Documents found
-
572.More information
This work aims to describe the natural vegetation of southern Québec prior to the modifications that followed European colonization, and to position it within the vegetation gradient of northeastern North America. Information was obtained from historical vegetation maps produced for Canada and the United States of America, and from the reconstruction of the distribution of presettlement and preindustrial forests in southern Québec and New England, using cadastral surveys and early inventories. This approach using historical information allowed the production of a general map of the natural vegetation of southern Québec and bordering regions. At the continental scale, the Laurentian mixed forests represent the northernmost extent of the mixed hardwood forest. The present-day sugar maple–bitternut hickory bioclimatic domain was historically occupied by a sugar maple–beech–hemlock assemblage, and a sugar maple–beech–basswood assemblage formerly occupied the present-day sugar maple–basswood bioclimatic domain. The presettlement and preindustrial vegetation assemblage of the sugar maple–yellow birch domain was similar to that present today. This map better reflects the forest types inhabited and sustainably used by Indigenous Peoples at the time of European settlement.
Keywords: défrichements coloniaux, domaines bioclimatiques, érablières, est de l'Amérique du Nord, végétation, bioclimatic domains, colonial clearings, eastern North America, maple forests, natural vegetation
-
-
575.
-
576.
-
578.More information
Hugo Pratt is now recognized as an innovator in the field of comics, and his influence in establishing the notion of the graphic novel can hardly be doubted (Baetens and alii). Within his body of works, the series of albums featuring Corto Maltese is certainly the most famous, and most clearly displays the characteristics associated with the graphic novel: a complex historical context, psychological ambivalence in the characters, extensive literary references, and a narrative that is often considerable in scope (Lesage). The reader is also struck by the cycle's combination of references to adventure novels - Conrad and Stevenson - with a contemplative approach to storytelling (with numerous text-free frames, a very gradual editing of action, narrative pauses on faces engrossed in meditation...). It would therefore be tempting to look for the same hybridity between realism, storytelling and abstraction in the animated films adapted from this work. Paul Wells (1999) has shown that the animated film, in its relationship to the adaptation of literary texts, lies at the crossroads between incarnation and derealization of the plot. I propose here to study an animated adaptation of an issue by Pratt, entitled Corto Maltese, la Cour secrète des Arcanes (adapted from Corto Maltese en Sibérie, by Pascal Morelli, 2002) to answer the following questions. What interactions are at play between the sequential semiotic system (Groensteen) of the comic strip and the storytelling of the animated film? How do the adaptations renegotiate and/or recognize the comic book's narrative system through their own narratives, through a phenomenon of remediation (Bolter and Grusin), or through quotation (Boillat)? Finally, how can we understand the narrative differences between the two works in terms of strategic adaptation choices and production context (Bourdier)? The approach chosen to analyze this corpus will therefore be focused on intermediality, and will address questions of poetics related to Pratt's aesthetics.
Keywords: Comics, Comic books, adaptation, adaptation, animation, animation, Hugo Pratt, Hugo Pratt, Pascal Morelli, Pascal Morelli, Corto Maltese, Corto Maltese
-
579.More information
Keywords: Genre, Chinois, groupes de pression, Comité des Seize, Red Light, opinion publique, toxicomanie, opium
-
580.