions issues de l’étude de l’histoire économique et des affaires, des femmes et des théories du genre, a, depuis les années 1980, dévoilé les activités financières et commerciales de femmes dans d’autres contextes urbains jusqu’au milieu du XXe siècle et mis en exergue le biais genré de l’histoire des affaires. Ces recherches soulignent les spécificités des rapports qu’entretiennent les femmes avec la propriété privée et la gestion d’entreprise et, plus largement, leurs contributions au développement économique urbain. Le présent texte y ajoute des données montréalaises de la période 1920-1980 ainsi qu’une réflexion critique sur les discours émis à ce sujet par les femmes d’affaires elles-mêmes, par le monde commercial ou par autrui. This doctoral thesis examines business women from Montreal in the 20th century, that is, the primary owners of at least one private business manufacturing or distributing goods and/or services. We will define and analyze these women’s individual characteristics and those of their businesses, consider the issues they face collectively, explore the the stories told about them, by themselves or others, and situate the transformations of these different elements in the urban context of Montreal in the years 1920-1980. In short, we will, take a critical look at the perception of this phenomenon as well as the discursive construction of its exceptional character.Quantitative analysis of Canadian censuses and of Lovell business directories show a minority presence of women, compared to men, in the management of businesses between 1920 and 1980, and a high concentration of women in retail businesses and services, as well as exponential growth of this group, starting in the 1960s. This tendency appears as a consequence of the massive arrival of women, especially married women, on the wage labor market, but also of the tertiarization of the economy, beginning during the Second World War. A small minority of these women in management positions were owners of their business. They worked principally in small retail businesses, in the food, fashion, or beauty salon industries, were married and owned their businesses in French-speaking neighborhoods of Montreal, for less than 8 years. With the year 1940 as a pivotal date, the growth and decline of this group can be explained mainly by a temporary feminine business activity during the years of economic plight.An elite of this group of Montreal's businesswomen, together with other salaried women, formed the ranks of the Association des Femmes d'affaires de Montréal de la Fédération nationale Saint-Jean-Baptiste, of the Business and Professional Women’s Club or of the Committee of Trades, Business and Professions for Women of the Montreal Local Council of Women. These groups were essentially places of networking and socialization for their members. They were, however, also committed to improving the situation of women in business. The French-speakers, especially active during the first half of the century, fought for a business education for women and supported the milliners when they faced pressure from wholesalers, manufacturers, and employees in the sector. The English-speakers, for their part, focused mainly on defending wage labor for women and from the 50s onwards, positioned themselves in favor of access for women to management positions, both in the private and public sectors. After the Second World War, a few French-speaking women became members of the Chambre de commerce du district de Montréal (CCDM), a male stronghold. Between 1957 and 1971, this organization implemented a committee that brought together the driving forces of entrepreneurship, of company management as well as women wage-earners. The question of the dependence of this group to the male authorities of the CCDM quickly generated tensions and remained tangible throughout the fifteen years of existence of this CFM of the CCDM. Indeed, the analysis of the activities of the CFM of the CCDM offered exclusively to its members (female) or carried out together with the other (male) members of the CCDM and speeches made about the integration of women in this institution demonstrated the persistence, in this setting, of a strict gendered conception of roles in the Francophone business world.Finally, only a limited number of business women who were always «successful» and who suited the definition of «feminity» - in other words, «outstanding» businesswomen – had a visibility in popular magazines, papers of federations of women associations and of the CCDM. These women were only active in the «feminine» fields of fashion, beauty or of small specialized business. They were easily recognizable on the Montreal, provincial, national and even international markets. If they were not from this city, they usually received their training in France or in the United States and they stayed there often to get materials. They offered good quality products and services, adapted their prices to the origins of their (always female) clientele and managed a staff (often women). They only rarely failed. They also combined their maternal and professional obligations perfectly, looked after their businesses “like housewives” and worked from home. When they dared to penetrate masculine “strongholds,” they experienced discrimination. The Montreal Chamber of Commerce, initially silent on women's entrepreneurship, added, at the turn of the 1960s, in a context favorable to Francophone entrepreneurship and family business empires, a characteristic additional to this ideal entrepreneur, that is, to be the heir of a flourishing business established by a father or a husband. Although this model was adapted to the specific context of Montreal French-speakers and evolved during the decades immediately following the Second World War, remained fundamentally similar throughout the 20th century and determined our perception of women's entrepreneurship.Ultimately, the analysis and the confrontation of these quantitative and discursive data force us to pose, more broadly, a critical look at the question of the supposed exceptional nature of women’s entrepreneurship. It emerges from this analysis that women who engaged in this type of professional activities were, themselves, deeply influenced by these different patterns of thought in order to define themselves and influence their actions, but above all, that the discourses that concerned Montreal's businesswomen were also deeply influenced by these patterns. This characteristic appeared above all as a discursive construct intrinsically linked to capitalist, patriarchal, and, for the Francophones of Montreal, nationalist ideologies. It therefore seemed necessary to put it into perspective and to demystify the discursive construct.This thesis is part of the North American and European historiographies that, by gathering reflections emerging from the study of economic and women's business history and gender theory, have, since the 1980's, revealed financial and commercial activities of women in other urban contexts until the middle of the 20th century as well as highlighted the gender bias in business history. These studies point out the specificities of the relationships that women have with private property and business management and, more broadly, their contributions to economic urban development. The thesis adds data from Montreal from the period 1920-1980, as well as a critical reflection about the discourses of the businesswomen themselves, by the commercial world or by others. Doctorat en Histoire, histoire de l'art et archéologie info:eu-repo/semantics/nonPublished

