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How do Québécois films remember the Quiet Revolution? How do these films construct the event? The study of films produced in the 1960s and those produced afterwards which have the decade as their focal point help us answer the above questions. The article's themes of analysis are the following: the places in which the action unfolds, intergenerational relations and the characters' bonds to their community, nationalism, the here and the elsewhere, the attention paid to art and especially to music and finally the use of the film medium. While the winds of change were blowing in the Québec of the 1960s and while the protagonists in these films are young, the changes observed are not the same in films produced in the 1960s compared to those which focus on the decade with hindsight. In fact, they do not share the same approach to history and memory. The first group of films seek to make a clean sweep of the past and their characters evolve in a present sometimes devoid of a future while in the second group of films the protagonists possess both a genealogy and a destiny.

The development of psychosocial disorders in organizations, sometimes resulting in work-related suicide, has lately given rise to a spate of publications, analyses and recommendations (often in official reports) and to decisions both contractual and statutory. Could their limitations be overcome by referring to the works of the French writer Georges Bataille (1897-1962)? His anthropological notions of ‘expense', ‘sovereignty' and ‘communication' are used in this paper to rethink ‘psychosocial risks' and to suggest ways of management which respect the humanity of the working-man.

Keywords: Risques psychosociaux, stress au travail, suicide au travail, dépense improductive, Georges Bataille, Psychosocial risks, stress at work, suicide at work, unproductive expense, Georges Bataille, riesgos psicosociales, estrés en el trabajo, suicidio en el ámbito laboral, gastos improductivos, Georges Bataille

This article examines De Saint-Denys Garneau's (1912-1943) journey as a visual artist. As a young student at Montreal's École des beaux-arts, he had originally hoped to organise his work into a literary and pictorial diptych. During this period, he worked alongside Palardy, Jori Smith, Borduas, and Lemieux, and eventually rendered nudes in Holgate's workshop. Hoping to renew landscape art and to participate in Quebec's artistic renaissance, he linked up with other visual artists, including Muhlstock and Lyman, and with a number of art critics. However, shortly after forsaking writing in 1937, he also abandoned painting. At this time, his artistic quest was engulfed by a spiritual and religious journey that would dominate the rest of his all-too-short life. As a result, Garneau was unable to truly develop his own pictorial style. Yet his work is not without artistic merit—artist Jean-Paul Lemieux recalled that Garneau "sketched very well." Even so, and in spite of several exhibits and the recent publication of two art catalogues devoted to his work, which mainly highlight his landscapes, many of his paintings remain unknown to the public. These include a series of charcoal sketches produced while he was at the École des beaux-arts, the nudes painted in Holgates workshop, and a number of portraits.

This article emanates from a multidisciplinary work about the relationships that the human being and its institutions maintain with animal world: from the example of three urban zoos, geography and sociology converse on how zoos' actions influence the conception of the nature of its visitors and its professionals. The treatment and analysis of twenty interviews and observations demonstrate the ambivalence of the impact of zoos' actions on the public. While maintaining a function of distraction and leisure, the Zoo defends its place as an actor engaged in the conservation of animal species, however, the permanence of its existence nuances its effectiveness to protect sustainably the nature of the perverse effects of human activities.

Keywords: Zoo, captivité animale, actions, sensibilisation, nature, Zoo, Animal Captivity, Actions, Sensitization, Nature

Olivier Schwartz holds a central place in the French sociology of working class since the early 1990s, and in the diffusion of the ethnographic method. Starting from the analysis of the social and intellectual trajectory of the sociologist from the 1970s to the present day, the interview sheds light on the context in which ethnography has been formalized and developed in France. Evocation of the dialogues with neighboring disciplines (anthropology, history, philosophy) and the various fieldworks carried out here define a contribution to the very nature of ethnographic sociology. The individuals met in the field cannot be reduced to persons detached from the relations of power, which are played out at different levels ; the empirical data collected have meaning only put back into a social structure much wider than the small social world observed. Conversely, ethnography modifies the way of doing sociology : the experience of the inquiry « anchored » in a society. The knowledge thus produced is only better equipped.

Keywords: Olivier Schwartz, ethnographie, sociologie, France, milieux populaires, pouvoir, données empiriques, Olivier Schwartz, ethnography, sociology, France, working class, power, empirical data, Olivier Schwarz, etnografía, sociología, Francia, medios populares, poder, datos empíricos