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Who is d'Artagnan? The historical figure has long since faded behind Dumas' creation; but in a similar way, the character of The Three Musketeers no longer exists. Re-imagined a thousand times, adapted to every fictional medium, transformed with every reading and every new production, he is now linked to the original work that founded his success only by a few loose characteristics - a name, an ideal, some friends and enemies. While these traits still remain in each incarnation of the character, they no longer depend on Alexandre Dumas' work, but on the context of its rewriting. In this process of change, the series format has had a paradoxical effect: its proximity to the logic of the serial novel brings the serialized d'Artagnan curiously close to his origins, but also makes him all the more elastic. We will focus on this paradox by comparing two relatively recent rewritings of the character: the first in the Soviet series D'Artagnan and the Three Musketeers (1978-1994) which, while attempting to reproduce the novel down to the last line, succeeds in turning it into an ode to life in Eastern Europe before and after the fall of the Communist regime; the second in the series The Musketeers (2014-2016), which, while completely detached from the original novel in terms of plot, manages to translate the chivalric aspect of the Duma-esque musketeers to embody anxieties specific to the 21st century.

Keywords: Dumas, Dumas, character, personnage, transmédialité, transmedia, appropriation, appropriation, d’Artagnan, d’Artagnan

Since 1970, the Arctic Winter Games (AWG) have brought together young people from the circumpolar world. A meeting of sport and culture, they promote sharing and exchange among young people, as well as Aboriginal cultural and sports practices (Dene Games, Arctic sports). They intend to participate in building an Arctic community. This article proposes a reflection on this event and shows that this type of encounter, beyond its sporting aspect, can be a lever of social, cultural and educational development for a territory. Therefore, this text consists of a question of the contemporary sports movement. Questioning the public value of AWG, it discusses the paradigm on which international sporting events are built today.

Keywords: Juegos de invierno del Ártico, Arctic Winter Games, Jeux d'hiver de l'arctique, acontecimiento, event, évènement, Jeux régionaux, Juegos regionales, Regional Games, jeunesse, youth, juventud, culture, cultura, culture, sport, deporte, sport

In this reflective account, I revisit my geopolitical location, earlier life and career, and academic journey using the ideas of feminist theorist Dorothy Smith as an interpretive frame. Her theorizing and methodology have been transformative, particularly in relation to gaining insight into a paradox. In order to undertake community-engaged research, poorly recognized by traditional academic expectations of scholarship, I had to find a way to survive within the very institution that devalued this approach. Smith’s conceptual contributions, particularly her regard for women as subjects (not objects) and experts of their lives, encouraged me to undertake this reflection. And her theorizing of how women’s local everyday experiences are connected to complex relations of ruling have brought me new insights. While I had no direct connection with Smith, I experience her passions and ideas as a form of feminist solidarity.

Keywords: Reflective Memoir, Épistémologie féministe, Feminist epistemology, Relations de pouvoir, Ethnographie institutionnelle, Relations of Ruling, Mémoire réflexive, Institutional ethnography

While major societal tensions affect the social organization, the scope of group animation is immense because it can transform, deflect or reinforce behaviors, opinions and ways of thinking. Organizing the communication through a previous scripting, animation can either impose its objectives in full transparency or hide them behind masks of virtue, or to pass its power of influence on to individuals so that they determine through dialogue a common sense which is their most precious social good. Moving away from an intersubjective approach, the « animation space » has shrunk as many citizens refuse to participate in activities designed for them and not with them. If only dialogic processes can make a reflexive distancing and critical thinking grow, how can a journal dedicated to this topic apply them in its animation of a research and practice community?

Keywords: espacio de animación, espace d’animation, animation space, scénarisation, guion, scripting, proceso dialógico, dialogic process, processus dialogique, sentido común, common sense, sens commun

In what ways is the relation towards language and literature, in Québec and the West Indies, determined by a "linguistic overawereness"? This is what we study in this paper, which analyzes, in its first part, two important Québec manifestoes: Speak white by Michèle Lalonde and Speak what? by Marco Micone. We thus see that there is a movement from an affirmation of national identity against a dominant (and anglophone) Other to the affirmation of the participation of the (immigrant) Other in Québec 's literature. Then, in the second part, we compare the ideas expressed in L'éloge de la créolité and those cherished by Edouard Glissant, which shows that if Quebec's literary institution has grown strong enough for it to become the main reference of migrant writers, the Caribbean one is still mostly a project.