Suchergebnisse

International audience ; La Liga de Escritores y Artistas Revolucionarios (LEAR) est une organisation d'intellectuels mexicains antifascistes active de 1934 à 1938. Liée au Partido Comunista Mexicano (PCM), elle est la section mexicaine de l'Union Internationale des Écrivains Révolutionnaires (UIER, fondée lors de la Conférence des écrivains prolétariens et révolutionnaires à Kharkov en novembre 1930). Cet article retrace l'histoire de la LEAR et analyse les enjeux idéologiques et politiques des actions de ses membres au Mexique et en Espagne, dès la création d'un Front unique contre la "social-fascisme" jusqu'à sa disparition en 1938, après avoir participé au IIe Congrès des Écrivains pour la Défense de la Culture à Valence.

Cotutelle avec l'Université Nationale Autonome du Mexique (UNAM)Mention: Très honorable avec félicitations du jury à l'unanimité (summa cum laude) ; Violinist and composer Silvestre Revueltas (1899-1940) was one of the major players in post revolutionary Mexico musical development during the thirties. Close to avant-gardes Mexican artists, the reception of his music is defined by, both modernist and nationalist. Some of his works embody the national music model, and are at the heart of the symbolic politics of the post revolutionary authoritarian regime. Towards the end of 1935 Revueltas engaged himself in communist antifascism by being a member of the Liga de Escritores y Artistas Revolucionarios (LEAR), fighting against the rise of fascism in the world – especially during the Spanish Civil War – and supporting social progress championed by the Mexican Popular Front (FPM). The consequences of Revueltas' antifascist engagement are considerable especially on the themes explored in his works, on his professional life and on the symbolic use of his music to legitimize the Mexican post revolutionary system. This research analyses, on the one hand, the impact of Revueltas' antifascist militancy on his work, and on the other, the role of his work on the symbolic politics of the Mexican authoritarian regime during the Spanish Civil War. Results show that Revueltas' political engagement alters the theme of most of his works after 1936, as well as the composer's role in a social contest. It therefore appears to be essential to put into perspective the exclusively nationalist reception of his music reconsidering it from a political and militant point of view. ; Le violoniste et compositeur mexicain Silvestre Revueltas (1899-1940) est un des principaux acteurs du développement musical du Mexique postrévolutionnaire durant les années 1930. Proche des avant-gardes artistiques mexicaines, la réception de sa musique est marquée par une double appartenance moderniste et nationaliste, au point que certaines de ses œuvres ...

International audience ; Dans le cadre de la commémoration du bicentenaire du début de l'Indépendance du Mexique (16 septembre 1810) et du centenaire du début de la Révolution Mexicaine (20 novembre 1910), le gouvernement mexicain a réalisé durant l'année 2010 un grand nombre de manifestations politiques, artistiques et scientifiques à l'intérieur et à l'extérieur du pays. Cet article analyse certains des enjeux politiques de l'historiographie officielle mexicaine en rendant hommage à deux mouvements artistiques du Mexique postrévolutionnaire engagés dans la transformation de la société de leur temps : le Stridentisme, seule avant-garde radicale du Mexique, et la Ligue des Ecrivains et Artistes Révolutionnaires (LEAR), organisation d'intellectuels antifascistes. ; În anul 2010 Mexicul a celebrat prin diverse programe cultural-artistice bicentenarul independenţei sale (1810) şi centenarul revoluţiei mexicane (1910). Aceste manifestări au avut, printre altele, şi efectul unei reveniri asupra istoriografiei oficiale referitoare la cu-rentele artistice postrevoluţionare. În acest context, prezentul articol abordează tendinţele artistice de după revoluţia mexicană, care sunt date uitării de critica de artă contemporană: curentul de artă avangardistă numit " stridentism " (1921-1927) şi mişcarea promovată de Liga scriitorilor şi artiştilor revoluţionari (LEAR), care reuneşte o mare parte din inte-lectuali în jurul ideii antifasciste (1934-1938). Manifestând o accentuată angajare pentru transformarea societăţii din epoca postrevolutionară, aceste curente artistice reprezintă, azi, un prilej de înţelegere a diversităţii fenomenelor culturale din Mexicul contemporan, mai cu seamă a influenţelor conceptuale ale LEAR, care aderând treptat la ideea realismului socialist, cade sub dominaţia propagandei comuniste şi a dogmatismului ideologic.

