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This paper presents a critical literary review of the realities and issues faced by women aged 50 years and older who are victims of domestic violence in rural, Franco-Ontarian contexts. We demonstrate that women who reside in rural communities must face specific circumstances related to the socio-spatial, geographic and economic context, which create particular barriers for those trying to leave violent relationships. Finally, living in a minority situation, these women must face additional barriers, such as having access to public services in their mother tongue. We conclude by highlighting the critical dimension of the literary review and suggest some research avenues.

Keywords: violence conjugale, femmes âgées, femmes aînées, femmes qui avancent en âge, baby-boomer, milieu rural, francophone minoritaire, domestic violence, elderly women, aging women, baby boomer, rural context, francophone minority

As noted by the International Criminal Court (ICC) as early as its first decisions, the interpretation of the Rome Statute is based largely upon the Vienna Convention on the Law of Treaties. In as much, the main difficulty lays in the taking into consideration of creative texts (such as the Rules of Procedure and Evidence and the Elements of Crimes) and the reconciliation of the authentic texts of the statute, which were written in six different languages. The specificity of the interpretation of the penal rules must also be taken into consideration, which requires in particular a restrictive interpretation of the definition of crimes. However, the place of analogy in the Rome Statute, generally foreign to penal regulation, cannot be denied. Lastly, the Rome Statute must be interpreted in conformity with internationally recognized human rights, which are an important authority with regards to judicial guarantees such as the definition of crimes. An interpretation which is in conformity with human rights provides the ICC with the necessary means to act since human rights and the Rome Statute appear as the two faces of international public order. The dynamics relating to the interpretation of human rights will allow for the strengthening of the definition of crime, the recognition of the victims' rights and the rules of a fair trial.

The establishment of refugee camps is not legally provided for by international refugee law. The refugee camps are rather set up and handled informally by the United Nations High Commissioner for Refugees (UNHCR). Therefore, the structures of authority that govern refugee camps differ from those found within states: these camps suffer from a lack of sovereignty as a source of law and a lack of any form of social contract as the basis legitimizing the authority in the camps. As areas of control for undesirables, refugee camps are administered by various non-state actors attempting to establish their authority and legitimacy by reproducing the state powers. The camp exists as a space of exception, where refugees cannot access to the existing state justice mechanisms as required by the Convention relating to the Status of Refugees. By establishing the alternative Camp Dispute Resolution System (DRS) the United Nations and the host State appear to encourage justice to be informally managed and enforced by the refugees themselves. Thus in the name of cultural relativism, a hierarchy among refugees is formed within the camps, which leads some members of the camps to dominate vulnerable groups. Moreover, this exceptional justice system is inadequate to address a disturbing reality in the camps: humanitarian workers committing violations against the rights of refugees remain immune from prosecution, managing to slip through the state legal systems and avoiding any accountability for their acts.

The family has undergone major transformations since the 1960s, with the main differences being fewer children per family and multiple forms of parenting. In that context, the norms and values that formerly governed family relations are poorly suited to contemporary realities, with new ones slow to emerge and manifest. In this article, I analyze how families and filiation are portrayed in Quebec fiction cinema, which, like any narrative genre, both reflects and shapes the imaginary and practices of society. To capture the permanencies and inflections of these family stories, I rely on a body of some 150 films from Quebec fiction (1966–2013). The relationship between fathers and their children are marked by conflict, which often finds a precarious resolution, while those between mothers and their children tend to remain unspoken, silent and irresolute. The alliance is distinct from parenting, while the exercise of parenting, for its part, is distinct from social norms and roles. The relationships between brothers and sisters are governed by a strong sense of obligation. Through it all, families increasingly face precarious conditions, paving the way for a restructuring of identities, norms and values.

Keywords: cinéma québécois, famille, filiation, génération, transmission, Quebec cinema, family, filiation, generation, transmission

Hieronymus Cock's view of the Capitoline Hill, published in his 1562 series on Roman ruins, has long been considered a useful document by historians of art and architecture for the key historical and topographical information it contains on one of Rome's most celebrated sites during the Renaissance. Beyond its documentary nature, which, as will appear, was essentially rhetorical, the view also offers much information as to how a mid-sixteenth-century Flemish artist might perceive Rome's illustrious topography and celebrated ancient statuary. In other words, Cock's engraving enables us to put into practice what may be called an “archaeology of the gaze.” Through previously unnoticed details, Cock invents a comical—verging on the satirical—vision of the antique sculptures proudly displayed on the famous piazza. Such an ironical reversal of Italian classical dignity is typical of the attitude of some contemporary Flemish artists, such as Pieter Bruegel the Elder, who was then close to Cock, and exposes the ambivalent position of some Northern European artists towards the classical tradition and Italian art theory. Finally, the analysis of other engravings of ruins by Hieronymus Cock where two emblematic characters—the draftsman and the kakker (the one who defecates)—appear side by side, sheds light on the origin and possible significance of these comical and subversive details.

The author reviews the decision of the Supreme Court in the area of freedom of expression since the coming into force of the Charter and finds that the Court did not hesitate to broaden considerably the scope of this concept. This judiciary activism relies nevertheless on a frail theoretical foundation fraught with contradictions. The author provides a thorough analysis of some decisions to demonstrate first that section 2(b) of the Charter does not protect all forms of expression regardless of their content. Moreover, it is not exactly right to maintain that the reasonability of a restriction to this fundamental freedom must be assessed without considering the type of speech at issue. The author concludes by suggesting to separate the arguments related to the very nature of expression from those that are examined in terms of justification by relying on a principle which agrees more with the text and the structure of the Charter.

Taking as its point of departure Renoir's lifelong fascination with the representation of skin, this article explores how this motif, relinquished by many “pleinairistes” because of its incestuous links with traditional painting, expresses the very core of Renoir's professional and personal idiosyncrasies and sustains his ambiguous position within modernism. Renoir's foreword to a 1911 French re-edition of Cennino Cennini's Libro del Arte sheds light on the anxieties which seemed to plague a decorator turned easel painter, and were incited by his avant-garde posture to shun academic training. Not only is the representation of skin related for Renoir to never-ending technical queries and problems; the fantasmatic conception of the female body in which it takes part, especially during the artist's old age, reveals deeper fears connecting social positioning with sexual roles.