118 research outputs found
Jeanne Lapointe et Anne Hébert : une longue amitié
No full textOn connaît le rôle exercé par Jeanne Lapointe dans la valorisation des textes d’Anne Hébert. La professeure de littérature de l’Université Laval signe, en 1954 et 1961, des articles importants sur la poésie de cette auteure dans la revue Cité libre. Et c’est Jeanne Lapointe qui demande à Pierre Emmanuel un texte de présentation pour Le Tombeau des rois. En plus de signer une note explicative au Dialogue sur la traduction, Lapointe aura présidé aux échanges de ce dialogue entre Anne Hébert et Frank Scott. Nous rendrons compte de son projet de publier un choix de poèmes des Songes en équilibre, projet auquel l’auteure s’est montrée un temps réceptive. Mais la contribution de Lapointe ne s’arrête pas à sa lecture attentive de l’oeuvre et aux réseaux de sociabilité qu’elle développe. Dans la nouvelle « Shannon », publiée en 1960, se profile, sous les traits du personnage de Claire, la présence de l’amie. D’autres interventions privées et publiques d’Hébert ou de Lapointe nous renseignent sur les dates, voire sur le sens de certaines oeuvres. Nous en examinerons les différentes facettes pour offrir un portrait complet de l’apport de Jeanne Lapointe à l’oeuvre d’Anne Hébert.We know the role played by Jeanne Lapointe in promoting Anne Hébert’s texts. The literature teacher at Laval University published, in 1954 and 1961, important papers on Hébert’s poetry in the journal Cité libre. And it was Lapointe who asked Pierre Emmanuel for a foreword to Le Tombeau des rois. In addition to signing an explanatory note for the Dialogue sur la traduction, Lapointe presided over the exchanges of this dialogue between Anne Hébert and Frank Scott. We will examine her project to publish a selection of poems from Hébert’s Songes en équilibre, a project to which the author was receptive for a while. But Lapointe’s contribution does not stop with her careful reading of the work and the networks of sociability she develops. In the short story “Shannon”, published in 1960, the presence of the friend is profiled in the character of Claire. Other private and public interventions by Hébert or Lapointe provide us with information on the dates and even the meaning of certain works. We will examine the various facets to offer a complete portrait of Jeanne Lapointe’s contribution to Anne Hébert’s work
La Convention d’indemnisation directe : 1978-1988
No full textWith the arrival in Quebec of the Automobile Insurance Act, numerous
questions were being asked concerning the Direct Compensation
Agreement implemented in 1978. Ten years later, Mr. Claude
Lapointe of the Groupement des assureurs automobiles du Québec,
has, at our invitation, written an article to mark the anniversary of this
agreement. His article looks at the Direct Compensation Agreement
as it now stands compared with its initial objectives. Mr. Lapointe's
text touches upon some very interesting aspects, such as subrogation
and arbitrage, and also certain problems of application, though these
are rather rare.
The author concludes by stating that the Direct Compensation
Agreement has met the needs of the users, that is, quick settlements at
low costs and less disputes
In-former l’énonciation de l’acteur : les défis des théâtres de Daniel Danis et de Christian Lapointe
No full textConsacré à l’énonciation actoriale dans le théâtre québécois contemporain, cet article vise à mettre en question la tendance actuelle à encourager un rapport flexible, ouvert et variable du comédien à sa partition. Selon les auteurs-metteurs en scène Daniel Danis et Christian Lapointe, l’acteur doit se prémunir contre une mémoire fixant tous les mots du texte. Nous chercherons ainsi à cerner comment les théories et pratiques de l’énonciation de ces créateurs appellent une relation informe – au sens d’indéterminée – du comédien au texte à apprendre et interrogerons, en ce sens, les moyens qu’ils proposent pour l’amener à conserver une mobilité énonciative une fois sur scène. À terme, nous espérons éclairer ce que cette valorisation de l’informe vient transformer dans la conception du travail énonciatif des acteurs.Focused on actorial enunciation in contemporary Quebec theatre, this article questions the current trend of encouraging a performer’s flexible, open and changing relationship to his or her play script. Quebec author-directors Daniel Danis and Christian Lapointe claim that actors must guard against memorizing all the words of a text. We will thus attempt to highlight how these creators’ enunciation theories and practices call for an inform (i.e., indeterminate) relationship between actor and text and, in this sense, examine their methods for helping actors maintain enunciative mobility on stage. Our aim is to shed light on how this appreciation of inform transforms the conception of actors’ enunciative work
