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The article deals with the mail-order bride practice and the inequalities that characterize the relationship between the men and the women who participate in it. Through mail-order bride agencies, operating primarily on the Internet, consumer-husbands meet women who will become their fiancées and eventually their wives. These meetings result in marital relationships often characterized by subordination and dependence, which keep the brides under the yoke of their consumer-husbands and sometimes lead to spousal violence. Moreover, the multiple forms of inequality interact to place the brides in an inferior position within the economic, sexual, ethnic and cultural hierarchical dichotomies. Finally, the very great age difference that typically exists between brides and their consumer-husbands only serves to increase the control the consumer-husbands exercise over them.

At the era of the new ontophanic revolution, according to the words of Stephane Vial, after more than twenty years of appropriation and immersion in the new technologies by daily use of digital interfaces, we woke up from our slumber, understanding the virtual as unreal. Far from considering the real and the virtual as outdated concepts, we argue their relevance in artistic practice of intensity. By emphasizing the presence as an active listening of the spatiality these practice process “immersion as a reenchantement of the world” relying upon a close connection to the real.

Keywords: instant, mémoire, durée, réel, virtuel, disponibilité, intensité, distraction, perception stratigraphique, instant, duration, memory, real, virtual, disponibility, intensity, stratigraphic perception

Using Geling Yan's The Banquet Bug and its Chinese translations as a case study, this article attempts to explore what I term “migrating literature” in a transnational and translational framework. Translation is reconceptualised at three levels: contextual, paratextual and textual. This article will first of all examine the very translational nature of immigrant writing from a contextualized reading. It will then look at how paratextual matters re-frame immigrant writing and sometimes impose meaning by analyzing two key paratextual elements, title and front cover. At the end, the gain and loss of meanings will be discussed at the textual level, with an emphasis on the ideological and cultural implications. It also points out the possibility of incorporating readings from translations in other languages and cultures, or translations in other media forms, into the framework of migrating literature.

Keywords: immigrant writing, Geling Yan, transnationalism, re-framing, écriture migrante, Geling Yan, transnationalisme, recadrage

There is a strong creative tension in Robert Lepage's stage work — and in the discourse around it - between the global and the local. On the one hand, Lepage is celebrated around the world as a truly internationalised contemporary artist, whose works draw from and reflect many cultural influences and speak to audiences across a wide spectrum of national and cultural backgrounds. At the same time, his productions have always communicated meanings in ways that mark them as distinctively québécois, even as they have come to circulate extensively abroad. The extent to which Lepage's work reflects its Québec origins, however, and is implicated in internal discourses about Quebec's culture and values, has been relatively underexamined in the growing body of popular and scholarly writings about him. In this essay I will demonstrate the importance of placing Lepage's work in both local and global critical frames through discussion of one of his most contentious recent productions, Zulu Time.

AbstractOver the past ten years, the publishing and book selling industries (in Canada and elsewhere) have undergone a process of hyper-concentration that seems to threaten the future of independent publishing. How might this changing environment reflect on the attitudes of independent publishers toward translation and on the way they handle translation projects? This is the question this article seeks to examine. It is based on the first case study of a research programme that consists in following, by use of an ethnographic approach, the production process of literary translations in three independent Montréal-based publishing houses: from negotiations over the acquisition of translation rights to the launch of the translation. The article is divided into three parts. The first explains the rationale, methodology and ethics underlying this research; the second part tells the story of the title under study in a way that highlights the range of actors involved in the production of this translation, their own constraints and concerns, as well as the way publishing, editorial and linguistic/stylistic decisions intertwine. Based on this particular case, the third part discusses some of the strategies a publisher and his collaborators may devise in order to produce literary translations in an independent but network-based, competitive way. Particular emphasis is placed on strategies of cooperation such as co-translation and co-edition publishing, as well as on the role played by literary agents in the allocation of translation rights.

Keywords: independent publishing, translation process, networks, cooperation, Montréal, édition indépendante, processus de traduction, réseaux, coopération, Montréal