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    DI-fusion
    Doctoral thesis . 2017
    Data sources: DI-fusion
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      DI-fusion
      Doctoral thesis . 2017
      Data sources: DI-fusion
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    Authors: Stefan Goltzberg;

    This papers shows that the meaning of transitional keywords is stable and hardly depends on the context. I focus on the following counter-oriented keywords: in French, “bien que”; in English, “however”; in Hebrew, “af al pi she”. I meet the objections according to which their meaning varies depending on the context. The consequences of my claim are far-reaching since it would mean that in the case of a problematic sentence (contradictory, trivial or unintelligible) containing such a keyword, one should consider reading another meaning in the other word classes and only then in the keywords.

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    DI-fusion
    Article . 2016 . Peer-reviewed
    Data sources: DI-fusion
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    DOAJ-Articles
    Article . 2016
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      Article . 2016 . Peer-reviewed
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    Authors: Schroeder, Nicolas;

    « Le pauvre Ardennais tire de ses bruyères, au moyen de l’essartage, son pain pour cinq à six mois. »J.A. Henry, 1854 Le présent article présente les formes de mise en culture temporaire en Ardenne belge, du Moyen Âge au début du xixe siècle. Les aspects envisagés sont multiples : techniques, impact paysager et appropriation sociale des ressources. L’ensemble documentaire est diversifié mais loin d’être exhaustif, tant la matière est abondante. L’expression « Ardenne belge » est évidemment an...

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    Book . 2020
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    Authors: Nlend Nlend, Pascal;

    Les recherches archéologiques sur le littoral méridional du Cameroun ont connu un essor depuis le début des années 2000. Les prospections, ont mis en évidence trente-huit sites archéologiques dans la région de Kribi-Campo. L’analyse du matériel issu des fouilles révèle l’existence de trois traditions céramiques régionales et d’un groupe plus local, datés de 1100 BC à AD 1460. Cela correspond à la transition de l’Age de la Pierre à l’Age du Fer Ancien, et à un contexte paléo-environnemental qui varie entre phases sèches et humides. Ses populations avaient un mode de subsistance basé sur la cueillette, la chasse, la pêche et probablement l’agriculture. Sédentaires, elles creusaient des fosses dont certaines ont eu des fonctions rituelles. Au cours de l’Age du Fer Ancien, des structures funéraires ont été identifiées. La disposition particulière des poteries et leur association à de multiples objets en fer semblent indiquer qu’on serait en présence de tombes d’une élite. Cela suggère la présence d’une société hiérarchisée s’étendant au-delà de la région de Kribi-Campo jusqu’en Guinée équatoriale il y a environ 2000 ans./Archaeological research on the southern coast of Cameroon has been rapidly expanding since the beginning of 2000. Recent surveys revealed 38 archaeological sites in the Kribi-Campo region. The analysis of the material extracted from excavations provides three regional ceramic traditions and one local ceramic group, dated between 1100 BC and 1460 AD. This corresponds to the transitional period of the Late Stone Age and Early Iron Age, which from a palaeoenvironmental perspective, was characterized by dry and humid phases. This population lived a sedentary lifestyle, based on hunting, gathering, fishing and probably also on agriculture. They dug out pits, of which some might have had a ritual function. Funerary structures were identified, dating to the Early Iron Age. The specific disposition of pots and their association with different iron objects seem to indicate the presence of elite graves. This hierarchical society might have spread beyond the Kribi-Campo region about 2000 years ago as similar burial sites were found in Equatorial Guinea. Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Debrocq, Aliénor;

