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This text aims at determining the scope of provincial legislative competence on matters relating to public morality. A major difficulty encountered results from the fact that under the Constitution Act 1867, the federal Parliament enjoys an exclusive jurisdiction in matters of criminal law. The present study explores to what extent the provinces and municipalities can regulate matters relating to prostitution, erotic magazines, massage parlours, etc., without infringing upon federal powers.

As Valérie Mailhot notes in her article « The" revolutionary dislocation" of bodies in Josée Yvon’s writings », the author and her poetry are « Offset with the ideological groups and movements of her time. Offset because [Yvon] published her first book, Filles-commandos bandés, in 1976, at a time when Quebec’s counterculture is on the way to institutionalize itself, but also because within the counter-cultural movement Yvon remains a figure apart, as her texts disturb by their radicalism and their violence. » Marginal author, ranked by Isabelle Boisclair and Catherine Dussault-Frenette in the category of the « naughty girls » who « show themselves rebels […], speak loudly, shout, cry out in rage, […] drink, are not afraid of anything and risk everything. […] Naughty girls [who] speak of sex, and bluntly », Josée Yvon seems at first glance irrecoverable, infrequentable, inadmissible. However, it is precisely this reticent trait of the author and her poetry that is at the heart of the numerous re-readings proposed by contemporary critics and writers. To inherit from Josée Yvon is also – and above all – to inherit her legend, her sulphurous reputation as a « naughty girl ». What about this legend ? What are the themes that keep coming back ? Critics evoke the critical silence around her work, the concealment of her texts and her figure by Denis Vanier, the scandals that hit the headlines, drug abuse, prostitution, AIDS, the violent charge of her work, both in poetic expression and in the choice of recurring themes that cut across certain aspects of her biography. These aspects of the legend, if they are often challenged, put at a distance by critics and writers, are nevertheless the basis of many of the rereadings and staging of Josée Yvon in contemporary texts. In order to give an overview of these rereadings, we will focus on the appearances of the author and her work in a corpus of various texts, reviews, essays, testimonies and fictions published since 2000. Our subject will be articulated around the aporias linked to Yvon’s legacy, even to the contradictions and paradoxes that accompany the appropriation of a work considered impregnable. We observe in the works studied a thematic filiation more than an aesthetical one ; few recent writers who explicitly cite Josée Yvon as an influence have a style or literary universe reminiscent her’s. The multitude of presences in contemporary texts allows us, however, to think of a renewal of the yvonnian legacy, marked by the profusion of tributes and quotations, aesthetics and filiations sometimes unexpected, where it is often the common that prevails over the individual, the plural on the singular, the serial on the unit. Although Yvon’s texts are still experiencing editing problems, most of them not being published, the poet nevertheless imposes herself as a common literary reference, widely shared and even endowed with a certain aura of prestige; although originating from the counter-culture, her texts do not only evolve under the cloak, in illicit circuits. Theses are written or prepared on her work ; newspapesr and scholarly articles are devoted to her ; tribute shows are dedicated to her. The heirs of Yvon are sorting through the legacy, choosing the aspects that still resonate in the present and which can be combined with a discourse of resistance to dominant norms.

Since the end of the 1970s a new approach has been used in the study of industrial organization, namely, that of organizational culture. At the same time a cultural approach has been applied to the study of informal social organization among workers. There are some apparent differences between the two approaches, primarily being that organizational culture generally attempts to portray the business firm as a community of interests while the workers′ culture approach attempts to portray the formation of an autonomous culture uniting workers independently of management. There are, however, and as this paper attempts to analyse, significant similarities between the two approaches, the most important being a recurring tendency towards a functionalist definition of culture.

During the Congolese transition towards democracy, there has been a rebirth of song as a mirror of current events. Whether traditional, religious, worldly, or popular, songs are omnipresent at political gatherings of ail sorts. As a kind of enacted rite of passage, they allow political battles to be ritualized. The social religious song has taken up a considerable amount of space in this renewal. Its use of politics has, surprisingly, made it even more popular than the modem Congolese song. Collective tasks at hand, the poverty of the nation, changes in ethics and mores, political confrontation, demands for human rights and democratic values are all themes that songs of the transition period have broadly covered. Analysis of the songs shows that the language used is often metaphorical. What cannot be said outright is signified indirectly, and the technique of retrogression occurs frequently. This use of song shows that those who work in the industry have become aware of the social role that is incumbent upon them. The repertoire and its utilization allow the people and the artistes to appropriate a new framework for understanding society in the past and organizing society in the future.

Keywords: Sur la route avec Bashō

This study focuses on the figure of the fairy in the work of Michel Leiris, drawing on fairy tales but especially on chivalric romances. By distinguishing two medieval figures of the fairy (the lover and the godmother), it is easy to see that Leiris, in L'Âge d'homme, refers to the first one as an ambiguous sexual creature, at once enchanting and destructive. But traces of the latter can be found in Fibrilles, in which one chapter is organised around the story of a failed suicide attempt. When he wakes up, the writer is visited by the memory of his aunt Claire Friché, a famous singer. Redoubled by other female figures (nurses, etc.) who surround the convalescent, she accompanies the man who seems to have become a newborn again in his return to life, encouraging him to continue his interrupted work; by symbolically giving him the gift of speech, she thus appears as a benevolent fairy, a godmother to his rebirth.

Keywords: autobiographie, merveilleux, mythe, conte, fée, amante, marraine, suicide, renaissance, intertextualité, autobiography, supernatural, myth, tale, fairy, lover, godmother, suicide, rebirth, intertextuality

Research Framework : In Taiwan, parents are increasingly concerned about their childen’s future and deliberately invest in their future competitiveness. In a highly competitive environment where female beauty can bring many material and immaterial benefits, mothers are encouraged to transmit some aesthetic values and behaviors to their daughters. Objective : This paper aims to analyze the little-studied phenomenon of the transmission of beauty care by mothers to their daughters in the Taiwanese neoliberal context. Methodology : To do so, we mobilized a qualitative methodology based upon 70 semi-structured interviews and participant observation in Taiwan between 2014 and 2017.  Results : Our research showed that, in order to maximize their chances of success in their personal, marital, professional and social life, beauty is seen by women as a decisive asset. Mothers are then held accountable to teach their daughters to take care of their physical appearance. Three dominant themes emerged from the participants’ comments regarding this aesthetic training: moderating or reducing the appetite, having white skin, having a cute behavior and appearance. Conclusions : The skills necessary for aesthetic work are learned from deliberate investment. Mothers have the responsability for this aesthetic training. This gendered and generational dimension of the training of future "aesthetic entrepreneurs" is decisive, but often invisibilized in discussions of neoliberal individualism.    Contributions : Our research allows us to understand the new gendered modalities of parenting in a context where the children are considered as human capital in the making. 

Keywords: beauté, maternité, pratiques alimentaires, néolibéralisme, Taïwan, capital humain, entrepreneure de l’esthétique, beauty, motherhood, eating attitude, neoliberalism, Taiwan, human capital,  aesthetic entrepreneur, belleza, maternidad, prácticas alimentarias, neoliberalismo, Taiwán, capital humano, emprendedora de la estética.