The Dialogue of Absence

The Dialogue of Absenc

Introduction

Introduction to the special issu

Contested conservation : past and present conservation praxis in the Great Lakes region of Africa

Includes bibliographical references.Describing the history of Semuliki National Park from the late 19th century till the presentday, this study elucidates the origins of conservation in the Great Lakes Region of Africa.Using post-colonial and border studies as a theoretical framework, and using a combination of archival and qualitative data, the study questions how and why conservation praxis and policy has changed since the colonial era. The research presented here reveals that the conservation status of Semuliki Forest, as a forest estate on the Uganda - Congo border (and originally administered by the Uganda Forest Department) arose primarily because of geographical and logistical impediments that hindered commercial exploitation, and secondly in recognition of the unique ecological phenomena that occur within the protected area. However, over time, the physical boundaries of the forest were successfully contested by local inhabitants to accommodate population growth and increased agricultural production. The study reveals the flexible nature of the borders of Semuliki National Park (both national and international) and describes how these borders were constructed and subsequently challenged. It also reveals the enduring legacy of colonial border-making in that current conservationstratagems in the region (exemplified by Transboundary Natural Resource Management) aim to find ways of addressing conservation imperatives at locations such as Semuliki where important ecological areas are naturally contiguous but divided by international borders

The Unseizable Landscape of the Real: The Poetry and Poetics of Philippe Jaccottet

For Philippe Jaccottet the real is the force of life itself. It is also a rapid, fleeting perception made all the more ephemeral by the mimetic imprecision of language. The essence of the real, since it is always other than what is said about it, can never be fully represented. This alterity of the real and the fundamental lack it announces provoke poetic language. By means of a poetics of passage, of passing through, of a travers, Jaccottet confronts the otherness of the unseizable landscape and of the elusive language in which he dwells. In the meditative, prose poem A Travers un verger (1975) he traverses the mysterious space of an orchard and a text, of trembling blossoms and quivering words, in an effort to understand the opposition between the limits of language and the limitlessness of the real. Out of the experience of landscape and the language that describes it—out of the epiphany of the real that a flowering orchard sustains but that images only fail to seize— something is perceived: an ineffable, indescribable something that dwells in the beyond of representation

L’ombre nomade de l’autre

Parler l’autre / Parler l’ombre Philippe Jaccottet ne cesse d’être sensible à l’apparition de ce qu’il nomme « autre chose », synonyme de tout ce qui est insaisissable, de tout ce qui est ombre et obscurité, de tout ce qui est passage, et de tout ce qui reste mystérieux et indéchiffrable et fondamentalement différent, sinon inconnu, dans le monde, le paysage et l’existence. L’autre (que cela soit l’autre monde, l’autre espace, l’autre chose ou l’autre parole) s’identifie à des expériences, de..

The Dialogue of Absence

The Dialogue of Absenc

Le poétique et l’expérience de la perte

La perte, c’est le fait accompli de la poésie, expérience à partir de laquelle naît le poème. Où il y a perte, absence, manque, deuil, il y a prolifération folle de signifiants, la plénitude du langage répondant au trop-plein de l’absence. Car le poème fait deuil de ce qui a été perdu, de cette absence irréprésentable, hors de signification, que seul il désigne et signifie. Le poème coincide avec le manque, le vide, dont il ne cesse de se nourrir car le langage s’annonce voix (voie), tantôt excessive tantôt extravagante, que prend la perte pour parler (et ainsi présenter) son absence. A travers l’étude des expériences poétiques de Mallarmé devant la mort de son fils (Pour un tombeau d’Anatole), de Jacques Roubaud devant le décès de sa femme (Quelque chose noir), d’Avrom Sutzkever devant les bienaimés calcinés aux fours de la Shoah (Aquarium vert), et de Baudelaire devant « ce qui ne se retrouve / Jamais, jamais ! » (Le Cygne), tout en faisant appel aux études sur le deuil et le manque de Blanchot, Freud, Fédida et Pontalis, on essaie d’interroger la poésie comme expérience déchirante de la perte.Loss is the fait accompli of poetry, the experience out of which the poem is born. Where there are loss, absence, lack, and mourning, there is also the unbridled proliferation of signs; the fullness of language competes with the excessive abundance of absence. For the poem mourns what has been lost, that unrepresentable absence beyond meaning which it alone designates and signifies. The poem coincides with an emptiness, a void, from which it takes sustenance, because language is the voice (and the way), sometimes excessive and extravagant, by which loss speaks (and thus makes present) its absence. Through a study of the poetic experiences of Mallarme confronting the death of his son (Pour un tombeau d’Anatole), of Jacques Roubaud facing the loss of his wife (Quelque chose noir), of Avrom Sutzkever remembering those loved ones turning to smoke and ash in the ovens of the Shoah (Green Aquarium), of Baudelaire meditating on « what is never, never / Found again! » (Le Cygne), and by referring to studies on mourning and loss by Blanchot, Freud, Fédida, and Pontalis, we attempt to examine poetry as the shattering experience of loss

On Dialogue and the Other An Interview with Edmond Jabès

The interview look place in Paris on May 30, 1985, at the home of Edmond Jabès

L'anamorphose baudelairienne : l'allégorie du « Masque »

Stamelman Richard. L'anamorphose baudelairienne : l'allégorie du « Masque ». In: Cahiers de l'Association internationale des études francaises, 1989, n°41. pp. 251-267

Poésie et photographie : Baudelaire, Rimbaud, Mallarmé, Bonnefoy

Dans la mesure où elles nous offrent un aperçu d’une réalité dont on ne peut ni se détourner ni s’emparer les photographies nous font apprendre que l’on ne maîtrisera jamais le passé. Elles nous instruisent sur les limites et les échecs de la vie humaine.Susie Linfield, The Cruel Radiance Quand vers la fin de son poème « À une passante » Charles Baudelaire écrit – « Un éclair… puis la nuit ! – Fugitive beauté / Dont le regard m’a fait soudainement renaître / Ne te verrai-je plus que dans l’ét..