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In this paper we are going to study how historical memory can be recovered in the Spanish textbooks published in France in accordance with the last two reforms affecting the Official Programmes for Modern Languages (2010-2019). Not forgetting the victims of the Spanish civil war or those of the Franco dictatorship, recovering memory -involves inviting witnesses to history to give their testimonies, and this will be amply taken up in the creation of units in textbooks. The latter provide a wide variety of documents -excerpts of novels and of graphic novels as well as newspaper articles and posters- in wich reality and fiction allow us to retrace the individual histories of the victims and thus reconstruct a collective history.
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The novel by Santiago Amigorena, who was on the 2019 Goncourt finalists list, bears the imprint of the heavy suffering that this theme of the Shoah will always involve, what has also been called the indescribable. The inner ghetto of the son is not only a mirror image of the ghetto that the mother had lived, but it is another way of expressing the intolerable torment, the dismay in front of the evil of the world, death, absence, helplessness in the face of horror, sometimes even cowardice. The inner ghetto is also a name of silence, of an effort to be absent from oneself, a name of isolation, of an attempt to immerse yourself in the forgetting of the real, of the exterior. Amigorena's novel becomes, through the putting into words of a testimony, and therefore the overcoming of silence and forgetting, a work of recovery of the story of a life, that of the author's grandfather, Vicente Rosenberg, and that of her great-grandmother, Gustawa Goldwag, deported and died in Treblinka, after an arrest of about three years in the Warsaw ghetto. We propose to highlight through this study the way in which silence is constructed at the interface of forgetting and memory as a throbbing, ineffaceable questioning, and also its functioning, its virtues, its poetics of testimony.
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Poems as carriers of countless emotions by means of a significant scarcity of words are probably the best means of stimulating the readers’ world of feelings and train-of-thinking. In order to demonstrate the way in which poems conceal a world of emotional intelligent manifestations and become therefore adept facilitators of emotional training, a poem dealing with loss has been selected for exemplification and assessment of students’ emotional literacy skills. The poem One Art by Elizabeth Bishop is a mirroring of the poet’s life and inner struggles and the strategy the poet adopts in order to master past memories. The entire poem seems to deliver the message that people should master life events with such poise that any act of losing may not create unbalance in the mind. The present study aimed at recording the impact of the poem on a group of 72 students from the Faculty of Letters of “Alexandru Ioan Cuza” University of Iași. The students were asked to write a short literary analysis of the poem and refer to aspects related to the emotions the poet expresses and the attitudes she adopts to master them, the lexical means and the imagery used, as well as the impact of the emotions on themselves. The questions exposed the readers to the four relevant areas in the Four-Branch Model of Emotional Intelligence devised by psychologists John D. Mayer and Peter Salovey (Mayer, J. D., and Salovey, P., 1997, p. 11) and checked their competences of perception and appraisal of emotion, detecting the linguistic means of expressing emotions, emotion assimilation and facilitation of thinking, emotion understanding and emotion management. The responses offered by students convey a consistent view of their emotional intelligent profiles. All the four key components were gradually sensed in their responses and indicate a further need to consolidate competences especially in the areas of emotion understanding and management.
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The novel Sciences de la vie (Life Sciences, 2017) by Joy Sorman presents several spheres of memory that intertwine with each other. It will be a memory within the life of the individual (and his identity search), medicine, which, despite its rational nature, often lacks answers, and a society on the edge of which the lives of women from the book's protagonist family, Ninon Moses. All women, without exception, suffer from diseases that are as inexplicable as they are remarkable, so they are often recorded in medical archives, which gives them the character of a certain unreal and ancient story. Ninon herself suffers from a rare neurological pathology: dynamic tactile allodynia, hypersensitivity to the slightest touch. Every touch is accompanied by unbearable pain, which leads her to gradually move away from others and the world in general. Our article focuses on the development of Nina's disease first against the background of limiting family memory. Furthermore, its development, diagnosis and treatment, in which the various "sciences of life" gradually fail, because all bodily pain inevitably affects the psyche and way of life of the sufferer. Joy Sorman's novel develops on the basis of psychoanalytic and philosophical theories. Explicitly mentioned is the popular concept of "The Skin-Ego" by psychoanalyst Didier Anzieu, who works with the fact that the skin is a permeable layer, which reflects not only the state of the psyche, but also relationships with others and the environment. In addition to Anzieu, we also use the theories of Sigumund Freud and Jacques Lacan to help clarify the symbolic meaning of the disease.
