Article Abstracts<\/strong><\/p>\n

Kanak Imaginaries: A Sense of Place in the Work of D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 | Raylene Ramsay<\/strong><\/p>\n

The study of the\u00a0Kanak imaginary in the work of the first published Kanak (indigenous) New Caledonian writer shows this to be permeated by a sense of place. Rootedness in, and intense community with the land is not incompatible with the fluidity of ancestral criss-crossing of the Pacific or of constant border-crossing (pathways of exchange between groups) but nonetheless remains central. The \u2018hinterland\u2019 constituted by the places of the tribu<\/em> (customary lands) sets up a challenge to the dominance of Noum\u00e9a la blanche<\/em> and D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9\u2019s articulation of places of identity re-negotiate the urban\/regional or Noumea\/Bush\/Tribu<\/em> nexus to counterbalance or contest national (French) imaginaries. Yet G\u00f6r\u00f6d\u00e9’s work presents both a return to a Kanak Place to Stand and a critical self in process (the latter situated in a \u2018no man\u2019s land\u2019). The places in her work are ultimately \u2018cognitively dissonant\u2019: the marginal or hinter-land of Kanak imaginaries (the tribu<\/em>), can hold (to) their own both outside and inside the city yet also open themselves up internally to multiplicity and critique.<\/p>\n

A Place to Stand: Land and Water in M\u0101ori Film | <\/strong>Deborah Walker-Morrison<\/strong><\/p>\n

New Zealand (NZ) M\u0101ori identity, as is the case for indigenous peoples the world over, is inextricably linked to a sense of place of origin, T\u016brangawaewae<\/em>, literally, \u201ca place to stand one\u2019s feet\u201d. Place here is obviously first and foremost about Land, but also includes the rivers, lakes and sea that have sustained M\u0101ori communities since their arrival in Aotearoa, almost a thousand years ago. Linking representations of Land and Water to a re-reading of Paul Gilroy\u2019s twin metaphors of Roots and Routes, this paper reads issues of loss, conservation, regaining and\/or transformation of such a sense of place as central to M\u0101ori fiction film.<\/p>\n

Black Wool and Vintage Shoes: The Wellington Look | Felicity Perry<\/strong><\/p>\n

\u201cHe told me I didn\u2019t look like I was from Wellington\u201d, a friend, from a small town almost two hours away, confided to me over a cocktail in a downtown bar. This article asks, what is the Wellington look that this statement describes? How does it produce and reflect Wellington\u2019s reputation as the locus of arts and politics in Aotearoa\/New Zealand? It examines how the inhabitants of Wellington weave the fabric of the city together through their dress, analyzing how Wellington-based media, boutiques, designers, and locals together create a style that is distinctively \u2018Wellington\u2019.<\/p>\n

Imagining Place: An Empirical Study of How Cultural Outsiders and Insiders Receive Fictional Representations of Place in Caryl F\u00e9rey\u2019s Utu | <\/strong>Ellen Carter<\/strong><\/p>\n

I provide empirical evidence from a longitudinal cross-cultural reader reception survey showing that cultural outsider (French) and insider (New Zealand) readers are differently influenced by the geographically and culturally-situated elements in Utu<\/em> (French 2004, English translation 2011), a crime novel set in contemporary New Zealand by French writer Caryl F\u00e9rey. After reading the novel, both cultural outsider and insider readers changed their opinions towards the image portrayed by F\u00e9rey, even when his cultural claims were incorrect. Furthermore, for French readers, this influence extended beyond Utu<\/em>\u2019s final page to opinions about New Zealand and its inhabitants.<\/p>\n

NZ@Frankfurt: Imagining New Zealand\u2019s Guest of Honour Presentation at the 2012 Frankfurt Book Fair from the Point of View of Literary Translation |\u00a0Angela K\u00f6lling<\/strong><\/p>\n

With over 7,000 exhibitors from over 100 countries and circa 300,000 visitors each year the Frankfurt Book Fair is a playground for political, economic, and cultural imaginings, including many domestic and foreign places. The Book Fair is often conceived of and studied as a site of intercultural politics and commerce but has not yet fully been explored as a site of translation and translator\u2019s agency. This article offers critical reflections on metaphors for the translator, arguing that a shift of the base metaphor in comparative literature studies of translation from conflict to friction could redirect interdisciplinary translation studies. I propose that the friction metaphor leads toward an appropriate balance between complex detail and ordering reduction of data that allows us to describe the intensity and the challenges of translation without recreating the old-established realities we already know.<\/p>\n

