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During most of the 1960s, the CSN was both an advocate of provincial autonomy and a defender of federalism. In the late 1960s and early 1970s, however, a majority of its leaders and militants came to favour separatism. Many of them saw independence as a precondition for the creation of a socialist Quebec. In 1972, the CSN rejected capitalism, endorsed socialism, and envisaged an internal referendum on the independence issue. The internal debate, however, took place only after the Parti quebecois was elected to power in 1976. Fearing internal divisions and disaffiliations, the CSN did not endorse separatism. Being disappointed with the Parti quebecois' governmental record, the CSN was content to give a critical support to a yes vote in the referendum in 1980.

Little is known about the literary quarrel in Quebec between the regionalists and the "exotics". This study, based mainly on a systematic analysis of periodicals, examines in detail and as objectively as possible the different arguments presented by the participants. After outlining the development of the two opposing parties, it describes their confrontation in 1918-1920 and the subsequent diversification that ends the quarrel in the thirties. This conflict can be divided into four distinct periods, beginning with the reaction of critics like Camille Roy and Louis Dantin to Emile Nelligan's poetry in 1904 and going up to the "canadianisme integral" of 1930. The argument concerned much more than literature, having important ideological implications related to French-Canadian nationalism at the beginning of the twentieth century. It is in this relationship between literature and French Canadian society that the specific nature of this debate can be £ound.

What is the nature of Quebec literature these days? Will we soon be speaking yet again of a national literature? Will we possess as much breadth of literature as do ethnic groups? These are some of the questions asked by one of the protagonists of Monique LaRue in L'arpenteur et le navigateur, a work which has provoked an outcry from the literary community. / Quebec literature, like Quebec society, has reached a crossroads; it is now in the process of redefining itself. / Is Marco Micone, an immigrant of Italian origin, considered a Quebec author? In this paper, we will attempt to answer that question by delving into his fiction, by examining his contemplative essays and by evaluating his position within the mainstream. We will also observe the way in which the concept of a culture immigree (transplanted culture), expounded by Micone, played a major role in the issue of ecritures migrantes (ethnic writing).

This thesis seeks to relate the forms of liberal nationalism, which emerged in Scotland and Quebec between 1899 and 1914, to the character of the institutions which governed. The substantive focus is on two liberal nationalist groupings: the Young Scots' Society and the more loosely grouped Ligue nationaliste canadienne. Their emergence is examined at three levels: imperial, federal and local civil society. / The British Empire exerted an overarching influence on both Scotland and Quebec. Yet each enjoyed a very different relationship to the empire. Liberal nationalists responded differently to the same policies---the South African War, Tariff Reform and the Naval Question. The Young Scots invoked Liberal principles: freedom of speech, free trade and disarmament. The Nationalistes' response was nationalist: these were encroachments on Canadian sovereignty. Yet both groupings shared a liberal conception of empire, characterised by autonomy and decentralisation. / Scotland and Quebec enjoyed a 'federal' relationship to their states (Britain/Canada). Deficiencies in these systems prompted different responses. The Young Scots campaigned in support of a Scottish Home Rule Parliament. The Nationalistes favoured a Canadian federation which was avowedly consociational, one which recognised Canadian duality. These were liberal measures of accommodating difference. / Finally, Scotland and Quebec possessed distinctive civil societies. Yet they differed in the degree to which they were governed by liberal norms. In Scotland a liberal ethos was sustained by both the dominant Liberalism and Presbyterianism. However in Quebec the dominant Catholic church sought to preserve its hegemony over francophone society against Liberal challenges. Liberal nationalists not only reflected the distinct national character of their civil societies but also the degree to which those societies were governed by liberal norms. / It was these configurations of institutions and norms which ensured that the nationalisms which emerged in Scotland and Quebec were liberal in character. Yet there were important differences: greater emphasis was placed on Liberalism in Scotland ("Liberal nationalists") while the emphasis was on Nationalism in Quebec ("liberal Nationalists"). The character of empire, federalism and civil society in Scotland and Quebec shaped the nationalisms that emerged between the Boer War and the First World War.

Since Homer, exile is closely linked to literature and even seems to be consubstancial to the very act of writing. Indeed, countless writers have created in exsilio; one just has to think, among others, of Marot, Du Bellay, Madame de Stael, Victor Hugo or Soljenitsyne. The unbearable feeling of loss and relinquishment provoked by transhumance added to the inevitable solitude are determining factors leading to the creative process. Neo-Quebecois writers are undoubtedly part of this line of expatriate authors. Often autobiographical in nature, their work generally describe the migratory journey of misfits trying to make Quebec culture their own. However, it is difficult to be a foreigner in a society which is asserting its own identity, in this case quite problematic, and the passage from outsider to insider is even more so. In this thesis, the idea of transculturation conceptualised by Fernando Ortiz as well as the Freudian concept of unheimlich (uncanniness) will be applied to the works of Regine Robin, Emile Ollivier, Ying Chen, Sergio Kokis and Mona Latif-Ghattas. The object of this essay is to demonstrate that writing is in fact the sole means for the protagonists to reach a total introjection of space and to find order in the scattered components of their fragmented identity.

Since 1960, the first-person narrative form has dominated the Quebec novel. As first-person novels often imitate non-fiction forms (autobiographies, diaries, etc.), it follows that this narrative choice would involve a certain degree of self-revelation. We will see though that this is not the case in the "nouveau roman" of Quebec. In fact, the Quebec narrator employs a number of techniques to distance him or herself from the "I" that is the object of the narrative. / In this work, we will attempt to identify some of the main characteristics of this new face of the Quebec novel. We will start with an exploration of two novels from the pre-1960 period: Maria Chapdelaine and Poussiere sur la ville. We will then study the contemporary era through our choice of four of Quebec's most famous novels: Le Libraire, Prochain episode, Kamouraska and L'Hiver de force. We will see that the "nouveau roman" is not as "personal" as its form suggests and that the distance between the narrator and his or her "self" is not only a constant but is also an evolving characteristic of the Quebec novel. / This work is therefore a study of the contemporary Quebec novel and its narrative properties, and of the distance that the narrator imposes between his or her present and past self.