Literary texts written in French-speaking areas out of France very often represent real challenges for translators, because they have to deal with a diatopically marked language and with a large number of realia which require the implementation of specific strategies for translate in the target language. In this article, we will try to understand the strategies used by Italian translators when translating the linguistic specificities of Quebec literary works in Italian. The practice of translation can orient the vision (or reception) of a Quebec literature in Italy which appears at first sight to be hermetic because of its linguistic regionalisms. Do Italian translations of Quebec literature require revisions?

The article proposes to reconsider the place taken by Nelly Arcan’s work in the women’s and feminist thinking in Quebec in the last years. The author discusses the concepts like the passivity of writer’s main characters, her conception of femininity and the fatalism which characterize her female characters. The aim of the article is to shed light in Nelly Arcan’s vision and renewal of the contemporary Quebecer literature. Her intimate, provocative, furious and dark novels bring out the deadlock on the women’s thinking nowadays and challenge the achievements of the claims of the feminist movements.

Nowadays self-translation remains a frequent practice in the literary field in Canada. A close reading of the self-translations done by Canadian writers such as Nancy Houston, Marco Micone or Patrice Desbiens allows to discover each author’s own vision of self-translation as a creative process. The aim of the paper is to determine, through a comparative analysis of excerpts from the two language versions of the play La Maculée/sTain (2012) and the latest bilingual novel La voix de mon père / My Father’s Voice (2015) by Fransaskois playwright Madeleine Blais-Dahlem, to what extent her self-translating practice guides the reading of the text. Examining
the back and forth between the two versions of the same work will allow to delve deeper into the subject of the identity and privileged status of the translator (Tanqueiro 2009: 109, Saint 2018: 120), but also into the role and skills of the receiver of Madeleine Blais-Dahlem’s bilingual writings.

The novel depicts the relationship of a young couple living in Montreal. The poetics of the text not only provides the reader with an unusual aesthetic experience but also reveals interesting details about life in Canada in the 1960s. We will introduce the main characters of the novel and focus on some of its aspects, especially those moments where the political situation, whether historically distant or recent, is reflected in the life of modern society. The sixties of the twentieth century were imbued with a desire to resist authority which was lived collectively and also as an individual issue. In the novel, the theme of revolt is portrayed on both these levels, but it shows that it is not always easy to realize one’s ideas in practice.
The structure of the novel which refers to the influence of nouveau roman is composed of fragmentary narrative, repetitive allusions and unfinished sentences. Using all these techniques Jacques Godbout has created a captivating text, fascinating especially by its disquieting dynamics.

The article aims to take a close look at the literary relations between English- and French-speaking Canada. Among different possibilities, the author analyzes specific cases concerning literary prizes, in particular winners of the Governor General’s Prize in the category of translation. As it is one of the most prestigious awards in Canada, it undoubtedly conditions the reception of a literary work, being a symbol of prestige. The choice of the jury can sometimes seem surprising or even confusing, as it was the case of Nancy Huston or Jacques Brault who won the prize in the category of translation. Without a doubt, the specificity of the translation à la canadienne goes beyond any distinctions and descriptions and – being also a political issue – revolts against all control and all interference.

Claude-Henri Grignon’s novel Un homme et son péché presents the life of French Canadian colonial settlers of the Laurentides region at the end of XIXth century. It depicts a realistic image of the colonisation period of Quebec history. The novel is at the origin of a media series that englobes a radio adaptation, three filmic adaptations, theater adaptations, a comic, and two television series. The aim of this article is to discuss the vision of colonisation by analysing two television series based on Un homme et son péché: Les Belles Histoires des pays d’en haut broadcast from 1956 to 1970 and Les Pays d’en haut broadcast from 2016 to 2019 on ICI Radio-Canada Télé 1. The analysis will try to trace modifications inherent to the process of adaptation on different levels (protagonists, representation of space, ideological discourse) and their influence on the vision of the colonisation period.

The aim of deportation and expulsion of the Acadians during the so-called Grand Dérangement, also known as the Great Upheaval, was to deprive them of their land, which is presented in their history and literature. The idea of space is in this case closely connected with the question of identity in Acadian literature. Not referring directly to the above-mentioned historical events, Garcia Couturier explores in her novelistic diptych the relation between identity and space. Although Couturier’s writing is largely based on categories which characterise Acadian literature, she is able to go beyond them in order to concentrate on individual identity and liberty. She also investigates metaphorical expulsion, which shows her desire for autonomy from tradition and underlines modern aspects of the two novels.
The aim of the article is therefore to examine the narrative representation of the space, its symbolic function and its role in shaping both individual and collective identity in Couturier’s novels.

This article aims to specify one method of descriptive analysis, which can be used in the epistemological framework of the Descriptive Translation Studies and the theory of the polysystem. The challenge is essentially to define the unit of analysis in relation to traditional translation methods (borrowing, tracing, literal translation, transposition, modulation, equivalence, adaptation), defined in 1958 by Jean-Paul Vinay and Jean Darbelnet. We aim to associate the comparative stylistics with polysystem theory on the descriptive studies of translation and to propose a method of qualitative and quantitative analysis on corpus of source and target texts. The method could be profitable especially for studies in the field of the history of translation (in the phase of “historical criticism” according to the taxonomy of the discipline formulated by A. Pym).

The study of Mauritian Literature and the environment from an interdisciplinary perspective arouses various concerns and questionings such as the protection of planet Earth, the relation between characterisation and natural settings, the nature-culture dichotomy and nature writing. The fictionalisation and poeticization of Mauritian and Indian Ocean islands’ natural spaces in Loys Masson’s novels depict both man as Nature’s saviour and Nature as man’s saviour, in such a way that Nature’s raison d’être becomes Literature and aesthetics. Nature exists because it will eventually turn into a Book. Born at the end of the 20th century in American universities and closely linked to geocriticism and ecopoetics, ecocriticism thus provides new insights into Masson’s novels while reviving traditional French philosophical thoughts by Jean-Jacques Rousseau or Michel Serres.