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PERSPECTIVES SUR LES LITTÉRATURES FRANCOPHONES DU CANADA : PRÉSENTATION

Ariane Brun del Re and Francis Langevin

RÉMANENCES ET FILIATIONS DU CANADA FRANÇAIS DANS LA DRAMATURGIE QUÉBÉCOISE CONTEMPORAINE

Nicole Nolette
In Québec, it has long been said that French Canada came to an end with the announcement of a new society during the Estates General of French Canada conferences of 1967 and of 1969. Nonetheless, traces of French Canada can be found in some of the Québécois plays performed or published between 2013 and 2020. This is what Nicole Nolette discovers when studying cultural references and filiations that reveal the ghostly or monstrous persistence of French Canada in Mommy (2013) by Olivier Choinière, Dominion (2013) by Sébastien Dodge, the trilogy L’histoire révélée du Canada français, 1608-1998 (2016) by Alexis Martin and Valparaiso (2019) by Dominick Parenteau-Lebeuf.

HANTÉE PAR LE CANADA FRANÇAIS : LA LITTÉRATURE QUÉBÉCOISE RÉCENTE ET SES FANTÔMES

Ariane Brun del Re
In recent years, the number of Québécois works dealing with former French Canada or with the current Canadian Francophonie continues to grow, so much so that some specialists have designated this preoccupation in recent Québécois literature as the haunting metaphor. And what if this literature is haunted in the figurative as well as the literal sense, that is, in the sense of being inhabited by ghosts? Using hauntology (Jacques Derrida, Mark Fischer) as a theoretical framework, this article sets out to trace the ghost figure (and its more or less supernatural variations) as well as the presence/absence of Canadian Francophonie in six narrative works: the short story “Antigonish” published in Arvida (2011) by Samuel Archibald, as well as the novels Les trois lieues (2008) by Sylvie Desrosiers, Camille (2015) by Patrick Isabelle, Cadillac (2018) by Biz, L’homme de la Saskatchewan (2011) by Jacques Poulin and Va me chercher Baby Doll (2021) by Lucie Lachapelle.

METEGHAN EN MODÈLE : ARTHUR COMEAU ET LE QUÉBEC

Catherine Leclerc
As with other so-called peripheral productions, Acadian artistic production has often been considered remote in relation to Québec both geographically and temporally. The present article focusses on ways that the author-composer-performer Arthur Comeau overturns this dual perception. After achieving success in Québec and modernizing the image of Acadia with the group Radio Radio, he returned to Meteghan, in Nova-Scotia, where he pursued a solo career. Geographically, he made the area the “number one first place” capable of stimulating local talent and attracting Québécois collaborations. Temporally, he made use of the Acadjonne vernacular as a source of innovation, positioning Meteghan within an avant-garde esthetic. In essence, he reconfigured expected scenarios of recognition as well as the direction of artistic exchanges between Acadia and Québec.

LA LITTÉRATURE WOLASTOQEY AU PRISME DE L’« ENCHEVÊTREMENT » DES LITTÉRATURES FRANCOPHONES AU CANADA

Pénélope Cormier
This article seeks to consider the publication in Acadia of works written by Indigenous authors as the next step in the evolution of the French literature eco-system in Canada. In particular, the development of a Wolastoqey literature in French, bridging Québec and Acadia, has the potential to bring about a lasting transformation of the relationship between Québécois and Acadian literature. The phenomenon also calls for the review of the territorial range of studies of Indigenous literature in French all the while reaffirming the importance of a literary structure devoted to Indigenous writing, whether that be the creation of institutions (Ondinnok, Kwahiatonhk!, Hannenorak) or their “nationalisation” in literature collectives.

FICTIONNALISATION ET HYBRIDATION DES GENRES MÉDIATIQUES AU SERVICE DU RENOUVEAU CRITIQUE DANS PARAGRAPHES (1931) D’ALFRED DESROCHERS

Stéphanie Bernier
For more than twenty years, Alfred DesRochers (1901-1978) worked in journalism, a field that he was so passionate about that he went so far as to transpose the setting and codes into an anthology of literary critiques: Paragraphes (Albert Lévesque, “Les Jugements” 1931). In that critique, his alter ego, the journalist Léon Jalder, conducts a series of fictional interviews with the books that he is commenting on. Assuming the perspective of the press’s work in literary and cultural history, this article sets out to read Paragraphes as a media fiction, both as a text forged from the poetics of the medium and a fictional production of the journalistic universe, thereby conveying a critical representation of the milieu. With DesRochers, the media imaginary serves to advocate on behalf of the young literary generation, to call for criticism freed from its moral constraints and to celebrate a literature that is rooted firmly in North America.

FIGURES ET DISCOURS DU VIEILLISSEMENT LITTÉRAIRE ET ARTISTIQUE DANS LES ÉCRITS INTIMES DE TROIS CRÉATRICES QUÉBÉCOISES AU XXE SIÈCLE

Adrien Rannaud
“When does one stop writing?” It is on the basis of that question, once asked by the French author Colette, that this article examines the relationships between old age and creativity in Québec. The author analyses the writing strategies and stances of two authors, Michelle Le Normand and Jovette Bernier, and of one artist, Louise Gadbois, with a focus on the intersection of intimate discourse and the experience of growing old, as well as on the connections among self-representation practices, female friendship and end-of-life works. Drawing on the study of two epistolary corpora and a personal diary written between 1950 and 1980, the author seeks to highlight some of the figures and discourses that shape female representations of old age in Québec.

Les décalages

David Bélanger

Se prendre au sérieux, ou non

Pierre-Olivier Bouchard

Le retour

Nelson Charest

LIVRES PARUS

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