Filmstadt<\/em><\/strong> in the Vorstadt<\/em>: Locationality in the Filmmaking Practice of Mih\u00e1ly\/ Michael Kert\u00e9sz\/ Curtiz | Susan Ingram<\/strong><\/p>\n

The article examines the largest and most monumental of the silent film epics produced in the Austrian republic: Sodom und Gomorrha <\/em>(1922). In seeking out the film\u2019s shooting location, an abandoned site of clay pits and hilly grasslands at the southern edge of Vienna, the article explores what the site\u2019s history and current incarnation as part of a Kurpark reveal about the filmmaker\u2019s urban imaginary and the role of technology in modernizing it, and it establishes parallels between the early work he did under the name Michael Kert\u00e9sz and the later success of his cult classic Casablanca<\/em>.<\/p>\n

High-Rise Zhivago | Elena Siemens<\/strong><\/p>\n

This article discusses the Taganka Theatre\u2019s production of Pasternak\u2019s Doctor Zhivago<\/em>, staged in a remote Moscow suburb. Performed in a Soviet-built palace of culture, the show radically reinterprets Zhivago<\/em>, transforming it from an intensely personal to a collective narrative. Drawing on a chapter from my book Theatre in Passing: A Moscow Photo-Diary<\/em> (Intellect 2011), the paper refers to Marvin Carlson, who argues that theatre buildings and their locations greatly impact the overall meaning of a show. Citing evidence provided by cultural theorists, architectural critics, as well as authors and artists, I expand on my earlier discussion of suburbs\u2014a fertile subject attracting a wealth of contradictory opinions. I illustrate my discussion with images of high-rises inspired by the avant-garde photographer Alexander Rodchenko, and pictures of soup cans and cases of Coca-Cola\u2014my tribute to Andy Warhol, who, like Rodchenko, rejected the old in favour of the new. I conclude with a nostalgic shot of a single-family dwelling, reminiscent of the spaces depicted in Pasternak.<\/p>\n

It\u2019s a Kind of Magic: Situating Nostalgia for Technological Progress and the Occult in Guy Ritchie’s Sherlock Holmes |<\/em> Markus Reisenleitner<\/strong><\/p>\n

Guy Ritchie\u2019s recent blockbuster success with a revisionist Sherlock Holmes is the latest in a series of popular films and fiction to have reinvigorated a nostalgic imaginary of London\u2019s past that places the former capital of the Empire at the crossroads of a persistent manichean battle between empiricist-driven technological progress and traditions of occult knowledge supposedly submerged in the 17th century yet continuing to trickle into the heart of the Empire from its colonies. By tracing some of these historical layers sedimented into 21st-century popular imaginaries of London\u2019s past, this article explores the mechanisms of popular culture\u2019s production of nostalgia that mediate public memories and histories and suture them to the imaginary urban geographies that constitute the space of the global city through its metonymic sites and its materialized histories.<\/p>\n

About the Contributors<\/strong><\/p>\n

Ellen Carter<\/strong> is a PhD student jointly enrolled at the University of Auckland, New Zealand, and the \u00c9cole des Hautes \u00c9tudes en Sciences Sociales, Paris, France. Her research centres on how cultural outsiders write, translate and read cross-cultural crime fiction.<\/p>\n

Susan Ingram <\/strong>is Associate Professor in the Department of Humanities at York University, Toronto, where she is affiliated with the Canadian Centre for German and European Studies and the Research Group on Translation and Transcultural Contact. She is the general editor of Intellect Book\u2019s Urban Chic series and the editor of the World Film Locations<\/em> volume on Berlin.<\/p>\n

