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Since the recent increase in the number of representations of Queen Elizabeth II in Canadian government buildings, Quebec cartoonists have seized the motif of the royal portrait to denounce the Harper government's uses of the sovereign's image. Drawing on Louis Marin's definition of representation, this article considers the powers granted by the state to the Queen's portrait and highlights its critique in Quebec caricatures. Indeed, while the portrait of the Queen allows the Prime Minister to legitimize his authority, its satirical representations denounce the government's re-actualization of an absent monarchy. The royal portrait is then satirized both as a powerless object and as a weapon threatening to overshadow other Canadian political and religious symbols.
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The significance of the first Jesuit mission in Iroquoisie transcends its short history (May 1656 – April 1658). Indeed, the two-year experience reveals less a successful practice of evangelization of America's demons than the limits and powerlessness of French diplomacy and its colonial politics in America in the 1640-1650s. Imposed on New France authorities by Iroquois forces at the cost of the abandon by the French of their aboriginal allies (mainly the Hurons), the Onondaga mission must be understood as the imperial turn of the colonial politics of the French Crown in the 1660s. It shows a double danger for the royal authority : the influence of the French colonial Church and the power of the Iroquois Confederation. The French colonial empire in America will rise against both perils.
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The theatre building lends itself to interpretation as much as the plays performed therein. While the dramatic stage of Sade's obscene works is characterised by proximity and intimacy, that of his non-pornographic works is defined by scale and distance. Such is Sade's investment in the materiality of the theatre—as evidenced by a playhouse of his own design that is described in his correspondence—that the building is ultimately unrealisable. This is a place no longer of physical satisfaction, but of virtual pleasures, and as in the libertine novels, the sovereign individual finds himself in an imaginary space of his own construction from which God is absent.