NOUVELLE PUBLICATION: “La lutte pour l’espace : ville, performance, et culture d’en bas”

 

Sous la direction de : Roxanne RimsteadDomenico A. BeneventiSimon Harel

Collection: Intercultures

Discipline: Urbanisme

Parution: 26 mai 2017

Description

Dans ce volume collectif, nous examinons le profond enchevêtrement de l’espace et du pouvoir dans les paysages locaux, dans les vies individuelles, et sur les scènes nationale et mondiale. Les luttes pour l’espace marquent et définissent les subjectivités incarnées du soi et de l’autre, ainsi que les espaces matériels et imaginés. Nous cherchons également à dépasser les barrières linguistiques, les frontières nationales, les catégories conceptuelles, les communautés et les silences, afin de relire des textes et des auteurs canoniques tout en écoutant de nouvelles voix et en captant des performances d’espaces contestés qui sont nouvellement reconnues ou inscrites dans la mémoire collective.

FEELING QUEER/QUEER FEELING International Conference / Colloque International

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Date: 24, 25 & 26 May 2017

Place: Father Madden Hall, 100 rue Saint Joseph Street, St-Michael’s College, University of Toronto

See this attachment for details of the conference

 

Feeling Queer / Queer Feeling

International Conference University of Toronto, Canada May 24–26, 2017

As a physical and psychological phenomenon, affect takes place in the body and is both outside of and beyond representational mediations, as it mobilizes the concrete experience of the self, of others, and how we are in the world. In response, theories of affect are in our opinion tactical and strategic attempts to come to grips with shifting and nuanced aspects of infinite difference, to qualify the gradient of difference and alterity at the very core of the self. Certainly, we speak of feelings, sensations, emotions, perceptions, and “passions” but theories of affect call for critical sympathy and attention to attempt to translate into another language that which does not happen in words. We must take into consideration that words and concepts are only partial, incomplete, and imperfect attempts at translating experience and that translations reduce the complexity, wealth, diversity, multiplicity, plurality and singularity, of the phenomenon which we want to best describe. How can one then begin to apprehend that which is not within the range of oral or written language, that which cannot be communicated directly, and that which can be showed but not relayed in literature, cinema, painting, or by any other art form? How do we go about capturing, either materially or conceptually, that which cannot be apprehended or seized in any other way?

Another consequence of the desire to identify, classify and name the unnamable is to turn analysis into forms of discipline and to standardize the experiences of human beings, with both intended and unintended cultural, social, and political results which have to be critiqued. To be part of a family, a group, a community, and a nation, individuals must learn to regulate and adjust affects and affectivity in accordance with the norms that construct, in both public and private spaces, the shared or collective affective commons of the community. Whenever the translation of bodily expressions of affect is in turn constrained by social forms of regulation, then the possibility for an individual to identify with preestablished sanctioned forms of affectivity becomes, in fact, a negation of their own affect, and by extension of the singular and original self. Cultural, social, institutional, and political hegemonies – absolutely external to the individual – create, shape, and give meaning to what is believed to be the most profound expression of interiority. Interiority, as expressible, becomes an effect of illusion and external control.

Turning to Spinoza’s thought, Brian Massumi offers one of the simplest definitions of affect that can be offered as « […] “the capacity to affect or be affected.” This is deceptively simple. First, it is directly relational, because it places affect in the space of relation: between an affecting and a being affected. It focuses on the middle, directly on what happens between. More than that, it forbids separating passivity from activity. The definition considers “to be affected” a capacity” (Politics of Affect 91). Massumi places affect in an intersubjective, interrelationnal space that is both interactive and primarily physical, concrete, and corporeal. Affect touches each individual, each subject and, at the same time, it is a phenomenon that inheres in the collective, in plurality, and in multitude. Affect shapes us and informs us. It also offers response and resistance. For those reasons, it is also linked with questions of power – a diffuse power, a dissemination of power, a power which affects us and by which we affected and that remains imperceptible even in its most material effects. The power of affect and the affect of power are consequently intimately intertwined in the cultural, social, and political spheres.

Several critics and theorists in the last few years have questioned queer theory from the vantage point of affect, as well as affect theory from the vantage point of queer theory. For instance, we may consider Eve Kosofsky Sedgwick (Touching Feeling: Affect, Pedagogy, Performativity, 2002), Sara Ahmed (The Cultural Politics of Emotion, 2004; Queer Phenomenology, 2006; Willful Subjects, 2014), Lauren Berlant (Cruel Optimism, 2011), Heather Love (Feeling Backward: Loss and the Politics of Queer History, 2007), David L. Eng (The Feeling of Kinship: Queer Liberalism and the Racialization of Intimacy, 2010), Ann Cvetkovich (An Archive of Feelings: Trauma, Sexuality, and Public Lesbian Cultures and Depression: With Public Feeling, 2003), Mel Y. Chen (Animacies: Biolopolitics, Racial Mattering, and Queer Affect, 2012), Anthony Siu (Architectural Grotesque: Impersonal Affects and the New Queer Cinematic, 2013), Shaka McGlotten (Virtual Intimacies: Media, Affect, and Queer Sociality, 2013), Judith Butler (Senses of the Subject, 2015), and David M. Halperin and Valerie Traub (Gay Shame, 2009).

The work of these critics and theorists reconsiders, updates, and problematizes the tradition of analysis of the passions, sentiments, feelings, sensations, and emotions. They also approach in very different ways the older problematics of rhetorics, poetics, hermeneutics, and aesthetics. Several take up and reframe the canonical work of Spinoza, Hobbes, Rousseau, Kant, Husserl, and Bergson. The encounters between queer theory and affect have thus recently become stimulating and productive in critiques of queer embodiment and its relation to the social, the emergent, and the world.

Conférence sur le cinéma documentaire par Giovanni Princigalli

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DATE: Jeudi 27 octobre 2016 de 16h00 à 17h15

LIEU: A6-1002

Giovanni Princigalli parlera du domaine du cinéma documentaire comme rituel, voyage, formation et défi. Il présentera son parcours de cinéaste et partagera son expérience de réalisation et de recherche pour son documentaire sur les Roms de la trilogie CAHIERS GITANS, réalisé entre 2001-2014. Il discutera du cinéma documentaire comme découverte de micromondes, de communautés, et du marginal dans le contexte de son œuvre, en situant les expériences des grands documentaristes du cinéma italien Vittorio de Seta, Gianfranco Mingozzi, et Gianfranco Rosi entre autres.

