J'ai une proposition ces jours-ci que à Hiroshima et Nagasaki célébrent tristement l'anniversaire 72e qui a mis fin à la guerre avec Japon le 15 Août, 1945

J’ai une proposition

Julio Enrique Correa
jecorrea@retina.ar

INTRODUCTION

We understand that intercultural narrative construction is a progressive process of testing which is full of misunderstandings, not only of meanings in the various languages and cultures but also of the difficulties of authoritarian thought and understanding imposed upon it. This is also the difficult cost of reaching a true and lasting agreement in matters concerning with the environment holding together various nations under diverse political regimes and cultural outlooks. The Paris climate agreement (COP21) unanimously approved by 196 delegations to establish climate regulations to achieve the fight against global warming has found unexpected resistance by President Donald Trump, turning the United States against the global pact to cut emissions. This agrees with the postulation that authoritative thought of dominant nations/ cultures overrules the intercultural narrative view of the environment (Correa, Blog 22-4-17). According with it, it might be also stated that at the backstage of the BREXIT lies the authoritative ruling of England over former colonized territories with no common environments shared with Europe.

Rigid stereotyped conversations akin to authoritative thought endure in repetition or in copies of a single view that stand to become dogma or manifesto, which allots cultures to stay fixed to religious, political or commercial propaganda instead to open into the expression of multiple meaning levels that are to evolve in the sharpening of definitions as triggered by intercultural conversation. The whole intercultural narrative process establishes a continuous redefinition of endeavours through the “constant interplay between groups, enriching their own culture in the process”. This meets trans-cultural objectives as those ruled by the Canadian cultural diversity, challenging the social systems’ members to become responsible citizens at local, national and international levels (Mighty, pdf).  It urges us to imagine “more than a collective interchange of cultures”, a “horizontal organization of society” and cultures establishing the diverse “linguistic, historical and cultural” narrative contexts able to effectively compete with the grand ad-narratives boosted by the “vertical organization of society (that) favours elites and the dominant culture” (Duchastel, 2010).

The abuse of economic or political power as well abuse of authoritative propaganda narratives specifically aiming to inhibit in confronting with the social narratives and policies, as based on fallacies brought by the political needs and economic interests of empowered social groups creates moral dilemma and social unrest, as was expressed in 2011 by Montreal citizen groups making declarations and claims on social loss threats urging for liberation from the distorted narratives amongst word and practice.

 Democratic-social-spaces originating narrative training on such matters for individuals, families, groups and communities would address a horizontal social organization by helping the “multiculturalism and intercultural” questions or demands raised at the cultural environments to be actively enacted at the social groups, not only “to be understood as policy orientations, more or less formalized” but to turn into source of ‘continuous redefinition” (Duchastel, 2010). In such realm one significant source of redefinition might come from the bereavement shared experiences by individuals of different cultures, as those brought by immigration. Otherwise accelerating changes triggered by technology become an obliged source of redefinition on every person as turns into a cultural exile that needs continuous adjustment to new vocabularies and disposals (Petit, 2006).

To keep live the desire of freedom and self-determination is to connect to the core of human nature in the realms of philosophy and art that alike the forces of environment strive to resist the imposed changing patterns of life introduced by technology that otherwise alter radically the horizons of the persons living within the narrow terms imposed by rigid cultural societies and communities inhibiting the development of interpersonal communication and dialogue. The distortion of meaning due to the regulatory domain of the social power systems or by rigid social/family groups perpetuate through stereotyped sociocultural meanings in the forms of ritual mythical reiteration of unmodifiable myths, thus providing incessant feedback to replace any confrontational versions, eventually erased from the historical inscriptions (Gardner, 1991).

Narrative experiences on philosophical and art outlooks might become then sources of regenerating experiences (Correa, in press), for repairing such deletions or distortions imposed to the original texts by means of electronic intentional malpractice including hacking and robbery. Concerning this outlook, such narrative responses were explored at the Québec socio-cultural environment through: 1) an interview made to a Canadian art theory professor on the matter of multicultural narrative development and 2) Montreal urban groups declarations and claims made on the socioculturaml alienation through literature and pictorial design, gave the opportunity to meet them as gathering at Queen Victoria square in Montreal.

I Interview with Canadian Art Theory Professor on the issue of multicultural narrative development.