    Créé le 8 novembre 1948 à Paris par huit peintres et écrivains belges, hollandais et danois, Cobra est l’acronyme de Copenhague, Bruxelles, Amsterdam. Le mouvement se propose rapidement de devenir un lien souple entre artistes et poètes de différents pays, par le biais d’un certain nombre de publications et d’expositions. Son existence officielle sera brève, puisqu’elle prend fin en 1951 avec le dernier numéro de la revue éponyme. Si les premières tentatives d’analyse historique et de synthèse sont venues des artistes et des poètes membres du mouvement, plusieurs études abouties ont vu le jour depuis les années 1970.S’appuyant sur un certain nombre d’affirmations émanant des acteurs de Cobra comme des historiens ayant écrit sur le sujet, l’auteur s’est penché sur la question de la violence picturale et théorique au sein de ce mouvement. Picturale, par la propension des artistes à brouiller la lisibilité de la composition et des figures, par leur volonté de « faire brut » et enfantin, de « mal peindre », de maltraiter le sujet en le rendant méconnaissable, hybride, défiguré. Théorique, par un certain nombre de déclarations (pour la plupart, parues dans la revue Cobra) véhémentes, engagées, politiques, relatives au climat sociopolitique de l’après-guerre comme au contexte artistique et culturel contemporain.Au cours des recherches, il est apparu que la violence de Cobra était plus ambiguë que ce qui avait été imaginé initialement. Elle relève en réalité d’une forme d’instrumentalisation émanant des acteurs, qui ont multiplié les effets rhétoriques, les attitudes et les déclarations allant dans ce sens, conduisant Cobra à user d’une violence « décorative » nettement instrumentée :un outil utilisé par les artistes dans la construction de leur image, de leur identité individuelle et collective. Cette piste a ainsi débouché vers d’autres résultats que ceux imaginés au préalable mais n’en a pas moins permis de réévaluer le mouvement sur le plan de l’histoire des représentations, en étudiant les stratégies développées par ses membres dans les œuvres et les discours. La mise en perspective critique de ceux-ci a permis de cerner la capacité rhétorique de certains membres de Cobra, qui ont valorisé l’image d’un mouvement artistique résolument « moderne », c’est-à-dire violent et revendicateur, tout en puisant leur inspiration dans certaines formes d’art primitives et brutes.La thèse s’articule de façon thématique, autour de quatre pôles révélateurs des formes et du sens de la violence détectée dans les œuvres et les discours des Cobra :Répondre à la guerre – Cobra face au siècleUne violence générationnelleLe primitif ou le jeu de la violenceAspirations libertaires Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Schroeder, Nicolas;

    L'étude porte sur l'abbaye de Stavelot-Malmedy, de sa fondation au XIVe siècle. Elle analyse les interactions entre les communautés et leur environnement social et matériel. Une première partie reprend de manière critique l'histoire de l'abbaye, du milieu du VIIe au XIVe siècle. La seconde partie aborde les seigneuries de Stavelot-Malmedy comme des cadres de pouvoir et d'organisation économique. Les rapports avec l'aristocratie laïque sont également analysés. Enfin, une troisième partie envisage l'inscription des seigneuries des monastères dans l'espace, les conditions de géographie physique et l'impact des seigneuries sur les paysages et l'environnement. Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Martin, Jocelyn S.;

    This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?------Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? info:eu-repo/semantics/nonPublished Doctorat en Langues et lettres

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      Doctoral thesis . 2010
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    Authors: De Meulemeester, Jean Luc;

