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In 2021, French President Emmanuel Macron announced that the French government would make classified archives about the Algerian War accessible 15 years ahead of schedule, in an effort to improve Franco-Algerian relations. The announcement, which came after decades of requests that the archives be returned to Algeria, seemed to be a good-faith effort to address France’s difficult heritage with respect to the Algerian War (1954–1962) – particularly the widespread use of torture and the “disappearing” of dissidents during the war. The Algerian War has always occupied a contentious place in French history, having been largely left out of history textbooks and referred to as a war only after 1999. By opening the archives ahead of schedule, Macron seemed to commit the French government to healing generational wounds and improving relations with Algeria. The declassification of Algerian archives led the status of the Algerian War and, as a result, that of Algerian immigrants in contemporary France, to become major talking points for candidates on the right and on the left during the 2022 presidential election. While the opening of the archives appears to have done away with the archival silence that has shrouded the history of the war, this article will argue that France and its political actors have selectively lifted archival silence to privilege certain narratives and continue to silence others.

An essential activity of reading for student success in all disciplines is learning through reading (APL). To support their students in this sense, teachers from an urban school in a disadvantaged area developed collaboratively an approach of APL they adapt according to their group and the discipline taught. This study aims to explore the relationship between the activity of APL designed by the teachers of the 3rd cycle including a series of tasks and texts proposed and student responses to the various tasks. The main results show that few of the proposed tasks actually require reading and that the main source of information remains textual. Consequently, the use of the image as information support is still marginal and planning activity of APL, as the choice of texts, remains a major challenge in planning for an APL context.

Keywords: apprentissage par la lecture, littératie illustrée, primaire, apprentissage autorégulé, lecture, learning through reading, visual literacy, elementary, self-regulated learning, reading

AbstractIn 2001, Cay Dollerup and Silvana Orel-Kos from Tampere University revealed how co-printing was a common practice in the translation of children's books. More recently, based on his analysis of a corpus of how-to titles published in France, Christian Robin (2006) suggested that, in this particular sector, co-publishing had become the norm. But what about the other sectors of the industry? How widespread is international co-publishing really? What forms can it take? What are the consequences of such international partnerships for publishers, translators, and for those who study their practices: translation scholars? This essay proposes some tentative answers to these questions. Drawing on the practice of several Québec publishers and translators, this discussion aims to highlight how co-publishing is no longer exclusive to minor languages or illustrated books, but rather has tended to spread to other sectors of the industry, including the most “literary” ones, as well as to international languages. It explores finally the theoretical and practical implications of this fact.

Keywords: coédition, coproduction, traduction, Québec, mondialisation

Keywords: Hubert Aquin, interprétation, lecture littéraire, communauté interprétative, usage politique, féminisme, nationalisme, littérature nationale (Québec), domination, émancipation

This study proposes to present a very singular case, analyzed here for the first time. In 1966-1967, the French painter Jean Vimenet embodied, for Mouchette, a film by Robert Bresson, one of the main roles, that of the gamekeeper Mathieu. From the trying experience of the filming will be born, in the form of drawings, canvases and painted stones, what Vimenet will call the "portrait of a film". This series, unique in the history of modern and contemporary painting, questions the dialectic that is established between the film work of Bresson and the graphic and pictorial work of Vimenet. Beyond that, it engages us to understand the transmutations and aesthetic codifications that will be born. Vimenet, in "searching" for Bresson, discovers "the fantastic world of cinema never approached in painting". His quest pushes him to reconnect with the old problem of the representation of daylight, modified by the presence of powerful modern projectors. And, focusing his work around the gaze, the eye, the shot, the composition of the frame and chromatism, he ends up pictorially exposing all of Bresson’s mechanics. From the third eye to cinematographic rhetoric, from force and form to light and colour values, and as if echoing certain remarks by Gilles Deleuze and Jacques Aumont, the two disciplines observe each other like opposing statues.

Keywords: Robert Bresson, Robert Bresson, Jean Vimenet, Jean Vimenet, model, modèle, third eye, troisième oeil, frame, cadrage, shape and form, forme