Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag identite</title>
	<link>https://atlante.univ-lille.fr/tag/identite</link>
	<language>fr</language>
	<description></description>
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		<title>14.Passage, &lt;em&gt;passing&lt;/em&gt; et passeur : Bertrandon de la Broquière et son &lt;em&gt;Voyage d’Outremer&lt;/em&gt;</title> 
		<link>https://atlante.univ-lille.fr/14-passage-empassing-em-et-passeur-bertrandon-de-la-broquiere-et-son-emvoyage-doutremer-em.html</link>
		<guid>https://atlante.univ-lille.fr/14-passage-empassing-em-et-passeur-bertrandon-de-la-broquiere-et-son-emvoyage-doutremer-em.html</guid>
		<description>&lt;p&gt;Victoria Turner&lt;br /&gt;University of St Andrews&lt;br /&gt;p.279-301.&lt;/p&gt;&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Victoria TURNER, &amp;laquo;&amp;nbsp;Passage, &lt;em&gt;passing&lt;/em&gt; et passeur&amp;nbsp;: Bertrandon de la Broqui&amp;egrave;re et son &lt;em&gt;Voyage d&amp;rsquo;Outremer&lt;/em&gt;&amp;nbsp;&amp;raquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;Diplomates. &amp;Eacute;cuyers. Chevaliers. P&amp;egrave;lerins. Espions. Sous l&amp;rsquo;&amp;eacute;gide des puissants ducs de Bourgogne, les voyageurs du XV&lt;sup&gt;e&lt;/sup&gt; si&amp;egrave;cle adoptaient des identit&amp;eacute;s et des r&amp;ocirc;les n&amp;eacute;buleux et fluides. Dans son &lt;em&gt;Voyage d&amp;rsquo;Outremer&lt;/em&gt;, Bertrandon de la Broqui&amp;egrave;re exploite cette fluidit&amp;eacute; pendant son voyage en Orient. Son r&amp;eacute;cit met en &amp;eacute;vidence la possibilit&amp;eacute; d&amp;rsquo;un passage g&amp;eacute;ographique mais aussi interculturel. Cet article examine comment le voyageur se fraye un chemin &amp;agrave; travers les communaut&amp;eacute;s et les cultures rencontr&amp;eacute;es pendant ses p&amp;eacute;r&amp;eacute;grinations, comment son autorit&amp;eacute; se construit non pas &amp;agrave; travers un changement d&amp;rsquo;&amp;eacute;tat ou une assimilation culturelle mais &amp;agrave; travers l&amp;rsquo;utilisation et le d&amp;eacute;voilement des r&amp;eacute;seaux locaux et des cha&amp;icirc;nes de passages.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s: &lt;/strong&gt;R&amp;eacute;cit de voyage, Cour de Bourgogne, Identit&amp;eacute;, &amp;Eacute;changes culturels.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Victoria TURNER&lt;/strong&gt;&lt;strong&gt;, &amp;ldquo;Paso, &lt;em&gt;passing&lt;/em&gt; y transmisor:&lt;/strong&gt; &lt;strong&gt;Bertrandon de la Broqui&amp;egrave;re y su &lt;em&gt;Voyage d&amp;rsquo;Outremer&lt;/em&gt;&amp;rdquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen. &lt;/strong&gt;Diplom&amp;aacute;ticos. Escuderos. Caballeros. Peregrinos. Esp&amp;iacute;as. Bajo la &amp;eacute;gida de los poderosos duques de Borgo&amp;ntilde;a, los viajeros del siglo&amp;nbsp;XV adoptaban identidades y papeles nebulosos y fluidos. En su &lt;em&gt;Voyage d&amp;rsquo;Outremer&lt;/em&gt;, Bertrandon de la Broqui&amp;egrave;re aprovecha esta fluidez durante su viaje a Oriente. Su relato evidencia la posibilidad de un pasaje geogr&amp;aacute;fico, pero tambi&amp;eacute;n intercultural. Este art&amp;iacute;culo examina c&amp;oacute;mo el viajero se abre camino a trav&amp;eacute;s de las comunidades y culturas con las que se encuentra durante sus peregrinaciones, c&amp;oacute;mo su autoridad se construye, no mediante un cambio de estado o una asimilaci&amp;oacute;n cultural, sino mediante la utilizaci&amp;oacute;n y la revelaci&amp;oacute;n de redes locales y cadenas de pasajes.