Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag representation</title>
	<link>https://atlante.univ-lille.fr/tag/representation</link>
	<language>fr</language>
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		<title>13. Un musulman qui pleure est un musulman sincère. Étude des manifestations lacrymales de la sincérité dans le corpus hispano-mauresque arabe, espagnol et français</title> 
		<link>https://atlante.univ-lille.fr/13-un-musulman-qui-pleure-est-un-musulman-sincere-etude-des-manifestations-lacrymales-de-la-sincerite-dans-le-corpus-hispano-mauresque-arabe-espagnol-et-francais.html</link>
		<guid>https://atlante.univ-lille.fr/13-un-musulman-qui-pleure-est-un-musulman-sincere-etude-des-manifestations-lacrymales-de-la-sincerite-dans-le-corpus-hispano-mauresque-arabe-espagnol-et-francais.html</guid>
		<description>&lt;p&gt;Emilie Picherot&lt;br /&gt;Universit&amp;eacute; de Lille&lt;br /&gt;ALITHILA, EA 1061&lt;br /&gt;p. 232-254.&lt;em&gt;&lt;/em&gt;&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;Eacute;milie PICHEROT,&amp;nbsp;&amp;laquo;&amp;nbsp;Un musulman qui pleure est un musulman sinc&amp;egrave;re&amp;nbsp;: &amp;eacute;tude des manifestations lacrymales de la sinc&amp;eacute;rit&amp;eacute; dans le corpus hispano-mauresque arabe, espagnol et fran&amp;ccedil;ais&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; Le Maure de Grenade est souvent repr&amp;eacute;sent&amp;eacute; pleurant sur les ruines de sa grandeur pass&amp;eacute;e. Si l&amp;rsquo;on peut rattacher ce motif po&amp;eacute;tique &amp;agrave; une tradition chr&amp;eacute;tienne, il est int&amp;eacute;ressant de compl&amp;eacute;ter cette r&amp;eacute;f&amp;eacute;rence par celle qui met en jeu la cr&amp;eacute;ation po&amp;eacute;tique arabe. Emanation du passage oblig&amp;eacute; de la &lt;em&gt;qas&amp;icirc;da&lt;/em&gt; classique, ces pleurs constituent la manifestation d&amp;rsquo;une humanit&amp;eacute; sinc&amp;egrave;re et &amp;eacute;mouvante qui acquiert dans les corpus espagnols et fran&amp;ccedil;ais une dimension politique peut-&amp;ecirc;tre moins caricaturale qu&amp;rsquo;il n&amp;rsquo;y para&amp;icirc;t.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;. &lt;/strong&gt;Maure de Grenade, &lt;em&gt;Qas&amp;icirc;da&lt;/em&gt;,&lt;em&gt; Al-atlal&lt;/em&gt;, Pleurs, Sinc&amp;eacute;rit&amp;eacute;, Conversion, Morisque, Repr&amp;eacute;sentation, Islam, &lt;em&gt;Romances&lt;/em&gt;.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Emilie PICHEROT. &amp;laquo;&amp;nbsp;Un musulm&amp;aacute;n que llora es un musulm&amp;aacute;n sincero&amp;nbsp;: un estudio de las manifestaciones lacrimales de la sinceridad en el corpus hispano, &amp;aacute;rabe, espa&amp;ntilde;ol y franc&amp;eacute;s&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;Resumen&amp;nbsp;: Los moros de Granada a menudo se ven representados llorando sobre las ruinas de su grandeza pasada. Si podemos relacionar este motivo po&amp;eacute;tico con una tradici&amp;oacute;n cristiana, es interesante completar esta referencia con la creaci&amp;oacute;n po&amp;eacute;tica &amp;aacute;rabe. Emanaci&amp;oacute;n del pasaje obligatorio de la &lt;em&gt;qas&amp;icirc;da&lt;/em&gt; cl&amp;aacute;sica, estas l&amp;aacute;grimas constituyen la manifestaci&amp;oacute;n de una humanidad sincera y conmovedora que adquiere en los corpus espa&amp;ntilde;ol y franc&amp;eacute;s una dimensi&amp;oacute;n pol&amp;iacute;tica quiz&amp;aacute;s menos caricatural de lo que parece.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Palabras clave. &lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Moro, Granada, &lt;em&gt;Q&lt;/em&gt;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;em&gt;as&amp;icirc;da&lt;/em&gt;, &lt;em&gt;Al-atlal&lt;/em&gt;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;, Lloro, Sinceridad, Conversi&amp;oacute;n, Morisco, Representaci&amp;oacute;n, Islam, &lt;em&gt;Romances&lt;/em&gt;.&lt;/span&gt;&lt;/p&gt;
&lt;p lang=&quot;en-US&quot; align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p lang=&quot;en-US&quot; align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Emilie PICHEROT, &amp;laquo;&amp;nbsp;A crying muslim is a sincere muslim&amp;nbsp;: study about tears manifestations of sincerity in the hispanic-moorish arabic corpus, in spanish and french&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Abstract. &lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;en-US&quot;&gt;The &lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;Moro &lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;of Granada is often depicted crying over the ruins of his past greatness. If we can relate this poetic motif to a Christian tradition, it is interesting to complete this reference in relation to Arabic poetic creation. Emanation of the obligatory passage of the classical &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;qas&amp;icirc;da&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;, these tears constitute the manifestation of a sincere and moving humanity which acquires in the Spanish and French corpus a political dimension perhaps less stereotypical than it appears to be.