Cotutelle avec l'Université Nationale Autonome du Mexique (UNAM)Mention: Très honorable avec félicitations du jury à l'unanimité (summa cum laude) ; Violinist and composer Silvestre Revueltas (1899-1940) was one of the major players in post revolutionary Mexico musical development during the thirties. Close to avant-gardes Mexican artists, the reception of his music is defined by, both modernist and nationalist. Some of his works embody the national music model, and are at the heart of the symbolic politics of the post revolutionary authoritarian regime. Towards the end of 1935 Revueltas engaged himself in communist antifascism by being a member of the Liga de Escritores y Artistas Revolucionarios (LEAR), fighting against the rise of fascism in the world – especially during the Spanish Civil War – and supporting social progress championed by the Mexican Popular Front (FPM). The consequences of Revueltas' antifascist engagement are considerable especially on the themes explored in his works, on his professional life and on the symbolic use of his music to legitimize the Mexican post revolutionary system. This research analyses, on the one hand, the impact of Revueltas' antifascist militancy on his work, and on the other, the role of his work on the symbolic politics of the Mexican authoritarian regime during the Spanish Civil War. Results show that Revueltas' political engagement alters the theme of most of his works after 1936, as well as the composer's role in a social contest. It therefore appears to be essential to put into perspective the exclusively nationalist reception of his music reconsidering it from a political and militant point of view. ; Le violoniste et compositeur mexicain Silvestre Revueltas (1899-1940) est un des principaux acteurs du développement musical du Mexique postrévolutionnaire durant les années 1930. Proche des avant-gardes artistiques mexicaines, la réception de sa musique est marquée par une double appartenance moderniste et nationaliste, au point que certaines de ses œuvres ...

International audience ; Dans le cadre de la commémoration du bicentenaire du début de l'Indépendance du Mexique (16 septembre 1810) et du centenaire du début de la Révolution Mexicaine (20 novembre 1910), le gouvernement mexicain a réalisé durant l'année 2010 un grand nombre de manifestations politiques, artistiques et scientifiques à l'intérieur et à l'extérieur du pays. Cet article analyse certains des enjeux politiques de l'historiographie officielle mexicaine en rendant hommage à deux mouvements artistiques du Mexique postrévolutionnaire engagés dans la transformation de la société de leur temps : le Stridentisme, seule avant-garde radicale du Mexique, et la Ligue des Ecrivains et Artistes Révolutionnaires (LEAR), organisation d'intellectuels antifascistes. ; În anul 2010 Mexicul a celebrat prin diverse programe cultural-artistice bicentenarul independenţei sale (1810) şi centenarul revoluţiei mexicane (1910). Aceste manifestări au avut, printre altele, şi efectul unei reveniri asupra istoriografiei oficiale referitoare la cu-rentele artistice postrevoluţionare. În acest context, prezentul articol abordează tendinţele artistice de după revoluţia mexicană, care sunt date uitării de critica de artă contemporană: curentul de artă avangardistă numit " stridentism " (1921-1927) şi mişcarea promovată de Liga scriitorilor şi artiştilor revoluţionari (LEAR), care reuneşte o mare parte din inte-lectuali în jurul ideii antifasciste (1934-1938). Manifestând o accentuată angajare pentru transformarea societăţii din epoca postrevolutionară, aceste curente artistice reprezintă, azi, un prilej de înţelegere a diversităţii fenomenelor culturale din Mexicul contemporan, mai cu seamă a influenţelor conceptuale ale LEAR, care aderând treptat la ideea realismului socialist, cade sub dominaţia propagandei comuniste şi a dogmatismului ideologic.

International audience ; La Liga de Escritores y Artistas Revolucionarios (LEAR) est une organisation d'intellectuels mexicains antifascistes active de 1934 à 1938. Liée au Partido Comunista Mexicano (PCM), elle est la section mexicaine de l'Union Internationale des Écrivains Révolutionnaires (UIER, fondée lors de la Conférence des écrivains prolétariens et révolutionnaires à Kharkov en novembre 1930). Cet article retrace l'histoire de la LEAR et analyse les enjeux idéologiques et politiques des actions de ses membres au Mexique et en Espagne, dès la création d'un Front unique contre la "social-fascisme" jusqu'à sa disparition en 1938, après avoir participé au IIe Congrès des Écrivains pour la Défense de la Culture à Valence.