    In this paper we assess both the benefits of academic freedom and the conditions required for its existence. We propose a long run historical sketch to put forward the institutional and financial characteristics of the Humboldtian model that stressed the very idea of academic freedom. We show how this model influenced the later developments of higher education, both in Europe and the USA. We stress how the post-WW2 massive expansion of higher education led to more utilitarian considerations by the State funding the institutions. The crisis of the 70s and the rise of neoliberalism since the early 80s led to the emergence of a new vision of higher education as a tool for economic performance. In this new and anti-Humboldtian perspective, higher education institutions are monitored from above (regulated competition, selective funding, output-based rather than input-based) and transformed internally into firm-like organizations. We question the potential dangers for academic freedom. info:eu-repo/semantics/published

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    Research . 2020
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      Research . 2020
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    Authors: Louryan, Stéphane;

    Physical anthropology was born in the Université libre de Bruxelles in the years 1880, at the Faculty of Medicine, without direct relationship with the human anatomy. The first anthropologists were there Paul Héger, Victor Jacques and Emile Houzé, who devoted the main part of their researches to craniology. It is the only little before the second Wold War, with François Twiesselmann, that this discipline acquired really the statute of science, while enlarging to statistics and genetics to become anthropobiology. info:eu-repo/semantics/published SCOPUS: ar.j

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    Article . 2019 . Peer-reviewed
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      Article . 2019 . Peer-reviewed
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    Authors: Laoureux, Denis;

    Entre 1888 et 1893, le Cercle des femmes peintres de Bruxelles organise quatre expositions rassemblant 400 tableaux peints par près de 80 femmes. Celles-ci sont décrites par la presse d’époque comme des dilettantes. L’analyse montre pourtant qu’elles présentent un niveau de professionnalisation contraire à l’oubli qu’elles connaissent aujourd’hui. Plusieurs paramètres permettent d’en prendre la mesure. Le réseau relationnel, le niveau de visibilité dans les Salons d’État, les indicateurs de légitimité (prix, titres.) et les valeurs chiffrées des œuvres font ressortir un corpus d’une trentaine d’artistes qu’il conviendrait de réintégrer au canon de l’histoire de l’art de la Belgique fin de siècle. info:eu-repo/semantics/published

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    Other literature type . 2019
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      Other literature type . 2019
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      Conference object . 2019
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    Authors: Gallez, Philomène;