Giovanni Princigalli est né à Bari en Italie, où il a obtenu une maîtrise sous la direction de Franco Cassano en sciences politiques, option historique sociale, avec le mémoire Pour une sociologie du voyage, regards nomades et sédentaires, l’identité, la souffrance, la liberté. En 2006, à l’Université de Montréal, il a obtenu une maîtrise en cinéma sous la direction de Silvestra Mariniello, mémoire en scénario au titre Enchantements et désenchantements du Héros Fragile. Il a également étudié le film ethnographique à Paris avec Annie Comolli, le documentaire à l’école Robert Flaherty avec Carlo Alberto Pinelli et la scénarisation à Cagli avec Giuseppe Piccioni et Umberto Contarello. Il a suivi une master class avec à l’ICAIC de Cuba avec le metteur en scène et dramaturge Calros Celdran. En 2013 il a obtenu un certificat de cinéma pour l’enfance et l’adolescence à l’école TIGI de Buenos Aires.  En fin, il a été membre de jury pour le festival Vues d’Afrique, le festival Présences autochtones,  pour le Conseil des arts du Canada et pour le Conseil des arts et des lettres du Québec.

En 2007, il a fondé à Montréal la société Héros Fragiles dont les films ont été télédiffusés par Rai International, TV5 Afrique, Planète, Canal Vox, Illico Vidéotron, Community Channel et Repubblica TV.  Il a été lauréat de la SCAM et des Giovani Artisti Italiani, il gagné des prix au Festival du Film Ethnographique de Belgrade, au Mediterraneo Video Festival Documentario Internazionale d’Agropoli, aux Rencontres Cinématographiques de Digne-Les-Bains, de la Society of Visual Anthropology et le prix des Détenus au festival cinématographique Résistance de Foix. En 2012 il a été nommé au Premio Doc/it Professional Award.

Two Lectures by Visiting Professors from Holguín, Cuba

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DATE: Jeudi 29 septembre, 2016 @ 16h

PLACE: A4-348, Université de Sherbrooke

The Role of Culture in the Cuban Education System

Dr. Vilma Paéz Pérez, Professor of English, Holguín, Cuba

  1. Title: The role of Culture in the Cuban Education System

Education is one of the key pillars of the Cuban society. It has been a highly ranked system for many years, widely recognized for its quality and good results. In spite of the economic difficulties the country has faced for more than half a century, priority has always been given to education and health care.

What has allowed Cuba’s education system to perform so well, even under the severe resource constraints, is the continuity in its education strategies, and an inclusive and carefully structured system, whose main aim is the comprehensive formation of the students at all levels. For that purpose, developing in the students a sense of belonging to a culture and inculcating national values in their behavior is a way to ensure the quality in their formation, so that the model of an educated society we have set out to create, can be achieved as a reality of Martí’s maxim that there is no possible equality without equality of culture.

In this talk we will examine the political, pedagogical and sociological foundations of the Cuban Educational System, its accomplishments over the last 55 years; the principles underlying the educational policy of the Cuban government as well as the changes that are currently being made with the participation of administrators, principals, teachers, students and other social agents, to continuously raise the quality of its results.

  1. Teacher Training and Teacher development in Cuba, a history of challenges and commitment.

The teaching profession is one that entails challenges and hard work but also growth, joy, and fulfillment. Nevertheless, everywhere in the world, most teachers complain that they are asked to work too much and that they are underpaid. Cuba is not an exception, being a teacher in Cuba is very demanding and requires that one is really committed to do a good job.

The beginning of a new academic year is a great celebration in Cuba. This year, with almost two million children and youth being welcomed in classrooms across the country, in 10,600 educational institutions, with enrollment increasing slightly in elementary schools, we are facing a shortage of qualified teachers in some educational levels.

A recurring theme during meetings held with the Education authorities was the attention and motivation provided to teaching staff and the role of pedagogical high schools in guaranteeing teacher coverage at the primary and preschool levels, in special education, and in training English teachers for elementary schools, with a view toward transforming instruction of this language at all educational levels.

Quality teachers need to have formal training, dedicate time to prepare lessons and goals for students and foster a learning environment that can inspire students to want to learn. With this aim in mind, new teacher training schools has been opened in the country making a total of 24 institutions of this kind, where 21,000 students are enrolled.

Education of teachers is a strong priority in Cuba, and teacher preparation programs are set in accordance to the changes the education system undergoes. There is a wide range of teacher training schools and university programs to train teachers for all educational levels all over the country. It is also important to ensure continuing education programs. There are two areas that seek professional development: professional enhancement and graduate academic programs.

The way this teacher training and development is organized, conducted and evaluated is presented in this talk.

Dr. Vilma Páez Perez earned her Bachelor of Education with concentration in English, at the Instituto Superior Pedagogical Holguín, her Master of Science of Education and a PhD in Educational Sciences. She works at the Holguín University as Professor and Dean of the Facultad de Humanidades. Her accomplishments include the publication of over twenty articles on the teaching of foreign languages as well as writing dictionaries and manuals.

Teaching English to Medical Students in Cuba

Dr. Salvador Escalante Batista, English Professor, School of Medical Sciences, Holguín, Cuba

Medical students have to pass all the subjects included in a 6-year academic Syllabus. These students should master English not only for deeper knowledge of all the areas of medicine, but also because they are also trained to provide medical assistance abroad and English is practically a lingua franca in all the countries where they are supposed to work, except in those where Spanish, French, Arabic or Portuguese is the first language spoken.   English has to be taken by medical students during the first 5 years of their university studies. This talk gives a general idea of the characteristics of the subjects within English that are taught at medical universities in Cuba.

 

La Déconstruction comme indice de dissimulation d’un traumatisme d’enfance: Le Cas de “Nord perdu” de Nancy Huston

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Danielle Schaub, Oranim College of Education, Isreal

DATE: Jeudi 8 septembre, 2016 @ 16h

PLACE: A4-348, Université de Sherbrooke

Dans son étude sur la théorie de la négativité psychique élaborée par Melanie Klein, Jacqueline Rose suggère une lecture de textes « s’attachant aux moments où l’écriture déraille, quand elle fait défaut à . . . ses propres tests de cohérence, révélant . . . son ‘autre’ scène », démontrant ainsi « le triomphe de l’inconscient » (Rose 128). Examiné de la sorte, Nord perdu de Nancy Huston révèle un modèle particulier de déraillement. Le texte semble perdre pied petit à petit alors même qu’il s’engage dans une recherche d’une source originaire pour déconstruire la métaphore « perdre le nord », liée à un traumatisme d’enfance. La voix textuelle reste flottante d’autant plus que le langage dérive du centre du moi de la voix textuelle. Nord perdu illustre une exploitation singulière du jeu de mots Derridien, fabricant des associations tout en sondant les significations de la dés/orientation. Cependant, même si le langage explose, le texte reste néanmoins lié à des modèles unitaires phallocratiques. La déconstruction dans Nord perdu poursuit les traces d’abstractions intellectuelles, n’explorant pratiquement pas la trame émotionnelle, physique et sensuelle, effaçant ainsi le lien avec la terre. Bien que le texte tende à dépasser le sens unitaire, la voix textuelle suit un fil unidirectionnel, évitant les zones affectives, effaçant le féminin source de traumatisme enfantin, l’incitant ainsi à se prendre à son propre piège.

