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Frequently considered to be simply a colloquial Québec expression, the masculine name pichou nevertheless has a rich history dating back more than three centuries. This lexical term of Aboriginal origin was borrowed from the languages of the Ojibwe and Cree-Innu, and has a distant etymology rooted in the proto-Algonquian *pešiwa. It was first used in the xviiith century by merchants in New France to refer to the lynx and its hide, and this lexical unit was integrated into the expression laid comme un pichou (ugly as a pichou) as early as the xixth century. Since the xxth century, the term has referred to a kind of moccasin, while also being considered of ethnological interest. This article presents the first coherent and accessible portrait of our present understanding of the history of this term and its semantic aspects, while shedding light on new available data.
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SummaryThe classical opposition between quantitative and qualitative methods in thé social sciences has had as a consequence that it is the data, consisting of numbers and letters, that most often define research objects, precisely because they are reducible to these techniques and methods. From hertneneutics to the most intemperate positivism, the challenge is that of the conception of a general methodology: the case of clinical analysis is brought under consideration here.
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In his hagiography of Saint Lydwine of Schiedam, Huysmans placed the skin at the heart of a contradictory process that doomed it to sudden disappearance, while at the same time making it a privileged mediator between the saint and the community of believers.In keeping with the edifying vocation of hagiography, he thus reinscribes in the register of anatomy the ‘truth’ of sanctity: the dissolution of the ego that is its prerequisite, and the flows between the subject and the world that it authorises. But the birth of the hagiographer did not mean the disappearance of the novelist and the art critic. Thus, ‘hagiofiction’ and ‘hagiocriticism’ rather than hagiography, Huysmans’ singular work makes Lydwine’s skin the figure of a total art, the focal point of his aesthetic interests, through which he pursues a reflection on the reversibility of reality and mimesis, bodies and images, nature and artifice.
Keywords: Huysmans, sainte Lydwine, peau, hagiographie, Huysmans, sainte Lydwine, skin, hagiography
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589.More information
In 1678, the Quebec City Seminary began for its students a collection of historical and rare books that would be absorbed by the newly founded Université Laval in 1852, and has since become a national treasure. The many books and their various editions still displayed on the shelves speak to the state and evolution of the information imparted to students, and are proof of the Seminary's will to stay abreast of new knowledge coming to the fore in Europe. In addition, inscriptions in the books trace their provenance and reveal the social networks through which they made their way to their shelves.