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Among the development of a new country, the adoption of choronyms is essential in designating these recently occupied regions. Well-known and accepted regionyms (names of regions) like Charlevoix, Gaspésie or Mauricie and the recent use of Hudsonia, Minganie and Estrie with the newly named Sagamie (from Saguenay and Piecouagami, or Lac Saint-Jean region) are already well-established but nevertheless other regions, like the land bording James Bay, remain nameless. Therefore, might we propose the regionym Jamesia (Jamésie) and its derived adjective jamesian (jamésien, ne) to designate this land. In 1967, the term Radissonia (Radissonie) suggested by R. Lejeune was accepted for all James Bay and its islands, together with the coast line and the interior land on both sides, from central New Québec to Manitoba. Jamesia would consequently be included in this vast territory. The Québec Jamesia for its part consists mainly of the eastern part of James Bay including its islands and the lowlands recently emerged from the transgression waters of the postglacial Tyrrell Sea. This territory spreads from Abitibi and joins to the North the Louis-XIV Point (lately Cape Jones) which is the southem limit of Hudsonia, and extends eastward to the long Boyd-Sakami Reservoir; this limit runs parallely inland along the Matagami-LG 2 road.

Keywords: Toponymie, noms de lieu, néorégionymes, baie de James, Jamésie, Canada, Toponymy, place names, neoregionyms, James Bay, Jamesia, Canada

With the possible exception of New York City, Paris is one of cinema's most beloved “characters”. From the Lumière brothers to New Wave heroes, from Debord's psychogeography to Rohmer's emotional cartography, from the 1965 Six in Paris and the 1985 Japanese takes on the city to the 2006 Paris je t'aime, no other city has graced film and influenced filmmakers so often as Paris. Of general interest is the evolution of that city in contemporary Asian filmography and, in particular, the 2008 Night and Day by Hong Sang-soo, the only movie he shot outside his native South Korea. In keeping with his obsession with paring down locales (coffee shops, bars, apartments), neighbourhoods and events (drunken binges, love triangles, holidays), Night and Day is restricted to a familiar take on the city's 14th arrondissement. Focussed not so much on culture clash or encounters as on the city itself, Night and Day zooms in on the most trivial sights, the most ordinary settings, the drudgery of daily life and the paths trodden by the main character (who ends up meeting mostly South Koreans). Much like in Tsai Ming-liang's 2001 What Time Is It Over There? or 2009 Visage, or Hou Hsiao-hsien's 2007 Flight of the Red Balloon, the appropriation of Paris owes much to movie-making culture. Rohmer's influence on Hong Sang-soo is a case in point and this essay will look at how and through which cultural references the latter appropriates Paris in his movie.

This article aims to show how Louis-Albert Bourgault-Ducoudray's travels in Greece in 1874 and 1875 were the starting point of a reflection about the classical style in music. It also aims to articulate the constitutive elements of his method as a composer-historian, whose project is to renew contemporary music in contact with ancient sources. This project, based in the idea of a universal Hellenism, is firstly elaborated while he is in Greece. Bourgault-Ducoudray, winner of the Prix de Rome in 1861, engages in ethnographical analyses and believes to discover a modal and rhythmic legacy kept in the traditional Greek songs, which he also finds in the Mediterranean Basin and in France. Building on the Hellenism ideology, maintaining an ambivalent relationship with academism, he defines from 1878 a classical canon and a corpus of French classical musicians in a similar approach to Taine's in Philosophie de l'art en Grèce (1869). Compared to Romain Rolland and Guido Adler, Bourgault-Ducoudray promotes at the Conservatoire de Paris a national classical style which characteristics foreshadows those of the so-called « neoclassicism » of the 1920's.

Nowadays, a question still subsists: does a code, considered as the result of reflecting upon the Law as a scientific object, have to be a rational entity which complies with a practical and preestablished logic or is it simply a compiled work of normative legal sources, presented as a compact format which is easily accessible?This question remains at the heart of the matter when comparing the French and the common-lawyer attitudes on the general purpose of codification. It had been already considered when the French royal power initiated the process of putting into writing the legal rules originating from the customary law. The reader is therefore invited to follow different stages of the historical evolution of the codification, from the middle-ages up to the Napoleonic 1804 Civil Code. The first step was initiated by practitioners (mostly judges) who, as early as in the 12th century, put into writing the customary law they applied in their judgements. The urgent need of having at its disposal a comprehensive normative corpus which presented an easier access to customary rules of law, led the royal power to order, in the middle of the 15th century, an official codification of the customary laws of the "sundry countries of the realm."This codification enabled to reach a further stage. The fact that the law was now considered, scientific matter, gave rise to works of comparisons and to searching for the rationality of the rule considered individually and as a whole. From these apparently ill-assorted sets of rules, the idea that these rules were inspired by a common background or a common spirit progressively emerged. This was certainly the major impulse which was to lead to the quest for a legal and normative unity. The codification could be planned as such and was initiated by King Louis XIV who promulgated his "great Ordinances" from 1667 up to 1685. King Louis XV continued the codification but cautiously. Nevertheless the royal statutes were the only legal rules to be concerned by these codifications, the customary rules being put aside.The principle of a unique and unified Civil Code was clearly laid down in the beginning of the 1789 Revolution but it could not succeed before the Napoleonic times where the 1804 Civil Code was promulgated. The French Civil Code is today a bisecular Code and the question of its revision or of its entire remodeling is regularly asked but unceasingly postponed. However, the Canadian province of Québec could have shown the way when it let a new Civil Code be promulgated in 1994. Moreover, the modern "codes" which are published are not codes at all, they are only compiled statutes or by-laws without any logical organization. The principle of codification still instigates many unanswered questions.A brief history review may help to explain and to answer some pertinent questions for our times.

A considerable number of 17th century plays are “framed” by various paratheatrical ornaments such as prologues, epilogues, intermèdes and choruses. Although seldom performed, they are in fact clues left by the author which give information about the principal work. By analysing the function of paratheatrical “frames” in George Dandin and Cadmus et Hermione, this article aims to illustrate how these ornaments can help us better understand not only the ideas of a play, but also its style.

A political catch phrase recurs in five works dating from 1313 to 1359 : " Porchier mieus estre ameroie que Fauvel torchier [I'd rather be a swineherd than curry Fauvel] " ( Kalila et Dimna, le Roman de Fauvel in BNF Ms. Fr. 146, le Confort d'ami and a complainte by Machaut, and " Griselda " in Boccacio's Decameron ). The transtextual circulation of the catch phrase takes us inside the medieval chancery where history and poetry are made and where ethics mingle with political concerns. It warns against abuse of power, evil counsellors, and corruption of court life while it captures a fleeting phrase that reveals an epoch.