Angela K\u00f6lling <\/strong>is a Postdoc at the Centre for European Research at Gothenburg University in Sweden. She received her PhD in Comparative Literature from the University of Auckland and published her work on creative nonfiction in post-1989 France and Germany as a book entitled Writing on the Loose<\/em> (Weidler Berlin) in 2012. Currently, her research focuses on the role and (self-)positioning of literary translators in intercultural cooperative systems, such as focus country presentations at international book fairs. She investigates, in particular, how metaphors filter the perception of the work-life situations and the potential action radius of translators both from the point of view of practitioners and researchers.<\/p>\n

Martin Parrot<\/strong> is a documentary filmmaker, a PhD student in Humanities at York University, and blogger\/cultural critique at monlimoilou.com<\/a>.<\/p>\n

Felicity Perry<\/strong> is author of a doctoral thesis examining the relationship between dress, identity and the media. It explored how students at an urban non-uniformed secondary school in Aotearoa\/New Zealand use dress\u2014and dress-related discourses\u2014to both construct and express their identity. Perry\u2019s continuing research is based on an interest in the relationship between media and the workings of everyday life, examining the ways in which gender, sexuality, race, class, and appearance intersect in social interactions. Perry is currently living in Tel Aviv, enjoying the opportunities for dress analysis available in this diverse city.<\/p>\n

Raylene Ramsay <\/strong>is Professor of French at the University of Auckland. She has published a translation of the first novel (The Wreck, <\/em>Little island Press) and the poems of the Kanak woman writer, D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 with Deborah Walker-Morrison (Sharing as Custom Provides<\/em>, Pandanus Press) and edited and co-authored Nights of Storytelling. A Cultural History of Kanaky\/New Caledonia<\/em> (University of Hawaii Press). A study of hybridity in the literatures of the French Pacific is forthcoming with Liverpool University Press in 2014. She has also published books on French Women in Politics<\/em>, Writing Power, Paternal Legitimization and Maternal Legacies <\/em>(Berghahn Press) and on \u2018autofiction\u2019 (The French New Autobiographies<\/em>) and the French new novel (Robbe-Grillet and Modernity, Science, Sexuality, and Subversion<\/em>, University Press of Florida).<\/p>\n

Markus Reisenleitner <\/strong>is Associate Professor and Director of the Graduate Program in Humanities at York University, Toronto. His research and publications focus on urban imaginaries, fashion and digital cultures.<\/p>\n

Katrina Sark<\/strong> is a PhD candidate in the Department of Languages, Literatures, and Cultures at McGill University, specializing in cultural analysis and urban cultures. She has co-authored Berliner Chic: A Locational History of Berlin Fashion<\/em> (with Susan Ingram) and assisted with the research for Wiener Chic<\/em>. Her photographs have been printed in Inquire: Journal of Comparative Literature<\/em> (2010), Berliner Chic<\/em> (2011), World Film Locations: Berlin<\/em> (2012), and can be seen on her blog: http:\/\/suitesculturelles.wordpress.com\/<\/a>. She lives in Montreal.<\/p>\n

Elena Siemens<\/strong> is Associate Professor in the Department of Modern Languages and Cultural Studies, University of Alberta. Her research interests include visual culture, theoretical and practical photography, performing arts (especially spaces of performance), and cultural and critical theory. She is the author of Theatre in Passing: A Moscow Photo-Diary<\/em> (Intellect UK 2011), and editor of two recent collections of essays, The Dark Spectacle: Landscapes of Devastation in Film and Photography<\/em> (Space and Culture: International Journal of Social Spaces, Summer 2014), and Scandals of Horror<\/em> (Imaginations: Journal of Cross-Cultural Images Studies, Issue 1-4, 2013).<\/p>\n

Deborah Walker-Morrison <\/strong>is Senior Lecturer and Head of French at the University of Auckland, Aotearoa\/New Zealand. Her principal research and teaching interests are in French cinema, Maori Cinema, and translation studies, with a particular focus on the translation of indigenous Pacific literatures. Of European and Maori descent, her kiwi affiliations are to the R\u0101kai P\u0101ka and Ng\u0101ti Pahuwera hapu<\/em> of Ng\u0101ti K\u0101hungunu. As well as numerous articles and book chapters, she has published French and American Noir: Dark Crossings<\/em> (Palgrave 2009, with Alistair Rolls) and Le style cin\u00e9matographique d’Alain Resnais <\/em>(Edwin Mellen Press, 2012).<\/p>\n<\/div>\n