           Art theory professor and artists’ teacher Carole Irgo was interviewed by Dr. Julio Correa on the multicultural aspects of the Narrative approaches to bereavement. Her participation in this interview was unexpected and resulted from her interest on the latter’s writings that were shown to her at the breakfast table of the Montreal B&B lodge when holding conversations on art with Dr. Correa and a visual artist from Toronto visiting Montreal for an artistic training experience. Days later the former sent her comments to Dr. Correa: “The concept you write about seems self-evident, but something I doubt people think about. People - including me. Storytelling of course will vary according to culture, history and societal structure. If people can be reached in their own basic intuitive and subjective levels in order to find universal truths, then we come to multi-culture understanding. I think this is very difficult but potentially a very rewarding understanding. I have found, through teaching young people, that one can indeed reach core universal understanding but this works because they have not yet truly been absorbed into societal mass thinking. By the time they become teenagers, they have started to form cultural standards according to the society they inhabit” (personal communication).

Summarizing, Art theory professor Carole Irgo, , stated that the basic intuitive and subjective levels that are required in order to find the universal truths which would-be necessary to reach core universal understanding, remains in young people until they are absorbed into the societal mass thinking that models the cultural standards according to the society they inhabit, as the social self would be chiseled by culture and social power groups attempting to reproduce their organizational models and socio-cultural stereotypes amongst the population groups that they persistently intend to command (Correa & Hobbs, 2009). According to Taylor (Carnevale and Weinstock, 2011) to be a person or a self in the ordinary meaning is to exist in a space defined by distinctions of worth that have been given authoritatively by the culture more than they have been elaborated in the deliberation of the person concerned.  Discussing the social acceptance of individuals as based on the need to be accepted in the social groups as pair fellows in the winner/loser contest (Elliot, 2011), designs a social narrative competition on the self-modelling amongst the social power groups and the family/ small groups’ (Correa & Hobbs, 2009), that indorse discredit of the latter in behalf of the former’s enchantment spell given by the uninterrupted offer of multiple communication technologies and devices that expand fast interactive group communication at expenses of reflective person-to-person communication (Bowen, 1991). Thus the societal mass thinking nurtures from socio-cultural narratives that are promoted by empowered political and economic social groups’ interests masked under diverse ideological and imagery narratives. Would such distortion of messages impose beliefs of doing right when doing wrong by means of compelling practice? Ergo, repetition without reflection and discussion of ideas would proceed. Émile Durkheim posed the term anomie in order to characterize the lack of social ethics that in turn would produce moral deregulation leading to harvest absence of legitimate aspirations arising from the mismatch between personal or small group standards and the wider societal mass standards (Leigh Star, Bowker & Neumann, 1997).

On the other hand, narrative experiences on philosophical and art outlooks inspired on family/ small groups narrative models promoting the development of interpersonal communication and dialogue that become sources of regenerating experiences, reverberate at the socio-cultural environment as is shown by the Québec’s aesthetic narratives (Correa, in press). The 2011th Montreal’s revolt brandished ink and pencils at libraries opened on tents instead of novel high-tech weapons for expressing an aesthetics stance facing the sociocultural alienation.

II Aesthetic narratives found at the Montreal’s enriched socio-cultural environment: Encounter with Montreal urban protester groups, as expressed by citizens gathered through claims on sociocultural alienation matters through literature and pictorial design.

