{"id":4076,"date":"2021-06-23T16:00:56","date_gmt":"2021-06-23T14:00:56","guid":{"rendered":"https:\/\/wp.unil.ch\/metis\/?p=4076"},"modified":"2021-06-23T16:00:58","modified_gmt":"2021-06-23T14:00:58","slug":"appel-a-communications-les-annees%e2%80%af1920-au-quebec%e2%80%af-reconfiguration-de-lespace-culturel-et-nouvelles-modelisations-litteraires-artistiques-et-mediatiques","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/metis\/2021\/06\/appel-a-communications-les-annees%e2%80%af1920-au-quebec%e2%80%af-reconfiguration-de-lespace-culturel-et-nouvelles-modelisations-litteraires-artistiques-et-mediatiques\/","title":{"rendered":"Appel \u00e0 communications | Les ann\u00e9es\u202f1920 au Qu\u00e9bec\u202f : reconfiguration de l\u2019espace culturel et nouvelles mod\u00e9lisations litt\u00e9raires, artistiques et m\u00e9diatiques"},"content":{"rendered":"

\"\"<\/a>Les ann\u00e9es\u202f1920 au Qu\u00e9bec\u202f :\u00a0<\/strong>reconfiguration de l\u2019espace culturel et nouvelles mod\u00e9lisations litt\u00e9raires, artistiques et m\u00e9diatiques<\/strong><\/p>\n

Universit\u00e9 de Montr\u00e9al\u00a0<\/strong><\/p>\n

Les 10 et 11\u202fmars 2022<\/strong><\/p>\n

\u00c9ch\u00e9ance des propositions : 5 juillet 2021<\/strong><\/p>\n

English version follows.<\/em><\/p>\n

Organis\u00e9 par\u00a0St\u00e9phanie Bernier<\/strong>\u00a0(CRILCQ-Universit\u00e9 de Montr\u00e9al),\u00a0Vanessa Blais-Tremblay<\/strong>\u00a0(CRILCQ-Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, IREF),\u00a0Caroline Loranger<\/strong>(CRILCQ-Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al) et\u00a0Adrien Rannaud<\/strong>\u00a0(Universit\u00e9 de Toronto), dans le cadre des 60e journ\u00e9es d\u2019\u00e9tude de l\u2019Association qu\u00e9b\u00e9coise pour l\u2019\u00e9tude de l\u2019imprim\u00e9 (AQ\u00c9I).<\/p>\n

Il est devenu courant de voir s\u2019\u00e9tablir, dans le discours public, un parall\u00e8le entre l\u2019\u00e9poque contemporaine, marqu\u00e9e par l\u2019actuelle pand\u00e9mie de COVID-19, et la d\u00e9cennie\u202f1920, au sortir de l\u2019\u00e9pid\u00e9mie de grippe espagnole de 1918-1919. Si une telle comparaison appelle assur\u00e9ment son lot de nuances (Chabot, 2021), force est cependant de constater que l\u2019espoir des lendemains qui chantent marque aussi le retour d\u2019un imaginaire des \u00ab\u202fann\u00e9es folles\u202f\u00bb dans le discours public, chrononyme d\u00e9signant une p\u00e9riode caract\u00e9ris\u00e9e par un relatif essor \u00e9conomique, une effervescence sur le plan de la cr\u00e9ation artistique et culturelle, mais \u00e9galement durant laquelle germent d\u00e9j\u00e0 les inqui\u00e9tudes qui \u00e9clateront au grand jour, au lendemain de la crise \u00e9conomique de 1929.<\/p>\n

