Academic literature on the topic 'André Leiris'

In hierdie artikel word die geskiedenis van die laaste tweeduisendjare eerstens in vyfperiodes met verskiliende houdings teenoor die dood ingedeel.Daarna kon vasgestel word dat die Elckerlijc-spe/e wat op Engelse, Nederlandse, Duitse en Franse grondgebied ontstaan het, binne die tweede en vyfde periode van hierdie indeling val, dit wil sê aan die een kant die periode wat ongeveer 1000 begin, en 1700 eindig, en aan die ander kant die tydperk van die twintigste eeu.As 'n mens nou die algemene houding teenoor die dood, in hierdie twee tydperke met dié vergelyk, wat in die Elckerlijc-spele dear die doodsfiguur versimboliseer word, blyk dit dat die Elckerlijc-spele altyd ’n korrektiewe funksie op die algemene houding teenoor die dood probeer uitoefen.In die vroeë Elckerlijc-spele gaan dit nóg oor die bewaring van 'n mens se fisiese lewe, nóg oor 'n handel met God om ’n ewige lewe, twee faktore wat in ’n tydperk van individualisasie en ekonomiese groei bale belangrik geword het, maar om die inkeer en berou wat ’n mens tot God lei.In die latere Elckerlijc-spele gaan dit weer nie oor die vereensaming van die sterwende mens, wat deur die gemeenskap aan die mediese tegnologie oorgelaat word nie, maar om die oorwinning oor die fisiese dood deur ’n bewussynsaksie. Dit gaan ook nie meer oor die ontkoming van die ewige dood, soos in die vroeë Elckerlijc-spele nie, maar oor die bewuste deelwees van 'n lewensproses wat altyd weer opnuut stry teen ’n totale vernietiging van lewe dear die fisiese dood.

To explore the role expectations of different stakeholders in the health care system on the roles and tasks that nurses and midwives perform, in order to clarify and strengthen these roles and shape the future of nursing education and practice in sub-Saharan Africa. Qualitative focus group discussions were held with different stakeholders (nurses, health service managers, patients and their caregivers, community members and leaders and other health professionals) in eight African countries in order to establish their role expectations of nurses and midwives. Three questions about their role expectations and the interviews were taped, transcribed, and translated into English and analysed. There was consensus amongst the stakeholders regarding eight role functions: taking care of patients; giving health information; managing the care environment; advocating for patients; services and policies; providing emergency care; collaborating with other stakeholders; and providing midwifery care to women, infants and their families. There was disagreement amongst the stakeholders about the role of diagnosis and prescribing treatment. Nursing derives its mandate from communities it serves, and the roles expected must therefore form part of nursing regulation, education and practice standards. Health planners must use these as a basis for job descriptions and rewards. Once these are accepted in the training and regulation of nursing, they must be marketed so that recipients are aware thereof.Om die rol verwagtings van verskillende rolspelers in die gesondheidsisteem aangaande die rolle en take van die verpleegkundiges en vroedvroue te ondersoek, om daardeur uitklaring en helderheid en bekragtiging van hierdie rolle te verkry, waardeur die toekoms van verpleeg-onderwys en praktyk in sub-Sahara Afrika gevorm kan word. Kwalitatiewe fokus groepe is met verskillende rolspelers (verpleegkundiges, gesondheidsdiens bestuurders, pasiënte en hulle versorgers, lede van die gemeenskap, leiers en lede van andere gesondheidsprofessies) in agt Afrika lande gehou om hul rolverwagtings van verpleegkundiges en vroedvroue te bepaal. Drie vrae is oor die rolverwagtings gevra. Die onderhoude is opgeneem, getranskribeer, in Engels vertaal, en geanaliseer. Daar was konsensus tussen rolspelers oor agt rol funksies: versorging van pasiënte; die gee van gesondheidsinligting; bestuur van die sorgomgewing; voorspraak vir pasiënte; dienste en beleid; voorsiening van nooddienste; samewerking met ander rolspelers; en voorsiening aan moeder en kindersorg vir vroue en hul gesinne. Ooreenstemming is nie bereik aangaande die rol van diagnose en voorskryf van behandeling nie. Verpleging kry sy mandaat van die gemeenskappe wat gedien word en daarom behoort die rolverwagtings deel te vorm van verpleeg-regulasie, onderwys en praktyk- standaarde. Gesondheidsdiensbeplanners behoort hierdie verwagtings as basis te gebruik vir werksbeskrywings en erkenning. Na die aanvaarding van hierdie verwagtings in verpleegopleiding en regulering, moet dit bekend gemaak word sodat die gemeenskap daarvan bewus is.

