Le Théatre et les Dramaturges à Montréal
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Le Topos de la Captivité au Dix-Septième Siècle
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Leanne Betasamosake Simpson’s Decolonial Aesthetics: “Leaks“/Leaks, Storytelling, Community, and Collaboration
Abstract: In Centering Anishinaabeg Studies: Understanding the World through Stories (2013), Jill Doerfler, Niigaan Sinclair, and Heidi Stark state that stories are “being used as theoretical frameworks guiding questions” in a number of fields. Anishinaabeg scholars have been “exploring issues and interests of their own communities” in ways that reveal “stories operating as different entryways . . . [and as] centres to Anishinaabeg Studies.” Doerfler et al note that in Leanne Simpson’s contribution to their volume, she approaches aadizookanaag and dibaajimowinan as “two types of stories” that reflect “interrelated forces, echoes, and parts of a greater whole.” Simpson’s poem “leaks” – like Cara Mumford’s short film Leaks – also reflect this approach. The performance of “Leaks” in the film Leaks is consistent with “spontaneous” resurgent eruptions of flash round dances associated with Idle No More; long-standing “grass-roots” forms of cultural, political and spiritual resistance; “traditional,” land-based Indigenous knowledge, language and spirituality; and contemporary Indigenous literary theory. My own reading of the poem views it as embodying new kinds of conversations between Anishinaabeg artists, but also between writers from different First Nations as well as between Indigenous and settler readers and critics.
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Lee’s “Civil Elegies” in relation to Grant’s “Lament for a Nation”
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Legislating Race, Grammars of Patriarchy: Citizenship, Statelessness, and Velma Demerson’s Incorrigible
Abstract: The violent legacies of modern citizenship continue to resurface in debates today about the values of birthright citizenship, belonging and statelessness. Velma Demerson’s Incorrigible, an autobiographical text about a young, white woman who is incarcerated and experimented on because she has a Chinese fiancé in 1939, returns us to the first half of the twentieth century, and reveals the paradoxes, and circular logic, of citizenship discourse in Canada.
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Leonard Cohen: A Personal Look
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Leonard Cohen: Black Romantic
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Les connivences implicites entre le text et l’image: Le cas Maria Chapdelaine
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Les contours du descriptif dans Volkswagen Blues de Jacques Poulin
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Les contours du descriptif dans VolkswagenBlues de Jacques Poulin
Abstract: Avec l'appoint de la théorie de la description (Ph. Hamon, J.-M. Adam, A. Petitjean, Y. Reuter, M.-A. Gervais-Zaninger, M. Nojgaard), l'auteure étudie le parcours du descriptif dans Volkswagen Blues de Jacques Poulin, à partir d'un critère fondamental : le mode de présence. Un examen des fragments descriptifs révèle que le mode privilégié est l'ostension et que ce mode se manifeste par un surmarquage des frontières de la description à travers la mise en place de signaux démarcatifs d'ouverture et de clôture. Dans un premier temps, l'étude relève les tendances signalétiques repérables dans les contours du descriptif ; puis, dans un deuxième temps, dégage les bénéfices de l'appareil signalétique mis en oeuvre.
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