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<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span style="font-size:12.0pt"
class="" lang="EN-US">Call for Papers<o:p class=""></o:p></span></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><i class=""><span
style="font-size:12.0pt" class="" lang="EN-US">Theatre
Research in Canada/Recherches théâtrales au
Canada<o:p class=""></o:p></span></i></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span style="font-size:12.0pt"
class="" lang="EN-US">Special Issue on <i class="">Festivals<o:p
class=""></o:p></i> <br>
</span></b></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">It has been
thirteen years since the last special issue of a journal
was produced on the
topic of Festivals (<i class="">Contemporary Theatre
Review </i>13.4, in 2003). Yet it remains true that, as
Karen Fricker argued in
that issue, ““Festivals are a complex, and undertheorized,
field within theatre
studies. </span><span
style="font-size:12.0pt;mso-fareast-language:
EN-CA" class="" lang="EN-US">They are a crucially
important site for the production, distribution and
reception of theatre productions on local, national and
international levels,
and yet little work has been done within the academy to
analyze the ways that
contemporary festivals function, and the meanings they
contain and disseminate.</span><span
style="font-size:12.0pt" class="" lang="EN-US">” <o:p
class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">In that
time the
numbers and kinds of festivals within Canada and
internationally has increased
exponentially, and events that used merely to be events
have become
“festivalized”—structured, marketed, and promoted in ways
that stress brand
identities, urban centres as tourist destinations, and the
corporate attractiveness
of “creative cities,” all participating in the
“eventification” of culture.
These corporate, municipal, and state practices and the
critical literature
supporting them have paid less attention to the actual
content and impact of
international festivals that draw from and represent
multiple cultures and
cultural forms, or to what roles festivals play in one of
the most urgent
processes of our times: intercultural communication and
exchange.<o:p class=""></o:p> <br>
</span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Meanwhile,
a new
kind of festival has emerged, in which small intercultural
theatre and
performance companies such as Aluna Theatre in Toronto, MT
Space Theatre in
Kitchener, and the Prismatic Festival in Halifax, largely
bypass diplomatic
brokerage and stage festivals that are explicitly focused
on the intercultural,
and in the relationships among the local and the
transnational. Such festivals
avoid the large festival phenomenon in which participants
arrive, mount their
own shows, and leave, often without even seeing anyone
else’s work much less
engaging in cross-cultural dialogue. At small-scale,
ground-up events such as
Aluna’s Panamerican Routes/RUTAS panamericanas and MT
Space’s IMPACT, the
conferences, colloquia, and workshops, as sites of
intercultural negotiation
and exchange, are at least as important as the shows. <o:p
class=""></o:p> <br>
</span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Submissions
are
invited in English or French for a special issue of <i
class="">Theatre Research in Canada/Recherches
théâtrales au Canada</i> that
focus on festivals, “festivalization,” and their roles in
relationship to
inter- and intracultural as well as interdisciplinary and
aesthetic exchange. Submissions
are welcome on individual festivals such as Vancouver’s
PuSH, or Talking Stick;
Calgary’s High Performance Rodeo; Kitchener’s IMPACT;
Toronto’s Panamerican
Routes/RUTAS Panamericanas, Summerworks, Nuit Blanche, or
Luminato; Montreal’s
Festival TransAmérique or Montréal Complètement Cirque;
Halifax’s Prismatic;
St. John’s’ Sound Symposium, or any others. Submissions
would also be welcome
on local small and emergent festivals, on fringe
festivals, or on festival
circuits or individual artists or productions working
those circuits, as would
submissions taking a comparative approach. <o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Possible
topics might include, but are not limited to:<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"
style="margin-left:67.5pt;text-indent:-31.5pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
as sites of tension between the
local and global and sites of (unequal?) negotiation
between cultures and
cultural forms<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"
style="margin-left:67.5pt;text-indent:-31.5pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">The impact
of globalization, urban
promotional discourses such as “creative city” theory, and
branding on the ways
in which trans- and intercultural negotiations are framed
and practiced at festivals<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">The
phenomenon of “the festival city”<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">New play
development festivals<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Canadian
participation at festivals internationally<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
and Indigenous performance<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals,
gender, and sexuality<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
and municipal governance and promotion<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
and urban or rural space<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
as tourist destinations<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
and “Place Myths”<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">“Festivalization”
