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This article examines the culturally particular and gendered ways in which Jewish immigrant women in the garment industry negotiated their new Canadian urban environments by participating in labour protest, indicating how the site of the strike was one structured by gender and ethnicity as well as by class. Canada's urban space both facilitated immigrant women's integration into society by enabling their interaction with Canadian political and economic structures and encouraged their retention of culturally particular ways of life by providing sites and spaces for politically charged gatherings that not only reinforced these workers' ethnic traditions but also put their status as militant women on public display. These women strikers' accommodation and resistance to Canadian society was also affected by Anglo Canadians' representations of them, by shifting unionization tactics—from radical to conservative—and by social constructions of gender, ethnicity, and class.

AbstractMelancholic Translation (on Paul Celan) — In Celan's work, poems and translations (mostly poems, from the XVIth to the XXth centuries and from seven languages) belong to a same poetics whose function is to restore a language affected by the darkness of nazism and to carry out a work of mourning. The writing strategy of the translations, nonetheless, is specific since it allows a "saying" confronting the trauma. With the help of Freudian notions, especially transference and melancholia, we study this process through the translation of the commentary written by Jean Cayrol for the film Night and Fog.

AbstractYiddish translation has been a two-way phenomenon in Canada in the twentieth century that mirrors the changing identity of Jews of Eastern European origin. The Yiddish press translated Canada to the Jewish immigrant masses while Yiddish schools translated ideology to their children. Translations from world literature into Yiddish that appeared in a series of literary journals in the 1920s and 1930s introduced art and ideas to their readerships and demonstrate that Yiddish is a language on a par with other modern languages. Translations from sacred Hebrew-Aramaic texts served both to bring these texts to readers in their vernacular, and, in particular in the post-Holocaust era, as monuments to a lost tradition. Conversely, translations from Yiddish into English allowed authors a wider readership as Jews began to acculturate and adopt English as their primary language. Most recently, Yiddish translations into both French and English have created wider access to both literature and non-fiction materials among non-Yiddish readers.

Keywords: Yiddish, translation, Jews in Canada, Eastern European Jewry, cultural transmission, Yiddish, traduction, les Juifs au Canada, les Juifs de l'Europe de l'Est, la transmission culturelle

This research focuses on the teaching and learning of classical music improvisation. In order to provide an in-depth perspective on the subject, semi-directed interviews were led with N = 15 participants, exploring their learning, teaching and production processes of improvisation. A number of components have been identified in such processes which corresponds to 18 skills the learner has to develop, and 23 teaching and learning approaches. These observations and analyses constitutes to those interested in music improvisation—whether as learner or teacher of all levels—concrete guidelines to help in their learning or in their teaching methods.

This article explores the central role of women in the construction of Catholic social networks in the Upper Country between 1741 and 1821. It argues that the rite of baptism as practised at Fort Michilimackinac became a religious and an economic tool. Combining social history and the digital humanities through social network analysis software (visone) makes god-parenting relationships visible to the naked eye via graphs. In so doing, this article shies away from the metaphorical use of the network and shows concretely how one woman in particular, Louise Dubois, used Catholicism to shape her life. Both Indigenous and settler women became godmothers time and time again in the Upper Country. Tentatively explaining why that is, this article follows the weaving of strategic links uniting Indigenous communities and women of the fur trade through the first sacrament and initiation into the Catholic faith: baptism.

A study of the work of Charlotte Salomon as an example of revolutionary feminist poetic practice.

The author suggests rethinking research on the durability of the identity strategies of immigrants and their descendants, as well as the relationship between communal cohesion, the changing patterns of tradition, and class and generational "habitus." He suggests a new look at research on immigrant generations in the United States and holds that genealogical and cultural identities are constructs which exemplify the overwhelming influence of modernity. He notes that any analysis of generational positions has to take into account the importance the ascendants maintain in migratory and transethnic networks, material and cultural resources, economic cycles, the principles of instrumental and symbolic integration into the host country and the ability or inability of immigrants to build a community and organizations representing its cohesiveness. In a case study, he compares the attitudes and identities of first and second-generation Sephardic Jews in Montreal, showing that the heirs act as a third generation in terms of Hansen's theory, Judaize themselves anew and reproduce according to family and ethnic patterns.

Leonard Cohen gives rise to an international infatuation for both his music and his writings where he combines bits of Judaism, remnants of Zen and some Christian elements inherited from Catholic Montreal, city of his youth. The article first tackles the role of poetry in Cohen's life and how writing became a necessity for him. Second, it brushes over the time when Cohen took some distances from the academic world to commit himself to pop music : he went from being a poet to becoming a pop star. In the third part, it is explained how Jewish mystical symbols as well as Zen meditation become means of survival for Cohen. The artist pretends to annihilate his will to give way to a greater will through him. The prayer-song If It Be Your Will reflects an experience of kenosis where Cohen tries to become the instrument of God (G-d).