This issue of QuÃ©bec Studies includes a special dossier that explores the amÃ©ricanitÃ© of QuÃ©bec, another group of articles that emphasize different aspects
of the transition of Q u Ã© 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 Ã© 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 amÃ©ricanitÃ©. T h e dossier begins with a presentation b y Erin
Hurley and a short meditation on the geographic sources of Q u Ã© 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 Ã© 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 amÃ©ricanitÃ©.
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 CÃ©line
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 Ã© b e c , " all four authors explore aspects of
Q u Ã© 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 "Ã©cossitÃ©" 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 Ã© ' s
Les Anciens Canadiens, the classic novel about the Conquest. FranÃ§ois 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 mÃ©moire 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 Ã© b e c culture. In their article, S u s a n Ireland and Patrice
Proulx continue their w o r k on / 'Ã©criture 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 CÃ´tes-des-Neiges (1983) are replaced by the multilayered cosmopolitan neighborhood portrayed in Mauricio Segura's CÃ´te-des-NÃ¨gres
(1998) and Emile Ollivier's La BrÃ»lerie (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