Profitant de cette r\u00e9surgence des \u00ab\u202fann\u00e9es folles\u202f\u00bb dans l\u2019imaginaire collectif actuel, le pr\u00e9sent colloque invite les chercheurs et chercheuses en \u00e9tudes litt\u00e9raires et culturelles \u00e0 revisiter la d\u00e9cennie\u202f1920 au Qu\u00e9bec. Cet \u00e9v\u00e9nement s\u2019inscrit dans la foul\u00e9e des travaux du collectif\u00a0La vie litt\u00e9raire au Qu\u00e9bec<\/em>\u00a0(Saint-Jacques et Robert [dir.], 2010), et des chantiers engag\u00e9s autour de l\u2019histoire de la vie culturelle (Cambron [dir.], 2012; Lefebvre, 2016), qui ont montr\u00e9 que les ann\u00e9es\u202f1920 sont empreintes d\u2019un sentiment g\u00e9n\u00e9ral, analogue \u00e0 celui que nous connaissons aujourd\u2019hui\u202f: l\u2019impression de faire l\u2019exp\u00e9rience d\u2019un monde nouveau. Profond\u00e9ment marqu\u00e9e par le conflit mondial, la d\u00e9mocratisation de l\u2019acc\u00e8s aux nouveaux m\u00e9dias (cin\u00e9ma sonore, radio, gramophone), le d\u00e9veloppement de l\u2019industrie du divertissement et par une red\u00e9finition de la culture dans son ensemble, la d\u00e9cennie\u202f1920 est celle du renouveau et de l\u2019innovation. La presse, qui entame une p\u00e9riode de maturation in\u00e9dite \u00e0 cette \u00e9poque, acc\u00e9l\u00e8re la circulation d\u2019autres modes d\u2019expression dans l\u2019espace social et participe \u00e0 leur implantation (Cambron et al. [dir.], 2018). Au m\u00eame moment, le syst\u00e8me \u00e9ditorial professionnel se complexifie et permet de rejoindre des lectorats et des publics de plus en plus diversifi\u00e9s (Michon, 1999).<\/p>\n

Cet \u00e9lan original de stratification de l\u2019espace culturel \u2014 ici entendu comme le champ global des pratiques litt\u00e9raires et artistiques \u2014 est corr\u00e9l\u00e9 \u00e0 des tentatives de reconfiguration \u00e0 l\u2019\u0153uvre dans les productions culturelles et m\u00e9diatiques, causant des frictions entre le local et le mondialis\u00e9 qui auront des cons\u00e9quences majeures sur les discours artistiques, mais aussi sur les positions des acteurs et actrices dans le champ. Parmi les facteurs de red\u00e9finition de la sc\u00e8ne culturelle des ann\u00e9es 1920, on retiendra l\u2019implication de la communaut\u00e9 gaie dans les th\u00e9\u00e2tres et les cin\u00e9mas (Dagenais, 2017), le r\u00f4le de la communaut\u00e9 Noire dans le d\u00e9veloppement d\u2019une sc\u00e8ne jazz en effervescence \u00e0 Montr\u00e9al, et le lancement de la carri\u00e8re de Mary Travers (La Bolduc), consid\u00e9r\u00e9e comme la premi\u00e8re autrice-compositrice-interpr\u00e8te populaire au Qu\u00e9bec. La visibilit\u00e9 des femmes en tant que productrices et r\u00e9ceptrices d\u2019un discours culturel (Savoie, 2014), l\u2019apparition d\u2019une nouvelle g\u00e9n\u00e9ration litt\u00e9raire tourn\u00e9e vers l\u2019individualisme (Robert, 1989), l\u2019amorce d\u2019un \u00ab\u202f\u00e2ge de la critique\u202f\u00bb (H\u00e9bert [dir.], 1992; Cellard et Lambert [dir.], 2018), la circulation transfrontali\u00e8re accrue des artistes et des \u0153uvres musicales (P. Bouliane, 2015), ainsi que les cons\u00e9quences des \u00ab\u202fretours d\u2019Europe\u202f\u00bb (Lacroix, 2014) forment \u00e9galement des ph\u00e9nom\u00e8nes dont on a souvent saisi l\u2019importance structurelle dans la d\u00e9cennie\u202f1930, cette \u00ab\u202fpremi\u00e8re R\u00e9volution tranquille\u202f\u00bb au Qu\u00e9bec (Dumont, 1978), mais sans parfois prendre acte que la premi\u00e8re moiti\u00e9 de l\u2019entre-deux-guerres constituait d\u00e9j\u00e0 le cadre de r\u00e9alisation de plusieurs de ces processus.<\/p>\n

