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Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From Renaissance collections to nineteenth-century print exhibitions, the "museumification" of literature calls for a redefinition of the traditional relationship between literature and books. Based on a sample of literary exhibitions in museums, this article examines the issues they bring to the fore on a period that extends from the end of the nineteenth century to today. It adopts a multidisciplinary approach to investigate the theoretical and practical underpinnings of the concomitant museumification of literature and books by observing the tensions that it creates on an institutional scale, both between libraries and museums and within certain literary paradigms (genres, "classics," etc.). This article thus explores the motivations that might explain the seemingly central place of the book in the literary exhibition as opposed to a multitude of objects a priori more spectacular. In this sense, the hyper-materiality of literature and its dissociation from the book (on which the very existence of the literary museum is paradoxically based) is the focus of detailed analysis here. The literary exhibition relies on the contextualization of the literary text and, especially in a time of emphasis on digital text, on its place in the history of the book. Museumification today tends to attribute additional value to literature that is on other platforms than paper as a way of adding a spectacular aspect to the exhibition. In this perspective, the contemporary "dematerialization" of the book poses an ultimate question - a question concerning digital literary collections and the use of digital platforms in the added value of literature. By facilitating and broadening the access to heritage, virtual exhibits (one example of the digital platform) offer the double advantage of protecting fragile collections and making their value more durable. They run the risk, however, of neutralizing the "aura" of paper books and the quest for tangible objects, which constitute the main reason for our society's attachment to paper books and the foundation of museums. [ABSTRACT FROM AUTHOR]

The article discusses papers presented at a conference series titled "Emerging Trends in Book History and Print Culture," hosted by students from the Groupe de recherches et d'études sur le livre au Québec (GRÉLQ) at the University of Sherbrooke and from the collaborative program in Book History and Print Culture (BHPC) at the University of Toronto. Topics of papers included the Québec gay militant periodical press and the representation of literature in museums.

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article announces that Canadian historian of medical print culture Jennifer J. Connor received the 2015 Marie Tremaine Medal and the Watters-Morley Prize by the Bibliographical Society of Canada for her scholarship.

The article reports on the presentation of the Marie-Tremaine Medal to Professor Pierre Hébert at the Bibliographic Society of Canada's annual conference at Brock University (Ontario) on May 26, 2014 and includes Hébert’s response to receiving the award. The medal recognizes the value of his research on books in Canada, particularly in the fields of publishing and censorship. It also provides an overview of his work and professional activities since the late 1980s.

This article analyzes two noteworthy examples of new theatre-related publishing practices in Quebec in the last decade: Robert Lepage, a pioneer of stage writing that makes use of sound, images and modern technology, and Wajdi Mouawad, an inheritor of Lepage's practices who embraces a more deliberate literary approach. Both offer crystallized moments of their shifting reflections as authors and men of the theatre with their respective works, Le projet Andersen and Seuls. These texts claim a unique authorial status for the authordirector, one that distances itself from traditional literature but that reclaims the book by reintroducing it into the multimedia arena of the contemporary stage. Complex, hypertextual, multimedia objects, their books extend the transcribed and reinvented show before us. Mouawad invites the reader to explore the origin of the show, following its fleeting (and fictional?) trace back through the phases of artistic genesis into the author's own psyche. Lepage indicates what happens behind the scenes and lays bare the theatrical machine. The two stage directors nevertheless seem to share an explicit or unavowed desire to find their voice as theatre authors through a polyphonic text. They solicit the help of a patient but by no means passive reader who, by reading the documents bequeathed to him, reconstructs the meaning of a stage writing that is both multifaceted and doomed to fade away. [ABSTRACT FROM AUTHOR]

In this article, the author analyzes the periodical Le Berdache (1979- 82), the official journal of the Association pour les droits des gai(e)s du Québec (ADGQ), an organization that fought for the legal and social recognition of homosexuals. While gay journals multiplied in Quebec after the publication of Le Tiers (1971-72), none enjoyed as much success and popularity as Le Berdache. The latter became a space for reflection and a tool to claim a gay identity, both individually and collectively. The journal was heavily politicized and attracted renowned collaborators such as Jean Basile, Jeanne d'Arc Jutras, and Pierre Vallières. This article reviews the ephemeral existence of Le Berdache, Le Petit Berdache (1983-86), and the bulletin À Propos (1986-87), as well as the causes that led to their disappearance. Following a short explanation of the context that led to the foundation of Le Berdache, and by examining its in-depth articles and editorials, the author throws into relief the central role played by the journal in the evolution of the gay liberation movement in Quebec. He then demonstrates that the withdrawal of the ADGQ from the printed press can be attributed to three important factors: first, its inability to represent homosexuals in rural areas, which led to its indictment as too Montreal-centred; second, the steady decline of activism at the beginning of the 1980s and the generational gap that heralded a younger generation of gays who were less concerned with political action; finally, the internal strife among the members of Le Berdache, who were divided between the production of an activist journal and the idea of a more commercial journal, one that would advocate gay lifestyles and contain articles that appealed to a wider public. In fact, the analysis of Le Berdache is the gateway to a theoretical reflection on the nature and problematic uses of the activist press, often torn between militant content and economic imperatives. [ABSTRACT FROM AUTHOR]

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article announces that professor Carole Green was awarded the Marie-Tremaine medal in 2013 at the annual meeting of the Société bibliographique du Canada on June 3 at the University of Victoria in Victoria, British Columbia.

