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Through an analysis of Madonna's "What it Feels Like for a Girl," I problematize the impulse to dismiss women who transgress boundaries and challenge gender norms in spite of their complicity within systems of power and privilege. 

Issues around defining respectful relationships, and within those relationships, reconciling laws and values concerning use and control of intangible Indigenous heritage, arise in numerous museum contexts including : repatriation of material culture and associated information ; co-management of information or cultural expressions that were (and are or have been) considered sensitive or sacred by an Aboriginal community ; data and products of research derived from Aboriginal peoples or conducted within their territories ; and digital images and multi-media processes designed to enhance exhibits or access to information and participation of Aboriginal peoples in interpretation and control of collections and/or a broader public through use of contemporary technologies (e.g. « virtual museums »). However, the particular nature of western intellectual property norms (largely dictated by international obligations) and the intangible/tangible divide in western property complicate the matter. This article introduces the current legal and policy environment for addressing intangible heritage in museum exhibits and collections and how intellectual property law, in particular trade mark and copyright law, offer opportunities and challenges for policy implementation respectful of Indigenous laws and relationships.

Keywords: Bell, Lai, Skorodenski, loi autochtone, propriété intellectuelle, éthique, patrimoine immatériel, musées, Peuples autochtones du Canada, patrimoine culturel, loi sur la propriété, marques de commerce, droits d'auteur, contrat, Bell, Lai, Skorodenski, Indigenous Law, Intellectual Property, Ethics, Intangible Heritage, Museums, Aboriginal Peoples of Canada, Cultural Heritage, Property Law, Trade Mark, Copyright, Contract, Bell, Lai, Skorodenski, ley autóctona, propiedad intelectual, ética, patrimonio inmaterial, museos, Pueblos autóctonos de Canadá, patrimonio cultural, ley sobre la propiedad, marca registrada, derechos de autor, contrato

AbstractFelix-Antoine Savard's key novel, Menaud maître-draveur, exists in three manuscript versions and four print editions produced between 1934 and 1967. By studying the manuscripts, we can follow the novel's gestation and observe the writer at work in the process of striving continuously for formal perfection. As an aesthete, F.-A. Savard was dissatisfied with the first edition (1937). Over three decades, he reworked the novel tirelessly, making changes that were sometimes very significant and succeeding only after many hesitations and changes of mind in giving the work its definitive, classic form. The famous “Songe du Lucon” (at the end of chapter III) is highly revealing in this regard.

It seems that poetic expression in Acadia and French Ontario during the so-called long decade of the 1970s, spanning from 1968 to 1985, has marked the Acadian and Franco-Ontarian imagination to the point of becoming a founding myth in the discourse. This poetic expression has indeed allowed to trace the contours of a new way of expressing Acadian and Franco-Ontarian identities by inscribing them in a movement that went beyond the limits of a folkloric here to enter into a more global modernity. The characteristics of this expression have been celebrated to the point of establishing a set of markers that obscure a part of the literary production. This is true of women's writing, which is more intimate, and of the generations of male and female writers who come to write at the turn of the 21st century. This article examines the treatment of this hidden part in the study of critical discourse in Acadia and French Ontario and, more specifically, the shadow cast by the work of the poets of the 1970s.

Keywords: littérature acadienne, littérature franco-ontarienne, longue décennie 1970, relève littéraire, réception critique, Acadian literature, Franco-Ontarian literature, the long 1970s, new literary generation, critical reception

This is an essay about contemporary Hongkong cinema and culture. It focuses on the film Rouge (1987), which was adapted from the novella Yanzhi kou (1986) by Li Bihua and directed by Stanley Kwan. Ruhua, a female ghost, comes back from the underworld in the 1980s to look for her lover decades after they committed suicide together. Her search reveals the details of a type of romance which seems to have disappeared in the contemporary world. The essay examines the strong sense of nostalgia emanating from this melancholic love story from several perspectives: the filmic image, ethnography, the agency of chance, and the fantasy of an alternative community in a Hongkong caught in the crisis of its imminent "return" to China by 1997.