Cent ans plus tard, le colloque\u00a0\u00ab\u202fLes ann\u00e9es 1920\u202fau Qu\u00e9bec\u00a0: reconfiguration de l\u2019espace culturel et nouvelles mod\u00e9lisations litt\u00e9raires, artistiques et m\u00e9diatiques\u202f\u00bb<\/strong>\u00a0souhaite justement approfondir notre connaissance et notre compr\u00e9hension de la d\u00e9cennie\u202f1920 dans le cadre d\u2019une histoire int\u00e9gr\u00e9e des pratiques litt\u00e9raires, artistiques et m\u00e9diatiques au Qu\u00e9bec. Nous posons l\u2019hypoth\u00e8se que l\u2019arriv\u00e9e de technologies m\u00e9diatiques novatrices, l\u2019\u00e9largissement et la diversification des publics, et la mise en place de nouveaux rapports de concurrence, de compl\u00e9mentarit\u00e9 et de subordination entre les diff\u00e9rentes instances de production, de m\u00e9diation et de r\u00e9ception forment les trames principales de la red\u00e9finition du champ culturel au Qu\u00e9bec dans les ann\u00e9es\u202f1920. Comment s\u2019op\u00e8rent ces transformations, selon quelles modalit\u00e9s de n\u00e9gociation \u00e9conomique, esth\u00e9tique ou politique? Quels impacts ont-elles sur les pratiques d\u2019\u00e9criture et de cr\u00e9ation artistique, ainsi que sur les trajectoires individuelles et collectives des divers agents culturels? Comment la nouvelle phase de mondialisation et le regain d\u2019int\u00e9r\u00eat pour les pratiques folkloriques que conna\u00eet l\u2019Occident dans les ann\u00e9es\u202f1920 se traduisent-ils dans le contexte culturel du Qu\u00e9bec francophone et anglophone, urbain et rural, autochtone et immigrant?<\/p>\n

C\u2019est dans le sillage de ces r\u00e9flexions que nous sollicitons des propositions portant sur le corpus qu\u00e9b\u00e9cois et issues des \u00e9tudes litt\u00e9raires et culturelles. Nous cherchons ici \u00e0 renouer avec l\u2019un des mandats de l\u2019\u00e9quipe \u00ab\u202fPenser l\u2019histoire de la vie culturelle\u202f\u00bb, celui de l\u2019interdisciplinarit\u00e9 et de la mise en commun des savoirs historiques li\u00e9s \u00e0 la litt\u00e9rature, aux arts et \u00e0 la culture. C\u2019est \u00e0 la lumi\u00e8re de ces \u00e9changes entre diff\u00e9rents et diff\u00e9rentes sp\u00e9cialistes que nous esp\u00e9rons saisir, de fa\u00e7on vaste et appuy\u00e9e, la sp\u00e9cificit\u00e9 de la vie litt\u00e9raire, artistique et culturelle au Qu\u00e9bec et ses variations dans le contexte des \u00ab\u202fann\u00e9es folles\u202f\u00bb.<\/p>\n

Les sujets suivants pourraient \u00eatre abord\u00e9s, sans s\u2019y restreindre\u202f:<\/p>\n

La transformation des trajectoires litt\u00e9raires, artistiques et culturelles dans les \u00ab\u202fann\u00e9es folles\u202f\u00bb\u202f: les repositionnements et les nouvelles strat\u00e9gies d\u2019acquisition et de p\u00e9rennisation d\u2019un capital symbolique\/culturel\/de visibilit\u00e9 au croisement de diff\u00e9rents champs de forces (l\u00e9gitimit\u00e9, acceptabilit\u00e9, popularit\u00e9)<\/p>\n