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R\u00e9sum\u00e9s des articles<\/span><\/p>\n
Kanak Imaginaries: A Sense of Place in the Work of D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 | <\/strong>Raylene Ramsay<\/strong><\/p>\n
L\u2019\u00e9tude de l\u2019imaginaire Kanak dans l\u2019\u0153uvre de D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 r\u00e9v\u00e8le la centralit\u00e9 de l\u2019enracinement dans la terre. L\u2019importance du lieu et de la communion intense avec la nature n\u2019est pas incompatible avec les voyages des anc\u00eatres qui traversaient le Pacifique dans tous les sens, ni avec les sentiers de la coutume et les \u00e9changes entre tribus, mais le lieu, qui donne son nom \u00e0 la tribu, reste primordial. Les lieux de G\u00f6r\u00f6d\u00e9 opposent la tribu (\u00e0 la fois les pays coutumiers et les gens qui l\u2019habitent) \u00e0 Noum\u00e9a la Blanche afin de contester la domination de l\u2019imaginaire national fran\u00e7ais et sa conception de la relation entre Noum\u00e9a, la brousse (des colons), et la tribu. Toutefois l\u2019\u0153uvre de D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 articule un \u2018Place to Stand\u2019 (lieu d\u2019origine et de r\u00e9sistance indig\u00e8ne) et aussi un \u00eatre en proc\u00e8s, critique, qui se situe dans un \u2018no man\u2019s land\u2019. Enfin, ses lieux d\u2019\u00e9criture sont \u2018cognitivement dissonants\u2019 et multiples\u00a0: ils constituent la marge et le \u00ab\u00a0hinterland\u00a0\u00bb qu\u2019occupe la tribu, mais tout en s\u2019ouvrant aussi \u00e0 une occupation de la ville et \u00e0 une critique interne.<\/p>\n
A Place to Stand: Land and Water in M\u0101ori Film | <\/strong>Deborah Walker-Morrison<\/strong><\/p>\n
L\u2019identit\u00e9 M\u0101ori n\u00e9o-z\u00e9landaise, \u00e0 l\u2019instar des autres peuples indig\u00e8nes du monde, est inextricablement li\u00e9e \u00e0 un sens de l\u2019origine g\u00e9ographique\u00a0: T\u016brangawaewae<\/em>, litt\u00e9ralement \u201cun endroit pour poser ses pieds.\u201d Le lieu sp\u00e9cifique domine ici la conception du territoire, mais cela n\u2019exclut pas pour autant les rivi\u00e8res, les lacs et l\u2019oc\u00e9an qui ont permis la survie du peuple M\u0101ori depuis son arriv\u00e9e \u00e0 Aotearoa, il y a pr\u00e8s de mille ans. En rapprochant les repr\u00e9sentations de la terre et de l\u2019eau de la double m\u00e9taphore des \u00ab\u00a0routes\u00a0\u00bb et des \u00ab\u00a0racines\u00a0\u00bb, cet article examine les questions de la perte, de la conservation, de la r\u00e9cup\u00e9ration et\/ou de la transformation en lien avec le sentiment du lieu en tant qu\u2019il occupe une place centrale dans le cin\u00e9ma de fiction M\u0101ori.<\/p>\n
Black Wool and Vintage Shoes: The Wellington Look | Felicity Perry<\/strong><\/p>\n
\u201cIl m\u2019a dit que je n\u2019avais pas l\u2019air de venir de Wellington.\u201d C\u2019est ce qu\u2019une amie venant d\u2019une petite ville \u00e0 deux heures de Wellington m\u2019a confi\u00e9 il y a quelques ann\u00e9es alors que nous partagions des cocktails dans un bar local. Cet article s\u2019interroge: de quel aspect de Wellington est-il question dans une telle affirmation? En quoi exprime-t-il une id\u00e9e de Wellington comme centre artistique et politique de Aotearoa\/Nouvelle-Z\u00e9lande? On y examine en particulier comment les habitants de Wellington d\u00e9finissent leur identit\u00e9 urbaine \u00e0 travers leur style vestimentaire, \u00e0 travers l\u2019analyse des fa\u00e7ons dont les boutiques et fabricants de Wellington cr\u00e9ent un style qui se voudrait idiosyncrasique.<\/p>\n
