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Guimarães Rosa describes as an “irrational autobiography” his novel Grande Sertão : Veredas (1956) – the hero, Riobaldo, is a bard/poet who submits to a Faustian pact to take over Hermogen (the arbitrary sign) and finally receive Otacilia (the literary prize) ; however, this ends at the cost of Diadorim's loss (Deodoron, God's gift : the soul). At the same time, in a poetic register close to holographic oraliture, Guimarães Rosa claims to have written his masterpiece in a state of possession. And while he adjourned, by admitted and claimed superstition, his entry into the Brazilian Academy of Letters for four years, he mysteriously died three days after the ceremony. Enigma or staging ? By means of factual clues carefully planted on the interpretative paths, and following a scenario completely new in the universal history of literature, the novelist composes in minute details an autobiography irreducible to a version that would be permanently framed by graphic printing: this autobiography can only be conceived in the poetic space of oraliture (in its collective and gregarious social manifestations, beyond the universe of the printed letter). In order to transform his own existence into a living legend and to avoid the hazardous incompleteness of the human condition (as well as the reductive limitations that mark the advent of the written text), Rosa narrates the story of a life (his own), under the pretext of a “death foretold”, through a textuality that is exclusively accomplished in the imagination of her readers.

This article aims to better understand the influences and networks that link francophone artists from outside Quebec with Quebec's contemporary art scene, as well as how the professional success of franco-Canadian artists exhibiting in Quebec is perceived. I hope to show how the institutionalization of contemporary art in Quebec has played an important role in the careers of individual franco-Canadian artists, but also in the development of the entire visual arts network in francophone Canada. Seen from outside Quebec by the franco-Canadian community, the contemporary art scene in Quebec is an important context for franco-Canadian artists to participate in as they seek to make their name. I argue that the small size of the contemporary art network for francophones outside Quebec helps artists achieve professional success while, somewhat paradoxically, allowing them to distinguish themselves through their membership in a specific francophone community. This differentiation based on linguistic identity can be reflected in the aesthetics of the artists' works, but also on the way that the promotion of their artistic practice and of their careers is accomplished within their own community, within Quebec and elsewhere. These promotional efforts tend to strengthen collective identity, which can be associated with either a national identity, in the Quebec context, or a “provincial francophone identity”, in the context of francophone communities outside Quebec. This collective identity can also find a place within discourses on cultural diversity in a context of globalization. According to these discourses, the distinctiveness of francophone identity and its cultural and linguistic specificity represent an advantage, allowing individuals to benefit from interest in their own culture and in the activities they undertake within their own communities.

Since insurance is a product that is bought rather than sold, insurance agents need to be particularly convincing. Many of them have a bad reputation, which is not surprising given the spectacularly high turnover rate in a profession where thousands are hired without any previous training. Nevertheless, this rapidly consolidating industry has been working to improve its image by telling anyone who will listen that agents are promoting security, savings, and family. This article analyzes the strategies used to improve agents' level of professionalism in Quebec from 1930 to 1960. These strategies generally follow two main approaches: a) that of making both agents and the industry in general more efficient, and b) improving the image of the profession.

AbstractBetween 1692 and 1760, French colonial authorities intermittently offered trading goods to native warriors as bounties for enemy scalps. While most historians have not differentiated French and English policies, a closer examination of the subject reveals that the former had a very specific and coherent policy. Scalp bounties were considered one of the most effective ways of defending New France by encouraging its native allies to take the war path. Contrary to what has been previously assumed, however, these bounties did not result in the corruption of native customs or in the subordination of native military interests.

Keywords: Romans canadiens-français (1940-1960), engagement littéraire, rapports entre champs littéraire et politique, censure, duplessisme, Yves Thériault, Pierre Gélinas, Jean-Jules Richard

AbstractIn a stimulating paper, Roberte Hamayon explored the connection between shamanic and epic traditions among the Siberian Buryat. In this paper I examine the shamanic end epic dimensions of Inuit stories, notably the famous unikaaqtuaq of Kiviuq. The stories of Kiviuq have all the features of an emergent epic, focusing on a shamanic hero. Particular attention is given to the complex dialectics of the social and non-social behaviour of the hero. Kiviuq's position appears to be ambiguous as his adventurous may result in a complete alienation of society as well as in a return to his wives. He does not use his shamanic skills for the benefit of the community but to survive in his encounters with dangerous non-human beings. Thus Kiviuq is not a hero of service, but a hero of survival.

Keywords: Oosten, Inuit, chamanisme, épopée, Kiviuq, Oosten, Inuit, shamanism, epics, Kiviuq

In 2013, Giancarlo De Cataldo and Carlo Bonini published the novel Suburra. Between 2017 and 2020, streaming platform Netflix releases its first original Italian series, Suburra. La serie, a free adaptation of the book of the same name. Directed by Michele Placido, Andrea Molaioli and Giuseppe Capotondi, the three seasons are characterized by a dense script that interweaves complex plots around a triple criminal polarization: the interests of Roman traffickers, local political figures and high-ranking Vatican dignitaries are inextricably intertwined around the acquisition of land in Ostia, geographical symbols of hegemonic power. This article shows how, through the narrative choices made by its authors, the serial adaptation of Suburraconstitutes a richer and more ethically accomplished version than the original literary work. Indeed, the series challenges the crystallization of representations that characterized the novel, locking the characters into a good/evil dichotomy around which each of their actions was structured. Shaking up the systemic arrangement of the original diegesis, the series subtly works on interpersonal and institutional relationships, to open up a more human and ethical narrative of crime and the contemporary world.

Keywords: Subarra, Subarra, Rome, Rome, mafia, mafia, criminality, criminalité, De Cataldo, De Cataldo

SummaryAfter the second world war, economic progress in Sâo Paulo favored not only a number of initiatives in art patronage, but the creation of a market for painting as well. Concentration of income and greater access to secondary and higher education for boys and girls from the bourgeoisie and the middle class brought changes to the, conditions for recruitment as well as to the career profiles of painters, art dealers and art critics. Using the concept of field as defined by Pierre Bourdieu, this paper examines the competitive material and symbolic interests and unveils the ambiguities present in the ideology of 'free art'.

In the Japanese world of comic book production, successful manga automatically go from page to animation. The opening and closing credits of the animated series Jojo's Bizarre Adventure (David Production, 2012-2022) bear the traces of this adaptation process which poses aesthetic problems despite the common graphic origin. These credits, which support the passage from the inert to the mobile - in the tradition of those of the cinema, must present the adaptation as such - it aesthetic proposals - and are also involved in the narration, which alters them in return.

Keywords: adaptation, adaptation, séries télévisées, TV series, animation japonaise, Japanese animation, bande dessinée, comics, générique, credits