Quebec Studies

Editor's Note

Quebec Studies (2009), 48, (1), 1–2.


1 Editor's Note This issue of Québec Studies includes a special dossier that explores the américanité of Québec, another group of articles that emphasize different aspects of the transition of Q u é b e c to a postcolonial society, and a b o o k review section. Future issues will also feature special dossiers, b u t as always w e welcome submissions on any facet of Q u é b e c or Francophone Canada. We would particularly like to receive submissions in the Social Sciences, areas that are under-represented in the journal. The dossier compiled by Erin Hurley and Will Straw includes substantially revised papers from the February 2008 McGill Conference on the theme "Are We A m e r i c a n ? " and presents s o m e n e w perspectives on the issue of Q u e b e c ' s américanité. T h e dossier begins with a presentation b y Erin Hurley and a short meditation on the geographic sources of Q u é b e c identity b y writer and translator Emile Martel. This is followed b y Straw's article, which takes as its point of departure a photograph of self-appointed Montreal civic leaders from the 1950s and studies the relationship between popular culture and reform m o v e m e n t s in Q u é b e c and the U.S. In his study of Stephan Lafleur's Continental, Robert Schwartzwald examines the suburban film, another aspect of the representation of Q u e b e c ' s américanité. Melissa Aronczyk recounts the development of Q u e b e c ' s tourism industry and analyzes h o w la belle province advertises its cultural difference to perspective tourists. Playwright and theater scholar Patrick Leroux takes us along on his "research" trip to L a s Vegas, where he observes h o w Céline Dion and the Cirque du Soleil h a v e b e c o m e part of this extravagant American entertainment mecca. While it might seem odd to group the next four articles together under the rubric "Postcolonial Q u é b e c , " all four authors explore aspects of Q u é b e c literature and language that point to the cultural decolonization that took place beginning in the 1960s. Two articles re-read important texts by writers w h o played key roles in the political and artistic m o v e m e n t s of the 1960-70 period. Susan M u r p h y studies the intertextual, transtextual, contextual, and connotative aspects of J a c q u e s Ferron's 1965 novel La nuit. Her close reading underscores the "écossité" of the text, noting that Ferron's anglophone protagonist, Frank Archibald Cameron, recalls Archibald C a m e r o n o f Locheiii, the Scottish protagonist of Philippe Aubert de G a s p é ' s Les Anciens Canadiens, the classic novel about the Conquest. François Harvey re-examines the w o r k of another important writer/political activist, Hubert Aquin. H e argues that Prochain episode and Trou de mémoire are postcolonial appropriations of foreign literary genres (the spy novel and the police n o v e l ) and should b e read as signs of the affirmation of an original, heterogenous Q u é b e c culture. In their article, S u s a n Ireland and Patrice Proulx continue their w o r k on / 'écriture migrante, focusing on three writers w h o inscribe the s a m e neighborhood of Montreal in their writing. T h e authors contend that the polarized language communities depicted b y Alice Parizeau in Côtes-des-Neiges (1983) are replaced by the multilayered cosmopolitan neighborhood portrayed in Mauricio Segura's Côte-des-Nègres (1998) and Emile Ollivier's La Brûlerie (2004). In a different vein, M a e v e Conrick's contribution underscores Q u e b e c ' s leadership role in linguistic

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Author details

Moss, Jane