              A sort of social restlessness was to be breathed in Montreal during the second October fortnight[1], which could be registered as a social source of narrative reaction to the such sociocultural alienation akin to a cultural loss threat. The Atwater Library stood as a trigger for recreating such cultural loss threat, starting a new story after the Seminar on Creation and Recreation narratives ended on the previous block where the workshop was given, placed at Montreal`s hospital. The library was born from the Mechanics' Institute providing formation to workers “in the arts and in the various branches of science”, hence it might have shared some of the various cultural factors to be rooted at the history frame of the intercultural group collisions boosting diversity of cultural interests and political thoughts in Quebec, as those exemplified by the influential writings of Trudeau in the early 1960s (The New Treason of the Intellectuals) that contributed to the Canadian multicultural vision (Cere, 2011). In turn 2011^th Montreal citizens’ transmitted through posters and protester groups, messages on the contemporary social and cultural human basic needs claiming to be preserved by the social organization. At the metro, Concordia University posted an ad asking: “DEFENDONS LES DROITES DE LA PERSONNE POUR CONTRER LES ATROCITÉS DE MASSE” [Let us defend the rights of the person to control mass atrocities]. Moreover, at Victoria Square groups of “indignes” organized narrative constructions that resembled the narratives from families and small groups as pressed by bereavement to rebuild their own natural groups’ narratives, to become core identity narratives at the social context. Amongst tents that were erected surrounding Queen Victoria’s statue, couples danced rock music while a group of young males quietly read magazines at a tent named with a sign hanged on a rope : “Bibliothèque ouvert” [Open Library]: “Depuis le début de l’année 2011, la révolte fait la une des tous les journaux. Tandis qu’ailleurs le sang coule, ici c’est l’encre qui coule de la plume des mass media. Armés des crayons et de vieux PC, nous avons pris les armes qui étaient à notre disposition pour mieux vulgariser le combat que nous menons tous les jours dans chacune de nos vies”…“Face à l’individualisation de la masse. Face à l’aliénation de la race humaine, le monde nous apparaît: docilizé, civilizè, commercializéet nihilizé... (Since the start of 2011, the revolt became headline in all newspapers. While elsewhere the blood flows, here it is the ink that flows from the pen of the mass media. Armed with pencils and old PCs, we have taken the weapons that were at our disposal to better popularize the combat we lead every day in each of our lives ..." Faced to the individualization of the mass. Faced to the alienation of the human race, the world appears to us: docilized, civilized, commercialized and nihilized.) [Nicolae Gahowmi, L’Attaque ! Lecture de Toilette, Mai 2011]. Next to the monument there were hanged signs claiming “l'occupation de Montréal”: “Sobriété – Propreté - Non violence” ["Occupation of Montreal": "Sobriety - Cleanliness - Non-violence], as encompassed by a choir of young people demanding for their rights: “J’ai une proposition: Est que il-y-a une autre moment?” (I have a proposition: Is there any another time?). At the opposite side, besides all kind of people drawing and writing statements, inviting everybody to join, a child wrote: LA MARGINALITÉ AU POUVOIR [Marginality to power].

           LA MARGINALITÉ AU POUVOIR [écrit par un enfant à coté de son dessin]. À se coté j’ai dessiné une flèche rouge et en écrit : L’anarchie c’est un défi à la création

DISCUSSION

In this paper we propose that intercultural narrative construction fosters from democratic social-spaces that promote narrative training for individuals, families, groups and communities that address a horizontal social organization at their cultural environments by raising “multicultural and intercultural” questions or demands that might become actively enacted at the social groups organizational dimensión. For such purpose narrative experiences on philosophical and art outlooks become sources of regenerative narratives aiming conceptual redefinitions (Correa, 2017b), in this technological era urged by the continuous adjustment to new vocabularies and disposals (Petit, 2006). Following an Aesthetics pathway as the one that is evoked by the aesthetic meeting amongst artists, public and the work of art that it is exposed at the aesthetic narrative spaces, the democratic socio-cultural contexts can promote constant dynamics of change on the development of its narratives, that in turn require sufficient contexts for group narrative reflection which is needed for supporting and deepen the mourning narrative processes of creation/ re-creation of the original narrative at the personal, interpersonal and group levels that are triggered by the narrative renewal (Correa, 2017a, b). During such creative/ re-creative process of narrative, likewise the mechanism triggered by an aesthetic object, it is generated a hidden narrative –the aesthetic narrative structure- that is to evolve into full (aesthetic) narrative development (Correa, 2017a). Otherwise in rigid sociocultural narratives imposed by social groups of power by means of authoritative thought and disposals blocking or inhibiting expression and confrontation of ideas, narratives become repetitive or stereotyped under masked non-change versions. Nationalistic or mono-cultural narratives become then the “very true narratives” indorsing the rights of some selected groups or cultures over the others that are obliged to submit or else disappear. Hence, triggering instead conversation for the narrative renewal, it progress a narrative repetition of the societal mass standards promoted by the empowered social groups, discarding any reflection and discussion of ideas wih the personal or the small groups and the diversity of cultures.  By this way a same narrative is assured for a same nation or culture that will rest unmodifiable for a long period of time, at the same time that assures endurance of the ruling cultural systems (politic, religious, legal), as well the sociocultural alienation submittted to it, that denies the passimg of time together to mourn for what is lost forever or is at risk of irreparable loss.