Imagining Place: An Empirical Study of How Cultural Outsiders and Insiders Receive Fictional Representations of Place in Caryl F\u00e9rey\u2019s Utu | <\/strong>Ellen Carter<\/strong><\/p>\n
Cet article veut offrir la preuve empirique que les lecteurs provenant respectivement d\u2019une culture ext\u00e9rieure (France), et int\u00e9rieure (Nouvelle-Z\u00e9lande), sont influenc\u00e9s diff\u00e9remment par les \u00e9l\u00e9ments g\u00e9ographiquement et culturellement situ\u00e9s dans Utu<\/em> (France 2004; traduction anglaise 2011), un roman policier de l\u2019auteur fran\u00e7ais Caryl F\u00e9rey se d\u00e9roulant dans la Nouvelle-Z\u00e9lande d\u2019aujourd\u2019hui. L\u2019\u00e9tude s\u2019appuie sur une enqu\u00eate longitudinale interculturelle de la r\u00e9ception au sein du lectorat. Apr\u00e8s lecture du roman, les lecteurs culturellement externes et internes ont chacun chang\u00e9 leur opinion quant \u00e0 l\u2019image v\u00e9hicul\u00e9e par F\u00e9rey, m\u00eame lorsque ses repr\u00e9sentations culturelles s\u2019av\u00e8rent incorrectes. Qui plus est, aux yeux des lecteurs fran\u00e7ais, cette influence s\u2019\u00e9tend au-del\u00e0 du roman lui-m\u00eame, et semble se porter sur la Nouvelle-Z\u00e9lande elle-m\u00eame, avec ses habitants.<\/p>\n
NZ@Frankfurt: Imagining New Zealand\u2019s Guest of Honour Presentation at the 2012 Frankfurt Book Fair from the Point of View of Literary Translation |\u00a0Angela K\u00f6lling<\/strong><\/p>\n
Comptant plus de 7,000 exposants, une centaine de pays participants, et au-del\u00e0 de 300,000 visiteurs chaque ann\u00e9e, la Foire du Livre de Francfort est un vivier pour les imaginaires politique, \u00e9conomique, et culturels, et met ainsi en repr\u00e9sentation plusieurs lieu locaux et \u00e9trangers. La Foire du Livre est fr\u00e9quemment con\u00e7ue et envisag\u00e9e comme un site de commerce international et de tractations politiques, mais elle n\u2019a pas \u00e9t\u00e9 \u00e9tudi\u00e9e en tant que site propre \u00e0 la traduction et \u00e0 l\u2019agentivit\u00e9 du r\u00f4le de traducteur. Cet article offre une r\u00e9flexion critique sur la m\u00e9taphore pour le traducteur, en arguant qu\u2019un d\u00e9placement, dans les \u00e9tudes en litt\u00e9rature compar\u00e9e de la traduction, de la conception basique de la m\u00e9taphore du conflit \u00e0 la friction peut engager les \u00e9tudes interdisciplinaires de la traduction dans une voie inexplor\u00e9e. Je propose que la m\u00e9taphore frictionnelle pointe vers un \u00e9quilibre entre les d\u00e9tails complexes et une r\u00e9duction des donn\u00e9es qui permet de d\u00e9crire l\u2019intensit\u00e9 et les d\u00e9fis de la traduction sans retomber dans les poncifs ou paraphraser les connaissances acquises.<\/p>\n
Filmstadt<\/em><\/strong> in the Vorstadt<\/em>: Locationality in the Filmmaking Practice of Mih\u00e1ly\/ Michael Kert\u00e9sz\/ Curtiz | Susan Ingram<\/strong><\/p>\n
Cet article examine le plus monumental film muet produit dans la r\u00e9publique d\u2019Autriche: Sodom und Gomorrha <\/em>(1922). Avec l\u2019exploration du site de tournage du film, une enclave de gr\u00e8s et de friches \u00e0 la fronti\u00e8re sud de Vienne, on examine comment l\u2019histoire pass\u00e9e du site et son incarnation actuelle comme Kurpark r\u00e9v\u00e8lent l\u2019imaginaire urbain du cin\u00e9aste et le r\u00f4le de la technologie dans sa participation \u00e0 la modernit\u00e9. On \u00e9tablit en outre certain parall\u00e8les entre les premiers films qu\u2019il a r\u00e9alis\u00e9s sous le nom de Michael Kert\u00e9sz et le succ\u00e8s plus tardif de son film-culte Casablanca<\/em>.<\/p>\n
