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Hip hop culture appeared and flourished in Quebec during the 1980's. A variety of ethnic and cultural groups in Montreal have appropriated rap music as a vehicle for expressing the realities of their daily lives, and as such, hip hop has become a central reference point in the construction of identity. In this article we explain how hip hop culture offers a space where youth of diverse ethnic and cultural backgrounds, who are often marginalized from the dominant Québécois culture, can integrate and adapt to their environment. Rather than analyzing hip hop as a form of global contestation and resistance customized to a local setting, we interpret Québécois rap as a strategy for integration whereby young artists work to make their culture more visible in the public sphere and within the framework of media institutions of the larger society.

Keywords: jeunes, culture populaire, hip-hop, intégration, média, youth, popular culture, hip hop, integration, media

This is a paper about a song which requires rather complex semiotic operations to be Lahu. The Wedding Oath song indexes, in different contexts, a desirable modern quality in a pre-modern society, a connection between an ethnic minority group and the modern state which implies obligations toward that ethnic group, and the positive quality of cosmopolitanism as a characteristic of a modern nation state. The nature of authenticity as a feature of these indexical relationships creates the possibility that one might extend Mendoza-Denton's (2011) concept of “semiotic hitchhiker” to incorporate a non-material feature of a discursive performance.

AbstractIn this article, I analyse the mechanisms by which women engage in an egalitarian and civic perspective in Canadian society. Starting from a case study, I explore how the participation of immigrant women in a community group, Initiatuve : A City for All Women (Initiative : une ville pour toutes les femmes (IVTF)) constitutes for them a first crossing of a frontier. Next, I examine how this first crossing contributes to a liberation for immigrant women in relation to other types of obstacles.

An analysis of the films adapted from the novels of Irène Némirovsky, using Francis Vanoye's approach, may illuminate the confrontation of these two mediums, that of cinema and that of literature, in adaptation. David Golder (1929), followed by Le bal (1930), brought great success to Némirovsky and these two novels were brilliantly adapted to the screen during the transition to "talking cinema" in 1931. If Julien Duvivier (David Golder, 1931) and Wilhelm Thiele (Le bal,1931) were motivated by the search for stories evoking modernity, the adaptation of the posthumous novel Suite française, directed by Saul Dibb in 2014, is also driven by the desire to pay homage to Némirovsky. How do these three directors, representing different moments in the history of cinema, illustrate the issues of adaptation addressed by Vanoye? This essay examines what motivates and limits these films with particular attention focused on the usage of music, while observing how adaptation, through the process of migration from one medium to another, leads to the appropriation of the original work.

Keywords: Irène Némirovsky, Irène Némirovsky, music, musique, intermediality, intermédialité, images, images, film adaptation, adaptation cinématographique

The aim of this paper is to interpret the special place of Naples in Philippe Vilain’s work. In the light of socio-anthropological considerations on the significance of adoption in certain traditional Neapolitan practices, we will attempt to support the hypothesis that the transition from the status of foreign traveller to that of adopted Neapolitan constitutes the culmination of an original literary process that bases its autofictional device on the need to make what Vilain calls “the orphaned voice of the I” heard, and to go beyond it.

The article aims to analyze the ontological diffusion of bucolic songs in pastoral novels, taking in consideration the historical and aesthetic evolution of their writing. It demonstrates that shepherds’ songs, as original emblems of the Bergeries, evolve into various topical formulations of sound, within the framework of the complex evolution of pastoral romance in France, in the 16th and especially in the 17th century. Based on a fairly broad corpus (Sannazar, the first French Bergeries, Diana de Montemayor and its French translations, L'Astrée and its sequels), it highlights the formal vicissitudes and the dissonances suffered by pastoral song, in the temporal dynamic which marks these aesthetically hybrid Arcadian texts.

Keywords: Pastoral Novel, Roman pastoral, Chant pastoral, Pastoral Song, Honoré d’Urfé, Honoré d’Urfé, Montemayor, Montemayor, L’Astrée, L’Astrée, Los siete libros de la Diana, Los siete libros de la Diana

Made an exceptional mentor by her sex, her foreignness and her status as Socrates’ teacher, Diotima was a key figure of reference in Renaissance discussions about Love in revivals of Plato’s Symposium. The waters become muddied when Scève, following the examples of Castiglione and Speroni, uses the character of Diotima as a metaphor for the beloved woman in Delie (1544): the competition with other female characters, the finality of the metaphor, the ambiguous structure of the dizain, and the fact that the redeeming speech is absolutely silent combine to imply a certain irony, for here Diotima is supposed to teach Hatred as well as Love, and the mischievous side of a poetic composition that favours inscription over expression.