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The relationship between those involved in the management of living organisms and biodiversity is a central issue in the future of urban spaces: not only do the majority of humankind lives in or under the influence of an urban space, but urbanization is one of the main causes of biodiversity erosion on a global scale. This article examines the issues of sorting and caring for the living, which organize and influence the changing relationship between managers and, ultimately, city dwellers, towards urban biodiversity. Firstly, we explore the heritage of the different management working cultures, through a review on hygienism and its evolutions (post-hygienism and neo-hygienism). We then analyze regulations and the ways in which managers apply or fail to apply them. Finally, we present the results of a survey of public and semi-public stakeholders in the management of urban public spaces in several French local authorities. It reveals a diversity of representations and even narratives that produce different ways of legitimizing the sorting of non-human beings within the city.
Keywords: biodiversité urbaine, indésirable, nuisible, gestion urbaine, espaces publics, urban biodivesity, unwanted species, harmful species, urban management, public spaces
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Song (what Paul Zumthor calls « oral poetry set to music») is an offspring of the medieval fixed form lyric. No wonder, indeed, that we still find the villanelle and the ballade with envoy among the works of Gilles Vigneault,the most medieval of Quebec's singers. This being so, it is not surprising that the song as genre should borrow a good deal from the figures of rhetoric: enumeration, repetition, chiasmus, opposition, anaphora, and so forth; above all, that it should retain the lapidary succinctness of its origin. As a form, of lyrical poetry, the song exploits rhythm, musicality and above all figuration. It reconciles the musical with the literary text, uniting them and bringing them into fertile opposition to ensure their reciprocal efficacy and power. In this sense, as the evolution of the song across the centuries demonstrates, it is discourse and possesses a rhetorical power sufficient to fit it for its role both as sung poetry and as a vehicle for ideological argument.The present article examines these aspects of the song with special reference to a composition by Jacques Brel.