Danielle Schaub a fait ses études à Bruxelles (Belgique) et à Cambridge (Angleterre). Elle a enseigné à l’Université de Cambridge en Angleterre et à l’Université Libre de Bruxelles en Belgique avant d’émigrer en Israël. Elle enseigne la littérature anglaise et canadienne ainsi que l’écriture créative au Département d’Anglais d’Oranim, the Academic College of Education (l’ancien campus secondaire de l’Université de Haïfa). Sa recherche a porté sur les écrits autobiographiques, la littérature transnationale, les représentations spatiales de la subjectivité féminine ainsi que sur l’interaction entre le texte et l’image. Influencée par sa récente formation en bibliothérapie, sa recherche porte présentement sur les représentations littéraires du trauma et sur les interprétations psychanalytiques d’oeuvres filmiques.

 

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THE « LOG BOOK » OF THE FRONT DE LIBÉRATION HOMOSEXUEL DU QUÉBEC (1971-72) : Exploring the Counterculture and its Limits

Robert Schwartzwald, Université de Montréal

DATE: APRIL 20, 2016 @ 4PM

PLACE: A4-348, Université de Sherbrooke

At the beginning of the 1970s, Quebec’s first gay liberation group, the Front de libération homosexuel (FLH) lived its own version of a broader social debate on the relative effectiveness of strategies of personal liberation on the one hand and the transformation of social attitudes, laws, and institutions on the other. These orientations were most often presented as antithetical, and the debate that pitted individual vs collective approaches against each other reveals much about a broader malaise regarding the influence of the counterculture in the post-Stonewall gay liberation movement, especially as it intersected and interacted with radical student radicalism, second-wave feminism, and Quebec nationalism.

After briefly surveying the origins of the FLH in the milieu surrounding the countercultural magazine Mainmise and its groundbreaking, free translation of Carl Wittman’s San Francisco “A Gay Manifesto,” we examine the presence of the counterculture, both in content and form, in the public campaigns and declarations of the FLH, the internal documents and debates of the organization, and especially its Log Book, a lined journal left on a table in the FLH headquarters and available to anyone who wanted to write or draw in it.

The Log Book features a great variety of texts: poems (some original, some by well- known writers), aphorisms, personal reflections, quotes from well-known philosophers and public figures, but also declarations of love, friendship and flirtatious messages, bitter recriminations and polemical exchanges, graffiti, drawings, and sketches. Most of those who took advantage of this opportunity did so anonymously and were not among the organization’s militant core, ie those who wrote about, and led, the internal debates about forms of democracy and the relationship between “social” and political tasks. Instead, they were among the hundreds who passed through the FLH’s offices and participated in their social, cultural, and political activities. Comparing their anonymous entries on personal emancipation, love, sexual honesty, religion, and other such topics, as well as their cultural references, to the more abstract language of internal documents and the more militant formulations of public campaigns provides a unique opportunity to assess the influence of the counterculture at an organizational and individual level, and its limits.

This is the first time that the FLH Log Book has been studied and incorporated into a history of gay liberation. It is a unique document that allows us to re-assess the feminist claim, appropriated by gay liberation in the 1970s, that “the personal is political.” The presentation will include slides of images from the Log Book as well as a sampling of poetry and other passages written by contributors.

Robert Schwartzwald, author of C.R.A.Z.Y., A Queer Film Classic (Arsenal Pulp, 2016), of publications on Quebec artists including Michel Tremblay, Denys Arcand, and Larry Tremblay, and translator of Daniel Guerin’s The Brown Plague (Duke, 1994), teaches at the Université de Montréal. He is recipient of the Governor General’s International Award for Canadian Studies.

Quatrième rencontre annuelle du Centre de recherche VersUs et du Laboratoire de recherche CPCC de l’Université de Montréal

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Vendredi 15 avril,

Local A4-166 (Salle du Conseil de la FLSH)

Université de Sherbrooke

 

Programme

9 :30 : Accueil

10 :00 : Première communication

 

Mariève Vautrin, Université de Montréal

Pour l’amour du ‘patrimoine immatériel’ : penser la patrimonialisation en ‘milieu associatif’ au Québec, quels enjeux?

Au Québec, un nombre grandissant d’organismes communautaires et de bénévoles participent du champ patrimonial (Bergeron, 2011). Une organisation de représentation sectorielle (OCCQ, 2003), le Conseil québécois du patrimoine vivant, se revendique d’ailleurs d’une mission liée expressément à la sauvegarde du ‘patrimoine immatériel’ : « [le CQPV vise à] regrouper les personnes et les organismes engagés dans la préservation, la recherche et la mise en valeur du patrimoine [immatériel de la collectivité] » (http://patrimoinevivant.qc.ca/cqpv/). C’est dans ce contexte, et en tenant compte de l’élargissement de la notion de patrimoine à l’échelle mondiale, que j’ai entrepris une démarche ethnographique multisite (Marcus, 1995) à l’été 2015 en vue d’interroger les pratiques de patrimonialisation associatives sur le territoire québécois. Dans le cadre de ma présentation, j’aborderai les grandes lignes de ma problématisation et explorerai les formes d’attachement qui contribuent à l’émergence de la musique traditionnelle « de chez nous » comme patrimoine.

