Quebec Studies

Editor's Note

Quebec Studies (1992), 15, (1), 0–1.


EDITOR'S NOTE Focussing on emerging literary voices in the 1980s and 90s, this issue highlights the thematic preoccupations, formal concerns, and diverse cultural perspectives of a new generation of Québec writers. Essays by Anne-Marie Gronhovd and Frédérique Chevillot underscore questions of representation, identity, and gender construction in Madeleine Monette's Le Double suspect and Petites Violences. Considering postmodern topics from another vantage point, Susan Ireland studies the themes and structures of borrowing, copying, and reproducing in Monique LaRue's Copies conformes. The remaining essays in our dossier on writing today complement and enrich the recent critical discussions of cultural pluralism in Québec Studies 14 (Spring/Summer 1992). Examining the latest novel by Haitian-born Emile Ollivier, Nicole Aas-Rouxparis establishes the centrality of exile and nostalgia in Passages, while Frank Caucci interprets the thematics of the journey and of remembrance in works by Italo-Québécois writers such as Antonio D'Alfonso, Marco Micone, and Dominique De Pasquale. In her study of the Egyptian-born writer, Anne-Marie Alonzo, Louise Dupré analyzes the interplay of autobiography and poetry in Alonzo's refashioning of the prose poem. Concluding this special focus on current literary innovators, Luise von Flotow provides an engaging overview of the artistic preoccupations and social consciousness of new women writers such as Anne Dandurand, Claire Dé, Flora Balzano, and Danielle Roger. Essays by Bernard Andres, Sherry Simon, Robert Schwartzwald, and Julie LeBlanc position literary discourse within various historical, social, political, and philosophical contexts. Bernard Andres returns to the origins of Québec letters to discuss the ideology and dominant discursive practices that gave birth to literary production in Québec. Comparing cultural outlooks and ideological stances in Jean Le Moyne's "Retour d'Israël" and Gabrielle Roy's Alexandre Chenevert, Sherry Simon looks at the discourse of Jewry and Jewishness in Québec in the late 1940s. Working in approximately the same period, Robert Schwartzwald argues that Berthelot Brunet's polemical discourse on bohemianism and homosexuality is grounded in the prevailing social critique of urbanity which emerged in Québec during the 1930s and 40s. More contemporary in her focus, Julie LeBlanc situates her discussion of Aquin's Trou de mémoire and Monette's Le Double suspect within the context of deconstructionist and postmodern discourses on history, subjectivity, and self-representation. Crossing the boundaries of the visual arts in her study of Léa Pool's A corps perdu and Jean Baudry and François Bouvier's Les Matins infidèles, Denise Pérusse explores the ways in which the photographic image is being integrated into cinematographic practice in contemporary Québec films. In an article that outlines the contributions of American sociologists to the study of familial traditions and economic growth in Québec, Jacques Hamel and Eric Forgues take a new look at the meaning of "family values" for the economic development of the francophone Québécois. And Charles-Philippe David offers an informed, provocative assessment of the various defense scenarios that an independent Québec would need to consider in redefining its role in the international community.

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Author details

Gould, Karen