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras clave: &lt;/strong&gt;Relato de viaje, Corte de Borgo&amp;ntilde;a, Identidad, Intercambios culturales.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Victoria TURNER&lt;/strong&gt;&lt;strong&gt;, &amp;ldquo;Passage, &lt;em&gt;passing&lt;/em&gt; and&lt;/strong&gt;&lt;strong&gt;transmitter: Bertrandon de la Broqui&amp;egrave;re and his &lt;/strong&gt;&lt;strong&gt;&lt;em&gt;Voyage d&amp;rsquo;Outremer&amp;nbsp;&lt;/em&gt;&lt;/strong&gt;&lt;strong&gt;&amp;rdquo;&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;Diplomats. Squires, Knights. Pilgrims. Spies. Fifteenth-century travellers under the authority of the powerful Dukes of Burgundy adopted fluid and nebulous roles and identities. In his &lt;em&gt;Voyage d&amp;rsquo;Outremer&lt;/em&gt;, Bertrandon de la Broqui&amp;egrave;re exploits this fluidity during his travels to the East. His narrative demonstrates the possibility of intercultural as well as geographical crossings. This article examines how the traveller navigates the communities and cultures encountered during his journey and how his authority is constructed not by a change of state or cultural assimilation but by using and revealing local networks and chains of &lt;em&gt;passages&lt;/em&gt;.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Key words: &lt;/strong&gt;Travel narrative, Court of Burgundy, identity, cultural exchanges.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-12/279-301-v-turner.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 315 Kb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Sat, 19 Dec 2020 13:48:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>09. Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo</title> 
		<link>https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html</link>
		<guid>https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html</guid>
		<description>&lt;p&gt;Juan Carlos Baeza Soto&lt;br /&gt;Universit&amp;eacute; de Cergy-Pontoise&lt;br /&gt;AGORA EA 7392&lt;br /&gt;p. 48-79.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;laquo; &amp;Eacute;corcher l&amp;rsquo;absolu. Corps et identit&amp;eacute; de l&amp;rsquo;&amp;acirc;me dans les nus de Manuel &amp;Aacute;lvarez Bravo&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; La lumi&amp;egrave;re semble tendre vers la perfection humaine dans les corps nus que Manuel &amp;Aacute;lvarez Bravo propose dans&amp;nbsp;&lt;em&gt;Miroir noir&lt;/em&gt;(1947),&amp;nbsp;&lt;em&gt;Fruit d&amp;eacute;fendu&lt;/em&gt;&amp;nbsp;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&lt;/em&gt;&amp;nbsp;(1979) ou&amp;nbsp;&lt;em&gt;Sieste dans l&amp;rsquo;herbe&lt;/em&gt;&amp;nbsp;(1979). La lumi&amp;egrave;re victorieuse des t&amp;eacute;n&amp;egrave;bres est en r&amp;eacute;alit&amp;eacute;, dans une perspective azt&amp;egrave;que du monde, toujours d&amp;eacute;pendante du combat et de l&amp;rsquo;accident. C&amp;rsquo;est pourquoi les nus du photographe mexicain se r&amp;eacute;clament de l&amp;rsquo;accident et de l&amp;rsquo;absence. Le cadrage particulier des nus d&amp;rsquo;&amp;Aacute;lvarez Bravo accorde &amp;agrave; la lumi&amp;egrave;re une identit&amp;eacute; qui repose sur la diff&amp;eacute;rentiation&amp;nbsp;: sans la rencontre du corps, la lumi&amp;egrave;re ne serait qu&amp;rsquo;apparence. Les nus de Manuel &amp;Aacute;lvarez Bravo ouvrent de la sorte &amp;laquo;&amp;nbsp;un acc&amp;egrave;s sensible &amp;agrave; l&amp;rsquo;ontologie&amp;nbsp;&amp;raquo; (Fran&amp;ccedil;ois Jullien)&amp;nbsp;; ils offrent au regard de la connaissance un corps d&amp;eacute;sireux d&amp;rsquo;&amp;eacute;claircie.