Transformer le monde par la critique littéraire : regard stylistique sur les chroniques radiophoniques de Jeanne Lapointe
No full textDes années 50 à la fin des années 80, les publications de Jeanne Lapointe dans des revues, des journaux et des actes de colloques témoignent de l’efficacité de sa parole qui, même sans livres, contribue à transformer les milieux intellectuel et littéraire québécois. Parce qu’elles dévoilent les fondements de son combat contre les discours de domination, ses chroniques radiophoniques diffusées à l’émission Radio-Collège, sur les ondes de Radio-Canada, permettent d’établir la genèse discursive de sa pensée féministe, encore embryonnaire durant les années 50. Hautement éclairants, les textes inédits issus des séries Revue des arts et des lettres (1952-1954) ainsi que L’écrivain et son style (1955) révèlent déjà son idéal humaniste, né d’une révolte à la fois personnelle et collective, qui guidera constamment ses prises de parole subséquentes. Pour faire advenir le changement épistémologique qu’elle souhaite, Lapointe fait de la critique littéraire un acte engagé qui puise sa force dans l’exercice de style. Des figures de son style, c’est-àdire de son « accent inimitable », se dégage un portrait de l’intellectuelle et de la femme qui s’impose peu à peu comme porte-étendard d’un discours moderne que sa génération s’efforce de rendre efficace contre l’obscurantisme de la pensée. Par l’intermédiaire de la poétique de la critique, l’auteure montre que c’est dans la mise à profit d’une subjectivité authentique et exigeante que réside le secret d’une des voix féministes les plus efficaces du XXe siècle québécois.From the 1950s through late 1980s, Jeanne Lapointe’s publications in magazines, newspapers and conference papers show the effectiveness of her speech which, even without any books, helps transforming Quebec’s intellectual and literary landscapes. Since they unveil the foundations of her fight against discourses of domination, her radio columns aired on Radio-Collège, a program broadcast on Radio-Canada, serve to construct the discursive genesis of her feminist thought, which was still embryonic in the 1950s. Highly enlightening, the unpublished texts from the series Revue des Arts et des Lettres (1952-1954) and L’écrivain et son style (1955) reveal her humanist ideal, which arises from a both personal and collective revolt and will constantly guide her subsequent speak-outs. In order to make the epistemological change she wishes happen, Lapointe makes the literary criticism a committed act which draws its strength on the stylistic exercising. From the figures of her speech, i.e. her “inimitable accent”, emanates a portrait of the intellectual and the woman who gradually imposes herself as the standard bearer of a modern discourse that her generation strives to make effective against thought obscurantism. Through criticism poetics, the author shows that the secret of one of the most efficient feminist voice of Quebec’s twentieth century lies in taking advantage of an authentic and demanding subjectivity
Revisiting metropolitan house price-income relationships
No full textFor helpful comments, we thank the editor Jeff Zabel and two anonymous reviewers, as well as Christian Hilber, Simon Lapointe and Oskari Vähämaa, and participants at the International AREUEA conference in Amsterdam, ARES conference in San Diego, ERSA conference in Cork, ERES conference in Delft, Annual Meeting of the Finnish Economic Association, and research seminar at the University of Cambridge. We also thank Andrew VanValin for preparing the maps. This work was supported by the Strategic Research Council at the Academy of Finland (first author; decision numbers 352450 and 352451) and the West-Finland Housing Association of Public Utility.Peer reviewe
Regarde sur l'histoire canadienne de la greffe de la cornee [View of the canadian history of corneal transplantation]
No full textThe author presents a brief chronological summary of early attempted corneal grafts over the last century culminating in the first successful Canadian keratoplasty by Dr. Jean Audet-Lapointe in Montreal on April 20, 1945. Medical journals of the day retrace the early experiences at various Canadian medical centres with this new innovative surgical procedure. Testimonials from newspaper clippings highlight the professional career of Dr. Jean Audet-Lapointe. The role and support of the CNIB in Montreal and Toronto in establishing the Canadian Eye Bank Service are also presented