    La présente thèse a pour objet d’étude les entrepreneures montréalaises du XXe siècle, entendues au sens strict de propriétaires principales d’au moins une entreprise privée de production ou de distribution de biens ou de services. Il s’agit, plus précisément, de définir et d’analyser les caractéristiques personnelles de ces femmes et celles de leurs entreprises, d’examiner les enjeux qu’elles affrontent collectivement, d’explorer les récits tenus à leur sujet par elles-mêmes ou par autrui et de situer les transformations de ces différents éléments dans le contexte urbain de Montréal de la période 1920-1980. Il est question, plus fondamentalement, de porter un regard critique sur la perception de ce phénomène et sur ce que nous considérons être la construction discursive de son caractère exceptionnel.L’analyse quantitative des recensements du Canada et des annuaires de commerce Lovell met en lumière l’existence, largement minoritaire par rapport au groupe des hommes, de femmes à la direction d’entreprise entre 1920 et 1980, leur concentration dans les commerces de détail et les services et la croissance exponentielle de ce groupe à partir des années 1960. Cette tendance apparaît comme la conséquence de l’entrée massive des femmes, et notamment des femmes mariées, sur le marché du travail salarié, mais aussi de la tertiarisation de l’économie à partir de la Seconde Guerre mondiale. Une petite minorité de ces femmes qui occupent des postes de gestion sont propriétaires de leur entreprise. Elles exercent leur profession principalement dans les petits commerces de détail d’alimentation, de mode ou encore de salons de beauté, sont mariées, tiennent leur boutique au cœur des quartiers montréalais à majorité francophone, et ce, pendant moins de 8 ans. La croissance et la décroissance de ce groupe avec l’année 1940 comme date charnière s’expliquent principalement par une activité entrepreneuriale féminine temporaire pendant les années de crise économique.Une certaine élite de cette collectivité d’entrepreneures montréalaises a, conjointement avec d’autres femmes salariées, formé les rangs de l’Association des femmes d’affaires de Montréal (de la Fédération nationale Saint-Jean-Baptiste), du Business and Professional Women’s Club ou du Committee of Trades, Business and Professions for Women (du Montreal Local Council of Women). Ces groupements sont principalement des lieux de réseautage et de socialisation pour leurs membres. Ils se sont, cependant, aussi engagés pour améliorer la situation des femmes en affaires. Les francophones, surtout actives pendant la première moitié du siècle, ont défendu un enseignement commercial pour les femmes et soutenu les modistes face aux pressions des commerces de gros, des manufactures et des employées du secteur. Les anglophones, de leur côté, se sont principalement concentrées sur la défense du travail salarié des femmes et se sont plutôt positionnées, à partir des années cinquante, en faveur de l’accès des femmes aux postes à responsabilité tant dans le secteur privé que public et tant comme propriétaires que comme gestionnaires salariées. Après la Seconde Guerre mondiale, quelques femmes francophones intègrent aussi le bastion masculin de la Chambre de commerce du district de Montréal (CCDM). Entre 1957 et 1971, cette institution met en place un comité qui rassemble les forces vives de l’entrepreneuriat, de la direction d’entreprise ou du salariat féminin. La question de la dépendance de ce regroupement aux autorités (masculines) de la CCDM génère rapidement des tensions et reste tangible tout au long des quinze années d’existence du Conseil des femmes membres (CFM) de la CCDM. En effet, l’analyse des activités du CFM de la CCDM proposées exclusivement à ses membres (féminins) ou menées de concert avec les autres membres (masculins) de la CCDM et des discours prononcés au sujet de l’intégration des femmes au sein de cette institution démontre la persistance, dans cet univers, d’une stricte conception genrée des rôles dans le monde des affaires francophone. Enfin, seul un nombre restreint d’entrepreneures qui ne connaissent que des « succès » commerciaux et correspondent à la définition de la « féminité » — soit des entrepreneures « exceptionnelles » — a une visibilité dans les revues populaires, les documents des fédérations d’associations de femmes et de la CCDM. Ces femmes n’agissent que dans les domaines « féminins » du vêtement, de la beauté ou du petit commerce spécialisé. Elles sont rapidement reconnues sur le marché montréalais, provincial, national, voire international. Si elles n’en sont pas originaires, elles se forment en France ou aux États-Unis et y séjournent régulièrement pour se procurer leurs matériaux. Elles offrent des produits et des services de qualité, adaptent leurs prix aux origines de leur clientèle (toujours féminine) et dirigent un personnel (souvent des femmes). Elles ne connaissent que rarement l’échec. Elles conjuguent, de plus, leurs obligations maternelles et professionnelles à la perfection, soignent leurs commerces « comme des maîtresses de maison » et exercent leurs activités à domicile. Au contraire, lorsqu’elles osent intégrer des bastions « masculins », elles connaissent la discrimination et de très grandes difficultés. La Chambre de commerce de Montréal, quant à elle, initialement silencieuse sur l’entrepreneuriat féminin, ajoute, au tournant des années soixante, dans un contexte favorable à l’entrepreneuriat francophone et aux empires familiaux, une caractéristique supplémentaire à cette entrepreneure idéale, celle d’être l’héritière d’une entreprise florissante d’un père ou d’un mari. Ce modèle, s’il s’adapte au contexte spécifique des francophones de Montréal et se transforme lors des moments de rupture de 1945 et 1960, reste, fondamentalement identique tout au long du XXe siècle et conditionne notre perception de l’entrepreneuriat féminin.Ultimement, l’analyse et la confrontation de ces données quantitatives et discursives forcent à poser, plus largement, un regard critique sur la question de la constante « exceptionnalisation » de l’entrepreneuriat féminin. Il ressort de cette analyse que les femmes qui s’adonnent à ce type d’activités professionnelles sont, elles-mêmes, profondément influencées par ces différents schémas de pensée pour se définir et agir, mais, surtout, que les discours qui véhiculent des informations relatives aux entrepreneures montréalaises en sont aussi fondamentalement inspirés. Or, cette caractéristique apparaît surtout comme une construction discursive, intrinsèquement liée aux idéologies capitaliste, patriarcale et, pour les francophones de Montréal, nationaliste. Il semble donc nécessaire de la relativiser et de la démystifier.Cette thèse s’inscrit dans l’historiographie nord-américaine et européenne qui, en croisant les réflexions issues de l’étude de l’histoire économique et des affaires, des femmes et des théories du genre, a, depuis les années 1980, dévoilé les activités financières et commerciales de femmes dans d’autres contextes urbains jusqu’au milieu du XXe siècle et mis en exergue le biais genré de l’histoire des affaires. Ces recherches soulignent les spécificités des rapports qu’entretiennent les femmes