&lt;/span&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Keywords. &lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Moro&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;, Granada, &lt;em&gt;Q&lt;/em&gt;&lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;as&amp;icirc;da, Al-atlal&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;em&gt;,&lt;/em&gt; Sincerity, Conversion, M&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;orisco&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;, Representation, Islam, &lt;em&gt;R&lt;/em&gt;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;em&gt;omances&lt;/em&gt;.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_14.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 484 Kb)&lt;/a&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</description>
		<pubDate>Thu, 16 May 2019 10:54:00 +0200</pubDate>
		<dc:creator>daniel.ramirezmahecha</dc:creator>
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		<title>19. El silencio de la infancia en el cine de Albertina Carri</title> 
		<link>https://atlante.univ-lille.fr/19-el-silencio-de-la-infancia-en-el-cine-de-albertina-carri.html</link>
		<guid>https://atlante.univ-lille.fr/19-el-silencio-de-la-infancia-en-el-cine-de-albertina-carri.html</guid>
		<description>&lt;p&gt;Carlos Vallina y L&amp;iacute;a G&amp;oacute;mez&lt;br /&gt;Universidad Nacional de La Plata&lt;br /&gt;Universidad Nacional de Quilmes&lt;br /&gt;Argentina&lt;br /&gt; p. 380-394.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &quot;El silencio de la infancia en el cine de Albertina Carri&quot;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Resumen&lt;/strong&gt;. El art&amp;iacute;culo se propone abordar el cine de Albertina Carri, cineasta,&amp;nbsp; hija de secuestrados - desaparecidos por la &amp;uacute;ltima dictadura c&amp;iacute;vico militar en la Argentina de 1976.&lt;/p&gt;
&lt;p&gt;A partir del an&amp;aacute;lisis cr&amp;iacute;tico narrativo del cortometraje &lt;em&gt;Restos&lt;/em&gt; (2010) y el film &lt;em&gt;Los Rubios&lt;/em&gt; (2003) se problematiza el concepto de memoria en la construcci&amp;oacute;n est&amp;eacute;tica del cine.&lt;/p&gt;
&lt;p&gt;Se propone como hip&amp;oacute;tesis principal que el lenguaje del cine constituye la voz del silencio de la infancia de los hijos, ni&amp;ntilde;os que han sido v&amp;iacute;ctimas del terrorismo de Estado y que problematizan en sus propios modos narrativos la construcci&amp;oacute;n del presente y el pasado.&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Cine, representaci&amp;oacute;n, memoria.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &amp;laquo; Le silence de l&#039;enfance dans le cin&amp;eacute;ma d&#039;Albertina Carri&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; Cet article propose d&amp;rsquo;aborder le cin&amp;eacute;ma d&amp;rsquo;Albertina Carri, cin&amp;eacute;aste, fille de disparus par la derni&amp;egrave;re dictature civico-militaire de l&amp;rsquo;Argentine de 1976. A partir de l&amp;rsquo;analyse critique narratif du court-m&amp;eacute;trage &lt;em&gt;Restos &lt;/em&gt;(2010) et du film &lt;em&gt;Los Rubios &lt;/em&gt;(2003), il s&amp;rsquo;agit de probl&amp;eacute;matiser le concept de m&amp;eacute;moire dans la construction esth&amp;eacute;tique du cin&amp;eacute;ma.&lt;/p&gt;
&lt;p&gt;L&amp;rsquo;hypoth&amp;egrave;se principale propos&amp;eacute;e est que le langage du cin&amp;eacute;ma constitue la voix du silence de l&amp;rsquo;enfance des enfants de disparus, victimes &amp;agrave; leur tour du terrorisme d&amp;rsquo;Etat et qui probl&amp;eacute;matisent, dans leurs modes narratifs propres, la construction du pr&amp;eacute;sent et du pass&amp;eacute;.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Cin&amp;eacute;ma, repr&amp;eacute;sentation, m&amp;eacute;moire.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &quot;&lt;/strong&gt;The silence of childhood in Albertina Carri&#039;s cinema&lt;strong&gt;&quot;.&lt;/strong&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Abstract&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;The article aims at putting up for discussion Albertina Carri&amp;rsquo;s films. Albertina Carri is a film-maker whose parents were kidnapped and disappeared during the last civic-military dictatorship (1976).&lt;/p&gt;
&lt;p&gt;The concept of memory in the aesthetic construction of films is the main axis of this study, which begins with the critical narrative analysis of her short &lt;em&gt;Restos&lt;/em&gt; (2010) and her film &lt;em&gt;Los Rubios&lt;/em&gt; (2003).&lt;/p&gt;
&lt;p&gt;The main hypothesis is that cinema language is the representation of the silent voice of children who have been victims of state terrorism, and whose present and past is discussed in their own narrative styles.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Cinema, representation, memory.&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_4_20.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 187 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:38:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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