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« À midi, une joie » cherche une langue pour explorer les expériences de déliaison vécues quand on est mis·e au travail, mis·e au tissage, mis·e à la lecture, mis·e à l’écriture, mis·e à pied, mis·e au monde. Je me donne des moyens d’écrire, plus pratiques que théoriques ; apprendre des techniques d’artisanat textile, reconnaître le démantèlement corporel et psychique qui advient dans la maladie, et lire les notes de l’écrivaine Simone Weil dans le Journal d’usine — pendant qu’elle planifie la grève —, puis celles de l’artiste Lee Lozano dans ses carnets — pendant qu’elle quitte le milieu de l’art. J’observe, chez elles, la manière dont le monde leur parvient au moment où être excédée par le pouvoir mène à l’abandon des marches à …
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Françoise, pen name Robertine Barry (1863-1910), the first French Canadian journalist for the liberal newspaper La Patrie (1891-1900), founded her own magazine, Le Journal de Françoise, in 1902. During the seven years of its publication, Francoise's thought process revolved around two main concepts. She fought for women's emancipation and their right to take the place they deserve in society. At the same time, she pleaded for freedom of thought and expression. Her opinions raised conflicts with the archbishop of Montreal, Mgr Paul Bruchési, and revealed her boldness and modernity.
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Keywords: restructuration financière, relations collectives de travail, plan social et incertitude
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Since its first appearance in the Christian world (two thousand years ago), this odd language without word, glossolalia, always remained faithful to its message: the real, "truthful" language is not human, it is divine and consequently radically different from all spoken languages on earth. Some pts of our modernity will propose a similar idea about poetry: its real language has to be created (or rediscovered). It is a language which has direct acces to our senses (and unconscious) through a sort of voiced, sonorous, rhythmic and unpredictable meaningless sounds.
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Marie de l'Incarnation (Guyart) is represented by her apologists as a mater dolorosa, who suffered all her life from her having to abandon her son in order to fulfill her double vocation as mystic and missionary. My analysis shows the fallacy of this representation. Using the traditional topos of women mystics' writings on the necessary abandonment of all family ties, and especially the abandonment of children, for the greater glory of God, Marie de l'Incarnation thwarts her son's guilt-inducing demands, and comes around to making him admit that it was he who was in the wrong for placing himself as an obstacle to her vocation. From this setting account between mother and son there emerges one of the most fascinating correspondances of the 17th century.