avec la propriété privée et la gestion d’entreprise et, plus largement, leurs contributions au développement économique urbain. Le présent texte y ajoute des données montréalaises de la période 1920-1980 ainsi qu’une réflexion critique sur les discours émis à ce sujet par les femmes d’affaires elles-mêmes, par le monde commercial ou par autrui. This doctoral thesis examines business women from Montreal in the 20th century, that is, the primary owners of at least one private business manufacturing or distributing goods and/or services. We will define and analyze these women’s individual characteristics and those of their businesses, consider the issues they face collectively, explore the the stories told about them, by themselves or others, and situate the transformations of these different elements in the urban context of Montreal in the years 1920-1980. In short, we will, take a critical look at the perception of this phenomenon as well as the discursive construction of its exceptional character.Quantitative analysis of Canadian censuses and of Lovell business directories show a minority presence of women, compared to men, in the management of businesses between 1920 and 1980, and a high concentration of women in retail businesses and services, as well as exponential growth of this group, starting in the 1960s. This tendency appears as a consequence of the massive arrival of women, especially married women, on the wage labor market, but also of the tertiarization of the economy, beginning during the Second World War. A small minority of these women in management positions were owners of their business. They worked principally in small retail businesses, in the food, fashion, or beauty salon industries, were married and owned their businesses in French-speaking neighborhoods of Montreal, for less than 8 years. With the year 1940 as a pivotal date, the growth and decline of this group can be explained mainly by a temporary feminine business activity during the years of economic plight.An elite of this group of Montreal's businesswomen, together with other salaried women, formed the ranks of the Association des Femmes d'affaires de Montréal de la Fédération nationale Saint-Jean-Baptiste, of the Business and Professional Women’s Club or of the Committee of Trades, Business and Professions for Women of the Montreal Local Council of Women. These groups were essentially places of networking and socialization for their members. They were, however, also committed to improving the situation of women in business. The French-speakers, especially active during the first half of the century, fought for a business education for women and supported the milliners when they faced pressure from wholesalers, manufacturers, and employees in the sector. The English-speakers, for their part, focused mainly on defending wage labor for women and from the 50s onwards, positioned themselves in favor of access for women to management positions, both in the private and public sectors. After the Second World War, a few French-speaking women became members of the Chambre de commerce du district de Montréal (CCDM), a male stronghold. Between 1957 and 1971, this organization implemented a committee that brought together the driving forces of entrepreneurship, of company management as well as women wage-earners. The question of the dependence of this group to the male authorities of the CCDM quickly generated tensions and remained tangible throughout the fifteen years of existence of this CFM of the CCDM. Indeed, the analysis of the activities of the CFM of the CCDM offered exclusively to its members (female) or carried out together with the other (male) members of the CCDM and speeches made about the integration of women in this institution demonstrated the persistence, in this setting, of a strict gendered conception of roles in the Francophone business world.Finally, only a limited number of business women who were always «successful» and who suited the definition of «feminity» - in other words, «outstanding» businesswomen – had a visibility in popular magazines, papers of federations of women associations and of the CCDM. These women were only active in the «feminine» fields of fashion, beauty or of small specialized business. They were easily recognizable on the Montreal, provincial, national and even international markets. If they were not from this city, they usually received their training in France or in the United States and they stayed there often to get materials. They offered good quality products and services, adapted their prices to the origins of their (always female) clientele and managed a staff (often women). They only rarely failed. They also combined their maternal and professional obligations perfectly, looked after their businesses “like housewives” and worked from home. When they dared to penetrate masculine “strongholds,” they experienced discrimination. The Montreal Chamber of Commerce, initially silent on women's entrepreneurship, added, at the turn of the 1960s, in a context favorable to Francophone entrepreneurship and family business empires, a characteristic additional to this ideal entrepreneur, that is, to be the heir of a flourishing business established by a father or a husband. Although this model was adapted to the specific context of Montreal French-speakers and evolved during the decades immediately following the Second World War, remained fundamentally similar throughout the 20th century and determined our perception of women's entrepreneurship.Ultimately, the analysis and the confrontation of these quantitative and discursive data force us to pose, more broadly, a critical look at the question of the supposed exceptional nature of women’s entrepreneurship. It emerges from this analysis that women who engaged in this type of professional activities were, themselves, deeply influenced by these different patterns of thought in order to define themselves and influence their actions, but above all, that the discourses that concerned Montreal's businesswomen were also deeply influenced by these patterns. This characteristic appeared above all as a discursive construct intrinsically linked to capitalist, patriarchal, and, for the Francophones of Montreal, nationalist ideologies. It therefore seemed necessary to put it into perspective and to demystify the discursive construct.This thesis is part of the North American and European historiographies that, by gathering reflections emerging from the study of economic and women's business history and gender theory, have, since the 1980's, revealed financial and commercial activities of women in other urban contexts until the middle of the 20th century as well as highlighted the gender bias in business history. These studies point out the specificities of the relationships that women have with private property and business management and, more broadly, their contributions to economic urban development. The thesis adds data from Montreal from the period 1920-1980, as well as a critical reflection about the discourses of the businesswomen themselves, by the commercial world or by others. Doctorat en Histoire, histoire de l'art et archéologie info:eu-repo/semantics/nonPublished