High-Rise Zhivago | Elena Siemens<\/strong><\/p>\n
Cet article examine la production par le Th\u00e9\u00e2tre Taganka de\u00a0Docteur Zhivagode Boris Pasternak dans une maison de la culture en banlieue de Moscou. Marvin Carlson a propos\u00e9 que les espaces performatifs joue un r\u00f4le \u00e0 part enti\u00e8re dans le sens global d\u2019un spectacle. Suite \u00e0 Carlson, je propose \u00e0 mon tour qu\u2019en \u00e9tant mont\u00e9e dans une banlieue de Moscou, la production Taganka r\u00e9interpr\u00e8te radicalement\u00a0Docteur Zhivago, le faisant passer d\u2019un r\u00e9cit individualis\u00e9 \u00e0 un r\u00e9cit collectif. L\u2019article interroge des repr\u00e9sentations fragmentaires du Moscou historique, des banlieues construites sous les Soviets, en plus de points de vue sur l\u2019habitabilit\u00e9 suburbaine emprunt\u00e9s \u00e0 des th\u00e9oriciens culturels, des architectes, et des auteurs. Le tout est illustr\u00e9 et appuy\u00e9 par des photos de b\u00e2timent\u00a0suburbains inspir\u00e9s de Alexander Rodchenko, ainsi que des photos de conserves Campbell et de caisses de Coca-Cola rendant hommage au travail de Andy Warhol. L\u2019article se conclut avec l\u2019image nostalgique d\u2019une ancienne maison familiale, proche de l\u2019esprit original de Boris Pasternak.<\/p>\n
It\u2019s a Kind of Magic: Situating Nostalgia for Technological Progress and the Occult in Guy Ritchie’s Sherlock Holmes |<\/em> Markus Reisenleitner<\/strong><\/p>\n
Le succ\u00e8s r\u00e9cent du blockbuster de Guy Ritchie revisitant la figure de Sherlock Holmes s\u2019inscrit dans une lign\u00e9e r\u00e9cente de films et de r\u00e9cits populaires qui ont revivifi\u00e9 un imaginaire nostalgique du pass\u00e9 londonien dans lequel le centre de l\u2019ancien empire britannique se trouve au croisement d\u2019un conflit manich\u00e9en entre un progr\u00e8s scientifico-technologique et les traditions d\u2019un savoir occulte suppos\u00e9ment enfouis dans les si\u00e8cles pr\u00e9c\u00e9dents mais qui continue \u00e0 s\u2019insinuer au c\u0153ur de l\u2019empire \u00e0 partir de ses colonies. En retra\u00e7ant certaines de ces couches historiques dans les recr\u00e9ations contemporaines du Londres imp\u00e9rial, cet article explore les m\u00e9canismes de production de la nostalgie dans la culture populaire en tant qu\u2019ils font le pont entre la m\u00e9moire publique et la m\u00e9moire historique en rattachant celles-ci \u00e0 un imaginaire de la g\u00e9ographie urbaine qui pour sa part pointe vers la ville globale d\u2019aujourd\u2019hui.<\/p>\n
\u00c0 propos <\/strong>des contributeurs<\/strong><\/p>\n
Ellen Carter<\/strong> est \u00e9tudiante au doctorat en co-tutelle avec l\u2019universit\u00e9 d\u2019Auckland en Nouvelle-Z\u00e9lande et l\u2019\u00c9cole Des Hautes-\u00c9tudes en Sciences Sociales \u00e0 Paris. Ses recherches portent sur les lectures, les \u00e9critures, et les traductions excentr\u00e9es du r\u00e9cit policier.<\/p>\n
Susan Ingram<\/strong> est professeure associ\u00e9e\u00a0au Department of Humanities de l\u2019universit\u00e9 York, \u00e0 Toronto. Elle y est affili\u00e9e au Canadian Centre for German and European Studies, et au Research Group on Translation and Transcultural Contact. Elle est r\u00e9dactrice en chef de la s\u00e9rie Intellect Book\u2019s Urban Chic, et a dirig\u00e9 le volume sur Berlin de la s\u00e9rie World Film Locations<\/em>.<\/p>\n