International audience ; In this interview, the Mexican composer Hilda Paredes talks about the political and ethical concerns which are involved in her music. She shares her thoughts about the relationship between her music and contemporary Mexican indigenous poetry, the connexion between gender issues and social justice, the burden of racism, the embodied experience of violence, the destruction of language, and the relationship her creative process has with environmental concerns. We discuss these issues in relation to several of her works, in particular Kamex ch'ab (2010), El Palacio imaginado (2003), La tierra de la miel (2013), Harriet (2018) and Rainy days (2019). The result is an exploration of how she tackles in each work these issues by constructing networks of events, places and people. ; En esta entrevista, la compositora mexicana Hilda Paredes habla de las preocupaciones políticas y éticas que están implicadas en su música. Expone sus ideas sobre la relación de su música con la poesía indígena mexicana, la conexión entre cuestiones de género y la justicia social, el peso del racismo, la experiencia corporal de la violencia, la destrucción del lenguaje, y la relación que tiene su proceso creativo con preocupaciones medioambientales. Abordamos estas cuestiones en relación con varias de sus obras, en especial Kamex ch'ab (2010), El Palacio imaginado (2003), La tierra de la miel (2013), Harriet (2018) y Rainy days (2019). El resultado es una exploración de cómo aborda en cada obra las cuestiones mencionadas mediante la construcción de redes de eventos, lugares y personas.

In this interview, the Mexican composer Hilda Paredes talks about the political and ethical concerns which are involved in her music. She shares her thoughts about the relationship between her music and contemporary Mexican indigenous poetry, the connexion between gender issues and social justice, the burden of racism, the embodied experience of violence, the destruction of language, and the relationship her creative process has with environmental concerns. We discuss these issues in relation to several of her works, in particular Kamex ch'ab (2010), El Palacio imaginado (2003), La tierra de la miel (2013), Harriet (2018) and Rainy days (2019). The result is an exploration of how she tackles in each work these issues by constructing networks of events, places and people. ; En esta entrevista, la compositora mexicana Hilda Paredes habla de las preocupaciones políticas y éticas que están implicadas en su música. Expone sus ideas sobre la relación de su música con la poesía indígena mexicana, la conexión entre cuestiones de género y la justicia social, el peso del racismo, la experiencia corporal de la violencia, la destrucción del lenguaje, y la relación que tiene su proceso creativo con preocupaciones medioambientales. Abordamos estas cuestiones en relación con varias de sus obras, en especial Kamex ch'ab (2010), El Palacio imaginado (2003), La tierra de la miel (2013), Harriet (2018) y Rainy days (2019). El resultado es una exploración de cómo aborda en cada obra las cuestiones mencionadas mediante la construcción de redes de eventos, lugares y personas.

International audience ; Lab.Oratorium (2019) is the concluding part of Philippe Manoury's Köln Trilogy. It follows In situ (2013) and Ring (2016) in exploring the spoken voice as a musical element, the wider possibilities of the orchestra, and the use of sound spatialization and live electronics. Lab.Oratorium is also a work deeply rooted in the present. In this interview, Philippe Manoury discusses the political and poetic significance of this work, conceived as an artistic response to Europe's responsibility in the tragic situation of migrants around the Mediterranean. He also develops his thoughts on musical form, spatialization, and creative process in music.

International audience ; Lab.Oratorium (2019) is the concluding part of Philippe Manoury's Köln Trilogy. It follows In situ (2013) and Ring (2016) in exploring the spoken voice as a musical element, the wider possibilities of the orchestra, and the use of sound spatialization and live electronics. Lab.Oratorium is also a work deeply rooted in the present. In this interview, Philippe Manoury discusses the political and poetic significance of this work, conceived as an artistic response to Europe's responsibility in the tragic situation of migrants around the Mediterranean. He also develops his thoughts on musical form, spatialization, and creative process in music.

International audience ; Lab.Oratorium (2019) is the concluding part of Philippe Manoury's Köln Trilogy. It follows In situ (2013) and Ring (2016) in exploring the spoken voice as a musical element, the wider possibilities of the orchestra, and the use of sound spatialization and live electronics. Lab.Oratorium is also a work deeply rooted in the present. In this interview, Philippe Manoury discusses the political and poetic significance of this work, conceived as an artistic response to Europe's responsibility in the tragic situation of migrants around the Mediterranean. He also develops his thoughts on musical form, spatialization, and creative process in music.

International audience ; Within its genre, Le trésor de la langue (1989) is a unique musical work. A kind of sonic "road movie," it explores the political, historical and poetic dimensions of the French language spoken in Quebec. Bringing together heterogeneous materials through the technique of sound collage, René Lussier offers a critical listening of the history of Quebec. This interview tracks the compositional process of Le trésor de la langue as well as some of the ethical and political issues involved in the use of sound archives and field recordings in this work. It testifies to the capacity of music to scrutinise recent history in order to answer common questions, beyond what is said and what is silenced in collective memory and official history. ; Le trésor de la langue (1989) est une oeuvre unique en son genre. Sorte de « road movie » sonore, elle explore les dimensions politique, historique et poétique de la langue française parlée au Québec. En rapprochant des matériaux hétérogènes grâce à la technique du collage sonore, René Lussier propose une écoute critique de l'histoire du Québec. Cet entretien retrace la genèse du Trésor de la langue ainsi que certains des enjeux éthiques et politiques de l'utilisation d'archives sonores et d'enregistrements de terrain présents dans cette oeuvre. Il témoigne de la capacité de la musique à investir l'histoire récente afin de répondre à des interrogations communes, au-delà des dits et des non-dits de la mémoire collective et de l'histoire officielle.