 

11 :00 : Pause de 10 minutes

11 :10 : Deuxième communication

 

David Leahy, Université de Sherbrooke

 Re-Periodizing la Révolution tranquille

 The talk will explore how the “common sense” notion that the Révolution tranquille ended in the late 1960s fails to recognize the “multidirectional interactions” of a heteroglossia of past voices within a specific time-frame and over time (Martin Jay, “Historical Explanation and the Event: Reflections on the Limits of Contextualization.” New Literary History 42 (2011), 562), especially since said socio-political narrative and its literary correlatives have conventionally been over-determined by a mechanical synchronic periodization, and later by Pierre Nepveu’s post-structuralist biases in L’Écologie du reel, as well as Jacques Pelletier’s end point of the Crise d’octobre. Accordingly, the talk will conclude by suggesting that we should extend our sense of the historical parameters of la Révolution tranquille and, in the process, recognise that it was not nearly so quiet a process as it is conventionally claimed to have been.

 

12 : 10 : Dîner au Café du Globe, 2230 rue Galt : http://cafeduglobe.ca/

14 :15 : Troisième communication

 

Jessica Janssen, Université de Sherbrooke

 « Une nouvelle forme d’authenticité » : La littérature autochtone contemporaine du Québec

Les écrivains amérindiens francophones sont, comparés à leurs homologues anglophones, toujours à peine (re)connus au Québec, au Canada ou globalement, et leurs œuvres constituent donc un champ d’études peu étudié, souvent oublié ou négligé dans les Amériques. Dans un premier temps, nous faisons état de la littérature amérindienne francophone du Québec et son évolution depuis son émergence aux années soixante-dix en présentant les auteurs-clés et leurs œuvres. Dans l’étape suivante, nous apporterons des précisions sur l’écriture autochtone contemporaine en analysant un choix de textes.

 

15 :15 : Pause de 10 minutes

15 :25 : Quatrième communication

 

Martin Lussier, Uqam

 L’appropriation régionale de la médiation culturelle: un portrait de la Vallée-du-Haut-Saint-Laurent

Au cours des dernières années, la médiation culturelle s’est imposée aux artistes et travailleurs culturels québécois comme un mode privilégié de « reconstruction du lien entre les citoyens et la culture » (Culture pour tous, 2015), tel qu’en témoignent les initiatives gouvernementales et les programmes dédiés qui se multiplient dans de nombreuses régions. Alors que la notion même de médiation culturelle demeure floue pour les chercheurs tout comme les acteurs de terrain (Montoya, 2008; Dufrêne & Gellereau, 2004), son appropriation par les artistes et travailleurs culturels se fait à tâtons et induit une grande diversité de façons de la mettre en oeuvre. S’attardant au cas de la Vallée-du-Haut–Saint–Laurent, cette recherche documente l’appropriation plurielle de la médiation culturelle par les acteurs locaux, telle qu’elle s’incarne dans les conceptions et les pratiques qui informent leur travail au quotidien.

 

16 :25 : Clôture de la rencontre annuelle

X International Seminar on Canadian Studies: Canada, Managing Social and Cultural Diversity

 

VersUS at the X International Seminar and Conference on Canadian Studies:  Canada, Managing Social and Cultural Diversity at the University of Holguin, Cuba April 27-29, 2016

 

Program:

  1. Roxanne Rimstead, Université de Sherbrooke

 Paper: PUZZLING OVER INDIGENOUS KNOWLEDGE AND LITERARY FORMS

One of the most challenging aspects of teaching native writing as a non-native over the past two or three decades has been the lack of access to indigenous knowledge. As indigenous authors and critics speak out increasingly on what constitutes indigenous knowledge, however, non-natives reading indigenous literature can see more clearly how traditional forms and figures might be read in both early and contemporary native writing, and how indigenous poetics might reside in new ways of writing and reading both emergent and traditional forms. This paper considers the puzzle of indigenous knowledge within literary forms. How can we understand native orature as performance and as literature rather than mere artifact? How can we recognize indigenous figures such as Weesageechak, Windago, B’Gwas, and d’Sonoqua as more distinct than the non-native construction of the Trickster? What kind of indigenous knowledge is necessary to decode the hybrid contemporary novels by Tompson Highway, Joseph Boyden, and Eden Robinson? Can non-natives read indigenous literature in the same way that indigenous readers can? This paper broaches epistemological problems in reading and teaching indigenous literature across cultures and comments on the politics of incorporating indigenous knowledge in the way we read.

 

Workshop:  READING TRADITIONAL FIGURES AND FORMS IN INDIGENOUS WRITING

This workshop will introduce concerns about reading traditional forms and figures in indigenous writing in Canada. In particular, we will look at how much of what we read as native writing is hybrid in nature, expressing traditional beliefs or figures through non-native literary forms. We will consider the transcribed orature of Orpingalik, the Netsilik Inuit orator, who composed “My Breath.” Oral performance, the mediation of transcription and translation, and the need to understand different notions of song and spirit will be discussed in a reading of his famous song. We will also consider the emergence of traditional figures and forms in contemporary indigenous writing by Highway, Robinson, and Boyden. We will look at specific examples of the trickster figure and the non-native conception of this figure compared to its multiple traditional forms, such as the Windigo and the B’Gwas.

 

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Roxanne Rimstead is Professor of Comparative Canadian Literature at Université de Sherbrooke, in Québec, Canada, where she specializes in class and cultural studies, minority writing, feminist criticism, indigenous literature, life writing, and cultural memory. Her book The Remnants of Nation: On Poverty Narratives by Women (U of Toronto Press) won the Gabrielle Roy Prize in 2001. An early feminist analysis of Emily Carr’s Klee Wyck won the Don D. Walker Prize (Western Lit. Assoc.). In 2003, she guest-edited Cultural Memory and Social Identity (Essays on Canadian Writing); in 2011, she co-edited Prison Writing/Writing Prison (Canadian Literature); and in 2009, she created, with grad students, a book-length website on Culture from Below:

http://culture-from-below.recherche.usherbrooke.ca/.

Rimstead is on the editorial boards of Canadian Literature, Tulsa Studies in Women’s Literature (USA), and Race, Gender and Class (USA). Two critical collections on contested space are forthcoming and co-edited with colleagues Domenico Beneventi and Simon Harel.

