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We examine the front pages of tourist guides of France, Spain and Portugal. In the three cases, they are addressed to foreigners. Each territory must convey a specificity and has its own particular characteristics in the absolutely competitive atmosphere of the proliferation of tourist sites. In this way, an identity is constructed by a discourse made with words and icons that are used to reflect the country at issue. So the guide's front pages provide a special access to a reality, which is pars pro toto reduced to some representations, which become familiar. Therefore we will discuss how these elements construct emblems of identity.

AbstractIn 1982, Chris Marker's film Sans Soleil prefigured the possibilities of multimedia to be explored in his subsequent work — the film Level Five (1996) and the CD-ROM Immemory (1997). Here Marker “invents,” by means of film, a personal computer whose aim is just as utopian — in the positive sense of the term — as it is memorial. The “zone” (named in homage of Andrey Tarkvosky) allows the transfiguration of images filmed throughout the world; it is the only one capable of handling memory and accounting for the end of a world. Marker reveals the ritualistic function of film when history is built out of catastrophes and losses. The imaginary of the end is connected here to the material and technological transformation of mediations. This two-fold concern — that of a consciousness of loss and that of a technological hope — especially characterizes this pivotal film in the work of Marker.

Keywords: graphic novel, fumetto, Dino Buzzati, Gastone Novelli, intermedialità

In southern Québec there are many morphologie and stratigraphie indices of erosional activity subsequent to the last déglaciation, 10,000-14,000 years B.P. Because classical climatic geomorphology has for a long time considered the temperate forest ecosystem in its natural state as one of the least active of geomorphic systems, there has been a tendency to relate many of the resultant landforms and structures to climatic fluctuations and particularly to periglacial phases in the period of transition from the late Wisconsin to the early Holocene period. Whilst not denying the validity of certain of these relationships, the authors fieldwork on the steep slopes of northern Gaspésie show that morphogenetic stability did not coincide with the regional transition at about 9 300 years BP from a periglacial climate to a temperate forest climate. Alluvial cones, fans, stratified screes (grèzes litées) have been built up metachronously by various processes. The following local conditions contribute to the sustained vigour of this erosion; 1) the steepness of the slopes and the fissile nature of the bedrock producing intense and frequent operation of geomorphic processes which in turn retards the establishment of a protective vegetation cover, 2) the slow forest colonisation in the postglacial period, 3) the melt-waters from valley glaciers followed by wave action on the shores of the Goldthwait Sea causing the base of the slopes to be sapped until well into the postglacial period, thus also delaying the process of forest colonisation and resultant stabilisation of the slopes.

This article presents the results of an exploratory study conducted in an intensive English program in Québec. A French classroom teacher and an English as a second language teacher simultaneously cotaught two units on writing genres (recommendations and opinion letters) to grade-6 students. Using data from a series of individual semi-structured interviews conducted after each unit, we focus on the teachers’ points of view regarding the parameters of each integrated unit, the students’ experiences throughout the linguistic integration as well as the coteaching of languages in an integrated way.

Keywords: didactique intégrée des langues, integrated language teaching, anglais intensif, intensive English, co-teaching, coenseignement, writing, écriture, textual genres, genres textuels

One of the stories most frequently adapted to cinema is certainly that of the Flood, which recounts the story of Noah who, at God’s request, builds an ark to protect a pair of animals from each species from a flood that will wipe out all living beings on Earth. This article focuses on the numerous American animated short films created between the 1920s and 1930s that are inspired by, reference, or adapt this biblical story. Given this strong concentration, this article will attempt to answer the following question: What makes the story of the biblical Flood so suitable for animated adaptation in the 20s and 30s? Drawing in particular on the concept of "adaptogénie" (Gaudreault and Marion, 2008), we will first attempt to explain the popularity of the Flood for animated filmmakers. Then, we will study the different transtextual configurations (Genette, 1982) that these films invoke. Finally, we will question the moral significance of these cartoons: did they carry a religious message, did they use the Flood for subversive purposes or rather as a pretext to insert gags featuring animals? Based on the words of Tzvetan Todorov (2008), we assert that these filmmakers attempted to humanize the divine, that is to say, to desacralize the story of the Flood by referring to it or transposing it to animated cinema.

Keywords: adaptation animée, animated adaptation, the Flood, le Déluge, cartoon, cartoon, transtextualité, transtextuality, intertextualité, intertextuality, hypertextuality, hypertextualité