Angela K\u00f6lling<\/strong> est chercheure postdoctorale au Centre for European Research de l\u2019universit\u00e9 Gothenburg en Su\u00e8de. Elle a re\u00e7u son doctorat en litt\u00e9rature compar\u00e9e de l\u2019universit\u00e9 d\u2019Auckland. Elle a fait publier ses travaux compar\u00e9s sur l\u2019essai dans la France et l\u2019Allemagne d\u2019apr\u00e8s 1989 sous le titre Writing on the Loose<\/em> (Weidler Berlin) en 2012. Ses recherches actuelles portent sur le r\u00f4le et l\u2019auto-positionnement des traducteurs litt\u00e9raires dans les syst\u00e8mes coop\u00e9ratifs interculturels comme les sommets culturels et les foires du livre. Elle s\u2019int\u00e9resse en particulier aux m\u00e9taphores et \u00e0 leur effets sur l\u2019\u00e9quilibre entre vie et travail, de m\u00eame que sur la port\u00e9e du travail des traducteurs tant du point vue professionnel que du point de vie de la recherche acad\u00e9mique.<\/p>\n
Martin Parrot<\/strong> est documentariste, \u00e9tudiant au doctorat en Humanities<\/em> \u00e0 York University, et blogueur\/critique culturel pour monlimoilou.com<\/a>.<\/p>\n
Felicity Perry<\/strong> est auteure d\u2019une th\u00e8se de doctorat sur la relation entre l\u2019habillement, l\u2019identit\u00e9, et les m\u00e9dias. Elle y a examin\u00e9 comment les \u00e9tudiants d\u2019une \u00e9cole sans uniforme obligatoire en Aotearoa\/Nouvelle Z\u00e9lande utilisent l\u2019habillement et les discours qui s\u2019y attachent afin d\u2019exprimer leur identit\u00e9. Ses recherches s\u2019enracinent dans un int\u00e9r\u00eat pour la relation entre les m\u00e9dias et les m\u00e9canismes de la vie quotidienne, notamment les fa\u00e7ons dont les sexes, la sexualit\u00e9, la race, les classes sociales et les apparences s\u2019entrem\u00ealent dans les interactions sociales. Elle habite actuellement \u00e0\u00a0Tel-Aviv, et y reste \u00e0 l\u2019affut des multiples occasions d\u2019analyse de l\u2019habillement social qui pars\u00e8ment cette ville.<\/p>\n
Raylene Ramsay <\/strong>est professeure de Fran\u03c2ais \u00e0 l\u2019Universit\u00e9 d\u2019Auckland en Nouvelle-Z\u00e9lande. Elle a publi\u00e9 une histoire culturelle de la Nouvelle-Cal\u00e9donie \u00e0 travers 110\u00a0 textes litt\u00e9raires traduits en anglais et comment\u00e9s (Nights of Storytelling<\/em>, University Press of Hawa\u00ef) et a co-traduit le premier roman (L\u2019\u00c9pave<\/em>) et les po\u00e8mes de l\u2019auteure kanake D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9 avec Deborah Walker-Morrison (dans Sharing as Custom Provides<\/em>, Pandanus Press). Une \u00e9tude de l\u2019hybridit\u00e9 dans les litt\u00e9ratures francophones du Pacifique para\u00eetra chez Liverpool University Press en 2014. Son travail sur les femmes au pouvoir, French Women in Politics: Writing Power, Paternal Legitimization and Maternal Legacies <\/em>(Berghahn Press, Oxford and New York) est paru en 2003. Elle a aussi publi\u00e9 sur Alain Robbe-Grillet, Claude Simon, Nathalie Sarraute, et Marguerite Duras (The French New Autobiographies<\/em>, et Robbe-Grillet and Modernity: Science, Sexuality, and Subversion<\/em>, University Press of Florida).<\/p>\n
Markus Reisenleitner<\/strong> est professeur associ\u00e9 et directeur du programme gradu\u00e9 au Department of Humanities de l\u2019Universit\u00e9 York \u00e0 Toronto. Ses recherches et publications portent sur les imaginaires urbains, la mode, et les cultures digitales.<\/p>\n