and the “eventification” of culture<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Festivals
as sites of aesthetic and
(inter)disciplinary experimentation<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">The funding
and sponsorship of festivals<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Submissions
of up
to 7000 words, using the third edition of the <i class="">MLA
Style Manual </i>and including an abstract and brief
biographical
note should be sent by 1 November 2017, by email
attachment, to:<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="margin-left:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">Ric
Knowles, guest editor, at </span><span class=""
lang="EN-US"><a moz-do-not-send="true"
href="mailto:rknowles@uoguelph.ca" class=""><span
style="font-size:12.0pt" class="">rknowles@uoguelph.ca</span></a></span><i
class=""><span style="font-size:12.0pt" class=""
lang="EN-US">, </span></i><span
style="font-size:12.0pt" class="" lang="EN-US">copied to
the <i class="">TRiC </i>editorial office at </span><span
class="" lang="EN-US"><a moz-do-not-send="true"
href="mailto:tric.rtac@utoronto.ca" class=""><span
style="font-size:12.0pt;color:blue" class="">tric.rtac@utoronto.ca</span></a></span><span
style="font-size:12.0pt" class="" lang="EN-US"><o:p
class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">(For
details
submission guidelines see </span><span class=""
lang="EN-US"><a moz-do-not-send="true"
href="http://tricrtac.ca/en/for-authors/" class=""><span
style="font-size:12.0pt" class="">http://tricrtac.ca/en/for-authors/</span></a></span><span
style="font-size:12.0pt" class="" lang="EN-US"> )<o:p
class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">The issue
is
scheduled to appear in <b>May 2019.</b><o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> ----</span></font></p>
<font size="-2">
<span
style="font-size:12.0pt;line-height:115%;font-family:"Times
New Roman";
mso-fareast-font-family:"Times New
Roman";mso-ansi-language:EN-US;mso-fareast-language:
EN-US;mso-bidi-language:AR-SA" class="" lang="EN-US"><br
style="mso-special-character:line-break;
page-break-before:always" class="" clear="all">
</span></font>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">Appel
à contributions<o:p class=""></o:p></span></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><i class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">Recherches théâtrales au
Canada / Theatre Research in Canada<o:p class=""></o:p></span></i></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">Numéro
thématique : Pleins feux sur les festivals<o:p class=""></o:p></span></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">À
paraître sous la direction de Ric Knowles<i class=""><o:p
class=""></o:p></i></span></b></font></p>
<p class="MsoNormal" style="text-align:center" align="center"><font
size="-2"><b class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA"> </span></b></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">Treize ans se sont écoulés
depuis la dernière fois qu’une revue a
consacré un numéro au thème des festivals (<i class="">Contemporary
Theatre Review </i>13.4, en 2003). Or, il reste vrai
que, comme l’a fait valoir
Karen Fricker dans ce numéro de CTR, « les festivals sont
un sujet
complexe et peu théorisé dans le domaine des études
théâtrales. Ce sont des
sites d’une importance cruciale pour la production, la
distribution et la
réception de productions théâtrales à l’échelle locale,
nationale et
internationale, et pourtant, peu de chercheurs ont analysé
le fonctionnement
des festivals contemporains et les significations qu’ils
contiennent et qu’ils
diffusent. »<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">Nous assistons ces dernières
années à une multiplication et à une
diversification exponentielles de festivals organisés au
Canada et à l’échelle
internationale. Des manifestations qui étaient autrefois
de simples événements
ont été « festivalisées » et sont maintenant structurées,
commercialisées et promues de façon à mettre en valeur les
identités de marque,
les centres urbains en tant que destinations touristiques
et l’attractivité des
« villes créatives » et ce, tout en participant à
l’« événementalisation »
de la culture. Ces pratiques adoptées par des entreprises,
des municipalités et
l’État, et la littérature critique qui les appuie, se sont
moins intéressées au
contenu et à l’impact des festivals internationaux
s’inspirant des cultures et
des formes culturelles multiples qu’ils représentent, pas
plus qu’ils ne se
seraient interrogés sur le rôle que jouent les festivals
dans l’un des
processus les plus importants de notre époque : la
communication et
l’échange interculturel.<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">Pendant ce temps, un nouveau
genre de festival est arrivé sur la scène
qui permet à des petites compagnies de théâtre et de
performance interculturel
comme Aluna Theatre à Toronto, MT Space Theatre à
Kitchener et le festival
Prismatic à Halifax de court-circuiter le courtage
diplomatique et de présenter
des festivals consacrés explicitement à l’interculturel et
aux rapports entre
le local et le transnational. Des festivals comme ceux-ci
échappent au
phénomène du participant qui arrive, monte son spectacle
et repart, souvent
sans voir le travail des autres et encore moins s’engager
dans un dialogue
interculturel. Lors d’événements populaires à petite
échelle comme le festival
Panamerican Routes/RUTAS panamericanas d’Aluna Theatre et
le festival IMPACT de
MT Space, les conférences, les colloques et les ateliers
servent de lieux de
négociation et d’échange interculturel et sont tout aussi
importants que les
spectacles qu’on y voit, sinon plus. <o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><i class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">Recherches théâtrales au
