Repository logo
 

Vol. 06 No. 2, June 2007

Permanent URI for this collectionhttps://hdl.handle.net/10222/31211

Browse

Recent Submissions

Now showing 1 - 20 of 25
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
    Présentation
    (Dalhousie University, 2007-06) Frigerio, Vittorio
  • Thumbnail Image
    ItemOpen Access
    Giornata celebrativa "Emilio Salgari"
    (Dalhousie University. Electronic Text Centre, 2007-06) Foni, Fabrizio; Galli-Mastrodonato, Paola I.
  • Thumbnail Image
    ItemOpen Access
    Creating the Cinematic Illusion of Samson's Phenomenal Biblical Strength in Cecil B. DeMille's Samson and Delilah (1949)
    (Dalhousie University. Electronic Text Centre, 2007-06) Kozlovic, Anton Karl
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
    La nouvelle bande dessinée: L'Epinard de Yukiko
    (Dalhousie University. Electronic Text Centre, 2007-06) Le Duc, Dominique
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
  • Thumbnail Image
    ItemOpen Access
    Contents - Belphégor Vol 6 No 2
    (2007-06) Frigerio, Vittorio
  • Thumbnail Image
    ItemOpen Access
    L'Anarchiste' dans le cinéma de fiction français: Un Motif singulier entre caricature bienveillante et charge malintentionnée
    (Dalhousie University. Electronic Text Centre, 2007) Marinone, Isabelle
    Since the end of the 19th century, anarchists have been represented almost exclusively as violent, godless and lawless terrorists. This caricature, loosely based upon some real propagandists of the period from 1892 to 1894 in France and designed to suitably scare the bourgeoisie, still sticks nowadays. This article examines this characteristic representation of anarchists in French cinema, dealing at first with a number of silent movies, and then examining in more detail some more recent productions by movie-makers such as René Clément, Yves Robert and Didier Le Pêcheur, that present a number of variations on this particular theme.
  • Thumbnail Image
    ItemOpen Access
    La Bande dessinée francophone contemporaine à  la lumière de sa propre critique: Quand une avant-garde esthétique s'interroge sur sa pérennité
    (Dalhousie University. Electronic Text Centre, 2007) Dozo, Bjorn-Olav
    This article starts from a discussion of two works (Jean-Christophe Menu's Plates-Bandes and Lewis Trondheim's Désoeuvré, both published in early 2005 by L'Association) to propose some ways of analyzing cooperation between comics authors. It prolongs the potential dialogue between literature and sociology by extracting some reading hypothesis from these two works (in particular, the opposition between the two spheres of production, the "limited sphere" and the "mass production sphere", and the networks of collaboration between authors) and by comparing them to actual cases: the "Donjon" series published by Delcourt, and the "Poisson-Pilote" collection issued by Dargaud. The goal of this article is to open the way to further study of the mechanisms of collaboration between comics authors.
  • Thumbnail Image
    ItemOpen Access
    L'Anarchiste français au miroir du nihiliste russe dans la série Fantà´mas
    (Dalhousie University. Electronic Text Centre, 2007) Ethuin, Philippe
    The series of popular novels featuring Fantômas, written in collaboration by Pierre Souvestre and Marcel Allain, has often been considered close to anarchism if not outright anarchist, and presents some libertarian characters. Most are Russian nihilists who have a role within the story - through their actions as characters in the series - and as a mirror of an ideology that was largely condemned by society but that had a power of fascination over segments of the arts world. Within the novels, these representations of anarchist characters stem from a collage of stereotypes, but nevertheless do not constitute a radical condemnation of their theories. The figure of the nihilist allows the authors to relate to the older tradition of a literature where secret societies and conspiracies played a major role. However, the representation of these characters is dependent upon a myth-making process. As such, they are not seen with respect to their historical reality but as pure representation, created by the twin filters of the authors' and the readers' vision of them. In this perspective, the question of the value of anarchism within the series can be fruitfully explored. If Fantômas himself cannot be considered an anarchist, it is nonetheless true that a large part of subversion is present within the thirty-two volumes of the series. Finally, the work seems to be crossed by divergent lines of force (between the authors, ideological, between the text and the context) susceptible to create ambiguities that can lead to multiple interpretations. This is perhaps not the least of the pleasures (and of the interests) that one can find in Pierre Souvestre and Marcel Allain's opus.
  • Thumbnail Image
    ItemOpen Access
    L'Autobiography di Carlo Tresca
    (Dalhousie University. Electronic Text Centre, 2007) Marazzi, Martino
    Carlo Tresca, born in Sulmona in 1879, emigrated to the United States in 1904. His emigration was dictated by both "traditional" and political reasons. He had already been active within the socialist movement in Italy, starting from the mid-nineties, and in the New World he became one of the undisputed leaders of revolutionary unionism. He was an ethnic leader, the expression of the Italian community he gave voice to through the many papers he created, and principally "Il Martello". As a newspaperman, public speaker and playwright, Tresca used exclusively Italian as a language for decades, addressing himself to an Italian-American public. About ten years before his murder in 1943, however, he started work on an autobiography in English, a particularly vibrant and complex piece of writing that remained unpublished until 2003. Therefore, while his daily militant interventions were made in his native language, the narration of the self