The exile of some Judeans under the Babylonian Empire from 597 to 582 BCE is perceived to have left the land of Judah without residents, according to some biblical passages. Historically and biblically, the land of Judah was not left empty, but some peasants remained behind when the important and legitimate elite was deported to Babylon. Some Judeans fled to Egypt and other neighbouring countries. Some of the elite were executed around 587–586 BCE. The legitimate monarchs of Judah were either murdered or deported to Babylon and Egypt. Gedaliah, of non-royal lineage, was appointed as a governor of Judah by Babylon, but he was assassinated. Subsequently, Judah was left without leadership or was probably incorporated into the Samaria provincial governance. The second rebellion of Zedekiah in 588 BCE resulted in the fall of Jerusalem (586 BCE), the capital city of Judah. The deported, murdered and dispersed elite left a legitimate leadership void, which translates into the exile of Judah. The cultic and civil services performed by the elite like festal ceremonies, daily sacrifices, trade, public administration, military and judiciary were halted by the Babylonian exile.Thus, Judah was exiled by Babylon at the termination of necessary services done in Jerusalem.Die leegheid van ballingskap en die vroeë Persiese periode: ‘n Historiese studie. Sommige Skrifgedeeltes dra daartoe by dat die indruk geskep word dat Juda sonder inwoners gelaat is na die ballingskap van die Judeërs in die tyd van die Neo-Babiloniese Ryk (597–582 v.C.). Histories beskou en op grond van inligting in die Ou Testament, was die land egter nie leeg nie. Sommige van die gewone mense het agtergebly toe die vernaamste mense en die leiers na Babel weggevoer is. Sommige Judeërs het na Egipte en ander lande gevlug. Sommige van hierdie vernames is in 587–586 v.C. tereggestel. Die wettige regeerders van Juda is óf tereggestel óf na Babilon en Egipte weggevoer. Gedalia, wat nie uit die koninklike geslag was nie, is as goewerneur aangestel, maar hy is vermoor. Gevolglik is Juda leierloos gelaat, of waarskynlik deur die Babiloniese owerheid by die Samaritaanse gebied ingelyf. Die tweede opstand van Sedekia in 588 v.C. het tot die val van Jerusalem, die hoofstad van Juda, in 586 v.C. gelei. Die verbanning en verstrooing van, asook die moord op die leiers en vernames het ’n leemte in regmatige leierskap gelaat wat Juda se ballingskap verklaar. Die kultiese en siviele dienste soos feestelike seremonies, daaglikse offers, handel en openbare administrasie wat deur die leiers verrig is sowel as die regstelsel en militêre eenheid is ook deur die Babiloniese ballingskap beëindig. Die ballingskap het dus eerder die beëindiging van noodsaaklike dienste geïmpliseer as die wegvoering van die totale bevolking .

