The article demonstrates how Library of Congress Subject Headings (LCSH) geographic headings for the Southern Levant mirror the political investment of Congress and the American public in Middle East politics over the last thirty years. The headings' evolution as well as Library of Congress rules governing their creation is charted in detail. These LCSH headings contrast markedly with those established in other national libraries (BnF, DNB) and independent value vocabularies (TGN, GeoNames), and global opinion regarding the legal status of the occupied territories. I sketch the historical context of their formation and offer suggestions as to how libraries can "decolonize" their metadata in service of Sanford Berman's "access and equity."
The debate over the impact of British colonialism and "colonial modernity" in India has hinged around questions of epistemic and aesthetic rupture. Whether in modern poetry, art, music, in practically every language and region intellectuals struggled with the artistic traditions they had inherited and condemned them as decadent and artificial. But this is only part of the story. If we widen the lens a little and consider print culture and orature more broadly, vibrant regional print and performance cultures in a variety of Indian languages, and the publishing of earlier knowledge and aesthetic traditions belie the notion that English made India into a province of Europe, peripheral to London as the centre of world literature. Yet nothing of this new fervour of journals, associations, literary debates, of new genres or theatre and popular publishing, transpires in Anglo-Indian and English journals of the period, whose occlusion of the Indian-language stories produced ignorance, distaste, indifference— those "technologies of recognition" (Shu-Mei Shih) that produce "the West" as the agent of recognition and "the rest" as the object of recognition, in representation".
Peer reviewed ; The role that popular tradition, invented or "genuine" but presented from a privileged position, plays in nationalist political movements is well known. Similar to other totalitarian systems, the Spanish Francoist regime (1939-75) appropriated and misused folklore in various ways. In this article I survey several of these uses, such as the strengthening of political legitimacy—actually enforced through a coup and a bloody civil war—by resorting to some supposedly pristine, spiritual values of the Spanish people, as symbolized by the peasantry. Other uses of folklore were the practical exploitation of models, symbols, and characters of traditional poetry to present an epic image of Franco and his regime and the recourse to folk music presentations abroad with diplomatic and propagandistic purposes.
The article examines the concept of contemporary community as commoning, at the intersection of action, performance or participatory art, place, site-specific, and (post)digital poetry. This involves a brief review of traditional avant-gardes, 20th century engaged art, and recent political-art movements. In the process of this analysis, the participatory emerges as a subtler, more nuanced, and less predictable phenomenon than usually accepted. Also, performative subjectivity is traced as either the source of anticommunal community (in French theory), or mere Christian-capitalist construct (in communist philosophy). Agamben's theory of the coming community is therefore examined as possible response to both these stances, with its relevance to contemporary movements, including post-Occupy. Commoning – paralleled to placing in poetry – turns out to be of critical importance in present-day community especially with correlatives such as displacement and undecidablility. Place, space, and map(ping) are therefore radically redefined in the context, and contemporary poetry appears to be indissolubly related to the process: the poem of place is the place, and poetry becomes the site of the com(mon)ing community. Site (and discourse)-specificity in poetry occasions a shift in focus to digital space, its sonic economy, and the communities and floating locations/ sites thereof. Site and discourse fluidity have brought about a paradigm in which the poem and its related apps tend to expand and turn into digital space itself, while in more recent postdigital evolutions, a new political concern for the 'real' reshape community, site, and performance/ participatory art or poetry in a continuous interactivity and interdependence.
Indian Literatures, from Vedas to Diasporas Anne Castaing, Livres Hebdo, 14/02/2020 Firstly unimpeachable, it is in the plurality of Indian literatures, great sanskrites and heroes' stories of Hindu mythology to Nobel Rabindranath Tagore's poems and the magic realism of the very cosmopolite Salman Rushdie. The Indian subcontinent (which includes India, but also states bordering Pakistan to the west, Bangladesh to the east, Nepal and Bhutan to the north, and Sri Lanka and the Maldives to the south) is an area where literary is cohesive, protracted and even fed into history, politics and society, since its first formulations in the second millennium of JC. Although the French editorial landscape gives great weight to modernity, which is itself a foisonant and, moreover, largely diasporic, it is a reflection, whether voluntary or not, of sometimes millennial traditions, rich as well as iconoclastes. A few clarifications are therefore not unnecessary. Multilingualism European comparison is not inappropriate, although it largely minimises the contemporary Indian linguistic reality: the Indian Constitution recognises 2 national languages, 22 official languages and more than 400 minority languages, some of which (such as bhojpuri or rajasthani) have tens of millions of speakers. The former (English and Hindi) and the latter (bengali, telougou, sindhi, etc.) and the third produced fertile literature, often unfamiliar to the French reader: the English speakers Salman Rushdie, Amitav Ghosh and Arundhati Roy, or their predecessors R.K. Narayan or Raja Rao, the great romancier hindi Premchand (1880-1936), gandhien and father of social realism in India, remain ignored despite his major role in the nationalist movement and in the development of the Hindi prose. Authors such as Mahasweta Devi for Bengali, Saadat Hasan Manto for Urdou, Amrita Pritam for panjabi, Girish Karnad dramaturge for kannada or KSatchidanandan poet for Malayalam have, however, marked the modern literary history of the Sous-continent, both in terms of ...
