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The political modernization of Quebec in the 1960s meant that the close identification of French Canadian identity with the Roman Catholic faith was replaced by a new secular nationalism. Using David Martin's A General Theory of Secularization, I examine the reaction of the Catholic Church to its own loss of power and to the rise of this new secular nationalism. Conservative Catholics first condemned the new nationalism; by 1969 some conservative accepted the new society and even supported its state interventionism. Most important Catholic groups, including the hierarchy, the most dynamic organizations, and largest publications came to accept the new society. Inspired by the religious reforms of the Second Vatican Council and new papal social teaching, they affirmed the right of Quebeckers to self-determination and social justice. The Church created a sustained ethical critique of nationalism as a means of redefining its public presence in Quebec society. The consensus around this ethical critique and redefinitions of the Church role is evident in the participation of Catholic groups in the 1980 referendum on sovereignty-association.

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At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.