Artiklis vaadeldakse eellugu nähtusele, mida Andrei Azov nimetas „bukvalistide kukutamiseks“ ning mis viis pooleks sajandiks nn nõukogude tõlkekoolkonna monopolini. Selle nähtuse algust näeme 1934. aastas, mil ilmusid ja said professionaalse arutelu objektiks silmapaistavate vene filoloog-tõlkijate Gustav Špeti ja Boriss Jarho novaatorlikud võõrapärastavad tõlked ja samal ajal seoses Nõukogude kirjanike esimese kongressiga leidis aset toores heteronoomia sissetung tõlkevälja ning tekkis sellest heteronoomiast kasu lõikav kriitiline diskursus. Olulisemate filoloog-tõlkijate hukkumine suure terrori ajal aitas kaasa kriitikute võidukäigule tõlkijate üle ja sealhulgas vene tõlkeajaloo retrospektiivsele moonutamisele, mida käesolev artikkel püüab parandada. Toetudes Lawrence Venuti tuntud teooriale võõrapärastavast ning kodustavast tõlkest, on seda dihhotoomiat diferentseeritud vastavalt nõukogude heteronoomsetele tingimustele. The article discusses the pre-history of what Andrey Azov famously called “the overthrow of the literalists”, and the beginning of the half-a-century domination of the “Soviet school of translation” in Russia. It aims to locate and scrutinise the moment when the previous translation trend, later pejoratively labelled as “literalism”, gave way to the “Soviet school”. In the post-war years, the Russian translators Evgeny Lann and Georgy Shengeli were subjected to harsh criticism as “literalists” by the literary critic, translator and translation theorist Ivan Kashkin. In the official history of Soviet translation as outlined in the Literary Encyclopedia (1968), they were presented as key figures of a translation trend, also labelled “formalist” and “technologically exact”, both post- and pre-war. This version of the history of Soviet translation, still resounding even in Azov’s study (2013), is strongly distorted and needs to be rewritten in a more analytical way. Primarily, the term “literalists”, that was used loosely and pejoratively at the time, can by no means serve as instrumental today. One of the most adequate self-labels of this trend in translation that had its heyday throughout the 1930s, notably in the activities of the Academia publishing house and the Commission for the Study of Literary Translation at the Moscow State Academy of Art Sciences (GAKhN), is “artistically scientific”. In order to describe the trend adequately it should be noted that the “nomination” of Lann and Shengeli as “literalists” and the main targets of post-war criticism owes primarily to the fact that the much more influential key figures of this “school”, mentioned in the Literary Encyclopedia (1934) as the “best present-day translators” – Mikhail Kuzmin, Adrian Pyotrovsky, Boris Yarkho, Mikhail Petrovsky – had either died (Kuzmin) or fallen victim to the great purges that hit also the GAKhNovites, including Gustav Shpet. Their names became unmentionable, while the translation projects and discussions of the 1930s associated with them could not be properly considered in translation histories. In order to reconstruct the true history of Soviet translation they have to be restored to their rightful place. The pivotal point that marked both the acme of the “artistically scientific” translation, as well as the beginning of its demise, was the year 1934. It famously saw the First All-Union Congress of Writers at which translation was declared not the “private domain of a couple of literary pedants, not the academic theme for a philologist’s thesis, but an affair of utmost state importance”. Integration of translation into Stalinist national politics (discussions at the Writers’ Congress were centred on the interests of Soviet nationalities and on praising the free translations made by poets) resulted in a drastic decline of autonomy in the field and in the competition between critics profiting from the heteronomy concerning who would define the true “Soviet translation” and thus have the power to judge. The brilliant samples of scientifically founded translations of classics that appeared in 1934 – Boris Yarkho’s rendition of the medieval romance La Chanson de Roland and Gustav Shpet’s new Russian Dickens and Shakespeare (both to become virtually erased from the history of Soviet translation later on) became the focal point of the dispute over what “Soviet translation” should be. The article reconstructs both Yarkho’s and Shpet’s philologically based translation premises and the conflicting reception of their work by fellow philologists and by politically motivated critics. The transcript of a 1934 discussion held after Evgeny Lann’s report on the principles of the new Dickens translations preserved in the archives clearly shows that, at the time, all discussants, including Kashkin, addressed not Lann but Shpet as the real source of these principles and that it was only after Shpet’s arrest and death that the spearhead of criticism was aimed at Lann (who, unlike Shpet, unfortunately lacked the philological and spiritual stamina and weight to confront it decisively). As for Yarkho’s attempt to invent a Russian poetic diction adequate for rendering French syllabic verse and the heterogeneous style of the medieval war epic, it was both daring and philologically grounded and had been highly praised as a model “Soviet translation” by major philologists working in the field of translation, e.g. Mikhail Alexeev, Alexander Smirnov and Rosalia Shor. At the same time, critics trying to speak in accordance with the political line would criticise it harshly, programmatically declaring their preference for the outdated free-verse translation into Russian made by de la Barthe. In the history of Soviet translation, the transition from the “artistically scientific” or, to use a more familiar term, foreignising trend that had been flourishing throughout the 1930s and given brilliant practical as well as theoretical results, to a domesticating, ahistorical “Soviet school” that lacked theoretical reflection was not a natural evolution. Instead, it constituted a brutal intrusion of heteronomy into the field of translation, the triumph of politically oriented literary critics over professional translators and philologists that was strongly facilitated by the fact that many of the latter were repressed and, consequently, their names and works were erased from the history of Soviet translation.

