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FAMILY PROFESSIONALS’ ATTITUDES AND STANCE-TAKING ON POST-DIVORCE FATHERHOOD: A QUALITATIVE ATTITUDE APPROACH
No full textThis article examines divorce professionals’ attitudes and stances in response to common criticisms of how they deal with divorce outcomes for fathers, according to which men are discriminated against in negotiations on the custody and living arrangements of their children. The study applied the relatively new qualitative attitude approach, and hence a further aim was to test its fitness for studying attitudes. Eighteen Finnish family professionals who worked with divorce cases — social workers, psychologists, district court judges, and lawyers — participated in semi-structured interviews in which they discussed claims designed to be provocative. The family professionals were found to show both collective, shared attitudes and diversity in attitudes and stances. The participants strove to position themselves as gender-neutral and as promoters of equality between mothers and fathers, and thus in accordance with the ideal of a good professional. The divorce professionals argued that their overriding aim was to secure the well-being of children. The method revealed some attribution bias, manifested as victim blaming, where fathers themselves were in part held accountable for the gendered post-divorce situation. The results highlight potential areas of cooperation between different types of divorce professionals that could lay a foundation for improving services and support for divorced parents and children
Using Hul’q’umi’num’ directional SVCs to express path and manner
No full textPath is considered an obligatory element of a motion event and languages vary in how path is expressed in motion constructions (Slobin 2004). Hul’q’umi’num’, the Island dialect of Halkomelem Salish, makes use of an equipollently-framed system in which path and manner are expressed by equivalent forms using serial verb constructions (SVCs). The language exhibits directional SVCs consisting of a manner and a path verb as well as consisting of multiple path verbs. Furthermore, there is an emerging pattern of grammaticalization involving the verb huye’ ‘leave’, which occurs more frequently and exhibits less flexibility in ordering than other motion verbs in SVCs. These patterns indicate that the verb huye’ functions as the minor component in an asymmetrical SVC
“Terror Cut Through Me; I Swallowed It Down”: Dreadful Dining in Esi Edugyan’s Washington Black
No full textCM Callow v Zollinger, Reconceptualized Through the Tort of Negligent Misrepresentation
No full textThis article argues that CM Callow Inc v Zollinger was wrongly decided, and that the Supreme Court of Canada unnecessarily expanded the duty of honest contractual performance established in Bhasin v Hrynew. In this decision, the Supreme Court applied a contract law analysis to a fact scenario that did not entirely call for it. This is to say that the contract that Mr. Callow hoped to incentivize through freebie work never came into existence, so it should not have been assessed through the lens of the duty of honesty. This article argues that this approach was erroneous, given Canadian contract law’s strong stance against imposing pre-contractual duties of good faith. While the article agrees that the duty of honesty was applicable to the ongoing contract between Mr. Callow and Baycrest, it submits that the tort of negligent misrepresentation should have addressed Baycrest’s statements in relation to the potential future renewal. Such an analysis would have allowed for greater clarity in Canadian contract law, and it would have allowed for a more pronounced dividing line between contracting parties’ disclosure obligations and the duty of honesty. As a result, this article predicts that the Supreme Court’s decision will perpetuate confusion in the law pertaining to good faith and contracting parties’ disclosure obligations. Further, this decision is likely to have a chilling effect on contracting parties’ communications, given the justified fear of painting a misleading picture for the other side vis-à-vis potential future endeavours
Le chant bucolique dans le roman pastoral (ou les avatars d\u27une topique dissonante)
No full textThe article aims to analyze the ontological diffusion of bucolic songs in pastoral novels, taking in consideration the historical and aesthetic evolution of their writing. It demonstrates that shepherds’ songs, as original emblems of the Bergeries, evolve into various topical formulations of sound, within the framework of the complex evolution of pastoral romance in France, in the 16th and especially in the 17th century. Based on a fairly broad corpus (Sannazar, the first French Bergeries, Diana de Montemayor and its French translations, L\u27Astrée and its sequels), it highlights the formal vicissitudes and the dissonances suffered by pastoral song, in the temporal dynamic which marks these aesthetically hybrid Arcadian texts.Cet article vise à analyser l’ontologie diffuse du chant bucolique dans le roman pastoral, considérant l’évolution historique et esthétique de son écriture. Il démontre alors que le chant des bergers, emblème originaire des Bergeries, évolue vers diverses formulations topiques du sonore, dans le cadre de l’évolution complexe du romanesque pastoral en France, au XVIe et surtout au XVIIe siècle. À partir d’un corpus assez élargi (Sannazar, les premières Bergeries françaises, la Diana de Montemayor et ses traductions françaises, L’Astrée et ses continuations), il met aussi en relief les vicissitudes formelles et les dissonances subies par le chant pastoral, dans la dynamique temporelle qui marque ces Arcadies esthétiquement hybrides
La Musique dans les romans du dix-huitième siècle : théories et enjeux
No full textHow can we understand, on a theoretical level, the presence of music in the French novels of the eighteenth-century? This article examines this question in the light of prevailing theories on the presence of music and prose fiction. By identifying major discrepancies between the two, the aim is to provide a different theoretical basis for our understanding of music in eighteenth-century French narrative.Comment comprendre, au niveau théorique, la présence de la musique dans les romans du dix-huitième siècle ? Il s’agit ici de répondre à cette question en confrontant un choix de romans français du dix-huitième siècle aux acquis principaux des théories actuelles sur la musique et la narration en prose. En identifiant des divergences majeures, cet article tente de proposer un autre cadre théorique.
 
Cris et onomatopées dans l’œuvre d’Antonius Arena
No full textIn his manual of choreographic pedagogy, Ad suos compagnones (1531) and his memoires titled Meygra Entrepriza(1537), Arena elaborates a theatrical soundtrack of war with the fracas of artillery and military songs, and the ballroom with music and beating feet. This illustration of sound utilizes all the vocal procedures that are offered by Latin, Italian and Occitan. While underlining human emotions, the author successfully transcends the macaronic triglossia in order to speak to the ears of those who ignore the latin, and in order to bring us the far echo of the Renaissance as Mother of arms and dances. Dans son manuel de pédagogie chorégraphique, Ad suos compagnones (1531) et ses mémoires intitulés Meygra Entrepriza (1537), Arena élabore une bande-son du théâtre de la guerre avec le fracas de l’artillerie et les chants militaires, et de la salle de bal avec la musique et les frappements de pieds. Cette illustration sonore exploite tous les procédés vocaux qu’offrent le latin, l’italien et l’occitan. Tout en soulignant les affects humains, l’auteur parvient à transcender la triglossie macaronique pour parler à l’oreille de ceux qui ignorent le latin et à porter jusqu’à nous l’écho lointain d’une Renaissance mère des armes et des danses