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Keywords: Gagné, Mireille, Entretien, Chasse, Prédation, Proie

For many decades, native languages were largely inaudible or absent from our screens, with filmmakers implicitly participating in the process of linguistic colonization of Native American peoples. The last twenty-five years have seen the emergence of initiatives aimed at revitalizing native languages and remediating the oral tradition, both in print and on screen, in a context of increasing intercultural collaboration. In the Quebec context, filmmakers such as Marquise Lepage, Myriam Verrault and Chloé Leriche work closely with aboriginal individuals and communities, developing horizontal (rather than vertical) relationships with them and integrating them into the creative process. This article examines a particular case of intercultural collaboration, that of the Arnait Video Productions collective, co-founded by Quebec filmmaker Marie-Hélène Cousineau and Inuit elders Susan Avingaq and Madeline Ivalu. Through interviews with Cousineau and drawing on the work of indigenous language specialists, this text looks at the process of translation, seen as an action contributing to cultural and intercultural mediation, but also how this process engenders new ways of seeing, thinking and hearing indigenous languages on screen. Greater attention is paid to the strategies, aesthetic scope and modes of resistance associated with the translation process in Arnait’s trilogy.

Keywords: self-translation, autotraduction, diglossia, diglossie, revitalisation, revitalization, Indigenous languages, langues autochtones, cinema, cinéma

Signature F2r of The Coblers Prophesie (1594) by Robert Wilson brings the reader to an abrupt halt – it contains a page-stopping stage direction in gargantuan type. This article examines whether the outsized print was a botched job by the printer Thomas Scarlet or an intentional ploy to engage the reader. The anomaly suggests that printers exercised agency in textual production and collaborated in the creative impact of printed material. Play-texts exist at the intersection of print and performance, and this case study poses larger questions about the complex relationship between the theatre and the printing house in early modern England.

Keywords: Robert Wilson, Thomas Scarlet, commedia dell'arte, madness, error, The Coblers Prophesie

This paper argues that concrete actions are needed to address anti-Black racism and foster Black inclusion in Canadian higher education. These pertinent actions should target the systemic barriers faced by Black students when accessing post-secondary institutions. Through our reflections on current admissions practices of research-intensive Ontario-based universities, this paper highlights how currently used frameworks of diversity and inclusion may not be effective in disrupting the myth of meritocracy and mitigating systemic barriers faced by Black undergraduate applicants. We recommend that undergraduate admissions practices be grounded in a critical understanding of the four principles of the Scarborough Charter (Black flourishing, inclusive excellence, mutuality, and accountability) to support Black admissions, and that critical race theory and Black feminist thought be used as frameworks to create specific admissions practices and programs that disrupt anti-Black racism. The paper will generate further discussions on what it means to foster Black inclusion through university admissions and enrolment in a transformative manner.

Keywords: admissions, admissions, racisme envers les Noirs, anti-Black racism, Black affinity groups, groupes d’affinité noirs, équité et inclusion, equity and inclusion, justice réparatrice, restorative justice, systems change, changement aux systèmes

Are they any animal topoi, or are they merely pre-existing topoi that include animals through anthropomorphisation? The aim of this paper is to extend Sator's reflections on the birdsongs of the fables, which are at once zoological observations, toposemes and typemes. The analysis will focus on the Roman de Renart, the Fables de La Fontaine and the Scènes de la vie privée et publique des animaux, three sets of short narratives in which the animals at the centre are sometimes the narrators. There are several reasons for this choice of texts: the variety of narrative situations and species represented, both wild and domestic, and a certain homogeneity in the ideological context of each work.After a preliminary survey of the first Satorbase, I will analyse the narrative and topical treatment of situations specific to animals (eating, noises, migrations) before observing the most frequent topoi (such as tricking the trickster, hunger, an assembly of animals chooses a king or a representative), their narrative configurations and any variations.This topical examination will provide an opportunity to consider the status of animals in society: do the topoi reflect these changes? do they incorporate new animals? are they influenced by the gradual emergence of pets in the bourgeoisie?

Keywords: zoopoétique, zoopoetics, fable, fable, Roman de Renart, Roman de Renart, La Fontaine, La Fontaine, topos, topos