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The study presented in this article consists of a historic and descriptive overview of the work of four firms that have published dramatic literature for young readers: Leméac éditeur, Québec/Amérique, VLB éditeur, and Lanctôt éditeur. The article describes the play series issued by each of these publishers and provides details of certain of the more notable titles in those series. In this way, the article highlights the evolution of the dramatic literature presented to children and teenagers over three decades. The article also examines the links between publishing, the theatre, and schools, since these three spheres interact with each other, sometimes in spite of themselves and sometimes in harmony with each other. The article contributes to an understanding of whether publishers of dramatic literature for young readers seek to win over the educational market, specifically by incorporating teaching guides into their publications, or whether on the contrary they hope to impress an entirely different constituency.

This article works with recent modes of analysis based on the observation of practice and on taking account of actors in process or professional development. As part of a qualitative/interpretive study, the author identified the reading practices grouped together by student teachers during their practicums, using the reading notebook. The study used three observational focuses to identify the main reading practices observed in class, analyse the print and electronic materials used by the student teachers, and describe school-library use and school-library materials. Despite limitations inherent in the reading notebook, this educational tool did contribute to the student teachers' co-construction of knowledge.

Louis Veuillot, well-known among the ultramontane journalistic circle, was also a recognized writer. In colleges, his texts were included into the curriculum of colleges and also in activities outside classrooms. This paper studies the integration of Veuillot's works in literary and religious education for three periods, 1840–1871, 1910–1930 and 1950–1970. Whereas Veuillot was not a part of the curriculum in the nineteenth century, the beginning of the twentieth century was the golden age of Veuillot's distribution in colleges, especially during the centennial celebrations in 1913. In these years, the writer became an example for young people, yet the 1950's spelled the end of his teaching. Nevertheless, during a few decades, Louis Veuillot was part of the literary culture among college students.

In French crime film, women are usually attributed the role of tart or victim, but under the Occupation they appear as investigators, mostly in the comedy strain of the genre. This figure would not reappear in any significant manner until the early 1970s. These new heroines, played by major stars, officiously or officially embodied the law and enjoyed traditionally masculine prerogatives in response to legislative changes which enabled women to enter “male” professions and, in theory at least, to enjoy equal status. Following statistical analysis of the presence and evolution of this new figure in the French crime film, the author studies the figure's contradictory narrative and aesthetic effects on the genre, from fetishism to working-class feminism, through the figure's formulation and reception in La femme flic (Boisset, 1980) and Vivement dimanche! (Truffaut, 1983).

Keywords: Cartographie littéraire, géographie in situ, traversée orientée, Jean-Claude Izzo, Marseille

Keywords: Bottelneck, decoding the discipline, analyse de documents, didactique de l'histoire

Middlebrow author, Jean-Christophe Grangé is little studied as such, but his novels (widely read) nonetheless draw a strange map of France: the police, the seat and visible embodiment of official power, is regularly overwhelmed by a shifting and disparate sects, camarillas, more or less occult organizations or all-powerful paramilitary groups, in line with the apocalyptic thought of the illuminists of the eighteenth century.The France of the balance of power is fantastically present, crisscrossed at full speed by movements precisely described and timed, but totally improbable by their very ease.There is therefore realism - the Brittany of Lontano, the rue Goujon de Miserere, the cathedral Notre-Dame du Serment des Limbes... and at the same time immersed in a “liquidity” of actions and journeys which properly belong to the dream. Spectrography of an overexposed unreality, Grangé's romantic universe could be summed up by the leitmotif that runs through most of the meetings and exchanges, like an isotopy: “I'll be there in less than an hour”. This curialized “power” of the sects of the bizarre, of the hellish returns of the past, of the ill-liquidated ghosts of (de) colonization is embodied in several figures of Evil, serial killers or sorcerer's apprentices (La forêt des mânes) which never ceases. to undermine the official instruments of democracy. The juxtaposition of the licit and the paranormal, the realistic and the wacky, creates the special atmosphere of this universe where the swarming and deadly “below” undermines and corrupts more and more the orderly and brilliant “above” of social norms, and where savagery winds infinitely in the signs of modernity.

Transmedia and transfictional “re-writings” typically play off the general characteristics of a source text or else offer various rupturing effects which either subvert or celebrate canonical elements whose very status implicitly sets up the rules of transtextuality. But what happens when the materials that trigger this productivity are less clear-cut, less obvious, less canonical, whether they be found in a single instant, a single gesture, or an image that darts out from the various stations of a narrative? We remember how young Bruce Wayne found his calling as a schizoid masked vigilante in the murder of his parents and how the pearls from his mother's broken necklace were sent flying in the air, filling the panels of the page. It wasn't long, however, before those pearls also began roaming, formally and figuratively, the entire Batverse. But what exactly are those “moving” pearls : traces? A form of archive? A memory? An obsessional figure? This essay examines how the study of figures and how the reuse of micro-textual and local motifs can contribute to a generative process whereby images feed a specific form of reflexivity through the epic intermedial corpus known as Batman.

Keywords: Batman, transmédialité, réflexivité, réécriture, figure, figural, Batman, Transmedia, Reflexivity, Re-Writing, Figure, Figural

In a recent study, Gisèle Sapiro (2012) emphasised the obstacles to translation in the field of literature. Indeed, if we often speak with delight (and at times a certain naivety) of the “dialogue between cultures” advocabed by literary translation, less attention is paid to the conditions and obstacles that are involved in this dialogue. Yet, this issue is of utmost importance, especially when dealing with the translation of novels written by the so-called “banlieue” writers. By their very specificity, these novels mobilise power relations on the linguistic, social and cultural levels. On the basis of a case study of the Italian translations of Saphia Azzeddine's novels, this article aims at revealing the challenges and obstacles posed by translation, which can be divided into two intertwined and interdependent categories: internal obstacles, linked to translation difficulties raised by the use and misappropriation of banlieue slang; external obstacles due to editorial policies as well as social and economic factors relating to the circulation of books in the modern-day market.

Keywords: banlieue, langue des jeunes, argot des cités, traductologie, Saphia Azzeddine, banlieue, youth slang, argot des cités, translation studies, Saphia Azzeddine