The trial is quite rare in the 17th and early 19th century. However, he gradually took over the literary space until it became dominant in the years 1770-1820. All major authors of the eighteenth century will write trials, from Hume 1 to Kant 2, from Voltaire 3 to Rousseau 4, from Beaumarchais 5 to Diderot 6. What will later become a literary gender in its own right is gradually being built up during the "Enlightenment 7". If a positive emergence of the test is then achieved, the test is primarily defined as negative, since it refers to anything which cannot be regarded as theatre, poetry or even as one letter, treaty, speech, fragment, etc. Only the novel has an expansion comparable to that of the trial. Both have in common modern forms that do not exist in Antiquity, giving writers a space of free creation and expression. It is perhaps in this freedom of writing and the absence of binding rules that one of the main reasons for their development must be grasped, to the point that novel and trial are now the two major literary forms. Theatre and poetry, compounded by the codes and prisons developed by classical aesthetics, cannot be a vector of renewal, which enters the entire 18th century, both in the literary sphere, but also in the political, social and ethical spheres. It is especially in the test that writers find a base to create new perspectives, to express new ideas, with a new style, such as Montaigne in his time. FROM MONTAIGNE TO ROUSSEAU: A MODERNAL TRADITION The Ring of Enlightenment Tests comes from the Montaigne Tests, a paradigm of a form of anti-methodical, rhapsodic and discontinuous writing. The reconstruction of a trial tradition, dating back to Montaigne and reinvested in particular by Bacon, Locke, Hume and finally Rousseau, makes it possible, from a regressive historical perspective, to establish 'plausible watermarks between one or more strains ; International audience ; The trial is quite rare in the 17th and early 19th century. However, he gradually took over the literary space until it ...
Jene deutschsprachige Lyrik des 12.–14. Jh.s, die im Gegensatz zur Liebeslyrik (Minnesang) die Belehrung (Didaktik), Kritik und Politik zum Inhalt hat.
What does it mean to treat poetry, brain scans, and library borrowing records alike as "data"? Today, we analyze rich and complicated data produced in the humanities at scale with computational tools such as Natural Language Processing, network analysis, and machine learning. Likewise, data scientists rely on humanists for political and historical context that helps make their work more equitable and just. During 2018-19, the Center for Digital Humanities (CDH) dedicated its energies to bringing various disciplinary voices at Princeton together to examine how data is transforming our academic fields and our society. We called this initiative "Year of Data," and held over twenty events - lectures, symposia, conferences, workshops - with campus partners in the humanities, arts, data and computer science, social science, and library and archives.
Summary This article seeks to interpret the modernisation movement in Latin America, the poetry of Rubén Darío and other writers of the time with the categories expressed by Ángel Rama in his trial The legal city. Branch rarely refers to this group of writers who follow an art aesthetic by art that clearly separates itself from political and social issues. However, a reinterpretation of Rama's thesis makes it feasible to integrate its texts into the advocate city of the Uruguayan critic. ; Resumen Este artículo trata de interpretar el movimiento modernista en América Latina, la poesía de Rubén Darío y otros escritores de la época con las categorías expresadas por Ángel Rama en su ensayo La ciudad letrada. Rama se refiere raras veces a este grupo de escritores que siguen una estética del arte por el arte que se separa tajantemente de cuestiones políticas y sociales. Sin embargo, una reinterpretación de las tesis de Rama vuelve factible la integración de sus textos en la ciudad letrada del crítico uruguayo.
