Contenu du sommaire : Allers/Retours

This article concerns the processes of internationalization of studies. It attempts to understand why the French opt to study in Brazil against the trend noted by other authors, according to which the flow of international students is usually directed to northern countries. From the interview with six French citizens it was observed that the student dislocations do not conform a well consolidated training project as the season of studies in Brazil does not render certificates nor experience of social or professional value in France. Quite the contrary, the stay in Brazil is regarded as the antithesis of labor as it works as a spare from the time and space it characterizes, in this case, their homeland universities. What they are in search for is the elsewhere, the distant, the differing, the awesome, the adventure, the vacation, the paradise…

This article focuses on the Acadian exile in New England following the Great Expulsion in 1755 and more particularly on the Acadians' settlement in the colony of Massachusetts. After shedding light over political decisions taken by the colonial assembly regarding their settlement, the article will reveal various social perceptions that unveiled early Anglo-American views on non-Anglophone immigration. The article will also question those perceptions as all were tightly connected to the wider social organization of the colony. Did those decisions contribute to merge Acadian people with the pauper or any other ‘undesirable element' to the organic Puritan society ? As a consequence, the Acadian exile in the Massachusetts colony probably unearths early conceptions of identity and identification in the American colonial world and raises the question of who was to be considered as foreign and how did people interact with the latter ? The article will finally assess the integration of Acadians within the Anglo-Protestant culture and their adjustment to work relations while answering if they, as a community, either accepted or rejected integration to their new environment.

In an era of intellectual openness, of globalisation, of multiculturalism and a desideratum to abolish the borders between centre and margin, we are still facing a certain complex of marginality, a struggle to reach the centre, i.e, the English speaking world. Starting from Lawrence Venuti's considerations on asymmetrical relations between literatures, the « preliminary norms » identified by Gideon Toury, the concept of « cultural authority » (André Lefevere), and the post-colonial orientations in Translation Studies, this paper purports to examine the chances of post-communist, « peripheral », « minor », Romanian literature, in its attempts to be translated and promoted on the American Book Market.

In this paper we will analyze migration in Roberto Bolaño's work, particularly in his novel 2666. In order to do so, we will show the relationship between the postcolonial theory and the concept of migration, and which is the conception of « the migratory » that Latin American studies inherit. Later we will make reference to the link between Bolaño, as an author, and the concept of migration so that we can postulate that the structure of 2666 is an exploration of a particular literary territory. At last, we will show how this territory relates to the Romantic project of a Weltliteratur, but reinvented by Bolaño's poetics from a contemporary perspective.

At the turn of the XX century the arrival of European immigrants who came to work in industries and to participate in urban projects in Tucumán, in the north of Argentina, creates a sense of witnessing and being part of an upgrowth similiar to the one happening in Buenos Aires. The relationship between intellectuals, heads or owners of the sugar industry and politicians seemed to be complicated in this context since they constituted an elite cultural circle despite their social heterogeneity. This paper aims at, on the one hand, investigating the extent of the contributions of the French migration to the complex richness of the Argentinean culture through the analysis of Fruto sin flor (1921) by Juan B. Terán and, on the other hand, reconstructing the complexity of relations between elite and popular cultures through appropriation and experimentation with the dime novel, a mass literary genre created by the members of elite in Tucumán.

This article refers to Syrian-Lebanese immigration in Argentina ; specifically, in the city of Rosario. In this scope, the paper describes the institutions created bu the ethnic colectivity to keep alive the links with the community of origin. It also compiles the major cultural manifestations (language, dance and culinary habits) as a way to preserve the customs of origin (continuity), the aspects that decay over time and geographical distance (the vanishing) and changes (exchanges) that current reality influences in the practices of origin. The description is built from fieldwork conducted in the city with immigrants and descendants.

Through the metaphor of the journey this paper pursues to point out two aspects of the Felisberto Hernández's work : his whole, perceived through the notion of transformation and the importance of the forties crisis, since from it a new « slow » writing project arises. The narrator gets out the « taxi » to get on the « train » or « tram ».  

Conditions of acceptability of a migrant's discourse.Gombrowicz's case in ArgentinaIt may be claimed that the discourse of migrant subjects is produced by the tension between the conditioning of the space of origin and that of the space of arrival. In Gombrowicz's case this tension is aggravated by the fact that the Poland he left in 1939 disappeared a few months later and a new point of reference was installed surrounding the Polish intelligentsia in exile. Among this variety of relationship networks the author of Ferdydurke takes part in, the Argentinian space appears as a 24-year transition in his development. How should the legibility of a text whose initial enunciatees are so different from its Argentianian receptors be considered? We point out at least three sets of reasons that favour reading Ferdydurke in Argentina: 1. The work's features. 2. Gombrowicz's series of gestures that can be linked to the agent's competence management. 3. The interests of the agents operating in reception. Nonetheless, in Gombrowicz's case, these “reasons” are insufficient to account for his worth in Argentina and it seems necessary to add arguments of a passional order as those mobilizing the acceptance of his work.

This project is an approach to explain how the translations in literature take the center stage in the “literary *polisystem*” (Evan Zohar) and in the Uruguayan theater system in its most feeble instances and in which ways it has been displaced by free adaptations while the system took ground, as it has been happening in the Uruguayan theater system dating from the fifties and sixties up to the present time. Each translation is a * transcreation*, an appropriation and transformation of the original text and this happens even more in the translations and adaptations of plays. In Chejov's Chaika (The Seagull), an adaptation by Mariana Percovich, the play is a dialog with the original work, and it becomes a fusion of places and fictional characters with the reception context, displacing spaces and cultural references, and geographics names and Russian and Montevidean (Uruguayan) references, in addition to a multiplication of the levels of fiction and the outbreak of the theatrical space. In this playing with the drifts of words meanings, from one text to the next, from one language to the other, from a map to another, and from one tradition to the next, the play emphasizes its local condition. This double location rejects any abstract or generalized lack of location and globalization as well as the weakening of identity symbols, in a movement of "deterritorialization" and "reterritorialization".

