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The anonymous thirteenth-century poem La Châtelaine de Vergy, a courtly love story that ends in bloodshed after its central secret is divulged, was adapted as the 70th novella in Marguerite de Navarre’s Heptaméron (published 1558–1559). Matteo Bandello’s Italian adaptation of this version of the story (in his posthumously published Quarta parte delle novelle [1573]) introduces an important change by specifying that the lovers are now clandestinely married; this detail is retained in an anonymous French translation of Bandello’s reworking, which appeared in one of the volumes of the popular Histoires tragiques. While critics have been puzzled at this apparent narrative flaw (marriage needs no secrecy), this essay argues that the shift is intentional by considering it in light of the problem of clandestine marriages and post-Tridentine matrimonial reform. While Marguerite’s novella already recasts the Châtelaine de Vergy story in matrimonial terms, Bandello further exploits its drama of speech, in which tragic events are triggered through speaking and divulging secrets, to question the Church tradition of contracting matrimony merely by the partners’ spoken words. A number of textual ambiguities in the French translation reveal furthermore that the story has subsequently been re-interpreted from a new perspective on betrothal as a non-binding spoken promise that gained ground during the Counter-Reformation. The textual transformations introduced into these three versions, moreover, are examined in the context of the development of the “histoire tragique” as a literary genre during the second half of the sixteenth century. This study thus identifies a correlation between the characteristics of the “histoire tragique” and matrimony’s socio-historical dynamics.

The Lyons' Musée des Confluences successfully launched in 2009 a series of public debates in association with Oullins' Théâtre de la Renaissance and Sens Public. As the theater's director, Jean Lacornerie focuses his creation on a musical program. Aaron Copland's opera The tender land emphasises the social distress of the Thirties, challenging our understanding of the current long term crisis we are facing.

In the French-as-a-second-language classroom, authentic materials take an important place in the teaching process. Using a movie, for example, requires instructors to scaffold teaching/learning activities in order to make the target language accessible to learners. In the case of using a popular mainstream movie, these activities aim to highlight differences between oral and written language with a view to helping learners appreciate the nuances and richness of “everyday” French spoken in Quebec. These nuances go beyond vocabulary and extend to idiomatic expressions, pronunciation, and cultural referents. In this article, we first describe how an excerpt from the Quebec-made film La Grande Séduction is used as a vehicle for pedagogical reflection. Then, we discuss practical applications of aural/oral activities inspired by “everyday” spoken Quebecois French that draw learners’ attention to the various and distinctive features of the oral language.

Keywords: Authentic materials, Documents authentiques, film québécois, Quebec-made film, compréhension orale, oral comprehension, spoken Quebecois French, français parlé québécois, language variations, variations, register, registres de langue, sociolinguistic competence, compétence sociolinguistique.

With more than 622,000 Francophones (Government of Ontario, 2019), Ontario has the largest French-speaking minority outside Quebec and the main linguistic minority. However, the lack of public visibility of the Ontario Francophonie prompted us to question this virtual absence. According to James Scott (2009), opportunities to publicly hear the voices of minorities are the exception rather than the rule. Going beyond linguistic rights, the concept of Linguistic Citizenship (LC; Lim et al., 2018) seems promising as it led us to question the degree of social agency of the minority social actors in relation to their voice. Thanks to the analysis of 1987 Claudette Jaïko’s short film – “Deux voix, comme en écho” – this article will demonstrate that sociolinguistic micro-acts performed by minority social actors allow for the affirmation of varying degrees of LC leading to the appropriation of a voice for the Francophones in Ontario.

Keywords: Agentivité, Agency, Canada, Canada, Francophonie in minority settings, Francophonie minoritaire, Citoyenneté linguistique, Linguistic citizenship, Sociolinguistique, Sociolinguistics, Voix, Voice

The purpose of this article is to describe second-year elementary school teachers’ implementation of invented spelling in the classroom. The Essential Supports for Emergent Writers model was adapted to analyze the invented spelling of five teachers who were observed twice during the school year. The results show that in the context of invented spelling, students are able to verbalize their knowledge of the language and that teachers provide spelling explanations based on their conceptions. Invented spellings therefore seem to offer adequate conditions of effectiveness for developing writing skills in the context of teaching at the primary level.

Keywords: invented spelling, emergence of writing, teaching practice, condition efficiency, elementary, orthographes approchées, émergence de l’écrit, pratique enseignante, condition d’efficacité, primaire

This article focuses on queer, trans and black performances on the Brazilian music scene, situating them in the contemporary socio-political context of this country.

Keywords: Genre, Études culturelles, Genre, Cultural studies, Performance, Performance, Brésil, Brazil, Intersectionality, Intersectionnalité, queer worldmaking, Queer worldmaking

Keywords: Dibon Henriette, Farfantello, Poésie provençale, Poésie féminine, Camargue