International audience The present study will focus on varied correspondences while comparing and contrasting the fluidity of Whitman's verse in his Leaves of Grass (1855)—leading up to his Civil War section Drum-Taps (1865)—with the posthumous poems of César Vallejo; focusing on his collection España, aparta de mi éste cáliz (Spain, take this chalice from me, 1939), as seen through the chronological filter of the late symbolist movement propelled by Mallarmé, whose motifs were succinctly appropriated by the Peruvian to deploy his poetics of "cross-outs", as suggested by vallejista Julio Ortega. A background of political reportage presented by both Vallejo and Whitman will emphasize their connection through militance in their respective Civil War years, as this stage will be taken conclusively into account to point out the unwavering admiration the Andean poet held for his North American counterpart. ; Cette étude portera sur les correspondances variées, en comparant et contrastant la fluidité de la poétique whitmanien dans Feuilles d'herbe (1855)—qui nous mène vers la section de la Guerre Civile, Drum-Taps (1865)—avec les poèmes posthumes de César Vallejo; en se concentrant sur sa collection España, aparta de mi este cáliz (Espagne, éloigne de moi ce calice, 1939) considérés à travers le filtre chronologique du courant symbolique propulsé par Stéphane Mallarmé, dont les motifs étaient appropriés succinctement par l'écrivain péruvien en vue de déployer une poétique de « ratures », comme le suggère le vallejista Julio Ortega. Le contexte du reportage politique présenté par Vallejo et par Whitman emphatisera leur connexion à travers la militance pendant leurs respectives années de guerre civile, puisque c'est à ce stade qu'on pourra prendre en compte et mettre l'accent sur l'admiration du poète des Andes par rapport à sa contrepartie nord-américaine. ; El presente estudio explorará las variadas correspondencias mientras se compara y contrasta la fluidez del verso whitmaniano en su colección Hojas de Hierba ...
[ES] RicaWhile the critical apparatus on the afrocostarricense writer Eulalia Bernard Little says his focus on the black struggle, suggests the neutrality or absence of gender discussions, or even an overwhelming of the male figure in his poetry. However, so far there has not been a review that would make it possible to assess the treatment of concurrent experiences of race and gender in the course of his literary career. Through a diachronistic review of all its publications and poetic activism, this article looks at the fundamental place occupied by the status and vision of black women and their relationship with an atatradiation of thought and mobilisation of Afrodiasporic feminisms. The centrality of his own body and the refe-rence to motherhood of African and Caribbean inheritance can be traced from Bernard's first traits; but in addition, the author gives greater prominence to the image and ties with female figures, writers, divinities of the African diaspora and pro-gresive activists in their last poems. The coincidence between these gestures, the productions of other Afro-descendants, the African-Latin American feminist movements and an epistemology derived from the experience of black women allows us to start a discussion on Bernard Little's contributions to the genesis of afrofeminist thinking and the diaspora in Costa Rica. At the same time, it highlights the complexities of the use and (self-) assignment of black feminisms, their background and the diversity of their experiences in the Caribbean and Central America. This article is a result of the project "Eulalia Bernard Little Political Threath: poet, activist and university lecturer" registered with the Deputy Rectoration of Research at the University of Costa Rica. The work is also supported by the programme "Connected Worlds: The Caribbean, Origin of the Modern World", funded by the European Union's Horizon 2020-research and innovation programme (Marie Skłodowska-Curie grant agreement No 823846). ; Peer reviewed ; [ES] RicaWhile the critical ...
International audience ; La discipline rhétorique médiévale de l"ars dictaminis est justement fameuse pour avoir été un quelque chose de différent de la rhétorique classique. Elle fut conçue et employée principalement pour l"écriture, non pas de discours, mais de lettres dont l"échange formait une part importante de la communication politique et personnelle aux XIe-XVe siècles. Dans la quasi-totalité des cas, les traités théoriques présentent les recettes pour écrire ces lettres en prose, et la grande masse des dictamina (textes obéissant aux lois de l"ars dictaminis) qui appliquèrent ces recettes conservées sont écrits en prose. Le Moyen Âge a bien sûr connu l"écriture des lettres en vers, selon le modèle des Héroïdes d"Ovide, mais la théorisation de l"écriture en vers aurait plutôt relevé de la discipline voisine de l"ars poetriae. Le présent article tente de faire le point sur la question des rapports entre l"ars dictaminis et la poésie, en montrant que les choses sont en fait beaucoup plus complexes. D"une part, les traités insistent très souvent sur le fait que le dictamen prosaïque n"est qu"un des trois rameaux des « genres rédactionnels » (genera dictandi), dont les deux autres sont la poésie métrique et la poésie rythmique. Or le rapport entre ces trois genres n"est pas seulement classificatoire : la prose de l"ars dictaminis était une prose rythmée, et son enseignement comme sa pratique dépendait de la connaissance de la poésie métrique et rythmique. D"autre part, de très nombreuses interconnections existent entre la pratique de la poésie et celle de l"ars dictaminis, tant d"un point de vue théorique que pratique. Il existe une large intersection entre les artes poetriae et les artes dictandi (traités théoriques), et de nombreux traités hybrides. La prose rythmée est parfois conceptualisée comme une sorte de poésie. Au niveau de la pratique, les rédacteurs créent souvent des lettres prosaïques qui entretiennent un rapport complexe avec la poésie, soit par l"insertion de citations de classiques ...