Perceptions, accueils et refus d\u2019un \u00ab\u202fnouveau monde\u202f\u00bb\u202f: les traces d\u2019une modernit\u00e9 en construction<\/p>\n

Transitions et transformations de la sc\u00e8ne culturelle par le biais des nouveaux m\u00e9dias (cin\u00e9ma sonore, radio, enregistrement sur disque)<\/p>\n

Gouvernance culturelle, pratiques artistiques sous-culturelles et contestataires<\/p>\n

Explorations de nouvelles avenues litt\u00e9raires (g\u00e9n\u00e9riques, th\u00e9matiques, esth\u00e9tiques) et n\u00e9gociations au sein d\u2019un espace de libert\u00e9 surveill\u00e9e<\/p>\n

La configuration d\u2019une francophonie nord-am\u00e9ricaine en r\u00e9seaux\u202f: les propositions mettant en lumi\u00e8re les \u00e9changes et flux entre les milieux litt\u00e9raires, artistiques et culturels qu\u00e9b\u00e9cois et ceux de la francophonie canadienne (Ontario, Ouest) et am\u00e9ricaine (Nouvelle-Angleterre) sont les bienvenues.<\/p>\n

Les propositions de communications en fran\u00e7ais ou en anglais, comprenant un r\u00e9sum\u00e9 d\u2019environ 250\u202fmots ainsi qu\u2019une courte notice biographique, devront parvenir \u00e0 Caroline Loranger (<loranger.caroline@courrier.uqam.ca>) par courriel d\u2019ici le\u00a05 juillet 2021<\/strong>. Les personnes dont les propositions seront retenues devront \u00eatre membres de l\u2019AQ\u00c9I au moment du colloque.<\/p>\n

Call for papers<\/em><\/p>\n

The 1920s: Reconfiguration of Cultural Space and New Models for Understanding Literary, Artistic and Media Production in Quebec<\/strong><\/p>\n

Universit\u00e9 de Montr\u00e9al<\/p>\n

March 10-11, 2022<\/p>\n

Organized by\u00a0St\u00e9phanie Bernier<\/strong>\u00a0(CRILCQ-Universit\u00e9 de Montr\u00e9al),\u00a0Vanessa Blais-Tremblay<\/strong>\u00a0(CRILCQ-Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, IREF),\u00a0Caroline Loranger<\/strong>\u00a0(CRILCQ-Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al) and\u00a0Adrien Rannaud<\/strong>(University of Toronto) as part of the 60th Journ\u00e9es d\u2019\u00e9tude de l\u2019Association qu\u00e9b\u00e9coise pour l\u2019\u00e9tude de l\u2019imprim\u00e9 (AQ\u00c9I).<\/p>\n

Parallels between the contemporary era, marked by the COVID-19 pandemic, and the \u00ab\u00a0Roaring Twenties\u201d which followed the Spanish flu epidemic of 1918-1919, can be heard with increasing frequency as the current sanitary crisis wears on. While such a comparison certainly calls for its share of nuances (Chabot, 2021), it is a similar longing for brighter days ahead that marks the return of the \u00ab\u00a0Roaring Twenties\u00a0\u00bb in public imagination\u2014a chrononym designating a period characterized by significant economic, artistic and cultural effervescence on the one hand, but also one which gave rise to concerns that unfolded in the wake of the economic crisis of 1929.<\/p>\n