             A group of six 2014 films that were studied over a monthly frequency, at the time they were premiered along the year 2015, showed denial of bereavement as a common trait that was shared by all film protagonists confronting anguish of death in an unavoidable, very intense way that challenged their whole previous beliefs and behaviors in the socio-cultural systems involving the personal, inter-personal, group, social and cultural sub-systems (Correa, Blog Art & Environment March-Sept., 2015). As a whole, half of these 2014 films expressed the denial of bereavement experiences by the protagonists together to praise their skills to remain in touch with the social standards assuring success of the individual (Birdman, The clouds of Sils María) or the group (Into the Woods; The clouds of Sils María); while the other half counteracted social pressure and denial of bereavement by defying social criticism and by rising claims in behalf of the individual sufferings that are brought by the despiteful social environment authoritative pressures (Leviathan; Leopardi, il giovane favoloso; Félix et Meira). Finally, the film protagonists remain trapped in isolation (The clouds of Sils María, Félix et Meira), as if placed in the midst of closed environmental sceneries to be reinforced by their helpless rigid cultures rewarding the surviving heroes but condemning the most to unavoidable escape. Therefore, spatial imprisonment paralleled authoritarian rigid social and cultural patterns, establishing extreme competitive work conditions and/or isolation, eventually soothed by the poetic skills valuing the natural environment (Leopardi, il giovane favoloso, 2014)

On the other side this opposes narrative experiences on philosophical and art outlooks inspired on family/ small groups narrative models promoting the development of interpersonal communication and dialogue that are substantial sources of regenerating narrative arising from bereavement experiences. Alexander Sokourov’s film “Francofonia” (2015) displays different levels of conversation about the mourning narratives (Correa, 2017a, b) conveyed by visual arts during the Nazi invasion to France and Russia that turned aesthetic objects into war trophies in the variable contexts of different European cultures praising objects more than concrete men and their diverse contributions to manhood. “Europe is everywhere. We sit besides, opposite one another, and our lot is one and the same”.

A similar allegation is hold by François Ozon in his film “Frantz” (2016): “At school, French children learn German and German children learn French, but when they grow up, they kill each other”. The main protagonist of the film is Adrien Riviére, a French soldier that under a German assault jumped into the barracks that keep inside a defenceless German soldier, holding a rifle in a non-offensive position, that the former immediately shots, killing him. Further, after a bomb explosion that renders him unconscious, he finds himself over the dead body of the German soldier, whose face he cleans up. In the process of recognition of the dead soldier’s body and his owns, starts deep identification with the former, that later is completed when he meets in Germany his parents and fiancé. By inventing a story about how he met the German soldier -Frantz-, he discovers that in fact he is very similar to him: both played the violin, they loved music and they professed pacifism, as well they shared high praise for the arts: in the imaginary story he tells to Frantz’ family, they both attended together the Louvre museum and sought special attention to a Manet’s painting on canvas describing a man with his forehead leaning back while laying back on a bed. Such initial image description is further played by him, when fainting at the moment he plays violin to the family. In the following story he tells Anna –Frantz’ s fiancé- when he decides to acknowledge her about the real story when he killed Frantz, the latter is shown laid upside down, after killed by shot by Adrien’s bullet. Finally, when the film narrative comes to an end, after Anna fails in initiating some relationship with Adrien when she meets him again in France and finally goes to the Louvre looking after the Manet’s picture, she delights staring the design of a suicidal figure of a young man, half in the dark, half in the light. This –she explains to another young visitor- endowed herself with will to live. If Frantz death had formerly remained unknown, as buried in the battle fields together with the corpses of unknown soldiers, after Adrien’s imaginative recreated story he is to be reborn in the Manet’s canvas “Le suicidé” as it happened by listening the recreation of Frantz’s life made by its assassin, molded through Frantz relatives’ demands and remembrances. Unlike Adrien’s guilt for killing the unarmed soldier and his failure to obtain relief in Anna’s love, Frantz survives death through his authentic faithfulness in LIFE: “Frantz hated war. Every day he used to say that the French were his brothers”, rejecting war and death on the same moment he was slaughtered. Hence Frantz’s survival does not belie reality sustaining perverted love to a suicidal-laying-in-bed after death, but praised the opposite as if survival of a man’s principles would turn into an art masterpiece[2].

