Le pass-through du taux de change : Un survol de la littérature

À la suite de la disparition du système de Bretton Woods, le taux de change flottant n’a pas joué son rôle prévu d’équilibrage; les balances commerciales des principales nations impliquées dans le commerce n’ont tout simplement pas répondu, selon les attentes, aux appréciations et dépréciations de la monnaie. La piètre valeur prophétique des modèles traditionnels de l’élasticité du taux de change a renouvelé l’intérêt dans le lien théorique entre les taux de change et les prix des biens commerciaux. Cet article présente une étude critique de la nouvelle documentation théorique et empirique portant sur le pass-through du taux de change dans le but de donner une ligne directrice aux recherches ultérieures.Following the demise of the Bretton Woods system, the poor predictive value of traditional elasticity models of exchange rates rekindled interest in the theoretical relationship between exchange rates and prices of internationally traded goods. This paper provides a critical survey of the emerging theoretical and empirical literature in exchange rate pass-through with the objective of offering guidance for future research

Le pass-through du taux de change

Following the demise of the Bretton Woods system, the poor predictive value of traditional elasticity models of exchange rates rekindled interest in the theoretical relationship between exchange rates and prices of internationally traded goods. This paper provides a critical survey of the emerging theoretical and empirical literature in exchange rate pass-through with the objective of offering guidance for future research. À la suite de la disparition du système de Bretton Woods, le taux de change flottant n’a pas joué son rôle prévu d’équilibrage; les balances commerciales des principales nations impliquées dans le commerce n’ont tout simplement pas répondu, selon les attentes, aux appréciations et dépréciations de la monnaie. La piètre valeur prophétique des modèles traditionnels de l’élasticité du taux de change a renouvelé l’intérêt dans le lien théorique entre les taux de change et les prix des biens commerciaux. Cet article présente une étude critique de la nouvelle documentation théorique et empirique portant sur le pass-through du taux de change dans le but de donner une ligne directrice aux recherches ultérieures.

Fostering Growth in the Survivorship Experience: Investigating Breast Cancer Survivors’ Lived Experiences Scaling Mt. Kilimanjaro from a Posttraumatic GrowthPerspective

The aim of this study was to use an ethnographic case study approach to explore breast cancer survivors’ experiences scaling Mt. Kilimanjaro from a posttraumatic growth perspective. Three breast cancer survivors who participated in interviews and observations during a nine-day climb on the mountain were included in this study. Findings are presented first as three individual case studies and then offered as a cross-case analysis to emphasize themes that illustrated the women’s shared experiences of growing from adversity. Participation in the climb on Mt. Kilimanjaro provided an opportunity for the women to (a) nurture priorities, (b) foster self-belief, and (c) cultivate connections. Future research should conduct investigations into the role of physical activity as a facilitator of the posttraumatic growth process

Swimming Upstream : Hédi Bouraoui’s En Amont de l'intuition

Hédi Bouraoui’s recent collection, En Amont de l’Intuition (Toronto: CMC Éditions, 2013), is a pithy, pungent, short group of poems suggested by the notion of “Intuition” and “Intuitist” poetics. A bilingual collection (French/ Italian) with Italian translations by Mario Selvaggio and illustrations by a number of contemporary artists, the poems were originally published in Au-delà de l’instant: Anthologie des poètes intuitistes, edited by Giovanni Dotoli, Mario Selvaggio, and Éric Sivry (Fasano, Italy: Schena Editore, 2012). Bouraoui’s take on the subject of “Intuition” is critical, and often ironic. “Intuition”is a free-floating, amorphous source of poetry which, by definition, is impossible to define. Without sticking pins in the butterfly, Bouraoui’s project is to delimit the parameters of the impulse to poetry. His title itself ironizes that of the Dotoli-Selvaggio-Sivry text (Äu-delà de l’instant…) into En Amont de l’Intuition, which means above intuition, not “beyond,” but which also implies swimming upstream, like the salmon, or struggling against the tide

Hédi A. Jaouad. “Limitless Undying Love”: The Ballad of John and Yoko and the Brownings

This review article examines the fascinating link Hédi Abdel Jaouad establishes between popular culture in the Victorian period (Robert and Elizabeth Barrett Browning), and in the postmodern (John and Yoko Lennon)