Taking advantage of the resurgence of the \u00ab\u00a0Roaring Twenties\u00a0\u00bb in public discourse, the present conference invites researchers in literary and cultural studies to revisit the 1920s in Quebec. This event builds on the work of the\u00a0La vie litt\u00e9raire au Qu\u00e9bec<\/em>collective (Saint-Jacques and Robert [ed.], 2010) as well as on research on the history of cultural life in Quebec (Cambron [ed.], 2012; Lefebvre, 2016), which have shown that the 1920s were marked by a general feeling that is similar to the one we know today:\u00a0the impression of experiencing a new world<\/em>. Profoundly marked by world conflict, the democratization of access to new media (sound cinema, radio, gramophone), the development of the entertainment industry and the process of redefining culture as a whole, the 1920s decade is the one of revival, rethinking and innovation. The press, which began a period of unprecedented growth at that time, accelerated the circulation of other modes of expression in the social space and participated in their implementation (Cambron and al. [ed.], 2018). At the same time, the professional editorial system became more complex, which permitted the reach of a more diversified readership and public (Michon, 1999).<\/p>\n

This new stratification of the cultural space \u2013 understood here as the global field of literary and artistic practices \u2013 is correlated with attempts to reconfigurate cultural and media productions, which caused frictions between the local and the globalized that will not only have major consequences on artistic discourses but also on the positions of actors in the field. Among the factors redefining the cultural scene of the 1920s in Quebec, we note the involvement of the gay community in theaters and cinemas (Dagenais, 2017), the role of the Black community in the development of a burgeoning jazz scene in Montreal, and the launch of Mary Travers\u2019s career (La Bolduc), considered the first woman popular singer-songwriter in Quebec. The visibility of women as producers and receivers of cultural discourse (Savoie, 2014), the emergence of a new literary generation oriented toward individualism (Robert, 1989), the beginning of an \u00ab\u00a0age of criticism\u00a0\u00bb (H\u00e9bert [ed.], 1992; Cellard and Lambert [ed.], 2018), the increased cross-border circulation of artists and musical works (P. Bouliane, 2015) and the consequences of \u00ab\u00a0returns from Europe\u00a0\u00bb (Lacroix, 2014) also form phenomena whose structural importance has often been grasped in the 1930s, that \u00ab\u00a0first Quiet Revolution\u00a0\u00bb in Quebec (Dumont, 1978), but without sometimes acknowledging that the first half of the interwar period already constituted the framework for the realization of many of these processes.<\/p>\n

One hundred years later, the colloquium\u00a0\u00ab\u00a0The 1920s: Reconfiguration of Cultural Space and New Models for Understanding Literary, Artistic and Media Production in Quebec\u00a0\u00bb<\/strong>\u00a0aims to deepen our understanding of the 1920s within the framework of an integrated history of literary, artistic and media practices in Quebec. We hypothesize that widened access to new media, the enlargement and diversification of audiences, and the establishment of new relationships of competition, complementarity and subordination between the different instances of production, mediation and reception, form the main framework for the redefinition of the cultural field in Quebec in the 1920s. How did these transformations take place? According to which modalities of economic, aesthetic or political negotiation? What impact did they have on artistic activity, as well as on the individual and collective trajectories of various cultural agents? How was the new phase of globalization and the renewed interest in folklorein the West in the 1920s reflected in the cultural context of francophone and anglophone, urban and rural, indigenous and immigrant communities in Quebec?<\/p>\n

It is in the wake of these reflections that we are soliciting proposals on Quebec arts and culture in the 1920s in a way that seeks to revive the interdisciplinary mandate of the \u00ab\u00a0Penser l\u2019histoire de la vie culturelle\u00a0\u00bb team. In light of these exchanges, we hope to grasp the specificity of literary, artistic and cultural life in Quebec across a broad range of practices during the \u00ab\u00a0Roaring Twenties\u201d.<\/p>\n

The following topics could be addressed, without being restricted to them:<\/p>\n

The transformation of literary, artistic and cultural trajectories in the \u00ab\u00a0Roaring Twenties\u00a0\u00bb: repositioning and new strategies of acquisition; perpetuation of a symbolic\/cultural\/visibility capital at the crossroads of different fields of forces (legitimacy, acceptability, popularity)<\/p>\n