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This article aims to analyze the conflictual situation experienced by Brodeck and the other characters in the novel caught between memory and oblivion. In fact, Philippe Claudel's novel, The Brodeck Report, tells of the murder of a man, a foreigner, the Anderer, in a village located in the mountains, an event that occurs at the end of the Second World War, when the character relates the facts. The inhabitants of the village assign a young man, Brodeck, to investigate and write a report on the circumstances of the death of this stranger. In addition, Claudel’s novel also deals with the deportation of a main character to a concentration camp during World War II. It is precisely a memory linked to concentration camps. This tension can be articulated in the division between memory and oblivion: remembering the past linked to the murder of this foreigner in the village, the deportation of a category of the population to the extermination camps at the risk of 'accuse certain villagers or simply forget about this troubled past in order to preserve calm in the village. Faced with this dilemma of the characters, what will they choose? Remember or forget?
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This article addresses the question of forgetting and shattered memory in the theatrical poetics of Eugene Ionesco and Samuel Beckett. La cantatrice chauve and Waiting for Godot announce themselves through dialogues that showcase prototypes of characters stuck in a temporal process of diminishment and cognitive degradation: they ignore their past, their present and their future. The temporality appears so stretched that any progression forward, or backward, becomes impossible. The body of these extras is no longer the place of all consciousness of existence, but the symbol of an absurd life without precise landmarks. The analysis of the textual elements of coherence and cohesion, against the background of the theory of the receptivity of the theatrical fact by the recipient (Umberto Eco, 1992), makes it possible to understand that theatrical language, beyond the deceptive appearance of the question of memory in debris and forgetting is fraught with ambiguities; and all this elaborates a theatrical poetics which brings a denial to any referential illusion
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The war between the Longs and the Shorts is the backdrop for Eugène Ebodé's Souveraine Magnifique. It is an eponymous story in which the narrator delves into the interstices of the outraged memory of a war survivor named Souveraine Magnifique. Now an orphan from the Long ethnic group, she painfully recalls the alarming circumstances of an atrocious war that sprang up between brothers of the same blood in the heart of a Rwanda ravaged by the throes of jealousy and unjustified hate. How does fictional literature script this genocidal war by focusing on the representation of a system of ethical values, such as forgetting, in order to postulate an ethical worldview? Through its two axes, the phenotext and the genotext, Edmond Cros's sociocriticism serves as a reading reference to answer this question. The study is organized into three points which revisit, firstly, the meaning of the chronotope which memorably frames the war scene. Secondly, the stylistic manoeuvres that allow us to visualize the aesthetic anchorage or literariness of the novel are examined. Finally, we question the significant clues that inscribe the novelist's argument in a dynamic of oblivion in order to postulate a humanist worldview.
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Literature is often the end result of reminiscing as well as obliterating and forgetting, as the creative surge gives way to either imagination or memory. Writer Jean-Marie Gustave Le Clézio is one of those authors who live between two worlds, which means that, in order for him to be at peace with himself, he claims French as well as Mauritian cultural heritage. The leclesian literary universe reveals snaps of the author’s life, amongst which is also his experience during the Second World War. In his work, Jean-Marie reminisces about his childhood and the time spent in his home town because of the war. In doing so, he transforms his experiences in prose material, analysing and giving them new meaning. At the same time, his work references testimonies and other traumatising events which the writer either inherited from his family or received from people he met throughout the years. For these reasons, the leclesian literature grows from memory rather than imagination. In this article, we aim to discuss the way in which Jean-Marie Gustave Le Clézio deals with the war theme - a theme closely linked to the memory and recollections of a writer born in 1940.