Katrina Sark<\/strong> est candidate au doctorat au Department of Languages, Literatures, and Cultures<\/em> de l\u2019Universit\u00e9 McGill. Elle se sp\u00e9cialise en analyse culturelle et en \u00e9tudes urbaines. Katrina est la co-auteure de Berliner Chic: A Locational History of Berlin Fashion<\/em> (avec Susan Ingram), et a particip\u00e9 au travail de recherche pour le livre Wiener Chic. <\/em>Ses photos ont paru dans Inquire: Journal of Comparative Literature<\/em> (2010), Berliner Chic<\/em> (2011), World Film Locations: Berlin<\/em> (2012), ainsi que sur son blog: http:\/\/suitesculturelles.wordpress.com\/<\/a>. Elle habite \u00e0\u00a0Montr\u00e9al.<\/p>\n
Elena Siemens<\/strong> est professeure associ\u00e9e au Department of Modern Languages & Cultural Studies de l\u2019universit\u00e9 de l\u2019Alberta. Ses recherches portent sur les cultures visuelles, la th\u00e9orie et la pratique de la photographie, la performance (notamment du point de vue spatial), et les th\u00e9ories critiques et les \u00e9tudes culturelles. Elle est l\u2019auteure de Theatre in Passing: A Moscow Photo-Diary<\/a><\/em> (Intellect UK 2011), et a dirig\u00e9 deux dossiers en revue: The Dark Spectacle: Landscapes of Devastation in Film and Photography<\/em> (Space and Culture: International Journal of Social Spaces, \u00c9t\u00e9 2014), et Scandals of Horror<\/a><\/em> (Imaginations: Journal of Cross-Cultural Images Studies, 1-4, 2013).<\/p>\n
Deborah Walker-Morrison<\/strong> est Senior Lecturer et directrice du programe de fran\u00e7ais \u00e0 l\u2019Universit\u00e9 d\u2019Auckland en Aotearoa\/Nouvelle-Z\u00e9lande. Ses principaux int\u00e9r\u00eats de recherche son le cin\u00e9ma fran\u00e7ais, le cin\u00e9ma Maori, et les \u00e9tudes de traduction (avec une concentration particuli\u00e8re sur la traduction des litt\u00e9ratures indig\u00e8nes du Pacifique. D\u2019origine europ\u00e9enne et Maori, ses attaches \u00e0 la Nouvelle-Z\u00e9lande sont R\u0101kai P\u0101ka et le Ng\u0101ti Pahuwera hapu<\/em> de Ng\u0101ti K\u0101hungunu. Outre de nombreux articles et chapitres de livre elle a fait publier French and American Noir: Dark Crossings<\/em> (Palgrave 2009, avec Alistair Rolls) et Le style cin\u00e9matographique d’Alain Resnais <\/em>(Edwin Mellen Press, 2012).<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Imaginations 5-1 |\u00a0Perceived Peripherality and Places Images:\u00a0The City, the Region, the Border | Table of Contents Guest Editor Susan Ingram Introduction Kanak Imaginaries: A Sense of Place in the Work of D\u00e9w\u00e9 G\u00f6r\u00f6d\u00e9\u00a0|\u00a0Raylene Ramsay A Place to Stand: Land and Water in M\u0101ori Film\u00a0|\u00a0Deborah Walker-Morrison Black Wool and Vintage Shoes: The Wellington Look\u00a0|\u00a0Felicity Perry Imagining […]<\/p>\n","protected":false},"author":4062,"featured_media":5590,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[107,4],"tags":[],"class_list":["post-5231","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-perceived-peripherality-and-places-images-5-1","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2014\/05\/Imaginations_5.1_Cover.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-1mn","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5231"}],"version-history":[{"count":44,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5231\/revisions"}],"predecessor-version":[{"id":8634,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/5231\/revisions\/8634"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/5590"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}