Review of Private Sphere to World Stage from Austen to Eliot

Elizabeth Sabiston\u27s Private Sphere to World Stage from Austen to Eliot is a somewhat perplexing book. Ostensibly, Sabiston sets out to contribute to ongoing discussions about the difficulties faced by nineteenth-century women writers, who \u27were confronted with the dilemma of effecting an elision of public and private spheres\u27 (2). The first three chapters, on Persuasion and Northanger Abbey, lane Eyre, and Wuthering Heights, argue that the central protagonist of each novel offers an image of confident female authorship. Anne Elliot is presented as a heroine who \u27against all odds ... strives for autonomy\u27 (36), Jane Eyre moves from making amateur drawings to penning her autobiography, and Cathy\u27s book is identified as the core of Emily Bronte\u27s novel. Each argument is wrapped inside a highly detailed analysis of the novelists\u27 language. However, the theme of female autonomy becomes increasingly muted in the remaining chapters which, devoted to Elizabeth Gaskell\u27s and Harriet Beecher Stowe\u27s literary relationship, and, finally, Daniel Deronda, are best read as separate reflections. The chapter on Daniel Deronda can easily be read independently from the rest of the study. It opens with a summary of Amos Gitat\u27s film Kadosh (1999), whose rapport with Eliot\u27s final novel is not explained. Instead, Sabiston presents her argument that the \u27key to the unity of Daniel Deronda ... is ... a hidden allusion to Shakespeare\u27s The Merchant of Venice\u27 (153), namely the moment in Act IV, Scene I, when Shylock addresses Portia, disguised as a male lawyer, as \u27Daniel come to judgment\u27. Having drawn attention to this androgynous moment, Sabiston perpetuates a tradition reaching as far back as Leslie Stephen\u27s early response to the novel in asserting that Eliot gave her eponymous hero \u27feminine\u27 qualities. The study goes on to argue that \u27we need to view Deronda and Gwendolen together, as alter egos\u27 (155), with Deronda\u27s feminine qualities balanced against Gwendolen\u27s more masculine ones. Indeed, despite the chapter\u27s introduction, Sabiston is less interested in the novel\u27s Jewish portions than in the interwoven destinies of Daniel and Gwendolen. The remainder of the chapter traces the development of the two characters. In the process, Sabiston raises a number of engaging ideas, such as the suggestion that the relationship between the two characters is less that of potential lovers than an echo of the fluid and complementary relationship between Lydgate and Dorothea in Middlemarch. The chapter - and indeed the study as a whole - is at its best when Sabiston engages in close readings, providing rich interpretations of Eliot\u27s language and drawing attention to the underlying unity of the novel. Sabiston is less convincing in tying her conclusions to the overall concern of the study: if, at the end of Daniel Deronda, Gwendolen is \u27offered no hope for even partial achievement in her circumscribed world\u27 (186), it is left unclear how a progression from \u27private sphere to world stage\u27 has been achieved

Review of Private Sphere to World Stage from Austen to Eliot

Elizabeth Sabiston\u27s Private Sphere to World Stage from Austen to Eliot is a somewhat perplexing book. Ostensibly, Sabiston sets out to contribute to ongoing discussions about the difficulties faced by nineteenth-century women writers, who \u27were confronted with the dilemma of effecting an elision of public and private spheres\u27 (2). The first three chapters, on Persuasion and Northanger Abbey, lane Eyre, and Wuthering Heights, argue that the central protagonist of each novel offers an image of confident female authorship. Anne Elliot is presented as a heroine who \u27against all odds ... strives for autonomy\u27 (36), Jane Eyre moves from making amateur drawings to penning her autobiography, and Cathy\u27s book is identified as the core of Emily Bronte\u27s novel. Each argument is wrapped inside a highly detailed analysis of the novelists\u27 language. However, the theme of female autonomy becomes increasingly muted in the remaining chapters which, devoted to Elizabeth Gaskell\u27s and Harriet Beecher Stowe\u27s literary relationship, and, finally, Daniel Deronda, are best read as separate reflections. The chapter on Daniel Deronda can easily be read independently from the rest of the study. It opens with a summary of Amos Gitat\u27s film Kadosh (1999), whose rapport with Eliot\u27s final novel is not explained. Instead, Sabiston presents her argument that the \u27key to the unity of Daniel Deronda ... is ... a hidden allusion to Shakespeare\u27s The Merchant of Venice\u27 (153), namely the moment in Act IV, Scene I, when Shylock addresses Portia, disguised as a male lawyer, as \u27Daniel come to judgment\u27. Having drawn attention to this androgynous moment, Sabiston perpetuates a tradition reaching as far back as Leslie Stephen\u27s early response to the novel in asserting that Eliot gave her eponymous hero \u27feminine\u27 qualities. The study goes on to argue that \u27we need to view Deronda and Gwendolen together, as alter egos\u27 (155), with Deronda\u27s feminine qualities balanced against Gwendolen\u27s more masculine ones. Indeed, despite the chapter\u27s introduction, Sabiston is less interested in the novel\u27s Jewish portions than in the interwoven destinies of Daniel and Gwendolen. The remainder of the chapter traces the development of the two characters. In the process, Sabiston raises a number of engaging ideas, such as the suggestion that the relationship between the two characters is less that of potential lovers than an echo of the fluid and complementary relationship between Lydgate and Dorothea in Middlemarch. The chapter - and indeed the study as a whole - is at its best when Sabiston engages in close readings, providing rich interpretations of Eliot\u27s language and drawing attention to the underlying unity of the novel. Sabiston is less convincing in tying her conclusions to the overall concern of the study: if, at the end of Daniel Deronda, Gwendolen is \u27offered no hope for even partial achievement in her circumscribed world\u27 (186), it is left unclear how a progression from \u27private sphere to world stage\u27 has been achieved

Around the World in Fifty Years: A Ulyssean Voyage Through Hédi Bouraoui's Poetry (1966-2016)

This is a review article on Transpoétiquement vôtre. Anthologie (1966-2016) / Transpoeticamente vostro. Antologia (1966-2016), a selection of Hédi  Bouraoui’s poetry over 50 years, edited and translated into Italian by Mario Selvaggio, who also provides the Introduction. Hédi Bouraoui has written an Avant-Propos looking back over a long writing career. The article compares his career to a Ulyssean voyage, and sees him as a Nomad of language, of cultures, of Otherness. This article has also been translated into French and Italian (see below)