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AbstractThis article does not presume to reconsider the extensive efforts of those who have recently studied the lives and work of John and Alan Lomax on the national and international scenes. Rather, it is limited to the impact of the Lomaxes in French Louisiana, especially that of Alan, who was variantly inspiring and intimidating, frustrating and fascinating. During the 1930s, John and Alan Lomax traveled across this country recording traditional music for the Library of Congress. Their recordings became the basis for the Library's Archive of Folk Song, a veritable treasure of America's traditional music. It could be said of Alan that his observations were brilliant, while his interpretations were sometimes off the mark. This article seeks neither to glorify nor to vilify, only to give credit and critique where they are due.

AbstractEthnological research based on preservation aimed at enabling communities to forge an identity based on past cultural practices. Traces of these practices are preserved in fieldwork collections and archival centres. Taken as a whole, these should allow us to transmit the values they represent and to bring about an ethnology of cultural contacts and relationships.

Following thirty years of researchs on how to break out of colonialism in Aboriginal collectivities, this paper presents final outcomes of a collective approach on the theme of « Indigenous Legal regimes, Institutions and their Use Today » among the programme « Indigenous Peoples and Governance », conducted from 2006 to 2012 in Canada, specially for my concern on the territorial claimings. There, legal ideas refered before the Courts are based on the concept of ownership and on a right on « land » instead of the autochtonous collectivities giving traditionally more importance to a right to access to « fruits » or ressources. Are associated respectively two different « representations of space », one geometric allowing to measure land to give a value for exchange on market and the other, « odologic », like a science of advance or courses, a basis for the auditing of aboriginal title and new judicial claims in the future.

Keywords: gouvernance des peuples autochtones, revendications territoriales, représentations d'espaces, sortie du colonialisme, titre autochtone, break out of colonialism, judicial claims on territories, aboriginal title, representations of space, ownership and property rights, gobernanza de pueblos indígenas, reivindicaciones territoriales, representaciones de espacios, salida del colonialismo, título indígena

René Magritte is a favourite painter of semioticians concerned with visual culture studies. His ‘art of images' is indeed a good starting point for a semiotic journey as the questions it raises are extraordinarily challenging. Many Belgian, French and Canadian scholars have explored his work (De Tienne, Lefebvre, etc.). All have tried to explain the functioning of a given painting or certain aspects of Magritte's semiotic system. In this paper, we also turn a specific work by Magritte : La durée poignardée (1938). After a brief presentation of our theoretical stance and our research programme, we conduct a rapid inventory of the motifs used in La durée poignardée, comparing them to the repertoire of figures used by Magritte throughout his career. We then contextualize the painting with regards to the historical situation in which it was created and address in more detail what Magritte referred to as the “mystery” — something he spent his entire oeuvre trying to express. This will offer an opportunity to discuss Magritte's vision of objects, habits, and symbols; and, finally, to present to the reader our hypothesis regarding this “mystery” by refering it to two ideas acquired from the philosophy of C. S. Peirce concerning phaneroscopy and semiotics.

If Hergé's work is speaks to its time, notably in its representation of the media (print journalism, cinema, television), it also refers, albeit in more modest proportion, to the plastic arts (sculpture, painting, classical art and modern art). If Tintin's author is just now getting recognition as an artist in his own right (in 2005 the Centre Georges Pompidou put up an exhibition on Le Lotus Bleu), it wasn't always this way, starting with Hergé himself, who for the longest time, conceived of his work as a minor art. Does this mean that Hergé's approach to fine art in Tintin ought to be seen as symptomatic? Perhaps the fate that befalls the various paintings and sculptures throughout his work offers a partial answer.

AbstractThe year 1717 saw the publication of Pierre-François Guyot, abbé Desfontaines' (1685-1745) translation, or imitation, of the Psalms, Poësies sacrées. An analysis of the introductory comments to the translation of the Psalms allows for a better understanding of Desfontaines' aesthetics regarding auctorial and translation activities, thanks to his justifications and declared intentions. Thus, for Desfontaines, the translation of the Psalms, both a pleasant and pedagogical piece of writing, required more than a docile literary translation, it entailed true verse writing. Desfontaines therefore takes his position at the intersection of author and translator, in choosing imitation rather than paraphrase to find the "fidelity" to both the original and the target language and culture.

Keywords: Desfontaines, traduction, psaumes, paratexte, imitation, Desfontaines, translation, psalms, paratext, imitation

Socio-cultural and economic factors may in part explain poor academic results for linguistic minorities. In such a case, pedagogical considerations in light of such factors should be put in place. This research created and experimented a pedagogical model for teaching science to minority language students, while considering socio-cultural factors. During a two-month intervention, grade five students studied salt-water marshes in a unit conceived within this model. Oral and written expression of their observations constituted an important part of the experiment. Results indicate a favourable attitude towards the pedagogical approach and progression in science and lexical learning in both written and oral language.

Keywords: sciences, milieu minoritaire, intégration langagière, identité, motivation., sciences, linguistic minorities, language integration, identity, motivation, ciencias, ámbito minoritario, integración lingüística, identidad, motivación.

AbstractIn this article, we give a sociological analysis of the legal ruling on religious diversity contained in the June 27, 2008 decision of the French Conseil d'État that rejected French citizenship to a Moroccan woman wearing a burqa. We contend that this decision displays a hardening of “narrative secularism”, an attitude devolving from the adoption of the Stasi Commission Report in 2003, and subsequently voted into law on March 15, 2004, prohibiting the wearing of conspicuous religious signs or symbols in public schools and colleges. We show that in thus harmonizing “narrative secularism” and “legal secularism”, this decision of the Conseil d'État strongly affirms a republican rhetoric on religious matters and encourages a return to “narrative secularism”.

This paper examines the translation of songs by Basque musicians in the 1960s and 1970s, a period of important political and cultural changes in the Basque Country. In the musical field, Basque traditional songs experienced a revival movement: pop groups started to sing foxtrot, rumba, tango or cha-cha-cha in Basque, and Basque songwriters, inspired by different traditions of protest songs, created what has come to be known as the “new Basque song.” Translation was omnipresent in this movement of musical revival. Songs by songwriters such as Bob Dylan, Georges Brassens, Lluis Llach, Leonard Cohen, and Atahualpa Yupanqui, and by pop artists such as Salomé, Cliff Richard, Gigliola Cinquetti, Frank and Nancy Sinatra, and Los Impala, were sung in Basque during this period. A comparison of the original songs and their Basque versions reveals a wide range of translation strategies; while some of the basque versions constitute faithful translations, many of the texts were adapted, manipulated, domesticated, or even completely replaced by new lyrics. The methods used to date to analyze songs do not turn out to be very useful to study song translation into a minority language such as Basque. Based on comparisons between “major” languages, they mainly focus on linguistic aspects, examining translation from a normative, equivalence-oriented point of view. Therefore, the aim of this paper is to offer a model that takes into consideration the cultural, political and social factors that bring about the transformation of songs in the translation process.

Keywords: chanson populaire basque, traduction, adaptation, reparolisation, domestication, Basque popular song, translation, adaptation, relyricing, domestication