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    Doctoral thesis . 2017
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    Authors: Stefan Goltzberg;

    This papers shows that the meaning of transitional keywords is stable and hardly depends on the context. I focus on the following counter-oriented keywords: in French, “bien que”; in English, “however”; in Hebrew, “af al pi she”. I meet the objections according to which their meaning varies depending on the context. The consequences of my claim are far-reaching since it would mean that in the case of a problematic sentence (contradictory, trivial or unintelligible) containing such a keyword, one should consider reading another meaning in the other word classes and only then in the keywords.

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    Authors: Schroeder, Nicolas;

    « Le pauvre Ardennais tire de ses bruyères, au moyen de l’essartage, son pain pour cinq à six mois. »J.A. Henry, 1854 Le présent article présente les formes de mise en culture temporaire en Ardenne belge, du Moyen Âge au début du xixe siècle. Les aspects envisagés sont multiples : techniques, impact paysager et appropriation sociale des ressources. L’ensemble documentaire est diversifié mais loin d’être exhaustif, tant la matière est abondante. L’expression « Ardenne belge » est évidemment an...

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    Book . 2020
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    Authors: Nlend Nlend, Pascal;

    Les recherches archéologiques sur le littoral méridional du Cameroun ont connu un essor depuis le début des années 2000. Les prospections, ont mis en évidence trente-huit sites archéologiques dans la région de Kribi-Campo. L’analyse du matériel issu des fouilles révèle l’existence de trois traditions céramiques régionales et d’un groupe plus local, datés de 1100 BC à AD 1460. Cela correspond à la transition de l’Age de la Pierre à l’Age du Fer Ancien, et à un contexte paléo-environnemental qui varie entre phases sèches et humides. Ses populations avaient un mode de subsistance basé sur la cueillette, la chasse, la pêche et probablement l’agriculture. Sédentaires, elles creusaient des fosses dont certaines ont eu des fonctions rituelles. Au cours de l’Age du Fer Ancien, des structures funéraires ont été identifiées. La disposition particulière des poteries et leur association à de multiples objets en fer semblent indiquer qu’on serait en présence de tombes d’une élite. Cela suggère la présence d’une société hiérarchisée s’étendant au-delà de la région de Kribi-Campo jusqu’en Guinée équatoriale il y a environ 2000 ans./Archaeological research on the southern coast of Cameroon has been rapidly expanding since the beginning of 2000. Recent surveys revealed 38 archaeological sites in the Kribi-Campo region. The analysis of the material extracted from excavations provides three regional ceramic traditions and one local ceramic group, dated between 1100 BC and 1460 AD. This corresponds to the transitional period of the Late Stone Age and Early Iron Age, which from a palaeoenvironmental perspective, was characterized by dry and humid phases. This population lived a sedentary lifestyle, based on hunting, gathering, fishing and probably also on agriculture. They dug out pits, of which some might have had a ritual function. Funerary structures were identified, dating to the Early Iron Age. The specific disposition of pots and their association with different iron objects seem to indicate the presence of elite graves. This hierarchical society might have spread beyond the Kribi-Campo region about 2000 years ago as similar burial sites were found in Equatorial Guinea. Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Debrocq, Aliénor;