 

  1. Robert Schwartzwald, Université de Montréal

Paper: THE CHURCH, SEXUALITY, AND POWER IN MICHEL-MARC BOUCHARD’S LA DIVINE ILLUSION

Even though it is now widely recognized that many of the instigators of Quebec’s “Quiet Revolution” of the 1960s were themselves practicing Catholics identified with reformist currents embodied in specific religious orders (e.g. Jesuits, Dominicans) or theological positions (e,g. Teillhard de Chardin, Edmond Mounier, Jacques Maritain), the Quiet Revolution is still largely seen as a period of mass rejection of Catholicism as borne out by the collapse of church attendance and a new, widely embraced secular worldview undergirded by a strong anti-clerical spirit. In recent years, the issue of the sexual abuse of children by priests has become the primary lens through which the Church’s deleterious role in Quebec has been focused. In La Divine Illusion, Michel-Marc Bouchard places sexual abuse at the heart of his drama, but shows it to be but a single, if essential element in a web of power relations between economic and religious interests that rewarded those who acquiesced to institutionalized structures while punishing those who resisted. By restoring issues of social class to questions of intellectual freedom and sexual agency, Bouchard is staging the national past in a way that arguably only someone of his generation is now able to do. Bouchard’s is the last generation to have directly felt the pre-Quiet Revolution authority of the Church in the practices of everyday life. Today, erotic freedoms are often regarded by a younger generation as a matter of “rights” divorced from their intersectional potency within dynamics of class and nation. Bouchard’s play viscerally allows us to revisit the discursively “prehistoric” moment of such rights in Quebec and thus to suggest the complexity of their formulation, propagation, and valence in today’s social formation.

 

Workshop: MANAGING DIVERSITY, OR NEGOTIATING IT? : RECENT « VALUES DEBATES » IN CANADA

If Canadian multiculturalism and Québec interculturalism were conceived as distinct but related strategies for managing the ethnic and racial diversity of their respective polities, two recent debates have amply demonstrated the limitations and vulnerabilities of these approaches. The 2014 Charter of Values debate in Quebec and the attempt to make the niqab and so-called “barbaric cultural practices” defining issues in the 2015 federal election campaign re-framed the challenges of managing pluralist societies as ones of identifying and controlling “unruly” elements who lie outside normative patterns for inclusion within a given state formation. By way of contrast, the current campaign to welcome Syrian refugees initiated by the new federal government and supported strongly by the new government of Quebec proposes an entirely different mise-en-scène: no longer called upon to denounce offenders, whether they be wearing “conspicuous” religious symbols or allegedly engaging in uniquely offensive practices, citizens are now urged to partake in a process that appeals to Canadian humanitarianism and openness, themselves posited as national values. To what extent can this mise-en-scène be regarded as a kind of mass civics lesson aimed at replacing a solipsistic normativity with a dialogical model that sees diversity within pluralist societies as a matter not of management, but of negotiation; a negotiation that necessarily transforms the pluralist state itself?

 

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Robert Schwartzwald is a professor in the Département de littératures et de langues du monde and Director of the interdisciplinary Master’s program in International Studies at the Université de Montréal. Before coming to Montréal, he directed the Center for Crossroads in the Study of the Americas in Amherst, Massachusetts. He has written extensively on Quebec literature and film, with a particular focus on representations of sexuality in narratives of national and cultural modernity. He is a member of the Centre de Recherche interuniversitaire en littérature et culture québécoises (CRILCQ) and the Centre de Recherches interdisciplinaires en études montréalaises (CRIEM). A former Editor of the International Journal of Canadian Studies/ Revue internationale d’études canadiennes, he received the Governor General’s International Award for Canadian Studies in 2008. His t book on Jean-Marc Vallée’s highly acclaimed film C.R.A.Z.Y. (Arsenal Pulp Press) was released at the end of 2015.

  1.   France Théoret (écrivaine/writer)

Paper: ARCHITECTURE DE L’OEUVRE ROMANESQUE DE LOUKY BERSIANIK« Ce que je veux, dit l’Euguélionne? TOUT! JE VEUX TOUT! »

Poète, romancière et essayiste, (1930 – 2011) de son nom de naissance Lucille Durand, Louky Bersianik a choisi un pseudonyme aux consonances amérindiennes.

 Je l’ai connue en 1976, l’année de la parution de son  roman magistral “L’Euguélionne”, un premier roman, gigantesque, un ovni, la référence majeure en regard de l’écriture des femmes dans l’histoire littéraire.  À 45 ans, en 1976, elle avait préalablement écrit des milliers de pages sans jamais publier. Louky Bersianik avait aussi établi, au cours des années soixante, l’architecture de son oeuvre à venir, composée de trois séries romanesques autour de la condition des femmes.

Elle a conçu une oeuvre immense, partiellement écrite et publiée. Elle a encore écrit des recueils de poésie et des essais. En 2006, je la pensais injustement oubliée. Nous avons donc réalisé six entretiens maintenant publiés aux Éditions du remue-ménage.

Louky Bersianik est également une pionnière de la féminisation de la langue.

Après un bref regard sur son oeuvre publiée et sur les textes inédits, je montrerai comment, dans son roman “l’Euguélionne”, elle a élaboré une première phase de la féminisation, une révolution linguistique d’une importance capitale.

 

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France Théoret, poète, romancière et essayiste, est née à Montréal. En 2012, elle a reçu le prix Athanase-David pour l’ensemble de son œuvre. Parmi ses romans sont inclus Une belle éducation, Montréal, Boréal, 2006; Huis clos entre jeunes filles, Montréal, Les Herbes rouges, 2000; La femme du stalinien, Montréal, La Pleine Lune, 2010; L’été sans erreur, poésie, Montréal, l’Hexagone, 2014.  Elle a été écrivaine en résidence à l’Université du Québec à Montréal en 1995-1996.  Elle a été nommée Ambassadrice de la Faculté des Lettres et sciences humaines de l’université de Sherbrooke en 2006. En 2002, elle a traversé la Russie de Saint-Pétersbourg à Sotchi pour écrire le roman  Les Apparatchiks vont à la mer Noire.

Elle a donné de nombreuses conférences au Québec, au Canada. aux Etats-Unis, en Europe, et en Nouvelle-Zélande. Des conférences nationales et internationales, des lectures publiques en poésie, des  entrevues à la radio et dans les librairies ont accompagné ses années d’écriture.

 

  1. Pat Smart – Carleton University

Paper: THE ADVANTAGES OF SEEING ONESELF AS “EXCEPTIONAL” : DENISE BOMBARDIER AND THE AUTOBIOGRAPHICAL IMPULSE

On the first page of her autobiographical novel Une enfance à l’eau bénite (A Childhood Bathed in Holy Water), Denise Bombardier describes her need as a child to prove she was “exceptional” in order to triumph over the overwhelming tendency towards submission and conformity in her home, school and Church milieu. Not surprisingly, this crushing of individuality in Quebec culture before the Quiet Revolution of the 1960s produced a striking lack of autobiographies, particularly by women. Indeed, the autobiographies by women published even since the 1960s are characterized by a “difficulty of being” and an often violent need to throw off various obstacles before the autobiographical “I” can emerge.