This paper inquires into the ways in which a gauchesco journalist/poet took part in the public sphere: Luis Pérez got censored in 1834 as a result of inner conflicts in the same political party he had endorsed, the federalismo . The popular nature of his audience and his own popular ways had become an obstacle when the federalismo , after the Revolución de los Restauradores , took a more moderate and conciliatory stance. The aim of this article is to discover the reasons behind his public disappearance, associated to the approach the press was supposed to adopt as well as the people who were supposed to be in charge of it. ; Este trabajo indaga en los modos de intervención pública de un gacetero/poeta gauchesco de raigambre rosista, Luis Pérez, que en 1834 fue censurado en un contexto de disputa por la hegemonía en el partido federal. El carácter popular del público interpelado por Pérez y su talante orillero fueron obstáculos cuando una postura más moderada y conciliatoria signó el federalismo a partir de la Revolución de los Restauradores. El objetivo del trabajo es discernir las razones detrás de la desaparición pública de Luis Pérez, ligada a una concepción tradicional de los usos de la prensa ilustrada y a los sujetos idóneos para poner en marcha las imprentas porteñas. Facultad de Humanidades y Ciencias de la Educación
The computer ignores the chess. He is not afraid to attack the language, or even the quintessence of the language of poetry. And a combination of combinatory and random forces, it can be seen, in a few closed circles, to produce 'poems' which could be confused with those of automatic writing in Dada time. Far from being so bold. Far from trying to steal the promethetic fire, we will limit the trick of the machine to the mere observation of basic facts, diverting it away from anything that might resemble a new arrangement or creation. But it is still a great premise to apply a blind tool and objective methods to a poetic object that is most contrary to them. We still need to count on the recurrent words of political discourse. It is clear that in this variety of languages, known as the wooden language of automation, it is possible to learn freely — if any automation can be free. And when answers are expected, when comans respond to couplets, when words are predictable and repetitive, statistics can be justified and it is indeed in the policy field that lexicometry multiply its work, which follows presidential campaigns as faithfully as the polls precede them. But is poetry foreseeable? Are there no breaks and surprises? ; L'ordinateur ignore la pudeur. Il ne craint pas de s'attaquer au langage, ni même à la quintessence du langage qu'est la poésie. Et à force de combinatoire et d'aléatoire mêlés, on le voit, dans quelques cercles fermés, produire des « poèmes » qu'on pourrait confondre avec ceux de l'écriture automatique au temps de Dada. Loin de nous pareille audace. Loin de vouloir voler le feu prométhéen, nous limiterons l'ardeur de la machine à la seule observation des faits élémentaires, en la détournant de tout ce qui pourrait ressembler à un arrangement nouveau ou à une création. Mais c'est encore une grande prétention que d'appliquer un outil aveugle et des méthodes objectives à un objet poétique qui leur est le plus contraire. Passe encore de compter les mots récurrents des discours politiques. On voit ...
In this article, we take up the issue of framing François Villon's work. The aim is to study the meaningful effects of the poet in the passages that highlight power relations. The study has three components: the treatment of auctoritates, the writer in the face of powerful people or in the posture of the moralist who teaches lessons. By highlighting the lack of respect which marks Villon's poetry, the bulbs guide the reader in his perception of the work. ; In the present contribution, we pick up the question of the enjambement in François Villon's work. We will explore the effects of sense created by the poet in the verses dealing with power relationships. The study consists of three parts: Villon and the auctoritates, the author facing the powerful, or assuming the role of a moralist giving lessons to other people. The enjambements guide the reader in his understanding of Villon's oeuvre, since they highlight the disrespect that characterizes his poetry. ; In this article, we take up the issue of framing François Villon's work. The aim is to study the meaningful effects of the poet in the passages that highlight power relations. The study has three components: the treatment of auctoritates, the writer in the face of powerful people or in the posture of the moralist who teaches lessons. By highlighting the lack of respect which marks Villon's poetry, the bulbs guide the reader in his perception of the work. ; Dans le présent article, nous reprenons la question de l'enjambement dans l'œuvre de François Villon. Il s'agit d'étudier les effets de sens obtenus par le poète dans les passages qui mettent en scène des relations de pouvoir. L'étude comporte trois volets : le traitement des auctoritates, l'écrivain face aux puissants ou dans la posture du moraliste qui donne des leçons. En mettant en évidence l'irrespect qui marque de son sceau la poésie de Villon, les enjambements guident le lecteur dans sa perception de l'œuvre.
