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This article is an analysis of the discursive space surrounding the terms and conditions of belonging in the Franco-Manitoban community of Saint-Boniface (Manitoba) in 2005. The discourse that is herein analyzed appeared in La Liberté, a French language weekly newspaper. Daniel Lavoie, a Franco-Manitoban singer-songwriter who moved to Québec in the 1970s, addressed a letter to La Liberté expressing his disagreement with the construction of a high-rise, privately owned, residential building on historical ground (the “500 Taché” project). His statements became the center of a spirited debate in the newspaper's pages, as this construction project deeply divided the local community at that time. This analysis of the “500 Taché” project is part of a larger, ongoing analysis of the role of language in the creation of social boundaries in French Manitoba, and the legitimacy of people who left the province as social actors in present day community events and decisions.

Keywords: discours médiatique, légitimité, Manitoba français, Québec, La Liberté, patrimoine, appartenance, identité, mobilité, media discourse, legitimacy, French Manitoba, Québec, La Liberté, cultural heritage, belonging, identity, mobility

While best known for her 480 Sonets spirituels, published seventeen years after her death in 1605, the Dominican nun Anne de Marquets also contributed a remarkable collection of personal spiritual poetry during her lifetime in Les Divines Poesies de Marc Antoine Flaminius (Paris, chez N. Chesneau, 1568; reedited in 1569). In the pages following her translation of Marcantonio Flaminio’s Carminum sacrorum libellus, her original cantiques ou chansons spirituelles and sonets de l’amour divin reveal a convergence of Renaissance poetics and traditional Christian themes. In particular, Anne de Marquets looks to the Petrarchan tradition as a model for the expression of her love for the divine. Drawing on images and themes from Petrarch and his earliest French imitators, the Dominican adopts the poetic process promoted by the Pléiade, notably in Du Bellay’s Deffence et Illustration de la langue françoyse and in Ronsard’s ode Hercule chrestien.

“Avant-garde times. Maybe the only exciting form of life, because of its intimate connection with writing”: this is how Chloé Delaume, in Où le sang nous appelle (2014), remembers her initial enthusiasm for some experiences of poetic and politic activism, even though she later took stock of them in a severely critical way. This quotation epitomizes Chloé Delaume’s ambivalent relationship with the avant-gardist tradition, especially with the situationist legacy. In the light of Delaume’s works, from Le Cri du sablier to Les Sorcières de la République, this paper will try to show how the avant-garde concept with its historical, sociological and pragmatic aspects, however obsolete it may seem, allows to overcome this contradiction and to better position Chloé Delaume in the contemporary literary field.

Keywords: avant-garde, performativité, Chloé Delaume, Peter Bürger

Mitch Podolak said, “Pete Seeger and Leon Trotsky lead to everything in my life, especially the Winnipeg Folk Festival.” This article discusses the creation of the Winnipeg Folk Festival (WFF) in 1974 as Podolak's first attempt to fuse his ten years of Trotskyist political training with his love for folk music. His intention was to create a Canadian folk festival which would embody the politically resistant nature of the Trotskyist international movement for the purpose of challenging the Canadian liberal capitalist democratic system on a cultural front. Heavily influenced by the American Communist Party's use of folk music, Podolak believed that the folk song and its performance were socially important. This importance, he believed, stemmed from the social cohesion that could be created within a festival performance space. This space, when thoughtfully organized, could have the ability to create meaning. The relationships between the artistic director, the folk singer, the folk song and the festival audience become intertwined to dialectically create the meaning of the song and the space simultaneously defining folk music

AbstractIn 1971 the Democratic Republic of Congo (former Belgian Congo) became Zaire and the concept of authenticité was put at the center of a nationalist project that used the past as a means of projecting itself into the future. At the same time that the Mobutu government was trying to create an image of a single national identity (Zairian), it was also insisting on the importance of the more than 350 ethnic groups that made up the national cultural landscape. The management of this diversity was made possible by a strategy of making culture public through traditional song and dance from different parts of the country : animation politique et culturelle. Inspired by the thinking of negritude but also by the patriotic choreographies that Mobutu had observed during an official visit to North Korea and China in the early 1970s, animation politique dominated not only the public sphere in the Congo, but also the political imaginary. The imposition of this phenomenon in almost every aspect of public life (schools, businesses, state-owned companies, television and radio, neighborhood associations, etc.) enabled Mobutu to consolidate his authority as “President-Founder” and “Father of the Revolution”, but it also had the effect of transforming the way that the notion of culture is experienced and understood.

Keywords: White, Zaïre, Mobutu, politiques culturelles, authenticité, violence symbolique, White, Zaire, Mobutu, cultural politics, authenticity, symbolic violence, White, Zaire, Mobutu, politicas culturales, autenticidad, violencia símbolica