One of the best known Québécoises both at home and abroad thanks to her high profile television career and her outspoken newspaper columns, Denise Bombardier is also a prolific writer, but her best-selling works of fiction, biography, memoir and non-fiction have never been taken seriously by literary critics. This paper will examine the autobiographical impulse in many of Bombardier’s writings, such as her biography of Céline Dion, her memoirs L’Anglais and Jackpot, and her recently published Dictionnaire amoureux du Québec, and search for the roots of this confident autobiographical stance in her account of her childhood in Une enfance à l’eau bénite.

 

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Patricia Smart is a Distinguished Research Professor and Chancellor’s Professor Emerita at Carleton University. Her book Ecrire dans la maison du Père: l’émergence du féminin dans la tradition littéraire du Québec won the Governor General’s Award in 1988 and two of her later books —Les Femmes du Refus global (1998) and De Marie de l’Incarnation à Nelly Arcan: se dire, se faire par l’écriture intime (2014) have been finalists for the same prize. She is also the author of Hubert Aquin agent double (1973), of an English translation of André Laurendeau’s diary (1991) and of a critical edition of Claire Martin Dans un gant de fer (2005). She was elected to the Royal Society of Canada in 1991 and received the Order of Canada in 2004. Her latest work, De Marie de l’Incarnation à Nelly Arcan: se dire, se faire par l’écriture intime (Boréal, 2014) won the Gabrielle Roy Prize of the Association of Canadian and Quebec Literatures and the Prix Jean-Éthier-Blais of the Fondation Lionel Groulx as well as being short-listed for the Governor General’s Award and Ontario’s Trillium Award.

  1. Nicole Côté, Université de Sherbrooke

Paper: THE NOVELS OF NELLY ARCAN AND THEIR RELATIONSHIP TO THE BODY AND TIME

 Nelly Arcan, who wrote autofictions (self-narratives) which quickly found their way to the top charts in Québec and in France (Putain/Whore, Folle/Hysteric), also wrote two novels, A Ciel ouvert (Breakneck) et Paradis, Clé en main (Exit), which are the object of this paper. I would like to show that these particular works reveal a conception of time which is cut out from the future, as its characters remain in the circular time  of trauma, walling themselves in an indefinite present. Arcan’s narratives make up for this loss of temporal perspective by projecting to the forefront women who attempt to stop time by preventing their bodies from aging. Also her novels manage to anchor some of their characters in a salutary virtual narrative, be it only with the possibility of change brought by the narration’s critical consideration of the conditions which allowed the transformation of layers of values into actions cemented through tradition.

In À Ciel ouvert (breakneck), the zooming in on parts of women’s bodies utterly decontextualizes them, by the same token evacuating time’s passage on their skin. In fact, the common denominator to the three protagonists of Arcan’s first novel lies in their own body’s anatomisation or in that of their friend or lover, reflecting the fragmentation of time. Hence, the verticalisation for which the title sets the scene in the original French title, À Ciel ouvert, signals the trio of characters’ absence of limits, its hubris, as well as, on a formal level, the near impossibility of structuring a narrative, that is, to align time in order to produce a plot which would open up the future.

In the author’s second and last novel before she suicided, Paradis, clef en main (Exit), the present is always only expected to repeat or to end abruptly. At least, this is the reading that is suggested until the very end of the narrative. Paraplegic Antoinette narrates her story from her bed since her failed suicide. Among the reasons which brought her to use the services of a company that specializes in the assistance to suicide is this never-ending present, without horizon of expectations. Says she[1] : «All my life resembles a wall of grey bricks, a view on an absence of opening, on a lack of horizon» (my translation; PCM, 73). However, the ending suggests the possibility of a return towards the linearity of time, which would mean a new freedom for Antoinette.

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Nicole Côté, Université de Sherbrooke, published many articles and book chapters on the literatures of Québec and CanadaShe co-edited three books : Legacies of Jean-Luc Godard (Waterloo, Wilfrid Laurier University Press, 2014), Expressions culturelles de la francophonie (Québec, Nota Bene, 2008) et Varieties of Exile. New Essays on Mavis Gallant (New York, Peter Lang, 2002), as well as short story anthologies of Canadian authors that she also translated, Vers le rivage (L’instant même, 2001), Nouvelles du Canada anglais (L’instant même, 1998).

  1. Linda Warley – University of Waterloo

Paper: BEFORE THE TRUTH AND RECONCILIATION COMMISSION: RESIDENTIAL SCHOOL MEMOIRS

With the release on December 15, 2015 of the Truth and Reconciliation Commission (TRC) Report, all Canadians now have the opportunity to learn about the residential school system and its impact on generations of First Nations, Metis and Inuit people. Much of what is contained in the report are first person testimonies. The Commissioners travelled the country over a period of several years and invited anyone who had been involved with the schools (including members of the religious orders that ran them and former teachers, as well as students and their families) to come forward and tell their stories. Such witnessing is powerful, because of the opportunity it affords people to tell their own experiences and, through telling and being heard, have their truth validated. It is also powerful for those who heard—or now can read in the published report—these stories. But before the TRC, residential school survivors had written and published their stories as memoirs. In this presentation I will discuss the various rhetorical strategies Indigenous memoirists have used to represent their residential school experiences. I will argue that although first person oral testimonies given as part of the TRC are important in that they function as evidence, the memoirs published over the past several decades are a more effective way for individuals to assert indigenous agency. Through writing books, Indigenous authors such as Isabelle Knockwood, Basil H. Johnston, Jane Willis, and Alice French are able to shape the way their stories of residential school are constructed and received.

Workshop – (with Alan  Filewod)  CULTURAL RECONCILIATION: WHAT IT MEANS AND HOW TO ACHIEVE IT.

In this workshop the presenters will explore ways in which literary and theatrical culture in Canada can promote a genuine state of reconciliation, and will survey the state of Canadian cultural industries. We will look at some of the major literary and dramatic voices, and ask how we, as non-Indigenous scholars in positions of academic privilege, can establish productive alliances with Indigenous scholars and artists.

 

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Linda Warley is Associate Professor in the Department of English Language & Literature at the University of Waterloo. She teaches contemporary Canadian literature and has recently developed a new undergraduate course on Indigenous literatures. Her research is in the filed of Life Writing, and she has published articles on Indigenous memoirs, graphic memoirs, and multimodal life narratives.