After presenting Liscano's novel in a few words, I shall pinpoint the theoretical framework in which this analysis falls and specify what I mean by “ gender performance ” in its relation with norms. Through this perspective, I shall try to disentangle and highlight the reasons which underlie Vladimir's migration, a young Uruguayan man who decides to exile to Europe. With this thought in mind, we shall analyze the different paternity models from which Vladimir is trying to flee and his performance regarding each of them. On the one hand, Vladimir flees – geographically- the paternity model proposed by his parents  ; but on the other, once in Sweden, the Uruguayan immigrant has to perform a role he cannot accept. This ambiguity reveals a generational and existential anxiety made worse because of his migration. Therefore, Vladimir refuses to embrace any of these models even if we shall underline the fact that he does accept the traditional heterosexual patriarchy. Thence, to conclude, we shall discuss the triangular relationship the young immigrant has been maintaining with women, a masculinity model which appear almost obsessively throughout his migratory journey.

Onetti's early writings are guided by the wish to reveal the richness of contemporary urban life in the cities of Buenos Aires and Montevideo. Some of the characters of his first short stories and novels are foreigners, mostly European immigrants who live side by side with old inhabitants. Despite the official ideology of the “ melting pot ”, Onetti depicts ethnic and linguistic diversity.

After various decades of silence, Susana Soca's return to Uruguayan literary criticism is significant due to the prevalence of her magazine La Licorne, published in two periods (Paris 1947 – Montevideo 1953), and which represents without a doubt a model of transatlantic literary relations of the mid 20th Century.if after the tragic event of her death in 1959, Susana Soca was relegated to minor status in the literary scene, it is, in part, due to the foreign tendencies and anachronistic elements that she incarnated in a moment of acute Latin-American consciousness. But Susana Soca's place in between two worlds is not limited to her activity as an editor between France and Uruguay. My hypothesis is that the return also operates in her poetry and in her essays as an act of writing that gives meaning and unity to her work. The return functions in her texts as a mechanism that allows us to understand the place in which Susana Soca is situated, not as that of a foreign-outsider, but as that of someone who returns to her origin with an estranged gaze.

Rampaging evil all around, desires of something different, a cat with the ability to speak, champagne, and Leopoldo, Bruxelles piano-bar's protagonist, slides from Montevideo to Brussels. This article will study the superposition of two realities, by means of imagination, opening onto infinity, by means of creation.

This paper seeks to explore the vision of Uruguayan leftist exiles in Sweden during the Uruguayan military dictatorship (1973-1984), about Swedish society and Swedish social democratic model, and about social democracy as a whole. First, it considers the vision of political exiles about the initial reception in Sweden. In second place, it explores in exiles memories their views related to the welfare state, built largely on the basis of thought and government action of Swedish social democracy. Finally, we peer into the thoughts of the Uruguayan leftist exiles in Sweden over the international and local political action of social democracy.

This article describes Jaime Labastida's approach of Humboldt, his rereading of the writings of the German scholar and his discussion of the thinker's reception and image in Mexico and in Latin America since the 19th century. Disassociated from the nationalistic appropriations of the countries that coopted him, Humboldt thus appears more like a universal and modern figure who displays mental independence in relation to official policies. Labastida's interpretation also shows the evolution of Humboldt's image, from the brave 19th-century explorer to the man of Science, raising a highly topical question: the intermingling of cultures and of the sciences—that other facet of the universalism of the German scholar, and of Jaime Labastida.

This article studies the poetry written by Jaime Labastida and published in 2009 under the title Salt would taste as dust. It deals mainly with the relationship between poetry and reality, language and aesthetic representation, poetic instance and society.  The key to understanding the book resides in a series of questions articulated around philosophical doubts; questions that also provide a cadence, a melodic line throughout the book. Poetry emerges as a form of knowledge, acknowledgement, and understanding. In this context, human existence transforms itself into a journey to the unknown.

In her album Entre copa y copa, canciones de cantina (2006), Lila Downs, a Mexican-American artist of world music, proposes a composition entitled « Agua de rosas », a song in which the artist takes for topic the bath of roses that Zapotec healers of Juchitán de Zaragoza, in Oaxaca's State in Mexico, gave her so that she relaxes and lightens hers sorrows. This song also corresponds to a funeral oration addressed to Idalia Linares Sánchez, a personal friend. Idalia Linares represented an active member of the Coalición Obrera, Campesina y Estudiantil del Istmo, an Indian association which wins Juchitán's municipal elections in 1981. A discussion with Idalia Linares' daughter, Marlene Linares, which especially knew a migratory experiment in the United States, as well as Lila Downs' poetic discourse will lead us to wonder about the life and the subjectivity of the Zapotec women, about continuities and ruptures between two generations, about the tensions between the ancient and the modern.

The Mexican photographer Hernandez Claire's works focused on catching daily life stereotypes in Jalisco, the State where he was born. His pictures search through the usual clichés of some of these stereotypes. In the picture Navo, a pick-up cowboy, HC plays deconstructing the cowboy's myth, thanks to mirror processes. So, the pick-up's rearview mirror changes into a screen in which are melting the photographer's eye and the picture of the photographed man. What is particular in this crystallization is that it multiplies meaning levels' approaches of this photography which draws a bunch of polyphonic looks.