Download Literature and Painting In Quebec: From Imagery to Identity by William J. Berg PDF

By William J. Berg

This specific learn explores how Quebecs landscapes were represented in either literature and visible artwork during the centuries, from the writing of early explorers reminiscent of Cartier and Champlain to paintings by way of in demand modern authors and artists from the province.
William J. Berg lines recurrent photos and topics inside of those creations in the course of the most important classes within the improvement of a Quebecois identification that used to be threatened at the beginning by way of the desert and indigenous populations, and later by way of the dominance of British and American influences.
Focusing at the interaction among nature and tradition in panorama illustration, Literature and portray in Quebec contends that either have mirrored and formed the that means of French-Canadian nationhood. As such, Literature and portray in Quebec provides a brand new standpoint to strategy the proposal of nationwide id, a quest that few teams have engaged in additional repeatedly than the Quebecois.

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The author’s subsequent description of this sheltered place further humanizes it, through architectural comparisons (‘en forme d’amphithéâtre,’ ‘demi-cercle,’ ‘ce temple de la nature,’ ‘la voûte azurée des cieux’), personifications (‘semblaient couronner d’une guirlande le front chauve du précipice’), and comparisons with the French landscape (‘les heureuses vallées de la France’), which lead to an overall impression of the coupling of culture and nature (‘l’art s’était joint à la nature’). Bouchard’s story continues with yet another natural place, a natural excavation, described in architectural terms as a pyramid (29), namely the resting place of Mesnard and the hiding place of his manuscript, both of which can be characterized as lieux de mémoire, repositories of significant cultural artefacts: first the place, as described by Bouchard’s Indian guide (‘Ce doit être l’endroit dont j’ai souvent entendu parler nos anciens.

In commenting on the rarity of such a panoramic view accompanied by what seems an aesthetic appreciation, Réal Ouellet also notes that it reveals Cartier’s domination of space and his hopes of finding a passage to the Far East, via the West (95). 1). The engraving also emphasizes the fertility of the landscape,5 while its flatness is enhanced by the elevated perspective, suggestive perhaps of Cartier’s view from Mount Royal (featured in a reduced manner at the middle left). The geometrical forms of the landscape match those of the village in the centre, depicted as a perfect circle.

The author’s subsequent description of this sheltered place further humanizes it, through architectural comparisons (‘en forme d’amphithéâtre,’ ‘demi-cercle,’ ‘ce temple de la nature,’ ‘la voûte azurée des cieux’), personifications (‘semblaient couronner d’une guirlande le front chauve du précipice’), and comparisons with the French landscape (‘les heureuses vallées de la France’), which lead to an overall impression of the coupling of culture and nature (‘l’art s’était joint à la nature’). Bouchard’s story continues with yet another natural place, a natural excavation, described in architectural terms as a pyramid (29), namely the resting place of Mesnard and the hiding place of his manuscript, both of which can be characterized as lieux de mémoire, repositories of significant cultural artefacts: first the place, as described by Bouchard’s Indian guide (‘Ce doit être l’endroit dont j’ai souvent entendu parler nos anciens.

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