"La haine de Phomme pour son frére inspire son coeur le pire des maux. Mais Dieu protége toujours les faibles. Ainsi experime sa volonté depuis la création." Dorven Marc Forst vit aux Etats-Unis depuis 25 ans. Apres avoir été ébaubi du hasard qui fir de lui un millionaire, il a été informé etre infectee du virus SIDA. Concedant le fait qu'il soit condamnéa vivre cette fatalité, il se fit étre un forcené et agira en conséquence. Regagnant sa patrie oubliée, il accomplira sa mission de contaminer une légion de jeunes filles dans les environs de Port-Au-Prince. Des son arrivée a l'Aéoroport International toussaint Louverture, il sest lié a la splendide Adélina qui accepta son amitié, Sera-t-elle la victime désignée qui sera immolée sur l'autel de l'horreur? L'arrivée de Léopold dans la vie de la jeune femme répondra pour elle. La force de l'amour defiant l'impossible; l'explication de l'amour de Dieu refletant son image dans l'homme. Dans la melée, le secret sest échappé; SIDA, le virus mortel fabriqué dans les laboratoires de Fort Betrick.

Contemporary theatre is one of the best ways for ethno-cultural minorities to express themselves, whether they be of indigenous origin or immigrants. It is often used to denounce social injustice and discrimination and, more generally, it helps to air questions debated in the wider community. It may also express itself thanks to the staging of collective memory, for it constitutes a privileged space for the exploration of the trauma of the past (colonial, for example), as well as providing a means of effecting the reconfiguration of a new identity, or of articulating an uneasiness about that identity. Should minority theatre increase its visibility in relation to the mainstream, or, on the contrary, remain on the margins and assert its specificity? This question is at the centre of French-Canadian experience, for example, but also applies to other postcolonial societies, in Europe and elsewhere. In order to maintain its cultural authenticity, should this type of theatre distinguish itself from a multiculturalism that runs the risk of political and social recuperation? If it is unable to resist the model proposed by globalization and widespread cultural dissemination, will it lose its legitimacy? Can, and should there be, a form of popular art at the service of the community? The term “minority” raises questions that will be examined by the articles collected in this volume. What is the definition of a minority? Does this term refer to experimental and avant-garde art forms as well as to ethno-cultural drama? Contemporary theatre is characterized by an aesthetics of hybridity—in what measure is this the case for theatre outside the mainstream? The exploration of this kind of theatre necessitates an examination of the very concept of theatre per se. Since the development of the electronic media as the privileged vector of culture, has not the theatrical genre itself become a minority art form? These are some of the pressing questions that this volume will try to address, thanks to a cross-cultural, multidisciplinary approach that aims to reveal the rich diversity of the field under study.

Le grant de crdit dune institution bancaire du Qubec se fait enlever un soir dt en 1977. Les ravisseurs lemmnent une cinquantaine de kilomtres de l, lenferment dans un cachot souterrain et exigent de ses employeurs quils paient une forte ranon pour sa libration. Les autorits mandatent un groupe dlite pour diriger lenqute qui pitinera pendant des mois. La stratgie utilise soumettra lotage et ses proches des pressions insupportables tant de la part des policiers que de certains mdias. Cette approche suscitera ventuellement chez les lecteurs et auditeurs des doutes quant lidentit des coupables et entachera ainsi jamais la rputation de plusieurs personnes. Laffaire sera finalement rsolue par un policier, ancien gardien de prison, dot dun sens de lobservation et dune conscience professionnelle remarquables. Ce livre raconte lhistoire de lenlvement, de lenqute et de ses consquences telles que perues et subies par lotage et sa famille. Cest Pierre Marion, le fils de lotage, qui raconte lhistoire. Il a choisi de le faire la troisime personne en changeant son nom et celui de la plupart des personnages afin que leur identit ne distraie pas le lecteur de la trame du rcit et de la grande dtresse vcue par les victimes.

The International Criminal Court has been operational since mid-2003, following the entry into force of the Rome Statute of the International Criminal Court on 1 July 2002. The Rome Statute is among the most complex international treaties, a combination of public international law, international humanitarian law and criminal law, both international and domestic. The Commentary provides an article-by-article analysis of the Statute. Each of the 128 articles is presented accompanied by a bibliography of academic literature relevant to that provision, an overview of the drafting history of the provision and an analysis of the text. The analytical portion of each chapter draws upon relevant case law from the Court itself, as well as from other international and national criminal tribunals, academic commentary, and the related instruments such as the Elements of Crimes, the Rules of Procedure and Evidence and the Relationship Agreement with the United Nations. Written by a single author, the Commentary avoids duplication and inconsistency, providing a comprehensive presentation to assist those who must understand, interpret and apply the complex provisions of the Rome Statute