Perceptions, reception and refusal of a \u00ab\u00a0new world\u00a0\u00bb\u00a0; tug-of-war for modernity\u2019s meanings<\/p>\n

Transitions and transformations of the cultural scene through new media (sound cinema, radio, recording)<\/p>\n

Cultural governance, subcultural and protest-related artistic practices<\/p>\n

Explorations of new artistic and literary avenues (generic, thematic, aesthetic) and negotiation within a space of controlled freedom<\/p>\n

The configuration of a North American francophonie in networks: proposals highlighting the exchanges and circuits between the literary, artistic and cultural francophonie of Quebec, of the ROC (Ontario, the West, etc.), of the United-States (New England) and others are welcome.<\/p>\n

Those interested in submitting a paper (in French or in English) are invited to send an abstract (250 words) and a short biography to Caroline Loranger (<loranger.caroline@courrier.uqam.ca>) by\u00a0July 5th, 2021<\/strong>. Those whose proposals are accepted must be members of the AQ\u00c9I at the time of the conference.<\/p>\n

R\u00e9f\u00e9rences<\/strong><\/p>\n

CAMBRON, Micheline [dir.] (2012), dossier \u00ab\u202fL\u2019indiscipline de la culture\u202f\u00bb,\u00a0Globe. Revue internationale d\u2019\u00e9tudes qu\u00e9b\u00e9coises<\/em>, vol.\u202f15, n\u00b0\u202f1-2, p.\u202f13-382.<\/p>\n

CAMBRON, Micheline, Myriam C\u00d4T\u00c9 et Alex GAGNON [dir.] (2018),\u00a0Les journaux qu\u00e9b\u00e9cois d\u2019une guerre \u00e0 l\u2019autre. Deux \u00e9tats de la vie culturelle qu\u00e9b\u00e9coise au\u00a0<\/em>xx<\/em>e<\/em>\u202fsi\u00e8cle<\/em>, Qu\u00e9bec, Codicille, coll.\u202f\u00ab\u202fPremi\u00e8res approches\u202f\u00bb, 380\u202fp.<\/p>\n

CELLARD, Karine et Vincent LAMBERT [dir.] (2018),\u202fEspaces critiques. \u00c9crire sur la litt\u00e9rature et les autres arts au Qu\u00e9bec (1920-1960)<\/em>, Qu\u00e9bec, Presses de l\u2019Universit\u00e9 Laval, coll.\u202f\u00ab\u202fCultures qu\u00e9b\u00e9coises\u202f\u00bb, 394\u202fp.<\/p>\n

CHABOT, Simon (2021), \u00ab\u202f\u00c0 nous d\u2019\u00e9crire l\u2019histoire\u202f\u00bb,\u00a0La Presse<\/em>, 28\u202ff\u00e9vrier, [en ligne], https:\/\/www.lapresse.ca\/societe\/2021-02-28\/un-an-de-pandemie\/apres-la-pandemie-le-beau-temps.php (consult\u00e9 le 5\u202fmars 2021).<\/p>\n

DAGENAIS, Dominic (2017),\u00a0Culture urbaine et homosexualit\u00e9\u00a0: pratiques et identit\u00e9s homosexuelles \u00e0 Montr\u00e9al, 1880-1929<\/em>, th\u00e8se de doctorat, Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, 403 p.<\/p>\n

DUMONT, Fernand (1978), \u00ab\u202fLes ann\u00e9es\u202f30. La premi\u00e8re R\u00e9volution tranquille\u202f\u00bb,\u00a0Id\u00e9ologies au Canada fran\u00e7ais\u202f1900-1939<\/em>, Qu\u00e9bec, Presses de l\u2019Universit\u00e9 Laval, p.\u202f1-20.<\/p>\n

H\u00c9BERT, Pierre [dir.] (1992), dossier \u00ab\u202fL\u2019\u00e2ge de la critique\u202f1920-1940\u00a0\u00bb,\u00a0Voix et images<\/em>, vol. 17, n\u00b0 2, p. 166-247.<\/p>\n