 

  1. Alan Filewod, University of Guelph

Paper: RECONCILIATION AND THEATRICAL INDIGENIZATION

This paper is an enquiry into the conditions of First Nations / Indigenous theatre work in the context of the release of the Report of the Truth and Reconciliation Commission of Canada, which was established to inquire into the long history of abuse and broken communities produced by the Canadian government’s Residential School policy for Indigenous children. The report of the commission states that “reconciliation is about establishing and maintaining a mutually respectful relationship between Aboriginal and non-Aboriginal people.” The first step to establishing a respectful footing is to expose the past and, for the non-Aboriginal majority, to understand that Indigenous people in Canada remain suppressed in severe colonialism and the oppressive binaries it produces, in which multicultural Canada has failed to recognize multicultural indigeneity. I argue that a genuine process of reconciliation entails indigenization of cultural industries, the first step to which is an analysis of how cultural power is racialized and institutionalized. Although Canadian theatre – as a social practice and a disciplinary profession – has embraced Indigenous theatre artists and plays, it has itself remained trapped in a binary that still locates “Native” or “Aboriginal” theatre as a subaltern category that challenges, renews and exoticises a professional mainstream. In this binary “the mainstream” is marked by its diversity and limitless field of invention while Indigeneity replays cultural presence and assertion.

This paper explores the paradoxes that emerge from this binary by examining the particular history and reception of Kaha:wii Dance Theatre’s The Honouring, a dance-drama that celebrates the Haudenosaunee (Iroquois) warrior tradition and the military alliance with British forces in the War of 1812.

 

Workshop – (with Linda Warley)  CULTURAL RECONCILIATION: WHAT IT MEANS AND HOW TO ACHIEVE IT

 

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Alan Filewod is Professor of Theatre Studies and Director of the School of English and Theatre Studies at the University of Guelph.

His books include Committing Theatre: Theatre Radicalism and Political Intervention in Canada (2011), Performing Canada: The Nation Enacted in the Imagined Theatre (2002), Collective Encounters: Documentary Theatre in English Canada (1987), and (with David Watt) Workers’ Playtime: Theatre and the Labour Movement since 1970 (2001.) His critical edition of the banned communist play Eight Men Speak is available from University of Ottawa Press. He was Editor of Canadian Theatre Review from 1988 to 1995, and Co-Editor from 1995 to 2002.

In professional activities he has served as president of the Association for Canadian Theatre Research (1992-4) and of the Association for Canadian and Quebec Literatures/ Association des littératures canadienne et québécoise (2004-7).

  1. Michelle Ariss –Champlain College. Sherbrooke. Québec

Paper:  THE SOCIAL AND CULTURAL WORK OF TWO EDITORS OF BOOKS IN CANADA: THE CANADIAN REVIEW OF BOOKS (1971-2008)

Book review magazines like Books in Canada, a privately-owned book review periodical that was published in Canada for over thirty-five years, are sites of social and cultural work. In addition to their archival value as repositories of information about books published in a country, each issue of a book review magazine, by virtue of its form and content, can be interpreted as a response to and an attempt to shape the social and cultural milieu in which the magazine and the books it reviews are published.

By focusing on a selection of reviews, front covers, and letters from the editor, my presentation examines, with the aid of visual images and of magazine samples, ways in which the editorial decisions of Val Clery, the founding editor of Books in Canada (1971-1973) and of Olga Stein, the magazine’s editor at the time of its demise (2001-2008), can be read as responses to Canada’s social and cultural diversity, and as attempts to manage it, with, however, starkly contrasting degrees of success.  My presentation concludes with a consideration of the impact of twenty-first century technology and of globalization on the ability of book review magazine editors to mirror and influence a country’s social and cultural diversity.

 

WorkshopWRITING REVIEWS AND INFLUENCING READERS: THE BASICS OF WRITING SUCCESSFUL BOOK REVIEWS

In this pre-conference workshop students will learn and practise the basics of writing a brief review of a book of their choice. Participants are asked to bring a novel, an anthology or a collection of poetry or stories that they are familiar with, preferably by one or more Cuban authors. Students will also be introduced to basic components of editing reviews and to key steps in compiling them into a book review magazine.

 

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Michelle Ariss is an English teacher at Champlain College Lennoxville, in Sherbrooke, Québec where she is also co-coordinator of the English Department and coordinator of the College’s English peer-tutoring service. She is a graduate of the Comparative Canadian Literature Ph.D. program at the Université de Sherbrooke under the supervision of Dr. Roxanne Rimstead. Michelle’s SSHRC, FQRSC and institutionally-funded dissertation is entitled “The Rise and Demise of a Book Review Magazine: Interpreting the cultural work of Books in Canada, 1971-2008.”

A contributing editor to Books in Canada from 2004 to 2007, Michelle was a member of the organizing committee of two graduate student conferences hosted by the Université de Sherbrooke’s Comparative Canadian Literature program. In addition to co-editing the proceedings of those conferences with Simon Gilbert and with the collaboration of Dr. Rimstead, Michelle was a research assistant for the Culture-from-Below online bibliography directed by Dr. Rimstead. While teaching at Bishop’s University in 2004, Michelle founded the Morris House Reading Series. This invitational series, intended to introduce students and the public to some of Canada’s best-known authors, celebrated its 10th anniversary in March, 2014.

  1. Nancy Wright – Université de Sherbrooke

Paper: A QUESTIONING OF HISTORY: DIONNE BRAND’S AT THE FULL AND CHANGE OF THE MOON

A questioning of history is a prerequisite to eliminating the systemic inequity produced by neo-colonial social and economic structures in the Western world. Such an interrogation figures prominently in representations of slavery and colonialism through memory in the following recent novel under investigation in this study: Dionne Brand’s At the Full and Change of the Moon. Using memory, this African-Caribbean-Canadian writer illustrates how dominated groups are marginalized within Western historical memory, make historical revisions, and re-construct the foundations of identity. Brand demonstrates that today’s reality is pre-sent from the past.

Brand’s novel illustrates that the myths of Western historical memory are different from those of collective cultural memory of the once-colonized and that this dichotomy creates identity problems. This paper characterizes Brand’s novel as fictional autobiography or biography of ethnographic proportion. It counters Western historical memory and restores collective cultural memory through strategic uses of historical markers, intertextual references, dates, cultural markers, historic personages, songs and stories from the oral tradition. This paper examines forms of memory that are transposed into present reality through literature.

