Courtney Brooke (°1980, New England, United States) is a photographer and conceptual artist. She explores the ties of the feminine to nature and spirituality through the lens of nostalgia. Moments are depicted that only exist to punctuate human drama and clarify our cosmic existence, while finding the poetic meaning in everyday life.
La prochaine séance du séminaire mensuel du Centre de recherche interuniversitaire en sociocritique des textes (CRIST) aura lieu le vendredi 27 mars 2020 à 14h au J-4935 (UQAM) et aura pour thème «Diableries et ensorcellements».
Conférencier.ères:
Invitation à Martin Hervé (Université du Québec à Montréal) : « L’autre scène de Loudun : l’enfer intérieur »
Invitation à Éric Debacq (Université de Montréal) : « Personnage de comédie baroque ou vrai possédé du diable : le ‘sorcier’ innu dans les Relations de Paul Lejeune (1632-1642) »
Over the last year and a half, 178 U.S. dioceses serving 64.7 million Catholics have released lists of priests “credibly accused” of sexual abuse. However, the problem with these lists is that they exist independently of one another, with no consensus as to what makes an accusation credible. This lack of organization makes it difficult for members of one parish to get a full picture of past accusations, leaving surviving victims feeling as if their abusers are still hiding in plain sight, with potential victims ignorant of past allegations. In order to address this problem, ProPublica combed through all existing abuser lists released by dioceses and organized them into one searchable master list.
In 2018, a Pennsylvania grand jury report listed hundreds of priests accused of abuse across the state as part of a sweeping investigation, which prompted dioceses across the country to release similar lists. One of the major problems with these lists, according to ProPublica, is that there is no standard for what constitutes a credible allegation, leaving many abusers unnamed. For example, in February 2019 Larry Giacalone was paid a $73,000 settlement by the church after coming forward to name his alleged abuser, a priest by the name of Richard Donahue. However, when the Boston Archdiocese released its list of names soon after, Donahue’s name was missing. After facing pressure from Giacalone’s attorney’s the priest’s name was added to the “unsubstantiated” portion of the list.
Decisions about how and whether to form and release these lists are left to individual dioceses. And while the U.S. Conference of Catholic Bishops can offer suggestions and guidelines, a spokesperson for the organization, Chiedo Noguchi, explained that ultimately bishops answer to the pope, not the USCCB:
“Recognizing the authority of the local bishop, and the fact that state and local laws vary, the decision of whether and how to best release lists and comply with varying civil reporting laws have been the responsibility of individual dioceses.”
This lack of guidelines makes it much more possible for abusers to hide, even after public allegations, and churches are able to divide cases into “credible” and “incredible” with no input from courts or law enforcement, according to the ProPublica report:
“The Archdiocese of Seattle, which released its list prior to the grand jury report, began by dividing allegations into three categories: cases in which priests admitted the allegations or where allegations were “established” by reports from multiple victims; cases that clearly could not have happened; and cases that fell into a gray area, like those that were never fully investigated at the time they were reported. The archdiocese decided it would name priests whose cases fell into the first category and leave out the second group, but it sought additional guidance on the third set of cases.”
In many cases, dioceses also leave off the names of priests who have died since being accused, and 41 dioceses serving nine million U.S. Catholics have yet to release any lists whatsoever.
In order to better organize and distribute information about sexually abusive priests, ProPublica has organized all 178 of the existing lists into a searchable database, allowing users to search by priest name, parish, or diocese. The more accessible list enables searchers to track priests who appear on multiple lists, a feat that proved incredibly difficult when information was scattered.
However other groups, like Bishop Accountability, say there is much more work to be done. The group forms its own list of accused priests based on court and church documents as well as news reports and includes 450 names from dioceses that have failed to create their own lists. Furthermore, accusations against orders like Jesuits, members of their own order who often work in parishes and schools, are often not included in any lists, as they are technically outside the diocese. According to Jerry Topczewski, chief of staff for Milwaukee Archbishop Jerome Listecki, the task of counting up every single abuser who has or may be committing sexually abusing prisoners is simply too difficult:
“At some point you have to make a decision,” Topczewski said. “Someone’s always going to say your list isn’t good enough, which we have people say, ‘Your list is incomplete.’ Well, I only control the list l can control and that’s diocesan priests.”