LACROIX, Michel (2014),\u00a0L\u2019invention du retour d\u2019Europe. R\u00e9seaux transatlantiques et transferts culturels au d\u00e9but du\u00a0<\/em>xx<\/em>e<\/em>\u202fsi\u00e8cle<\/em>, Qu\u00e9bec, Presses de l\u2019Universit\u00e9 Laval, coll.\u202f\u00ab\u202fCultures qu\u00e9b\u00e9coises\u202f\u00bb, 348\u202fp.<\/p>\n

LEFEBVRE, Marie-Th\u00e9r\u00e8se [dir.] (2016),\u00a0Chroniques des arts de la sc\u00e8ne \u00e0 Montr\u00e9al durant l\u2019entre-deux-guerres. Danse, th\u00e9\u00e2tre, musique<\/em>, Qu\u00e9bec, Septentrion, coll.\u202f\u00ab\u202fCahiers des Am\u00e9riques\u202f\u00bb, 323\u202fp.<\/p>\n

MICHON, Jacques [dir.] (1999),\u00a0Histoire de l\u2019\u00e9dition litt\u00e9raire au Qu\u00e9bec au\u00a0<\/em>xx<\/em>e<\/em>\u202fsi\u00e8cle, t.\u202f1\u202f: La naissance de l\u2019\u00e9diteur, 1900-1939<\/em>, Montr\u00e9al, Fides, 488\u202fp.<\/p>\n

P. BOULIANE, Sandria (2015), \u00ab\u00a0Introduction au dossier\u00a0: Vie musicale amateur, populaire et am\u00e9ricaine \u00e0 Montr\u00e9al, 1918-1958\u00a0\u00bb.\u00a0Mens. Revue d\u2019histoire intellectuelle et culturelle<\/em>, vol. 16, n\u00b0 1 (automne), p. 7-20.<\/p>\n

ROBERT, Lucie (1989),\u00a0L\u2019institution du litt\u00e9raire au Qu\u00e9bec<\/em>, Qu\u00e9bec, Presses de l\u2019Universit\u00e9 Laval, coll. \u00ab\u202fVie des lettres qu\u00e9b\u00e9coises\u202f\u00bb, 272\u202fp.<\/p>\n

SAINT-JACQUES, Denis et Lucie ROBERT [dir.] (2010),\u00a0La vie litt\u00e9raire au Qu\u00e9bec, t.\u202f6\u202f: Le nationaliste, l\u2019individualiste et le marchand, 1919-1933<\/em>, Qu\u00e9bec, Presses de l\u2019Universit\u00e9 Laval, 748\u202fp.<\/p>\n

SAVOIE, Chantal (2014),\u00a0Les femmes de lettres canadiennes-fran\u00e7aises au tournant du\u00a0<\/em>xx<\/em>e<\/em>\u202fsi\u00e8cle<\/em>, Montr\u00e9al, Nota Bene, coll. \u00ab\u202fEssais critiques\u202f\u00bb, 243\u202fp.<\/p>\n","protected":false},"excerpt":{"rendered":"

Les ann\u00e9es\u202f1920 au Qu\u00e9bec\u202f :\u00a0reconfiguration de l\u2019espace culturel et nouvelles mod\u00e9lisations litt\u00e9raires, artistiques et m\u00e9diatiques Universit\u00e9 de Montr\u00e9al\u00a0 Les 10 et 11\u202fmars 2022 \u00c9ch\u00e9ance des propositions : 5 juillet 2021<\/p>\n","protected":false},"author":1001537,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[65],"tags":[],"class_list":["post-4076","post","type-post","status-publish","format-standard","category-appels-a-communication"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/4076","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/users\/1001537"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/comments?post=4076"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/4076\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/media?parent=4076"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/categories?post=4076"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/tags?post=4076"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}