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The paper addresses the notions of interruption and exhaustion in relation to the 2020–21 anti-governmental uprising in Belarus. It examines various forms of protesting, such as marches, neighbourhood gatherings and strikes from a feminist perspective. It focuses on the dynamics of visibility and opacity, social reproduction and politicization of mundane gestures, and on questioning the notion of revolutionary event and its temporalities.

Keywords: épuisement, exhaustion, interruption, interruption, grève des soins, care strike, protestations de 2020 et 2021 en Biélorussie, 2020-21 protest in Belarus, chorégraphies de la protestation, choreographies of protest, rhythms of resistance

In this study dedicated to Naked Lunch (Burroughs, 1959; Cronenberg, 1991) and A History of Violence (Wagner and Locke, 2005; Cronenberg, 2005), I articulate the notions of "image-espace" (Gaudin, 2014) and "filmic body" (Shaviro, 1994) in order to show that David Cronenberg's adaptations have a physical impact on the public's body, and are at the root of their guilt sensations - either due to anempathy (for the first example) or extreme excitement (in the second). While analyzing these "unfilmable" movies, which draw much of their abjection from the hypotexts, I would like to illustrate the impact of picturing abjection on our body but also express the filmic object's role (composed not only of what is portrayed but also how it is portrayed and what editing and sound-track brings to our experience) in elaborating an abject filmic experience. My main argument relies on the idea that the Torontonian director - both a source of abjection and hatred if one considers how scholars address him and his works - offers a new cinematic form which, through abjection, offers a path to liberating our imagination.

Keywords: abjection, abjection, adaptation, adaptation, David Cronenberg, David Cronenberg, Naked Lunch, Naked Lunch, A History of Violence, A History of Violence

David Henry Hwang’s play M. Butterfly (1988), reworked by David Cronenberg into a film (1993), is well-known for its suspension of disbelief (which resulted in some rewriting for the 2017 Broadway revival). While the play and its film adaptation have been extensively discussed in terms of gender and race, performing femininity and masculinity, East and West (Chow, de Lauretis, Levin), I will look at the trope of theatricality in film (Bazin, Sontag, Knopf, Loiselle) and the effects of liminality that it mediates. M. Butterfly ascribes the “betwixt and between,” liminal quality to all complex issues of human existence, including art and politics. The essay illuminates four aspects of the liminal experience: its ability to blur spatial boundaries, to disorient temporarily, to intensify perceptions, and to transform the observers into participants (Turner, Schechner, Fischer-Lichte). M. Butterfly is the story of a French diplomat René Gallimard’s (Jeremy Irons) love for a Peking opera diva Song Liling—a spy and a man in disguise (John Lone). Hwang’s play elaborates on the spatio-temporal aspects of the liminal: the blurred boundaries between the past and the present, the inside and the outside, or the ego versus alter ego. The film places emphasis on the intensifying and transformational potential of the liminal space, relying upon intermedial effects of the theatre within a film. Theatricality flows over into the cinematic reality and creates—through intermedial contact—an alternative reality, self-conscious, disorienting, and hallucinatory. Condensing various liminality effects, the play and its adaptation foster liminal sensibilities in the audiences.

Keywords: liminalité, liminality, film adaptation, adaptation cinématographique, theatre, théâtre, David Cronenberg, David Cronenberg, David Henry Hwang, David Henry Hwang, M. Butterfly, M. Butterfly

With Crimes of the Future in 2022, Cronenberg returns to his science fiction: the film is based on an original screenplay written by the filmmaker in the wake of eXistenZ. But twenty years before its release, the film (which was then supposed to be called Painkillers) was rumoured in the press to be an adaptation of the “Manifesto of Carnal Art” by the French artist ORLAN. It can be shown that Cronenberg did indeed take ORLAN’s ideas on the “atheism” of (medically assisted) surgical performance seriously, and that he imposed his philosophical readings and his biological interests on them. What is the “accelerated evolution syndrome” from which the artist Saul Tenser suffers? How does the child called Brecken digest plastic? The humanity of Crimes of the Future once again seems to be grappling with Darwinian evolution, but the film also tells the story of the clash of counter-hypotheses. Here, the adaptation of theory comes face to face with the theories of adaptation. If Crimes of the Future is a film about adaptation, it is first of all because it stages the Nietzsche versus Darwin debate in the light of contemporary artistic and scientific problems.

Keywords: biological adaptation, adaptation biologique, adaptation cinématographique, film adaptation, Crimes of the Future, Crimes of the Future, David Cronenberg, David Cronenberg, Nietzsche, Nietzsche, ORLAN, ORLAN, Painkillers, Painkillers

The issue of basis risk is an integral part of the recent development of financial instruments that transfer catastrophe insurance risk to capital markets, such as Cat bonds and catastrophe options. For the last decade, we have experienced a merger between the capital market and the insurance one, mainly because of the recent surge of big catastrophic events. Now we have to look at the development of a trigger index free of any hazard risk and who minimizes the basis risk that insurers incur when purchasing such assets.

This article deals exclusively with Marine Insurance in conjunction with the rules established in the Quebec civil Code. Among the main principles, Marine insurance is a contract of indemnity. Also, it is essential for the insured to have an insurable interest in the marine adventure or the insured property. The insured must disclose to the insurer all material facts or circumstances known to him which would materially influence the insurer in the appeciation of the risk.It examines the rules about the voyage, any change, deviation or delay and the consequences for the insurer or the insured.This article also describes the kinds of contracts (for a voyage or for a period of time), the measure of insurable value, the content of the policy, the rights and the obligations of the parties and many other rules (notice of loss, measure of indemnity, assignment, warranties, abandonment, kinds of average loss, subrogation, double insurance, under-insurance, mutual insurance, direct action).

Keywords: compétence culturelle, approche culturelle de l’enseignement, enseignant passeur culturel, pensée critique, compétences du 21e siècle, citoyen culturel

The issue of executive leadership has recently been attracting the attention of researchers and professionals alike (Alvesson et al., 2017; Leroux et al., 2019; Wainsztok, 2017). The purpose of this article is to help understand female managers’ relational dynamics and management practices. This research relies on a theory of human work to grasp the relational dynamics and social relationships experienced at work. The methodology relies on a qualitative research design based on 51 individual interviews with female managers. The results reveal four main categories of management practices: 1) close relationships with teams and sharing of real work; 2) fusional relationships marked by zealous solicitude and devalued care; 3) distancing from teams and real work, 4) relationships of control and supervision, and dictatorship/tyranny. This article’s contribution consists in showing the diversity of management practices used by female managers beyond the persisting debates on whether female management practices are different or similar to those of men.

Keywords: Leadership, cadres, genre, travail, subjectivité

Human beings face a multitude of emotions throughout their lives, including joy, sorrow and anger, which are openly recognized as universal, but what about envy? Although envy has been present in all cultures since the beginning of humanity, it is stigmatized, considered morally undesirable, and often associated with socially unacceptable behaviour. The study of envy in psychology is still a relatively young field with few empirical studies. Measuring instruments have been devised to measure this emotion; however, authors disagree on the complex structure of envy. The objective of this article is to review the different interpretations of envy supported in the literature and to propose a conceptual framework for possible research on the latent construct of envy, particularly in the workplace.

Keywords: Envie, psychologie, personnalité, comparaison sociale, instrument de mesure