International audience ; In this introduction we argue that sonic experiences in contexts of organized violence can be understood as lieux de mémoire (sites of memory). Exploring how these sonic sites are indissociable from the individual and collective experience of places, we show how they form networks of relationships within which the memory of silences and sounds is constructed and actualized. We also argue that these sonic lieux de mémoire can be seen from two perspectives, representing the dark and bright sides of the same phenomenon. On one hand, sound, music and silence are used as weapons in organized violence, for example in detention facilities or during wars or political conflicts. On the other hand, they constitute symbolic resources, positive tools that contribute to the (re)construction of subjectivities and thus can serve as tools for survival and resistance. In both cases, sound and musical practices are essential facets of what makes us human. ; Dans cette introduction nous affirmons que les expériences sonores en contexte de violence organisée peuvent être comprises comme des « lieux de mémoire sonore ». Indissociables de l'expérience individuelle et collective des lieux, ils constituent des réseaux de relations non prédéterminées, dans lesquels la mémoire des silences et des sons se construit et s'actualise. Nous soutenons aussi que les lieux de mémoire sonore peuvent être appréhendés sous une double perspective, à la fois la face noire et la face lumineuse d'un même phénomène. D'une part, le son, la musique et le silence sont utilisés comme des armes en contexte de violence organisée, que cela soit par exemple dans certains lieux de détention ou en situation de guerre ou de conflit politique. D'autre part, ils constituent des ressources symboliques qui contribuent à la (re)construction de subjectivités, notamment dans des situations faisant suite à des expériences d'exil forcé et de violence organisée. Dans tous les cas, les pratiques sonores et musicales sont des ressources immatérielles ...

International audience ; In this introduction we argue that sonic experiences in contexts of organized violence can be understood as lieux de mémoire (sites of memory). Exploring how these sonic sites are indissociable from the individual and collective experience of places, we show how they form networks of relationships within which the memory of silences and sounds is constructed and actualized. We also argue that these sonic lieux de mémoire can be seen from two perspectives, representing the dark and bright sides of the same phenomenon. On one hand, sound, music and silence are used as weapons in organized violence, for example in detention facilities or during wars or political conflicts. On the other hand, they constitute symbolic resources, positive tools that contribute to the (re)construction of subjectivities and thus can serve as tools for survival and resistance. In both cases, sound and musical practices are essential facets of what makes us human. ; Dans cette introduction nous affirmons que les expériences sonores en contexte de violence organisée peuvent être comprises comme des « lieux de mémoire sonore ». Indissociables de l'expérience individuelle et collective des lieux, ils constituent des réseaux de relations non prédéterminées, dans lesquels la mémoire des silences et des sons se construit et s'actualise. Nous soutenons aussi que les lieux de mémoire sonore peuvent être appréhendés sous une double perspective, à la fois la face noire et la face lumineuse d'un même phénomène. D'une part, le son, la musique et le silence sont utilisés comme des armes en contexte de violence organisée, que cela soit par exemple dans certains lieux de détention ou en situation de guerre ou de conflit politique. D'autre part, ils constituent des ressources symboliques qui contribuent à la (re)construction de subjectivités, notamment dans des situations faisant suite à des expériences d'exil forcé et de violence organisée. Dans tous les cas, les pratiques sonores et musicales sont des ressources immatérielles constitutives des êtres humains.

In this article, we argue that sonic experiences in contexts of organized violence can be understood as sonic lieux de mémoire (sonic sites of memory). Exploring how these sonic sites are indissociable from the individual and collective experience of places, we show how they form networks of relationships within which the memory of silences and sounds is constructed and actualized. We also argue that these sonic lieux de mémoire can be seen from two perspectives, representing the dark and bright sides of the same phenomenon. On one hand, sound, music, and silence are used as weapons in organized violence, for example, in detention facilities or during wars or political conflicts. On the other hand, they constitute symbolic resources, positive tools that contribute to the (re)construction of subjectivities and thus can serve as tools for survival and resistance. In both cases, sound and musical practices are essential facets of what makes us human.