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, nu, azt&amp;egrave;que, corps, identit&amp;eacute;, Mexique, r&amp;eacute;alisme, mati&amp;egrave;res.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;ldquo;Desollar lo absoluto. Cuerpo e identidad del alma en los desnudos de Manuel &amp;Aacute;lvarez Bravo&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&lt;/strong&gt; Parece que la luz tiende a la perfecci&amp;oacute;n en los cuerpos desnudos que Manuel &amp;Aacute;lvarez Bravo propone en&amp;nbsp;&lt;em&gt;Espejo Negro&lt;/em&gt;&amp;nbsp;(1947),&amp;nbsp;&lt;em&gt;Fruta Prohibida&lt;/em&gt;&amp;nbsp;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&lt;/em&gt;&amp;nbsp;(1979) o&amp;nbsp;&lt;em&gt;Siesta en la hierba&lt;/em&gt;&amp;nbsp;(1979). La luz victoriosa de las tinieblas es en realidad, en una perspectiva azteca del mundo, siempre dependiente del combate y del accidente. Por eso los desnudos del fot&amp;oacute;grafo mexicano reivindican el accidente y la ausencia. El peculiar enfoque de los desnudos de &amp;Aacute;lvarez Bravo le concede a la luz una identidad que se fundamenta en la diferenciaci&amp;oacute;n: sin el encuentro de los cuerpos, la luz no ser&amp;iacute;a m&amp;aacute;s que apariencia. Los desnudos de Manuel &amp;Aacute;lvarez Bravo abren entonces &amp;laquo;&amp;nbsp;un acceso sensible a la ontolog&amp;iacute;a&amp;nbsp;&amp;raquo; (Fran&amp;ccedil;ois Jullien)&amp;nbsp;; le ofrecen a la mirada del conocimiento un cuerpo deseoso de claros y escampadas.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, desnudo, azteca, cuerpo, identidad, M&amp;eacute;xico, realismo, materia.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Juan Carlos BAEZA SOTO, &amp;laquo;Laying Bare the Limitless: Body and the Identity of the Soul in Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s Nudes&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&amp;nbsp;&lt;/strong&gt;Light seems to strive for human perfection in the nude bodies offered by Manuel &amp;Aacute;lvarez Bravo in&amp;nbsp;&lt;em&gt;BlackMirror&amp;nbsp;&lt;/em&gt;(1947),&amp;nbsp;&lt;em&gt;ForbiddenFruit&amp;nbsp;&lt;/em&gt;(1976),&amp;nbsp;&lt;em&gt;Xipetotec&amp;nbsp;&lt;/em&gt;(1979),or&amp;nbsp;&lt;em&gt;Siesta in the Grass&amp;nbsp;&lt;/em&gt;(1979).The shadow&amp;rsquo;s triumphant light is in reality, inan Aztec perspective on the world, always dependent on struggle and accident. It is for this reason that this Mexican photographer&amp;rsquo;s nudes conjure up accidents and absence. The singular framing of Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s nudes gives light an identity that relies on contrast: without coming into contact with the body, light would be without&amp;nbsp;substance. In this way, Manuel &amp;Aacute;lvarez Bravo&amp;rsquo;s nudes open up &amp;ldquo;a discernible way into ontology&amp;rdquo; (Fran&amp;ccedil;ois Jullien); to the eyes of knowledge, they offer up a body in thirst of respite.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Manuel &amp;Aacute;lvarez Bravo, nude, Aztec, body, identity, Mexico, realism, substance.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_3_4.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 1 Mo)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:48:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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