Pablo Picasso a entretenu des liens très intimes avec la littérature française représentées par les poètes du Bateau-Lavoir ou les surréalistes. Il est donc intéressant d’analyser – du point de vue du peintre- la nature de ces amitiés et quels avantages Picasso a pu en tirer. En outre, ces dernières permettent de comprendre l’interaction qui existe entre ces deux domaines. Toutefois, cette étude est axée sur les relations du peintre avec deux écrivains français : Michel Leiris et André Malraux. Ce qui met en évidence l’idée de « génération » : les deux écrivains sont nés la même année à Paris, puis les trois artistes subissent les mêmes influences et ont des centres d’intérêts communs
Pablo Picasso maintained bonds of friendship with french literature, I. E with poets from the “Bateau-Lavoir” or members of surrealism. It is then very interesting to analyse – from the painter’s point of view – the nature of these friendships and how efficient they have been on Picasso’s life. Besides, they give the opportunity to understand interction between these two fields of expression. However, this study is based on the relationship between the painter and two french writers : Michel Leiris and André Malraux. It focusses on the notion of “genereation” both writers were borned the same year in Paris, then the three artists will be under the same influence and share points of interest

Ce travail repose sur l'etude d'une oeuvre, celle de michel leiris, dans le cadre d'une problematique plus generale touchant aux rapports entre peinture et ecriture : transferts, confrontations, alliances et refus. Ces rapports mutuels sont soumis a la reconnaissance d'une separation radicale des signes qui fonde pour une part essentielle les jeux de l'ecriture face au visible. Leiris fait passer la confrontation de l'ecriture et de la peinture, du regard et du langage, par la reconnaissance, ludique et theorique, de cet ecart. Le vestige des images autobiographiques, la passion du regard ethnographique, les jeux visuels du poeme et le gout pour certains types de spectacles (tauromachie et opera) y contribuent autant et plus que le discours amical sur le prestige des peintres contemporains : masson, miro, giacometti, picasso, lam, bacon. Un parcours des textes consacres a chacun de ces peintres a permis de mettre a jour vertains elements fondateurs de la poetique leirisienne de la peinture, qui se trouvent etre aussi les enjeux de la poesie, de l'autobiographie, et de l'ethnographie : etude attentive et exaltee d'une langue secrete, jeux systematique sur les signifiants, et singulierement sur les noms propres, reconnaissance de l'alterite et ethique de la subjectivite, fascination de la presence et interrogation incessante des images du corps. On a fait appel a des lectures croisees inspirees par la textanalyse, sans negliger l'histoire des circonstances et des amities
This work is meant to make a contribution to investigation on relationship between writing and painting in xxth century. Michel leiris (1901-1990), aside from being one of the most original creators among french surrealists, devoted an important part of his work to painting criticism. Before analyzing on andre masson, joan miro, alberto giacometti, pablo picasso, wifredo lam and francis bacon - the poet, autobiographer, ethnographist and critic having been for a long time their close friend - , our aim has been to show the recurrent presence of a certain number of imaginary structures in his ethnographic, poetical, autobiographical and fiction work, to study how these structures were protected into his appreciation and poetics on painting. Concentration on images of blood and red colour, lingering assertion of a perspective angle of vision, numerous poetic puns around name and surname, references to translation and foreign artists original languages, are here studied as elements of a writing on vision, visual, and visibility

Le surréalisme africain nécessite d’interroger la part de l’influence du surréalisme français. La terminologie implique, en effet, un lien entre l’écriture africaine et le mouvement français. Ce lien est mis en place à la fois par la critique et par les dialogues entre les deux univers. Senghor incite à considérer la part indépendante de ce surréalisme en évoquant un surréalisme négro-africain. Nous dégageons alors, derrière d’apparentes similitudes, des différences notables qui révèlent un surréalisme au service d’une compréhension du monde purement africaine. Le surréalisme africain serait l’expression de la perception traditionnelle africaine dont la forme s’apparente à celle mise en place par le mouvement parisien sans qu’il y ait nécessairement eu influence