    Créé le 8 novembre 1948 à Paris par huit peintres et écrivains belges, hollandais et danois, Cobra est l’acronyme de Copenhague, Bruxelles, Amsterdam. Le mouvement se propose rapidement de devenir un lien souple entre artistes et poètes de différents pays, par le biais d’un certain nombre de publications et d’expositions. Son existence officielle sera brève, puisqu’elle prend fin en 1951 avec le dernier numéro de la revue éponyme. Si les premières tentatives d’analyse historique et de synthèse sont venues des artistes et des poètes membres du mouvement, plusieurs études abouties ont vu le jour depuis les années 1970.S’appuyant sur un certain nombre d’affirmations émanant des acteurs de Cobra comme des historiens ayant écrit sur le sujet, l’auteur s’est penché sur la question de la violence picturale et théorique au sein de ce mouvement. Picturale, par la propension des artistes à brouiller la lisibilité de la composition et des figures, par leur volonté de « faire brut » et enfantin, de « mal peindre », de maltraiter le sujet en le rendant méconnaissable, hybride, défiguré. Théorique, par un certain nombre de déclarations (pour la plupart, parues dans la revue Cobra) véhémentes, engagées, politiques, relatives au climat sociopolitique de l’après-guerre comme au contexte artistique et culturel contemporain.Au cours des recherches, il est apparu que la violence de Cobra était plus ambiguë que ce qui avait été imaginé initialement. Elle relève en réalité d’une forme d’instrumentalisation émanant des acteurs, qui ont multiplié les effets rhétoriques, les attitudes et les déclarations allant dans ce sens, conduisant Cobra à user d’une violence « décorative » nettement instrumentée :un outil utilisé par les artistes dans la construction de leur image, de leur identité individuelle et collective. Cette piste a ainsi débouché vers d’autres résultats que ceux imaginés au préalable mais n’en a pas moins permis de réévaluer le mouvement sur le plan de l’histoire des représentations, en étudiant les stratégies développées par ses membres dans les œuvres et les discours. La mise en perspective critique de ceux-ci a permis de cerner la capacité rhétorique de certains membres de Cobra, qui ont valorisé l’image d’un mouvement artistique résolument « moderne », c’est-à-dire violent et revendicateur, tout en puisant leur inspiration dans certaines formes d’art primitives et brutes.La thèse s’articule de façon thématique, autour de quatre pôles révélateurs des formes et du sens de la violence détectée dans les œuvres et les discours des Cobra :Répondre à la guerre – Cobra face au siècleUne violence générationnelleLe primitif ou le jeu de la violenceAspirations libertaires Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Schroeder, Nicolas;

    L'étude porte sur l'abbaye de Stavelot-Malmedy, de sa fondation au XIVe siècle. Elle analyse les interactions entre les communautés et leur environnement social et matériel. Une première partie reprend de manière critique l'histoire de l'abbaye, du milieu du VIIe au XIVe siècle. La seconde partie aborde les seigneuries de Stavelot-Malmedy comme des cadres de pouvoir et d'organisation économique. Les rapports avec l'aristocratie laïque sont également analysés. Enfin, une troisième partie envisage l'inscription des seigneuries des monastères dans l'espace, les conditions de géographie physique et l'impact des seigneuries sur les paysages et l'environnement. Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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    Authors: Martin, Jocelyn S.;

    This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?------Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? info:eu-repo/semantics/nonPublished Doctorat en Langues et lettres

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      DI-fusion
      Doctoral thesis . 2010
      Data sources: DI-fusion