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The Internet has become a huge memory that we can use when we want to remember an event or look for information. Social networks have provided communication and public relations specialists with a multitude of possibilities to establish and cultivate relationships that will keep their brand image alive in the memory of the target audience. The private sector uses coherent strategies to keep the public's attention through these channels. Romanian theaters do not have a high-performance communication and public relations strategy that will create brands from actors and capitalize on the artistic act at its true value.
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In Canada, the question of slavery is deliberately hidden by historians (with the exception of researchers like Marcel Trudel) or very rarely approached by works of fiction. This is the case with slaves who belonged to their owners until the end, as well as Black Loyalists who, like Richard Pierpoint, won their freedom after the War of 1812. But if specialists of History prefer ignore the facts, the authors of Literature refuse to forget the crimes of slavery. This is the challenge of the novelists Micheline Bail, in L’Esclave, and Lawrence Hill, in The Book of Negroes, a book translated into french and adapted for television under the title Aminata. We’ll analyze this type of literary and television productions which, on the one hand, break the silence on the transatlantic slave trade in (and seen from) Canada by rewriting history, on the other hand, echo the rare documentation on Canadian slavery. This contribution demonstrates therefore how fictional representations make it possible to rehabilitate historical figures of slaves forgotten by historiography.
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It was not easy, in conservative and modest Maghreb societies, to talk about the body and its representations, let alone make it an object of writing. Writing on the body was such a taboo that respects for the rules of propriety, care for the sensitivity of the reader took precedence over all considerations. However, some subversive writers, including Rachid Boudjedra, will dare to make the body a central component of the novelistic universe, which will determine the functioning of the entire textual device. We will better understand the links between the characters, the relationship between the individual and the community, and the question of values. Hence, the body becomes "the mediator between the intimacy of the Self and the exteriority of the world" (RICOEUR, P, 1990, 372).Taken in various postures, the female body reveals, especially in these writers’, the status of woman in all its complexity and ambivalence: tortured woman, bruised woman, but at the same time desired, eroticized... Our article will focus on the body as a "place of relational and social complexity" (BERNHEIM, G, 1996, 180) in Boudjedra's works. Doing this, we will attempt to provide fair answers to the following questions: How does the body manage to forge a place within the text? What role is reserved for it? We will also wonder if writing does not assume a cathartic and liberating role through resistance to doxa and alienating stereotypes in which it freezes the female body.
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The notion of cultural intelligence is increasingly referred to nowadays, particularly when it comes to the efficient communication within the workplace. We may even say that cultural intelligence overlaps with intercultural competence, which is true up to a certain extent; however, as communication keeps getting more digital (especially amid the COVID-19 pandemic), we come to realize that the traditional methods of teaching such notions must be updated in order to correspond to our current needs. Given the fact that these concepts were being taught to medical students in ESP classes, the following paper aims to discuss some approaches to teaching these subjects – which prove to be highly beneficial to medical students when they learn to understand the way in which cultural intelligence may come to influence the work they are going to carry out in health care settings, the way in which they will be able to interact with people coming from different cultural backgrounds. The paper will also try to address the problem of cultural values nowadays, the way in which people respond to such values in a digitalized world that may have come to challenge the very notion of tradition as we used to perceive it.
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The use of certain pronominal forms or allocutionary formulas and titles, although individual, subjective behavioral acts, strongly characterize the social life from a certain historical period. Their use in certain situational and institutional contexts depends on extralinguistic, socio-economic, political and cultural factors. Any kind of verbal interaction presupposes the existence of a speaker and an interlocutor (or a group), between which a series of oppositions are established. In this article we will deal with the logical realization of verbal interaction in certain institutional contexts: hospitals, schools, universities, media, social networks, taking into account the asymmetric relationship, based on the power relationship: doctor / patient, teacher / student, student, journalist / interviewee, television interview or online. The linguistic and communicative choices of the interlocutors are the consequence, the result, the product of an external social structure. The analysis of verbal interaction in certain institutional contexts highlights the existence of recurring structures that characterize certain communicative situations: questions / answers, limited time and space, which can also lead to a conflict versus cooperation. The doctor, the teacher, the judge, the journalist leads the verbal interaction, opening and closing the conversation, choosing the topic of discussion, having total control over the communicative situation, thus establishing the asymmetry of social status between interlocutors, based on social, moral, age or professional hierarchy. Getting familiar in this situational context is no longer perceived as a mark of globalization, of non-discrimination, but can lead to a latent conflict. In the last part of the paper, we will refer to the current trends for the establishment of a relationship of parity, solidarity, even within a relationship marked by asymmetry, leading, at least in the private sector (private hospitals, private universities), to the establishment of a relationship of cooperation, more friendly, polite, which does not necessarily imply agreement between the interlocutors, but even divergences of opinion.
