Impact et résonances du théâtre In-yer-face au Québec : Shopping and Fucking de Mark Ravenhill (adaptation de Christian Lapointe), Faire des enfants d’Éric Noël et En dessous de vos corps je trouverai ce qui est immense et qui ne s’arrête pas de Steve Gagnon

Le présent mémoire porte sur la présence de la violence et de la sexualité sur la scène théâtrale québécoise, ainsi que sur l’influence du mouvement britannique In-yer-face sur la dramaturgie québécoise contemporaine. Par l’étude comparative des didascalies des textes ainsi que des mises en scènes de trois productions québécoises – soit Shopping and F**king (texte de Mark Ravenhill traduit par Alexandre Lefebvre, mise en scène de Christian Lapointe), Faire des enfants (texte d’Éric Noël, mise en scène de Gaétan Paré) et En dessous de vos corps je trouverai ce qui est immense et qui ne s’arrête pas (texte et mise en scène de Steve Gagnon) –, ce mémoire explore les diverses manières de représenter la violence et la sexualité sur la scène québécoise actuelle. Ce travail dépasse l’étude textuelle, il présente une réflexion sur le théâtre québécois et les nombreuses contraintes auxquelles les artistes doivent faire face lorsqu’ils veulent présenter un spectacle de théâtre comportant des scènes de violence et de sexualité au Québec.

Pele de jambo, from Raquel Naveira: the belonging in the a pertença na literature for young people

This paper aims, from the work Pele de jambo (1996), of the regionalist writer native from Mato Grosso do Sul Rachel Naveira, to analyze the representations of the Brazil-Paraguay border. Then, the aim is to discuss how  the sense of belonging is evoked (NOLASCO, 2011) in the work. Because it is for the infant and young public, Pele de jambo, beyond the question of the representation of the border, gets more singularity because of the urgency in building, early, feelings of appreciation of the locus in which the subjects are inserted. The regional brands present in Naveira’s work (1996) are extremely important for spreading the culture of this specific locus. In this sense, objective of this work is to analyze how some elements are represented that are being transformed into a border situation, such as history, language, cuisine, and the subjects.

2020: A New Era of Sign Language Literature

 Summary: Sign language is the primary daily language of many Deaf people, yet sign language is not always included as a part of Deaf Education. Teachers of the Deaf in France in the late 1700s and early 1800s established using sign language in the classroom and yet generations later educators chose to revert back to oralism, not including any sign language when teaching Deaf children. And the trend continues to this day. Researchers in the 1960s, 70s and 80s proved that sign languages are natural languages, and yet this fact did not change the difficulties schools still have in reassuring parents and administrators that the Deaf students will learn to communicate, read and write a sign language as with your fellow listeners regarding oral languages that speak. Now, in the 21st century most educators and researchers are aware that sign languages are sophisticated languages with grammar, syntax and large vocabularies. Yet accepting sign languages as written languages has taken longer. Those who support the idea of writing sign languages feel that the availability of written literature and poetry in sign languages will lead to improved literacy in oral languages and in the long run, increase acceptance by the hearing world. Showing that sign languages have a written form helps establish sign languages as foreign languages in schools. With the advent of the internet and social media, writing sign languages is spreading quickly. The year 2020 is the beginning of a new era of sign language literature.Keywords: Sign Language; Literature; SignWriting; Deaf; Education.

Lady Nugent and Tom Cringle on the veranda : early nineteenth century observations on a Caribbean architectural feature

This study of the veranda as seen through the eyes of Lady Maria Nugent and Michael Scott, alias Tom Cringle, clearly demonstrates the important role that the piazza, as it was then more commonly known, played in the life of early nineteenth century Caribbean colonial society. The popularity of the veranda throughout the region, in places influenced by different European as well as African cultures, and among all classes of people, suggests that the appeal of this typical feature was based on something more than architectural fashion. A place of relative comfort in hot weather, the veranda is also a space at the interface of indoors and outdoors which allows for a wide variety of uses, for solitary or small or large group activities, many of which were noted by Nugent and Scott. Quintessentially, the veranda is a place in which to relax and take pleasure, not least of which is the enjoyment of the prospect, be it a panoramic view, a peaceful garden or a lively street scene. Despite the great changes in the nature of society, in the Caribbean and in many other parts of the world, the veranda and related structures such as the balcony continue to play at least as important a role in daily life as they did two centuries ago. The veranda of today’s Californian or Australian bungalow, and the balcony of the apartment block in the residential area of the modern city are among the contemporary equivalents of the lower and upper piazzas of Lady Nugent’s and Tom Cringle’s day.