Canada/Theatre Research in Canada </span></i><span
style="font-size:
12.0pt;mso-ansi-language:FR-CA" class="" lang="FR-CA">est
présentement à la recherche d’articles en
français ou en anglais pour un numéro consacré au festival
et à la
« festivalisation », dans lequel nous nous intéresserons
au rôle des
festivals dans les échanges interculturels,
intraculturels, interdisciplinaires
et esthétiques. Nous vous invitons à présenter des textes
sur des festivals
comme le PuSH ou le Talking Stick de Vancouver, le High
Performance Rodeo à
Calgary, le festival IMPACT à Kitchener, le Panamerican
Routes/RUTAS
Panamericanas, Summerworks, Nuit Blanche, ou Luminato de
Toronto, le festival
TransAmérique de Montréal, Montréal Complètement Cirque,
le festival Prismatic
à Halifax, ou le Sound Symposium à St. John’s. Des
contributions sur des
festivals de petite taille ou en émergence, des festivals
fringe, des circuits
festivaliers ou des artistes ou productions circulant à
l’intérieur de ces
circuits seraient également les bienvenus, de même que des
études comparatives
sur le sujet.<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA"> <o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Voici des aspects de la
question que vous pourriez choisir d’aborder : <o:p
class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA"> </span></font></p>
<p class="MsoNormal"
style="margin-left:67.5pt;text-indent:-31.5pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival comme
lieu de tension entre le local et le mondial et lieu de
négociation (inégale?)
entre cultures et formes culturelles<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"
style="margin-left:67.5pt;text-indent:-31.5pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Les effets de la
mondialisation, des discours de promotion de l’urbanité
(la théorie de la
« ville créative », par exemple) et des images de marque
sur la
présentation et la pratique des négociations
transculturels et interculturels
dans le contexte des festivals<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le phénomène de la
« ville des festivals »<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Les festivals centrés sur le
développement de nouvelles pièces<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">La participation du Canada aux
festivals à l’échelle internationale<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival et la performance
autochtone<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Les festivals, le genre et la
sexualité<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival et la gouvernance
et la promotion à l’échelle municipale<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival et l’espace urbain
ou rural<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival comme destinations
touristique<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival et le mythe du
lieu “Place Myths”<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">La
« festivalisation » et l’« événementalisation » de la
culture<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le festival comme lieu
d’expérimentation esthétique et (inter)disciplinaire<o:p
class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Le financement et la
commandite des festivals<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">Nous vous invitons à
soumettre vos contributions d’ici le 1<sup class="">er</sup>
novembre 2017. Les articles ne doivent pas compter plus de
7000 mots et doivent
être présentés à interligne double et être mis en forme
selon les normes MLA.
Veuillez envoyer vos articles de même qu’une brève notice
biographique à :<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA"> </span></font></p>
<p class="MsoNormal" style="margin-left:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">Ric Knowles, rédacteur invité,
au </span><span class="" lang="EN-US"><a
moz-do-not-send="true"
href="mailto:rknowles@uoguelph.ca" class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">rknowles@uoguelph.ca</span></a></span><i
class=""><span style="font-size:12.0pt;
mso-ansi-language:FR-CA" class="" lang="FR-CA">, </span></i><span
style="font-size:12.0pt;
mso-ansi-language:FR-CA" class="" lang="FR-CA">avec en
copie conforme à l’équipe éditoriale d’RTaC<i class=""> </i>au
</span><span class="" lang="EN-US"><a moz-do-not-send="true"
href="mailto:tric.rtac@utoronto.ca" class=""><span
style="font-size:12.0pt;
color:blue;mso-ansi-language:FR-CA" class=""
lang="FR-CA">tric.rtac@utoronto.ca</span></a></span><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">.<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="margin-left:36.0pt"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">(Pour lire notre guide de
présentation d’un article, allez au </span><span class=""
lang="EN-US"><a moz-do-not-send="true"
href="http://tricrtac.ca/fr/for-authors/" class=""><span
style="font-size:12.0pt;mso-ansi-language:FR-CA"
class="" lang="FR-CA">http://tricrtac.ca/fr/for-authors/</span></a></span><span
style="font-size:12.0pt;mso-ansi-language:FR-CA" class=""
lang="FR-CA">.)<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt;mso-ansi-language:
FR-CA" class="" lang="FR-CA">La parution du numéro est
prévue pour mai 2019.<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">
<o:p class=""></o:p></span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="text-indent:36.0pt"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US">
<o:p class=""></o:p></span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font size="-2"><span
style="font-size:12.0pt" class="" lang="EN-US"> </span></font></p>
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