Contradictions over the use of warfare in resolving conflicts versus the diplomatic negotiation permanently confronts manhood with its principles begging for the respect of life, justice and truth. National pride and rights more frequently feed from authoritarian thought and cutural domination values establishig insurmountable disballance amongst both, favouring the former. On these days cellebrating the Hiroshima and Nagasaki 72th anniversary that ended the war with Japan on August 15th 1945, Donald Trump matched North Korea’s dictator in theatenig the world by employing atomic weapons again since the world's first nuclear attack. This issue comes after Japan sided last month with nuclear powers Britain, France and the United States to dismiss a UN treaty banning atomic weapons, which was rejected by critics for ignoring the reality of security threats such as North Korea. It might be concluded that hatred and egolatry are powerful emotions easy to harvest, unable in these times of science and communication to become educated in the sake of the earth’s and human life for the cooperation that is needed to establish any agreement for their care. The permanent conversation amongst the environment and Art could be a wise advisor to such unwise greed[3].

COMMENTAIRES

Dans le film Moonlight (Barry Jenkins, 2016) qui reçú l'Oscar 2017 du meilleur film américain, le petit enfant noir Chiron regard l'océan a ses pieds avec ses oreilles sur la tête parallèles à l'horizon, en poursuivre de délimiter des surfaces qui se fusionnent comme dans le vers d'Arthur Rimbaud (Correa, Blog 28 Février, 2017). Dans le roman de François Mauriac qu'est considéré comme son premier chef d'œuvre: “Le Baiser au lépreux”, son protagoniste Jean Péloueyre marche pour les forets, entre les arbres et la campagne de les landes, jusque la mer. Dans ce chemin son épouse trouve un chêne noir qui le ressemblait à Jean Péloueyre, identifié chez la nature avec dans son procesus de deuil (Correa, Blog 13 Janvier /2017).).

 Expériences narratives canadiennes basées dans l'approche narrative esthétique en concernant à l’environnement socioculturelle du Québec aussi sont été explorées:1) dans un entretien fait à une professeure d’art canadien sur la question du développement narratif multiculturel et 2) dans groupes urbaines du Montréal exprimés par citoyennes sur l’aliénation socioculturelle fait à travers la littérature et le dessin. A titre d'exemple d’aliénation socioculturelle, la rejet de le président américain Donald Trump de l'Accord de Paris (COP21) fait pour aboutir la lutte contre le réchauffement climatique dans le monde entier, approuvé le 12 décembre 2015 et devenu un événement environnemental historique capital pourquoi est le premier accord universel pour le climat approuvé à l’unanimité par les 196 délégations. Cette incongruité dans les accords internationaux exercés par les autorités pose la question de savoir si plus que les signatures pour parapher les accords dans les spécifications techniques, serait nécessaire developpeur l'exercice de la compréhension interculturelle de l’environnement (Correa, Blog 22 Avril /2017).

 La conversation permanente entre l'environnement et l'art pourrait être un sage conseiller d'une fierté si imprudente. Dans ces temps de la science et de la communication entre les différents systèmes sociaux et culturels, Il est impératif devenir éduqué dans l'intérêt de la terre et de la vie humaine comme une condition essentiel pour arriver à la coopération qui est nécessaire pour établir des accords pour aboutir leurs soins.

L'évolution des sciences sociales et culturelles, ainsi que la technologie de communication devrait avancer vigoureusement dans les méthodes de contrôle et l'inhibition de les phénoménologies autoritaires des les systèmes gouvernementaux qui se sont développés dans les systèmes sociaux politiques et religieux pour l'organisation et la conduite des populations. Les forces du nazisme et du fascisme parmi beaucoup d'autres mouvements de masse renaisse aujourd'hui dans les mouvements populistes menés par des dirigeants des profils autoritaires forts, inducteurs de la violence sociale, comme le péronisme dirigé par Cristina Elizabet Fernández de Kirchner en Argentine, le chavismo bolivarienne du Venezuela conduise par Nicolás Maduro et au parti républicain de les Etats-Unis représenté par Donald Trump, qui lutte pour l'intervention militaire, non seulement dans Proche-Orient, mais dans Venezuela en Amérique et a menacé de répondre à le régime coréen avec une attaque nucléaire «écrasant». Si le message de Alain Resnais de «Hiroshima mon amour» et l’exhortations à la paix de Ono/Lennon deviennent obsolètes et inefficaces, il nous reste à chanter à choeur avec Serge Reggiani (1922-2004), la chanson de Boris Vian, finalement censurée pendant la guerre en Indochine: “Le déserteur”.