African Surrealism requires the question from the influence of French surrealism. Terminology implies, indeed, a link between African writing and the French movement. This link is established by both critics and the dialogues between the two worlds. Senghor encouraged to consider independent part of this surrealism evoking a black negro-african surrealism. We disclaim then behind apparent similarities, differences which reveal a surrealism in the service of understanding the world purely African. African surrealism is an expression of the traditional African perception whose shape is similar to that introduced by the Parisian movement without necessarily had influence

Le XXe siècle constitue un tournant épistémologique majeur dans l’histoire de la pensée du rêve. De la Traumdeutung de Freud, qui ouvre le siècle, à la remise en cause des théories psychanalytiques, notamment par les neurosciences, nombreux sont les discours qui se développent sur cet objet énigmatique. Héritier d’une tradition savante et dialoguant volontiers avec les autres disciplines, le récit de rêve littéraire observe, au tout début du XXe siècle, une mutation profonde qui lui permet de s’affranchir d’un cadre fictionnel plus large et de gagner son autonomie. Pendant nocturne du journal intime ou miscellanées de textes d’une « inquiétante étrangeté », ces écrits, explicitement présentés comme issus de rêves authentiques, se distinguent par leur position volontairement ambiguë, à la frontière de catégories formelles poreuses, entre pure fiction et témoignage d’expérience, écriture intime et fantaisie débridée. De Paulhan et des surréalistes (Breton, Desnos, Leiris) à des auteurs contemporains (Marcel Béalu, Frédérick Tristan) en passant par Yourcenar, Michaux ou encore Queneau et Perec, se dessine ainsi l’histoire d’un genre, celui du récit de rêve. Pour examiner les conditions qui permettent l’élaboration de ces productions oniriques et en assurent la littérarité, l’étude de cette écriture du rêve adopte une double perspective. D’une part, elle envisage le rapport de la littérature avec les discours de savoir. Elle examine ainsi la difficile conciliation entre expérience du rêve, théorie du rêve et narration du rêve et cherche à comprendre quelles réponses la littérature a pu opposer ou proposer aux divers discours portés sur ce sujet. D’autre part, elle interroge le statut littéraire de ces textes et propose une analyse esthétique plurielle de ces écrits à la marge de l’élaboration consciente et à la rencontre des formes et des genres
This dissertation aims to present a history of the literary genre of the dream narrative, as it unfolded within French writing throughout the 20th century.The first part of the dissertation is dedicated to epistemology. It shows that in France theories of dreaming influenced literary theory, and vice versa, from the 1920s onwards. We first shed light on that dialectics by analysing the attitude of writers as self-proclaimed dream specialists, as compared with scientists. In doing so, we show the epistemic limitations of these accounts of dreams, as they struggle to qualify as scientific documents. We also delineate the ways in which writers try to assert their legitimacy in the face of scientific and psychoanalytic discourses. Finally, we suggest that literature does contribute to our understanding of dreams by proposing its own singular, specific approach to them. And in return, we show how writers focusing on dreams are led to conceive of their own art in a new way.The second part of the dissertation tackles the aesthetics of dream narratives. It highlights the wide variety of these texts, from surrealistic recollections of dreams by André Breton, Paul Eluard or Robert Desnos, to contemporary fictional short stories by Marcel Béalu or Frédérick Tristan. Conflicted definitions of dream narratives emphasise the non literariness of the genre while others point to its poetic and literary quality. It then focuses on Michel Leiris’s work and the formalistic approach developed by Georges Perec and Raymond Queneau in the 1960s ans 1970s, and eventually identifies Jean Paulhan’s new manner of narrating dreams, which inspired Henri Michaux, Marcel Béalu and Frédérick Tristan. These later texts are not only inspired by true dreams but let us read as if they were.Overall, the thesis emphasises the social and artistic function of the dream, which we apprehend as a means of understanding the enigmatic state of consciousness that is sleep