 

Workshop – DISCOVERING AFRICAN-CARIBBEAN-CANADIAN WRITERS

     This teaching workshop shows that African-Caribbean-Canadian literature is an aspect of Western historical memory helping maintain a “dominated–dominating” paradigm within and between nations. It discusses Max Dorsinville’s ironic representation of the Québécoise bourgeoisie and Dionne Brand’s depiction of marginal reception of Black culture in Toronto to highlight neo-colonial elements of Canada’s pre-sent reality. This workshop will be illuminated by the work of Maurice Halbwachs, Albert Memmi, C.L.R. James, and Francoise Lionnet. Evoking the cultural identity theories of Aime Césaire, Édouard Glissant, Derek Walcott, Chris Bongie, Dionne Brand, Max Dorsinville, and Dany Laferrière, this thesis recalls through Canadian literature a Caribbean literary tradition rooted in the reconstruction of memory. Ms. Wright will introduce works such as Dionne Brand’s At the Full and Change of the Moon, Austin Clarke’s The Polished Hoe, Max Dorsinville’s James Wait et les lunettes noires, and Dany Laferrière’s Pays sans chapeau.

 

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Nancy Wright is currently a PhD candidate at Université de Sherbrooke in Comparative Canadian Literature. She wrote her MA thesis at Sherbrooke on African-Caribbean-Canadian writers and the representation of cultural memory in their work. She is currently Editor of the (national publication) Justice Report and Editorial Secretary of the (peer-reviewed) Canadian Journal of Criminology and Criminal Justice for the Canadian Criminal Justice Association / Association canadienne de justice pénale (CCJA-ACJP (Nov. 2011-Present).

  1. Lori Saint-Martin- Université de Québec à Montréal 

Paper: ENJEUX DE DÉSIR ET DE POUVOIR DANS LES RELATIONS SOEUR-FRÈRE DU ROMAN QUÉBÉCOIS CONTEMPORAIN

De nombreux romans contemporains portent sur un couple jusqu’alors relativement peu exploré au sein de roman familial au Québec: celui que forment la soeur et le frère. De tels romans posent la question d’une possible confusion identitaire entre Mëme et Autre, font souvent état d’abus de pouvoir et conduisent dans de nombreux cas à l’inceste désiré réel, à la mort violent, voire au meurtre. La communication aura pour but de préciser ces enjeux à partir d’un petit nombre d’exemples.

 

Workshop – LITERARY TRANSLATION IN QUÉBEC/CANADA

This workshop will look at three aspects of English-French literary translation in Québec-Canada : economic issues (how much and how literary translators are paid and by whom), political tensions (relative status of English and French in Canada, linguistic variations and power imbalance between Quebec and France) and aesthetic issues (visions of translation, how to render voice, tone, cultural context), etc. Ethical issues around translation and self-translation as well as various metaphors of literary translation will be considered.

 

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Lori Saint-Martin is a professor of literature, Université du Québec à Montréal, specializing in feminist theory and Quebec literature. She has published three collections of short stories and a novel as well as a dozen essays on contemporary Quebec literature. With Paul Gagné, she has translated 90 works of fiction and non-fiction from English to French and has won the Governor General’s Award for literary translation three times (2000, 2007 and 2015). She also translates from Spanish to French (Gustavo Nielsen, Le coeur de Doli, Strasbourg, La dernière goutte, 2015).

[1] Toute ma vie ressemble à un mur de briques grises, à une vue offerte sur une absence d’ouverture, sur un manque d’horizon» (PCM, 73)

 

 

Graduate Conference CFP:“Rethinking Comparative Canadian Literature: Indigenous Methodologies and Other Contemporary Approaches”

CALL FOR PAPERS
14th Comparative Canadian Literature Graduate Student Conference
April 1-2, 2016
Université de Sherbrooke, Québec
The 21st century in Canada is marked by an ongoing discussion about settler/Indigenous relations. Recent events suggest a changing social landscape for Indigenous peoples in Canada, and it is obviously of vital importance to Canada’s future to resolve issues of land claims, environmental protection, self-governance, discrimination, re-appropriation of history, culture, language and identity. Contemporary social and political movements like Idle No More and No More Stolen Sisters (a human rights campaign calling attention to the extensively high rates of missing and murdered Indigenous women in Canada) as well as the report of the Truth and Reconciliation Commission (2015) have highlighted the reality that Indigenous peoples in Canada face today. Yet the recent nomination of two Indigenous Ministers in the Liberal cabinet, the inclusion of Indigenous leaders at the global climate change summit in Paris and the growing interest in Indigenous studies all indicate a hopeful turn in the recognition of Indigenous governance in Canada and Quebec as well as in the reconciliation between Canada’s Indigenous peoples and settlers. Literature represents one possible route to cultural reconciliation. The 14th Graduate Student Conference “Rethinking Comparative Canadian Literature: Indigenous Methodologies and Other Contemporary Approaches” will highlight the potential of Indigenous and alternative ways of reading, writing, and thinking to question, but also to enrich established theoretical and analytical frameworks in Comparative Canadian literature.

We will accept papers in English and French dealing with, but not restricted to, the following topics:
o Indigenous methodologies / decolonization
o Feminist, postcolonial and other contemporary theories
o Subaltern voices, counter-narratives, resistance narratives, culture from below, grassroots movements
o Cultural re-appropriation and literary authority
o Diverse forms of writing and self-representation, including Indigenous orature
o Theorizing Comparative Canadian literature
o Mainstream (English-Canadian and Québécois literatures) and minority literatures (immigrant and Indigenous literatures)
o Language questions (English, French, foreign and Indigenous languages)
o Translation studies

The conference will take place from April 1-2, 2016 on the main campus at Université de Sherbrooke and is designed as an open space of gathering for young scholars interested in Comparative Canadian Literature and Translation Studies. As the University’s Comparative Canadian Literature program is unique in the world, we invite graduate students (both MA and PhD) from different disciplines (Comparative literature, English/Canadian/French/Québécois literatures, Translation studies, Indigenous studies, Cultural studies, Film studies, History etc.) to submit paper and poster proposals. Submissions from advanced undergraduate students will be taken into consideration if
the proposed abstracts indicate an outstanding and original contribution.

Please submit your abstract of no more than 250 words and a short biographical note (150 words) to:
gradstudentsconference@gmail.com. Be sure to include your name, affiliation and degree, e-mail address as well as the title of your presentation and upload the documents as an attachment (PDF format).

Submission deadline: January 31st, 2016.
We look forward to your contribution and to welcoming you in Sherbrooke in April 2016!