Entre Elle et moi : un espace de création (- CANADA / SDE) (French Edition)

The writing style of Gens du silence and of the first version of Addolorata is broadly realistic and punctured by Brechtian distancing effects, including narrator figures, direct audience address, and an emphasis on presenting issues. Indeed, they are fundamentally dramas of interpretation in which the dramatic tension arises from the clash of worldviews and the words that convey them. As one of Micone's most perceptive and earliest critics, Sherry Simon, writes,"[T]he talking matches in Micone's plays are jousts, conflicting versions of reality which confront one another in mutual incomprehension" "Speaking" Through a series of debates between the central characters, Micone's domestic dramas introduce the reader to the general features of the immigrant condition as they manifest themselves in the particular context of the plays' Italian families.

For instance, Gens du silence opens with a chorus connecting the particular story of Antonio's emigration from Italy to the larger story of mid-century Italian emigration. In several scenes, Addolorata 29 years old and Lolita Addolorata at 19 share the stage, sketching a continuous history of unhappiness and oppression at the hands of first her father and then her husband.

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Tu peux pas partir. Non posso vivere solo" Addolorata It too employs the story of a married and then divorced couple to stand in for the difficulties of intercultural understanding and affiliation and transpires in two time periods. The Montreal narrative tells the story of Luigi, a second-generation Italian immigrant, his Quebecois wife, Danielle, and their shared political activism and divided cultural understandings.

In the Italy narrative, Luigi visits his natal Italian village with his teenage son. There, his memories of a vibrant community are confronted with the village's present reality as a ghost-town.

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Luigi and Danielle's son, Nino — symbol of the future and of the potential for intercultural reconciliation — advocates renewing family ties by returning together to Montreal: This play's "voiceless people" are a family whose history of migration mimics Micone's own. The parents speak in Italian regional dialect at home, learn popular French dialect from their working-class co-workers, and speak only enough English to communicate with their Anglophone bosses.

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Greeted by two distinct cultures d'accueil, each with its own haphazard and incomplete methods for integrating newcomers to Quebec society, Antonio and Anna send their son, Mario, to English school in the hope that he will ascend to the position of their Anglophone bosses; their daughter, Nancy, is sent to French school because "[l]'avenir, c'est pas important pour les femmes" Trilogia The results of these choices are twofold: Mario, in particular, suffers from an inability to fully express himself in any language and instead mixes colloquial English and popular French with profanity to communicate.

Ils [ses parents] comprenaient jamais rien! Fuck the future, man! I wanna live now. Trilogia 58 Throughout Gens du silence , Mario uses English for effect: English-language sentences are frequently punctuated by exclamation points. He further associates English with the excitement of his Trans-Am and the freedom its speed and mobility connote: Where are we going, Mario? As long as we get out of here" Trilogia She is presented as at once more integrated into Quebecois society and more cognizant of her immigrant status.

She recognizes that despite what might appear at first glance as a surfeit of languages from which to choose, her community remains voiceless because it does not have a language that adequately speaks to and of its torn experience. Masters of no language, their desire to have a voice — whether in the confines of Chiuso the Italian neighbourhood or in majority, francophone, Quebecois society — is severely compromised. At the play's climax, she describes the situation to her friend, Gino, and encapsulates the trilogy's central problematic: Silence sur le pays dans lequel ils vivent.

Silence sur les raisons de ce silence. It is at once a descriptor of the immigrant's paradoxical condition, a critical framework within which to analyse it, an intermediary figure in stagnant language debates between French and English, and a hybrid model of national culture.

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As in Nancy's monologue above, Micone's trilogia discusses the need for a mode of immigrant expression, indexed to the specificities of immigrant experience in Montreal. This literary contact language has been characterized as "somewhat artificially popular, sometimes stylized" and as "a compromise language which reflects the reality of the community without the negative aspects of dialects" Simon, "Speaking" 60; Pivato Micone describes his search for an appropriate language for his characters in a interview as follows: The quest for a level of language my characters would speak was a long and arduous one.

What I finally did was to opt for a popular level of language but not joual. I would define the French spoken by my characters as a French vernacular that is still in flux. Its mixture of "simplified standard French with bits of patois, English words and Italian expressions" refers to the polyglossic world in which Italian immigrants of the late twentieth century live in Montreal Pivato Indeed, this particular survival tactic of the immigrant condition finds a corollary in Quebecois cultural nationalist linguistic strategies of the s.