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This research discusses translation models of phraseological units selected from English and Romanian literary texts. The analysis of the phraseological units translability is performed by observing the similarities or inconsistencies between the grammatical, semantic and stylistic levels of the English and Romanian samples. We decided to follow the procedure of partial equivalence to see to what extent interlingual transfer occurs under optimal conditions and if there is an imbalance in the target language system, when the texts contain idiomatic expressions specific to that community. The scheme we propose consists in identifying, analyzing the meanings of the unit, transferring meaning and completing the translation process by creating a text adapted to the grammatical, stylistic and functional needs of the target language. The numerous examples we have extracted from literary texts represent samples of lexical, semantic, stylistic adequacy, demonstrating that there are various translation strategies, which constitute solutions for partial equivalence of phraseological units from the source language to the target language.
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Jungian psychoanalysis draws a parallel between archetype and the concept of “collective representations”, the one through which Lévy-Bruhl designates the symbolical figures that populate the primitives’ world view and which were subsequently reactivated by Serge Moscovici under the name of “social representations”. Another famous psychoanalytical postulate, formulated by Lacan in the 60s according to which “the unconscious is structured like a language” seems to be confirmed by the most recent studies in social psychology. The classical theory accepted by the majority of the cognitivists which stipulated that language processing was achieved only in a conscious state is today dismantled by Ran R. Hassin and the team he coordinates: the processing of simple semantic structures, or even arithmetic ones, can also be achieved in unconscious state. As members of social groups, we possess “an innate matrix alphabet” through which we decode space and time by relating ourselves to the others and to our own self. Due to the evolution of mass media devices, the 20th century and the beginning of the current century contribute to the intensification of an authentic phenomenon of mergence in the collective imaginary: cinematography, fashion, television, politics, music, art, and last but not least, Publicity, as forms of „soft-power”, cease to belong to a certain group, thus almost instantaneously becoming legible at global scale; their intra and inter-semiotic translation makes them adaptable to all cultures, irreversibly shaping the collective mentality. Through persuasion techniques, the advertising strategies impose a daily “unconscious reading” on the consumer, promoting brands to the detriment of products, thus building an imaginary universe around brands as bearers of symbolic values.
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The article deals with the image of crisis as it is presented in Rachilde’s autobiographical text “Dans le puits”, written during the First World War. The book offers an insight into the author’s perception of the war, of the fear and of the impossibility of fiction during this time of traumatic reality. Rachilde, usually a prolific writer, who has always produced at least one fiction a year, finds herself silenced, unable to speak up about the cruelty of war. “Dans le puits” is her only longer publication of that time, an attempt to relate the facts through her subjectivity, in order to discover their true meaning.
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Since the publication his novel “Archaeology of chaos (in love)” in 2007, Mustapha Benfodil has applied himself to implementing the program set out by one of his characters: the DECONSTRUCTION OF THE NATIONAL NARRATIVE ORDER.His latest novel, “Alger, journal intense”, published in September of 2019, realises this project. As in his other texts, Benfodil challenges the rules of languages, genres, and even discursive and editorial forms. With jubilation, anger and humour, once again he puts writing in crisis to tell the story of Algeria that has been the victim of a terrible series of crises since October 1988. Twelve years later, Benfodil’s unstifled writing style captures the “historical chaos” from which post-colonial Algeria is trying to recover.
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