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The recent use of “translation” as a metaphor tends to turn the latter into an equivalent of or even a substitute for the concept of “transfer.” Instead of bringing Translation Studies and Comparative Literature closer together, this evolution raises a wide range of theoretical, methodological and analytical problems. In response, this article proposes an integrated approach in which the concept of “transfer,” which is defined as a process of interaction between literary systems, their subsystems and their communication models, will be linked to the concept of “translation.” The approach is then applied to a case that has never been investigated by historians or comparatists, namely the massive migration of Belgian families towards the north of France in the 19th century. This migration was accompanied by an extensive transfer process of a wide range of attitudes, beliefs, knowledge and skills imbedded in the social, professional and cultural life of the migrant. As regards oral and literary practices, the transfer process functions by means of methods such as translation, imitation, publishing, anthologisation and review writing. These apply mainly to minor and oral genres, such as popular songs.

Keywords: traductologie, études de transfert, littérature comparée, migration, chanson populaire, Translation Studies, Transfer Studies, Comparative Literature, migration, popular songs

The author of this article presents readers with a part of their research devoted to the Franco-Flemish songs known in the sixteenth century by the name fricassée. Among the polyphonic a cappella works performed during the Renaissance, this genre, created to make audiences laugh, plays a specific role. Composed of several melodies and poetic texts borrowed from other songs, the fricassée is recognizable for its erotic and sometimes completely obscene character. Why did this lovely vocal miniature that appeared in the first third of the sixteenth century remain popular until the end of the Renaissance? The aim of this article is to explain certain characteristic traits of this genre in connection to Johan Huizinga's Homo ludens concept as well as Mikhail Bakhtin's philosophy of carnivalesque laughter. The existence of these connections is especially demonstrated in examples drawn from a fricassée that had long escaped the attention of researchers, until its 2013 discovery in the Bavarian State Library. The study of this piece focusses mainly on the analysis of its texts that, in the opinion of this author, not only constitute one of the most interesting aspects of the genre, but also confirm that its playful character originates in the aforementioned concepts.

Une même chanson interprétée par un Québécois et un Français serait-elle semblable sur le plan phonétique? En ce sens, la rencontre entre la musique et la langue impose-t-elle des contraintes telles que l'on ne pourrait retrouver, dans la chanson, de variantes phonétiques comme la diphtongaison? Matte (1982: 142-143) répondrait probablement à cette dernière question par l'affirmative si l'on s'en remet à sa thèse voulant que, en français, la chanson exige le mode tendu (par opposition au mode relâché) et que celui-ci influencerait l'articulation des sons. De là son idée, en particulier, que le Québécois aurait moins tendance à diphtonguer en chantant. Le but de notre mémoire est de mettre à l'épreuve cette thèse de Matte; il nous apparaît en fait évident que chanson et diphtongaison …

Pierre Falcon is the earliest known Metis composer. Born in 1793 in Fort La Coude (Elbow Fort) in what is now west-central Manitoba, his adult life spanned the “Golden Years” (Shore 2001) of the western Metis nation. Known as the Bard of the Prairies, Falcon's songs drew on events of local importance during this period, providing a means to remember and share Metis history, and to solidify a sense of Metis nationalism. Beginning in the late-1800s historians, novelists, folklorists, journalists, and musicians began turning their attention to Falcon, resulting in a strikingly large number of popular and academic references to his life and songs. While these references are varied, together they tell a story about the relationship between Canada and the Metis Nation. On the one hand, references to Falcon often draw from, and in fact help create, images of the Imaginary Indian (Francis 1992). Yet on the other hand, many references to Falcon erase his Indigeneity, or blend his Metis identity seamlessly into a Franco-Manitoban, or western Canadian identity. These seemingly contradictory representations, as I will argue in this paper, ultimately point to the ambiguous positioning of Metis people as Indigenous peoples, and speak to an obsession with mixed-ness that denies the Metis their full and authentic Indigeneity.

This paper discusses issues related to self-representation and expression in a Labrador Inuit community with reference to three locally-composed country-style songs frequently requested and played on the air by the community radio station. An under-discussed political impetus behind Raymond Williams' « structures of feeling » helps redress a discursive imbalance that privileges « authentic » forms over Inuitized Euro-American ones. Measuring culture in terms of lived experience rather than discrete symbolic forms in the way Williams proposes is the basis for considering a substrate of affective continuities that persist even when more tangible forms erode or die out. Distinct Inuit affectivities that stick to non-Inuit musical forms are, in turn, circulated and shared via radio. In the resulting curated aural-affective radioscapes, a song's affective potency is converted into structures of sonic feeling by reflexive interplays between individual and collective emotional subjectivities.

Keywords: Artiss, identité inuit, musique inuit, radio communautaire, continuités affectives, structures de sentiment acoustique, Artiss, Inuitness, Inuitized Music, Community Radio, Affective Continuities, Structures of Sonic Feeling, Artiss, identidad inuit, música inuit, radio comunitaria, continuidades afectivas, estructuras de sentimiento acústico

From the 1840s onwards, folklorists set out to document and disseminate French songs of the former Illinois Country, a former province of New France located in the central Mississippi Valley. This article recounts the career of these scholars and aims to highlight their impact on local practices and the representations they project onto the “Francos” of the Illinois Country. Several profiles and approaches emerge : from local Franco-American bourgeois scholars seeking, in a memorialist vein, to highlight the historical legitimacy of their ancestors, to regionalist Anglo-American folklorists striving to construct a cultural identity specific to the Midwest, as well as the emergence of a Franco-Ontarian folklorist's concern to situate the Illinois “Francos” within the more global framework of French America.

Over the course of her albums, whose distribution methods are continually updated to incorporate the latest technologies at her disposal, Björk is developing and deepening a philosophy that consists of overturning conceptions that set the human against the living, the living against technology, and purity against hybridity. The album Biophilia (2011), to this day her most ambitious project, aims to achieve fusion between nature and technology, but also to overcome physical and cultural boundaries. In addition to collaborating with scientists, engineers, musicians, a musicologist, a naturalist, and pedagogues, she uses new instrumental construction, a new form of musical notation and, above all, new processes of interactive creation, as this is the first app-album. In many respects, Biophilia is a total work of art, based as much on a synthesis of the arts as on formulating the utopia of a fundamental transformation of society.

Keywords: art total, Björk, écologie, app-album, Björk, ecology

The emergence of Quebec studies in Austria is closely linked to that of Francophone studies and both are indicative of a paradigm change which, to a certain extent, also affects the role of France. After the war, France was without a doubt the most important alternative to Germany, and the teaching of French in high school increased up to the 1960s. Nevertheless, French Studies in Austrian universities did not escape the «pan-romaniste - tutelage typical of German-language countries until the 1970s. The 1980s and 1990s in turn saw the birth of Francophone Studies which today visibly contribute to shaping the profile of the Austrian universities: if Vienna is Austria's "most francophone" university, Innsbruck seems to be the "most québécois". In general, Quebec Studies in Austria are situated mainly in the humanities, and more particularly in the field of literature. For a long time, they were linked to individual researchers, but they have now moved into a phase of consolidation and institutionalization with, among others, the creation of the Centre for the Study of Quebec Song at the University of Innsbruck. This article presents not only the research of the principal Austrian Québécistes, but also the evolution of conference activities and the development of university teaching.