One of the few stage directors who can navigate the multiple dimensions of Franco-Ontarian culture with ease, Joël Beddows has directed important pieces such as Le testament du couturier (Michel Ouellette), La société de Métis (Normand Chaurette), Le Projet Rideau Project (collective authors), and Frères d’hiver (Michel Ouelette), not to mention his stage work in English. This study takes a closer look at the theatrical esthetics of this stage director while tracing the relationships between his work and the field of Franco-Ontarian theatre, as well as analysing the two major – and sometimes paradoxical – underlying trends of his work. The article also includes an annex which lists Beddows’ principal productions.
The writing of Hédi Bouraoui is the setting of a literary praxis that can be
defined in terms of distance and struggle: an innovative and staggered linguistic distance
and a struggle between a diversity of places and cultures. The transcultural dynamic at the
heart of Bouraoui’s writing is articulated through a logic founded on cultural
superposition. The central question concerns identity, or rather the identities that those
who find themselves in nomadic situations bear. Writing becomes the setting of a critical
and creative attitude that aims to ultimately bring about a repositioning among
institutional categorizations. The label of “migrating writer” (écrivain migrant)
has, therefore, become debateable. The resulting identity is one that which has a plural and
open sense of belonging, and which is not confined by borders.
This research looks at the grammatical competence of Francophone students in minority settings beginning their university careers by studying the (meta)-linguistic reflections of these Franco-Ontarian subjects through spoken thought processes while performing tasks involving revisions and correcting grammatical and textual errors. The results show that where the subjects effectively produce meta-grammatical reasoning, their meta-grammatical knowledge can often be traced to an amalgam of pseudo-knowledge, in which we find a severe lack of declarative understanding and the procedural rules of French grammar, which is often translated with the over-usage of procedures of substitution and a more semantic than meta-linguistic resolution to the problem. They also show that their logic of reflection is similar to that of the students of the majority culture, even though their enunciation is tainted by the vernacular, although the problem is amplified by socio-linguistic factors.
This article proposes to survey a corpus of children’s literature, written by Haitian authors throughout North American communities, as a means of identifying the recurring themes and their value in a migration context. Through analyzing the works of Marie-Célie Agnant (Alexis d’Haïti, Alexis, fils de Raphaël) and Stanley Péan (La mémoire ensanglantée), both residents of Québec, as well as those of Edwidge Danticat (Behind the Mountains), who resides in New York, we investigate how this genre manipulates the topoi of so-called Post-Colonial literature (for adults), which are in turn reflected in the world of children’s and teen literature. We will demonstrate how, although restricted with regards to content and form, this writing style invents narrative, stylistic and pedagogical strategies used to familiarize young readers with an unknown universe, often unjust and violent. However, the representation of suffering, exclusion and discontentment is present in the simple, yet imaginative, words of children; a magical world, where adventure, challenge, victory and enriching encounters are found. Through this analysis, the multiple aims of these texts will be revealed: to disseminate, to sensitize, to educate, to entertain and to inspire a reader-base that is ready to be carried away and learn more about themselves and others
The novels of Franco-Ontarian writer Michel Dallaire are often read from a “universalist” point of view, in which the clash with distant lands and the “other” are given primary importance. However, this work, in using the example offered in Terrains vagues (1992), demonstrates that these motifs do not constitute an end in themselves but rather that they are produced by the incapacity of the female character, after having suffered a childhood trauma, to live among her own, in her natal community. The main character does not so much seek out the other as she does to flee. Likewise, the focus is less placed on this new, far-away land than and more on that which she has left behind: her community of origin, her family, her past, her deep sense of unease, her troubles, her shame. Moreover, seeing as the novel reads as though it were the journal of the character, it highlights a certain intertextuality through which the heroine attempts to progress in her quest for liberation.
Édouard Glissant’s intellectual trajectory reflects an engagement, with insular roots, that quickly goes beyond the confines of his native Martinique, giving way to his original humanistic project. If Glissant’s first writings show the mark of Fanonian influence with regards to the urgency of the self-validation of the subject of colonialism, the maturation of his ideas shows, however, a revaluation of Fanonian discourse, as well as a refusal of the rational humanism of modernity, which Aimé Césaire abided by. Progessively, it is place (his land of birth) that becomes the basis for the elaborations of the “poétique de la relation” which opens onto the world, the vehicle for this new humanism.