Marco Micone, Speak What, Montréal, VLB (Poésie), 2001, 32 p.

« En 1989, la parution du poème Speak What dans les Cahiers de théâtre Jeu a provoqué de vives réactions. Un écrivain, surtout un immigrant, peut-il se permettre d’écrire des vers aussi explosifs sur une question aussi délicate que la langue au Québec ?Voici pour la première fois en livre le texte de Speak What. Présenté par son auteur, le poème est suivi d’une analyse de Lise Gauvin qui le situe dans la littérature québécoise et en fait ressortir toute la richesse. »
(Quatrième de couverture)

BLASCHECK, Birte, « From “Speak White” to “Speak What” : Bilingualism versus multiculturalism in Quebec », mémoire de maîtrise, Department of Foreign Languages, West Virginia University, 2004, 61 f. +++ Thèse de doctorat / mémoire de maîtrise

###Abstract
« The linguistic question has always been a preoccupation of the Québécois. Today, English and French are the two official languages of Canada, but the French-speaking population, a minority in Canada and a majority in Quebec, risks losing its privileged status in the face of the increasing number of other ethnic groups. This study examines the changing issues of language, culture, and identity in Quebec by comparing “Speak White” by Michèle Lalonde and “Speak What” by Marco Micone. Using a multidisciplinary cultural approach which includes literary, historical, and socio-economic studies, it establishes the context in which each poem was written and explores the relationship between both as a model for understanding the changing dynamics in the relationship of power as defined by bilingualism and multiculturalism. »

La version PDF du mémoire est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de UMI - Proquest.###

HURLEY, Erin Jane, « Styling a Nation : Theatre and belonging in Québec », thèse de doctorat, Graduate Faculty in Theatre, City University of New York, 2000, 235 f. +++ Thèse de doctorat / mémoire de maîtrise

###Abstract
« How is a nation invented ? And how does that invention come to be lived as fact by those who would be its nationals ? These two questions are fundamental to scholarly work on the nation in the social sciences and in postcolonial studies. “Styling a Nation : Theatre and Belonging in Québec” proposes that some of the more productive and provocative answers to these questions are supplied by the practices and analytical tools of theatre and performance.
I take as my case study the production of le fait national (the national fact) and its attendant identity in the postcolonial “cultural nation” of Québec, locating these processes in the material practices of québécois theatre and cultural performance. I propose the concept of “style” as the means for investigating the naturalization of the invented nation. I argue that québécois style, or québécité, as practiced in and disseminated through theatrical and cultural performance, is the means by which the national fiction is reproduced as fact. “Styling a Nation” examines the changing contours of Québec nation-ness, or québécité, from 1967 to 1999 in relation to national movements within Québec and Canada and to global systems, including anticolonial political movements, intercultural theatre, transnational capitalism, and immigration.
Through extended analyses of four different performance forms, this dissertation queries performance’s various contributions and challenges to the indépendentist nation project and examines its potential for modeling new forms of québécité. Chapter one analyzes the concept of the nation across a range of disciplines, using the 1967 World’s Fair as a locus of competing national discourses. Chapter two analyzes dramatic realism as the preferred style of québécité during the cultural nationalist period of the early 1970 in Michel Tremblay’s Les Belles-Soeurs. Chapter three focuses on dance-theatre troupe Carbone 14 and their performative investigations of québécois history during the 1980s and 1990s. Chapter four considers the trans-national style of Montreal’s globe-trotting circus, the Cirque du Soleil. Finally, the Epilogue examines the stresses of immigration and the pressures of linguistic assimilation on québécité through two manifesto-poems : Michèle Lalonde’s “Speak White” (1971) and Marco Micone’s “Speak What” (1986). »

La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de UMI - Proquest.###

GAUVIN, Lise, « Manifester la différence. Place et fonctions des manifestes dans les littératures francophones », Globe : revue internationale d’études québécoises, vol. 6, n° 1 (2003), p. 23-42. +++ Article de revue

### Résumé
Dans quelle mesure le rapport de l’écrivain à la langue et à la littérature est-il déterminé, au Québec et dans les Antilles, par une « surconscience linguistique »? C’est ce que cette étude examine, en se penchant dans un premier temps sur deux manifestes québécois, ceux de Michèle Lalonde et de Marco Micone. De celle-là à celui-ci, on passe de l’affirmation de l’identité nationale face à la domination de l’Autre (l’anglophone) à l’affirmation de la participation de l’Autre (l’immigrant) à la littérature québécoise. Puis, dans un deuxième temps, l’on compare la position des auteurs de L’éloge de la créolité.###

KILLICK, Rachel, « In the Fold ? Postcolonialism and Quebec », Romance Studies, vol. 24, n° 3 (novembre 2006), p. 181-192. +++ Article de revue

###Abstract
« Quebec, frequently omitted from discussions of francophonie, has also, until quite recently, figured little in postcolonial debate, though the variety and complexity of its experience as both colonizer and colonized from the sixteenth century to the present suggest a particularly fertile field for postcolonial analysis. However, Quebec’s aspirations as a francophone metropole in the Americas mesh uneasily with postcolonial theorizations of North Africa and the Caribbean, or India and the British Commonwealth, that emphasize the recovery of voice by indigenous, non-European communities, or the importance of hybridity and non-hierarchical intercultural exchange. This essay provides an outline of the major colonial and postcolonial elements in Quebec’s history, and offers three brief examples of postcolonial readings in respect of Michel Tremblay’s play, Les Belles–Soeurs, Michèle Lalonde’s poem Speak Whiteand Marco Micone’s response poem Speak What, and Robert Lepage’s film Le Confessional. It notes, however, despite high-profile nationalist aspirations over the last forty years, Quebec’s persistent sense of itself as a pays incertain. This perception, it is argued, shapes Quebec’s ambivalence towards postcolonial theorizations, since these, in promoting the claims of the periphery, may simultaneously be seen as challenging not only the dominance, but indeed the very notion, of a metropolitan centre, on which for so long Quebec’s dream of nation has been fixed. » ###