was given over to the language of the host country. The shortcomings of the style are compensated by the creation of a remarkable "self-character": the internationalist revolutionary, friend to the Italian proletariat, to the anarchists and to the radical and liberal intelligentsia of New-York's Village. How does Tresca then express and write his identity within his Autobiography, as something both rooted in a given origin and uprooted from it, local and international, individual and collective? How to explain his deliberate and macroscopic choice of the host language? Some of the points of interest dealt with in this critical analysis of the Autobiography are the historical dimension of exile, the strong popular tone of the writing, the socialist and individualist rhetoric being used, the contemporary presence of an English lexicon and of a barely subterranean Italian syntax, the very apparent success of the literary endeavour of the author in those chapters that were completed, and the equivalent sense of failure resulting from the fact the work was left unfinished. The Autobiography is built upon a very solid structure but has remained incomplete, and this probably not because its author was murdered.
  • Thumbnail Image
    ItemOpen Access
    Portrait de l'anarchiste dans l'oeuvre littéraire de Ricardo Flores Magón
    (Dalhousie University. Electronic Text Centre, 2007) Doillon, David
    Ricardo Flores Magón (1873-1922) was the instigator of the most radical movement of the Mexican Revolution, "magonismo". He was a militant, a propagandist, a journalist, but also a writer, who authored quite a number of short stories, published in the newspaper he directed, Regeneración, as well as theatrical plays denouncing the shortcomings of society and exposing the main lines of his anarchist ideal. Characters embodying libertarian militants often appear in his literature. They are those through whom revolt happens, be they revolutionary propagandists, armed fighters, workmen, peasants or intellectuals. In which ways are this figure's identity and peculiarities different from its western counterparts? Does it occupy a special role within Flores Magón's literary production, and more widely within his works of propaganda? Finally, how does the author integrate in his literary creations the indispensable force of persuasion that is at the root of these fictions? These are the questions this article attempts to answer.
  • Thumbnail Image
    ItemOpen Access
    Breaking the Frame: Anarchist Comics and Visual Culture
    (Dalhousie University. Electronic Text Centre, 2007) Cohn, Jesse
    The emergence of the comics medium as part of modern visual culture has posed several questions for anarchists engaged with the arts: to what extent can comics be regarded as "popular" culture in the substantive sense that an anti-authoritarian politics demands? What features of the medium present openings or obstacles for anarchist cultural interventions? This essay examines a range of historical responses to these questions in terms of four dimensions of the comics medium: caricature, the word/image blend, narrative, and spatiality.
  • Thumbnail Image
    ItemOpen Access
    Jules Verne au pays du manga
    (Dalhousie University. Electronic Text Centre, 2007) Suvilay, Bounthavy
    Jules Verne is still known nowadays because of his technological imagination, and has considerably influenced two of the major authors of Japanese animation: Hayao Miyazaki (Chihiro's Travels) and Hideaki Anno (Neon Genesis Evangelion). Fushigi no Umi no Nadia, a series inspired by the universe created by the French novelist, was originally given to Miyazaki before being realized by Anno. This article uses a straight literary analysis to show how the theme of machinery in Verne's works has been transposed into a fictional Japanese steampunk universe, with the goal of continuing the author's pedagogical enterprise, animated by admiration for science and love for machines.
  • Thumbnail Image
    ItemOpen Access
    Vivir entre las nubes: Il racconto di anticipazione e la poesia utopica nel mondo libertario spagnolo del XIX secolo
    (Dalhousie University. Electronic Text Centre, 2007) Zane, Marcello
    This article offers a look at the world of Spanish anarchism and its utopian tendencies, through the analysis of how short stories and poetry were used to announce a possible new form of society. The themes, the structures and the compositional rules used within libertarian circles in the 19th century in order to "relatar l'utopia" - to sketch the future and give the readers an idea of its possibilities and of the steps to be taken towards it, as well as to mark the difference with the present time - are evidenced. In the realm of poetry in particular, the article focuses on the uses of rhyme, and on the difficulties involved in conveying satisfactorily the representation of utopia, particularly when it comes to the development and the use of an adequate artistic vocabulary and of precise syntactic structures. The tools used to narrate the anarchist utopia, the instruments of the propaganda of the time, are often those of a world that has difficulty letting go of its traditional past. Thus, the instruments and the language used are often those devised by their adversaries, the bourgeoisie, organized religion and capitalist society, marking a fundamental contradiction that does not prevent these authors, however, from attaining an extraordinarily significant poetic achievement.
  • Thumbnail Image
    ItemOpen Access
    Displacement and Shifting Geographies in the Noir Fiction by Cesare Battisti
    (Dalhousie University. Electronic Text Centre, 2007-06) Mikula, Maja
    This article examines the recurrent theme of displacement in a series of novels and short stories by the exiled Italian author Cesare Battisti, both within a broader context of contemporary exile theory and, more specifically, in the current Italian and European socio-political context.