Digital publishing is still in its infancy, but it is useful to relate what might be called the prologue to the history of digital publishing in French in Quebec. This article presents the actors who have contributed, and continue to contribute, to the transition from print to digital culture in Quebec. It offers a panoramic view of this transition in the various publishing genres from newspapers and magazines, to journals, books, theses, dictionaries, bibliographical databases, and legal texts. A typology of the actors working in these different genres emerges, comprising publisher, aggregator (general or specialist), distributor, production technician, retailer, and librarian. The builders of Quebec's digital publishing milieu are acknowledged through brief descriptions of their projects and enterprises. Many of them have displayed a notable capacity to engage in the development of new models for the production and diffusion of culture and research. The quality of their products, services, and expertise has been recognized several times over through international partnerships and co-operative ventures. [ABSTRACT FROM AUTHOR]

The article announces that Professor Marcel Lajeunesse received the 2012 Marie Tremaine Medal and Watters-Morley Prize, which was presented to him in writing by Julie Frédette and read by Isabelle Robitaille at the May 28, 2012 Annual Meeting of the Bibliographical Society of Canada at the University of Waterloo (Waterloo, Ontario).

The article reviews issues 2009 and 2010 of the annual periodical "Revue de Bibliothèque et Archives nationales du Québec," directed and edited by Sophie Montreuil, which is also available online at http://www.banq.qc.ca/a_propos_banq/publications/ revue_banq/index.html.

The article presents a speech given by president of the Bibliographic Society of Canada Anne Dondertman, written by Julie Frédette, during its annual general assembly in Fredericton, New Brunswick, on May 30, 2011, in which she honors historian, librarian, and library and information science professor Peter F. MacNally who was awarded the Marie Tremaine Medal and Watters-Morley Prize for his contribution to Canadian bibliography. McNally's speech in response to Dondertman's address is also included.

Like the text books they complement, dictionaries are widely used tools in schools. This article examines which dictionaries were authorised for use in schools from 1880 to 1960 by the Department of Public Instruction, the definitive authority for education in Quebec in the absence of a government department, and what use was made of them. During the period examined in this study, dictionaries had to receive endorsement, in the same manner as all text books for francophone public schools, from the Catholic Committee of the Council of Public Instruction, which was comprised half of Catholic bishops from Quebec and the other half from the Catholic laity. Text books and dictionaries were subjected to the meticulous and critical examination of the clerical authorities, who had the text modified or removed illustrations that did not seem to conform to orthodoxy in their eyes before granting their approval. Even though other dictionaries were circulating in Quebec, notably those of the publishers Mame, Quillet-Flammarion, and Hatier, it is the Larousse dictionary, particularly the Dictionnaire complet de la langue française with Canadian supplement, that dominated the period and that made the Montreal publisher Beauchemin its fortune. This study shows that the imported French book could only be distributed in Quebec and in Canada as long as the content met the moral standards of the Catholic Committee of the Council of Public Instruction. [ABSTRACT FROM AUTHOR]

The article presents a speech by Randall Speller, on the ocasion of the annual congress of the bibliographic Canadian society (Société bibliographique du Canada) held in Toronto, Ontario, on June 24, 2009, in which he discussed the winning of the Marie-Tremaine medal and Watters-Morley prize by George L. Parker, provided information on Parker's career, and praised his work as a researcher about the printing industry in Canada. The speech of response by Parker is also included in this article.

The study of the importation and use of children's books in Canada from 1840 to 1850 that were published in France by Maine, a Catholic publisher, offers a window on social and cultural history. Three groups took responsibility for disseminating these works: the Church, mainly through the intermediary of the Sulcipians; the liberal bookstore Fabre, supplier both to churches and to liberals who used them for matters not related to religion; and finally the state, through its efforts (particularly by P.J.O. Chauveau) to ensure that schools convey a common culture and an outlook on the modern world. Books published by Manic were at the heart of these efforts and served an evolving society that did not want to be bound to the Church — but only after passing through a methodical governmental selection process. Thus the little Manic books, in their polymorphic uses, escaped the culture of Catholicism and reveal tensions that existed at the core of Canadian society. [ABSTRACT FROM AUTHOR]