                                                    Je dirai aux gens:
                                                      Refusez d'obéir
                                                    Refusez de la faire
                                                   N'allez pas à la guerre
                                                       Refusez de partir
                                                  S'il faut donner son sang
                                                     Allez donner le vôtre

                                                     Vous êtes bon apôtre

                                                      Monsieur le Président
                                                      Si vous me poursuivez
                                                      Prévenez vos gendarmes

                                                     Que je n'aurai pas d'armes
                                                        Et qu'ils pourront tirer

Honouring Heather Heyer, a 32 years old woman who worked as a paralegal and stood up against any type of discrimination, was killed in Charlottesville, Memorial: August 16th 2017

If the president of a nation summons to the continued aggression of the opponents,  it disqualifies the women, menaces the press, avoids immigrants, minimizes the "part" of race offenders and defies those who employ terror, dictatorship or the threat of nuclear bombs with a stronger annihilation empowerment, isn't he supporting war actions to all of those, increasing rage, intolerance and crime? .The authoritarian attitude exceeds words and national or religious pride and very easily may justify elimination of dissenters, not only to stop the respect for diverse human and cultural values but the universal agreements for caring the earth's environment and life.

REFERENCES

CARNEVALE, F.A. & Weinstock, D.M., “Questions in Contemporary Medicine and the philosophy of Charles Taylor: An introduction”, J. of Medicine & Philosophy, 36 (4): 385-393, 2011.

CERE, D., “Multiculturalism, made in Canada. Pierre Trudeau's early vision became a reality 40 years ago, when we became the world's first officially multicultural nation”, The Gazette, October 25, 2011.

CORREA, J.E., (2017a). Análisis sistémico de la comunicación y construcción de narrativas estéticas por supersistemas grupales, sociales y culturales, Revista Perspectivas en Psicología, Revista de Psicología y Ciencias afines. Volumen 14, Número 1. Retrieved from http://www.seadpsi.com.ar/revistas/index.php/pep/article/view/300

CORREA, J.E., ”Une vision narrative interculturelle et interpersonnelle de l'art et de l'environnement», Published in the Blog Arte y Medio Ambiente, 13/1/2017.

CORREA, J.E., “L'éternité c'est la mer mêlée au soleil”, Blog 28 Février, 2017.

CORREA, J.E.,”Célébrez ma Terre! Celebrate my Earth! 3. Serait-il possible la construction d’une vision narrative interculturel de l'environnement », Published in the Blog Arte y Medio Ambiente, 22/4/2017.

CORREA, J.E., (2017b). The art of narrative construction and reconstruction in the care of the bereaved: A film narrative analysis. Interfaces Brasil/Canadá v. 17, n. 1 (2017): 159 – 178. Retrieved from http://www.periodicos.ufpel.edu.br/ojs2/index.ph...

DUCHASTEL Jules, “Multiculturalism: what are our discontents about?” Seminar held in Buenos Aires: “Nación, Diversidad. Pluralismo. Entre el crisol de Razas y el Multiculturalismo. Miradas cruzadas Argentina-Canadá”, 15-16 XI 2010.[PF3] 

ELLIOT, C., “Enhancement technologies and the Modern Self”, J. of Medicine & Philosophy, 36 (4): 364-374, 2011.

GARDNER, S., 1991, “My first rhetoric of domination: the columbian encounter in children’s biographies”, Children’s Literature in Education 22 (4): 275-290.

LEIGH STAR, S., Bowker, G.C. & Neumann, L.J., "Transparency At Different Levels of Scale: Convergence between Information Artifacts and Social Worlds", Library and Information Science, University of Illinois, Urbana-Champaign, August 1997 [Wikipedia].

MIGHTY, J., “Developing intercultural and diversity competence”. pdf 

PETIT, M. La lectura es mi país. Revista del CEPA Yucatán, Centro Penitenciario Madrid, p.​3-7. ​2006.

SOKOUROV, Alexander, "Francofonia", Film 2015.

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[1] This fortnight corresponded to the Seminar which was lectured at Mc Gill University by Dr. Julio E. Correa and consisted in two conferences on the Narrative approaches to bereavement (October 19th and 20th, 2011), as programmed and organized by the pedagogical liaison coordination of Professor Franco Carnevale [Mc Gill University, Montreal, Quebec].

[2] The song "Le Déserteur", written by Boris Vian and sung by Serge Reggiani, strongly claimed to reject joining the war “N’allez pas ä la guerre/ Refusez de partir/ Si vous me poursuivez/ prévenez vos gendarmes/que je n’aurais pas d’armes/ et qui’l pourro