Regarde sur l'histoire canadienne de la greffe de la cornee [View of the canadian history of corneal transplantation]
No full textThe author presents a brief chronological summary of early attempted corneal grafts over the last century culminating in the first successful Canadian keratoplasty by Dr. Jean Audet-Lapointe in Montreal on April 20, 1945. Medical journals of the day retrace the early experiences at various Canadian medical centres with this new innovative surgical procedure. Testimonials from newspaper clippings highlight the professional career of Dr. Jean Audet-Lapointe. The role and support of the CNIB in Montreal and Toronto in establishing the Canadian Eye Bank Service are also presented
Fiber damage and impregnation during multi‐die vacuum assisted pultrusion of carbon/PEEK hybrid yarns
No full textThe Tragedy of a Cambridge Feminist
No full textOverview: Stephen Frug sits down at his computer desk on April 4th, 2011. His wife, Sarah, is in the kitchen trying to feed their three year old son and for once, all is quiet. He picks up his glasses and slides them on his face, then continues to log onto his online blog. He had started writing the blog in 2005 when he was still a 34 year old graduate student in the history department of Cornell University. Since then, he’d gotten his Ph.D. and started teaching history at Hobart and William Smith in Geneva, New York, an hour\u27s drive away from his home in Ithaca.
Stephen reminisces as he clicks through some of his older blog posts. He smiles as he scrolls past the post about his son’s birthday and another about the frustrations he had while trying to write his graphic novel. A few minutes later, he finds himself staring at a new, blank entry. He had, after all, logged onto this blog for a particular reason. Taking a big sigh, he finally begins to write. “Twenty years ago today my mother, Mary Joe Frug, was murdered about a block from our house in Cambridge, Massachusetts. It was early evening; she was out for a walk. No one was ever caught or charged; we have no idea, to this day, who killed her. It was less than a month after my twentieth birthday.”
Author\u27s Reflection: My name is Ellen Lapointe and I am currently a nursing major at St. John Fisher College. As my classes progress I am realizing that I love nursing and cannot wait to work in a hospital one day, but I also have a true passion for writing. Writing this paper, at least to me, was much different than any other paper I’ve written previously. Having a whole class centered on one final paper really made me very conscious about research as well as the editing process. It was also a different experience because I was writing about something that I was truly interested in, and I felt like a detective as I pried deeper into the lives of the victim and all of the people involved in the case. At first I stumbled upon some road blocks that put a temporary halt to my writing. As I tried to look up more information surrounding this 1991 murder mystery, I was having trouble finding information. With the help of the librarians, my professor, and some of my peers, I was able to find more clues that helped me write my paper. Although I put a lot of time and energy into writing and editing this paper, I now look back on it and I am genuinely proud of the effort I made, even if it’s not perfect
La réception récente du Libraire
No full textThis study of recent publications based on Gérard Bessette’s novel Le Libraire (Not For Every Eye) reviews the analyses published by Bertrand Gervais (1993), Martine-Emmanuelle Lapointe (2008), Lucie Hotte (2001), Jean-Louis L’Écuyer [Louis Lasnier] (2008), Sudarsan Rangajaran (2008) and Steven Urquhart (2008), as well as the presentation of this work (and its author) in Histoire de la littérature québécoise (2008) and in Claude Vaillancourt’s Anthologie de la littérature québécoise (2008).Cette étude de la réception récente du Libraire de Gérard Bessette passe en revue les analyses publiées par Bertrand Gervais (1993), Martine-Emmanuelle Lapointe (2008), Lucie Hotte (2001), Jean-Louis L’Écuyer [Louis Lasnier] (2008), Sudarsan Rangajaran (2008) et Steven Urquhart (2008), ainsi que la part qui est allouée à cet ouvrage (et à son auteur) dans Histoire de la littérature québécoise de Michel Biron et al. (2008) et dans l’Anthologie de la littérature québécoise de Claude Vaillancourt (2008).
 
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