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AbstractIn 1982, Chris Marker's film Sans Soleil prefigured the possibilities of multimedia to be explored in his subsequent work — the film Level Five (1996) and the CD-ROM Immemory (1997). Here Marker “invents,” by means of film, a personal computer whose aim is just as utopian — in the positive sense of the term — as it is memorial. The “zone” (named in homage of Andrey Tarkvosky) allows the transfiguration of images filmed throughout the world; it is the only one capable of handling memory and accounting for the end of a world. Marker reveals the ritualistic function of film when history is built out of catastrophes and losses. The imaginary of the end is connected here to the material and technological transformation of mediations. This two-fold concern — that of a consciousness of loss and that of a technological hope — especially characterizes this pivotal film in the work of Marker.

AbstractDoes the feminist discourse that was so strong and present in 1970s Quebec find any echo in contemporary literary texts by male or female authors? Has it left any trace in the imaginations of those who knew this effervescent era? Has it had any impact on the works of younger writers, too young at the time, and for whom it exists only as a historical reference? Have feminist ideals been successful in influencing current literary texts, to the point of being truly a part of the novelistic discourse, or are they still used merely as a foil? Using specific works as a starting-point—including Le chemin des dames (1977) by Madeleine Ferron, Scrapbook (2004) by Nadine Bismuth and Chercher le vent (2002) by Guillaume Vigneault—the author shows that the influence of feminism can be detected essentially in the playful mode.

This article deals with lesbian characters from four “anthology pieces” from the drama of Quebec's great feminist period (1976-1985) : the two “Marcelle” in La nef des sorcières, “Les vaches de nuit” in Triptyque lesbien and La lumière blanche. The influence of these characters is analyzed in the light of two distinct lesbian ideologies, both derived from feminist writing of the period and focusing on problems of motherhood and gender. After presenting these two theoretical currents, the article discusses the dramatic innovations embodied by the characters and makes a distinction between two major aesthetic currents: an aesthetics of combat (Pelletier) and an aesthetics of female intimacy (Marchessault), which, despite their dissimilarity, often enriched women's drama of this period by merging in an original way.

The author examines the Angéline de Montbrun's literary legacy through the prism of the Charlotte Brontë's Studies. By refining the reference system and exhibiting some structural elements of this legacy, those new lens show how the pioneer label attributed to Laure Conan should be challenged to point out the stakes for female writers. Intertextuality has already been a subject of interest for the Laure Conan's Studies, but the English literary legacy of the novel has not been examined yet. By convoking Charlotte Brontë's Studies, the metadiscursive potential of some elements of the narrative, in regard of the writing conditions for women, is highlighted in particular with the Bluebeard's Gothic concept (where gothic elements of the plot are associated with Charles Perrault's tale). This concept shows how narrative structure and strategies can open the question of the heritage in Laure Conan's work.

Keywords: Angéline de Montbrun, écriture des femmes, Charlotte Brontë, Laure Conan, Jane Eyre

Our study focuses on an elderly individual who represents a bygone era still perceptible in their intimate environment. Thirty years after the death of his grandmother, the author revisits her possessions and habits, creating a portrait of a modest and altruistic woman. Through these examinations, the author realizes how his grandmother has forged his personality and prepared him to face the contingencies of existence. As a result, he is better able to recognize himself within her lineage.

This article aims to observe the modalities of literary appropriation of institutional space in six care home narratives: Le Long Séjour by Régine Detambel (1991), Rhésus by Héléna Marienské (2006), On n'est pas là pour disparaître by Olivia Rosenthal (2007), Nous vieillirons ensemble by Camille by Peretti (2008), Les Gratitudes by Delphine de Vigan (2019) and Le Tiers Temps by Maylis Besserie (2020). From a lexical point of view, these novels work on a specific vocabulary, however revealing the need to put some distance towards it. From a narrative and descriptive point of view, all the tensions and dissensions that take place in care home are examined: between security and freedom, intimacy and promiscuity, individuality and collectivity, caregivers and patients. This study requires attention to how inhabitants’ voices and experiences are listened to.

While the purchase of a ticket marks the theatregoer's commitment to consuming the Broadway musical, the experience of the live performance is not the end of his consumption of the given musical, or of the Broadway brand. Post-performance, the spectator will communicate his memories of and emotional responses to the musical, along with the ideas it promoted, advertising the musical's brand for the producers, free of charge. This article traces the developments in musical theatre marketing from 1960 onwards to illustrate how and why spectators choose to consume musicals. With analysis of marketing campaigns, audience demographic studies conducted by Broadway producers and other archival material, this article privileges the musical theatre spectator's value as both consumer and commodity.

This article proposes that traditions of theatrical practice provide the context for innovation and the development of new forms of theatre culture. It compares two traditions of cultural practice, the Wielka Reforma, or Great Reform that comprises the 20th century theatres of Europe and the art of the director, and the traditional Chinese martial arts. It offers concrete examples of innovative theatrical practices that are derived from traditional principles.

AbstractIn the Departments of Modern European Languages of Nigerian Universities, although translation forms an integral part of the academic programme, it is limited to French-English-French or German-English-German.Translating from French into the indigenous languages and vice versa is hardly conceived because of the country's colonial educational tradition. The aim of this paper is to translate the French voices into igbo, one of the three most important Nigerian languages, by raising the translation problems involved and proposing solutions.