But David Clohessy, who led the Survivors Network of those Abused by Priests for 30 years, says that putting together better, more accessible lists isn’t nearly as difficult as Catholic authority figures are making it seem:
“They continue to be as secretive as possible, parceling out the least amount of information possible and only under great duress,” Clohessy said. “They are absolute masters at hairsplitting — always have been and still are.”
SACCAGE‘Khaos Mortem’ (2019)
Torture Garden Picture Company, PRC music
OATH DIV 666‘Apocalypse Division’ (2019)
D7i Records, Doomsday Machine Records
SEDIMENTUM‘Demo’ (2019)
Fucking Kill Records
MARÉCAGES‘Marais Juana – Une Ode Cannabique’ (2019)
From the Urn
***
Rééditions admirables de MMXIX :
ABRUPTUM‘Orchestra Of Dark’ (1992, RE2019), Profound Lore Records; ABRUPTUM‘Vi Sonus Veris Nigrae Malitiaes’ (1996, RE2019), Blooddawn Productions; DAHMER‘The Studio Sessions Discography’ (2003, RE2019), D7i Records et Doomsday Machine; DARK SPACE‘II’ (2005, RE2019), Avantgarde Music; INCANTATION‘Upon The Throne Of Apocalypse’ (1995, RE2019), Relapse Records; LEVIATHAN‘Verräter’ (2002, RE2019), Profound Lore Records; MELVINS‘The Maggot & The Bootlicker’ (1999, RE2019), Ipecac Recordings; MZ.412‘In Nomine Dei Nostri Satanas Luciferi Excelsi’ (1995, RE2019), AnnapurnA;
les PAYSAGE D’HIVER sur Kunsthall Produktionen; TETRAGRAMMACIDE‘Third World Esoterrorism’ (2014, RE2019)
les ZOVIET FRANCE sur Vinyl-on-demand;
JOHN COLTRANE‘Blue World’ (1964-2019)
The album was recorded at Van Gelder Studio with the Classic Quartet in between the Crescent and A Love Supreme sessions for the film Le chat dans le sac. Director Gilles Groulx was friends with Jimmy Garrison and he used that relationship to request songs for Coltrane’s quartet to record. Groulx traveled to the United States to attend the recording sessions for Coltrane’s only soundtrack work and Coltrane recorded it without informing his record label. After three hours in the studio, Groulx took the master tapes with him to Canada. When the director ended up shelving most of the music, it went unreleased until 2019, when Coltrane’s long-time label Impulse! Records decided to release it, with the original composition « Blue World » being released on August 16, 2019 along with the announcement of the album. Release was delayed by several years due to the NFB owning the rights to the tape itself but Impulse! having the rights to release it as an album.
The recordings were stored away until the early 21st century, when an archivist from the National Film Board of Canada was tasked with assembling Groulx’s work; the government agency negotiated with Impulse! to have the album released. This album comes a year after the successful release of Both Directions at Once: The Lost Album, also from Impulse!, capturing a Classic Quartet session from 1963 and is part of a trend of unreleased albums from 1950s and 1960s jazz greats released in the 2010s.
***
Le chat dans le sac
Gilles Groulx, Canada, 1964, 1 h 14 min
Premier long métrage de fiction de Gilles Groulx, dans lequel il intègre les méthodes du direct. Le casting est composé d’acteurs non professionnels, les dialogues sont improvisés et le tournage en continuité réalisés dans des décors naturels assurent la spontanéité et l’authenticité propres aux productions documentaires. À travers la confrontation d’un couple dans la vingtaine, ce film pose la grande question de l’accession à la maturité politique du peuple québécois telle que perçue par un cinéaste épris d’idéal et d’absolu.
