J. Martin

In this paper I focus on the limits of narrative by asking what kinds of things narratives do, and what kinds of texts do related things in other ways. In particular I focus on how narrative genres organise time in relation to value, drawing on functional linguistic models of temporality and evaluation. From a linguistic perspective, the various narrative genres negotiate different kinds of solidarity with listeners, and so the limits of narrative materialise various possibilities for communing in a culture, alongside the potentialities for construing community through related and other genres of discourse—since in general, the limits/possibilities of our language (and attendant modalities of communication) are the limits/possibilities of our social world.

Cécile Wick's work, oscillating among photography, painting, and drawing, is one of the most important oeuvres in contemporary Swiss art. Solo exhibitions in various galleries and a large retrospective at the Museum of Fine Art in Berne have recently showcased her prints and etchings to great acclaim. Cécile Wick. Colored Waters offers readers the first glimpse of the artist's more recent photographs and, in particular, drawings. Watercolors, ink drawings, inkjet prints and photographs are presented in series, putting media and motifs in a dialogue and revealing new aspects of Wick's work. Around 160 color reproductions of artworks are complemented with essays by Martin Jaeggi and Nadine Olonetzky on subjects such as light, traces, signs, buildings, nature, and rhythm in Wick's oeuvre.

La notion de «populaire» est saisie différemment en Amérique latine et en Europe, puisque là, le populaire est une forme d'hybridation des cultures indiennes, des programmes médiatiques et de la civilisation urbaine. Il s'agit d'abord de penser masse et populaire de manière autonome, en se gardant de tout discours de dénonciation, pour saisir en quoi les telenovelas, par exemple, produisent une oralité seconde porteuse d'une nouvelle dynamique culturelle pour le plus grand nombre. La culture populaire est ainsi un lieu de réappropriation, dans un artisanat indien remodelé par le design mondialisé, autre exemple, où l'hétérogénéité des productions n'empêche pas une reconstruction identitaire qui retisse des liens avec un passé qu'il est indispensable de réinterpréter.The concept of "popular" is seized differently in Latin America and Europe, since there, the popular one is a form of hybridization of the Indian cultures, programs media and urban civilization. It is initially a question of thinking mass and popular in an autonomous way, while keeping itself of any speech of denunciation, to seize in what the telenovelas, for example, produce a second orality carrying a new cultural dynamics for the greatest number. The popular culture is thus a place of reappropriation, in an Indian craft industry reorganized by the mondialized design, another example, where the heterogeneity of the productions does not prevent an identity rebuilding which weaves new links with a past which it is essential to reinterpret