Founded by writers and activists, Parti pris espoused some of the most rigorous leftist arguments in favour of a secular, socialist, and sovereign Quebec. In "Dire ce que je suis," partipriste poet Paul Chamberland correlates the cultural program of realist expression in local vernacular to the political one of demystification. This dramatic movement of the late s and s also strove to match linguistic expression to the French-Canadian condition of that moment. Caught between two languages of colonialism—continental French on the one hand and English on the other—cultural nationalist writers of this period often sought to differentiate being Quebecois from being French or English-Canadian via a distinctly local speech.

For the purposes of this discussion, however, the significance of joual is twofold: For instance, Anna, a first-generation immigrant and the mother of Nancy and Mario in Gens du silence , describes herself as working "dans les guenilles" at a sweatshop Trilogia While this turn of phrase evocatively communicates both her poverty she is dressed in rags and the industry in which she is employed the "rag trade" , it does so without the benefit of the correct idiomatic expression "en guenilles".

The turned idiom marks her French vernacular as formed in a society in which the full signification of such an expression requires multilingualism.

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Significantly, her poverty is communicated in the French meaning of the expression; her exploitative conditions of employment evoked in its English connotations. In drawing attention to those scars of encounter, each vernacular embodies its history and imagines the expression of a new Quebecois subject position formed in that encounter. The common linking of language to identity and territory assumes a nineteenth-century national model in which the nation has a language that is both its product and its natural mode of expression. Identity, national territory, and language are deemed coextensive with each other: Evidence of what Lise Gauvin calls a " surconscience linguistique, " the creation and valorization of joual was an attempt to re-root French in the territory of Quebec Langagement Ultimately the desired coincidence of language, identity, and territory was achieved by an act of state: He describes this alienation in his memoir as follows: In order to be understood and respected "for who [they] are," allophones must express themselves not in their "other" languages but, rather, in French.

Instead, French as vehicular language offers immigrants a passport to the Quebecois public sphere, a means of breaking their imposed silence and of expressing their differential "Quebecois-ness. In this talking too much, Micone borrows again from the Quebecois dramatic tradition which has an important history of "holding forth" in monologue form. The monologue—spoken, written, or sung—was the choice means of expression for generations of self-consciously Quebecois writers.

Dis-moi ce que je dois faire! Il faut que tu me le dises, mon amour. Moreover, it indicates that the monologue already acknowledges the impossibility of the category for any subject. Not just a denunciation of being left out of a desired category Quebecois or an early articulation of visibility politics, his monologue tears at the category itself and reveals it as more construct than nature.

However, their positions, articulated in French vernacular, also put pressure on French as a language system to accommodate linguistic and cultural differences within it. Micone offers instead a spectacle of language as traversed, manipulated, misunderstood, and clarified by a necessary, unequal, and not always desired contact. More importantly, this hybrid language also challenges the idea of any national culture or cultural expression being fixed.

Rather, it is precisely this binary, French-English logic that leaves allophones unaccounted for and that binds them to non-identity. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. History of the Voice: A Sociocritique of Translation: Tell your health care provider in advance if you are taking antihistamines, sleeping pills, serotonin reuptake inhibitors, antidepressants, oral contraceptives, antifungals, sedatives or cimetidine http: Before you operate any machinery or drive a car make sure you know for sure how your body reacts to this medicine - http: More serious side effects that you will need to report to your doctor as soon as possible can include seizure, weakness, severe headache, high fever, chest pain, pounding heartbeats, high blood pressure, sweating, agitation, easy bruising, blurred vision, confusion, joint pain, and restlessness, although some other ones are also possible, http: Xanax alprazolam has been primarily designed to treat the patients diagnosed with anxiety disorders, but can be also prescribed to deal with panic attacks: Make sure your doctor knows if you are using any of the following: Talk to your health care provider in that case as soon as possible; http: This drug is not supposed to be taken by pregnant or breastfeeding women, as it has been classified as FDA pregnancy category D: More serious side effects stiff muscles, joint pain, severe headache, vomiting, sweating, etc must be reported to your doctor right away; http: Valium can interact with asthma meds, probenecid, sleeping pills, ketoconazole, medications for depression, muscle relaxants, cimetidine, tranquilizers, sedatives, contraceptives, fluoxetine, antihistamines, vitamins, pain medications, colds and allergies meds, and some other prescription and over-the-counter products, http: Your health care provider will need to know as much as possible about your health conditions before prescribing diazepam to make sure you are taking the lowest efficient dose: Zolpidem can be prescribed for patients that have problem falling and staying asleep.

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