VOIX EN IMAGES : Le métadiscours formel de la BDQ actuelle

La vigueur actuelle du milieu de la bande dessinée québécoise tient d’une part de l’émergence de nouveaux auteurs, d’autre part de la consolidation de leur oeuvre à la faveur de nouveaux formats éditoriaux où peuvent s’affiner leurs talents. La reconnaissance de cette voie alternative, choisie de manière plus ou moins consciente, alors même que se poursuit l’exploitation du modèle traditionnel (album franco-belge de 44 pages en couleur) et que se développe parallèlement l’intégration d’un nouveau modèle (assimilé au « roman graphique ») aux circuits commerciaux du livre, incite les auteurs à articuler un discours réflexif où la confection visuelle de leurs planches se justifie selon divers paramètres formels reconnus comme soutenant le propos, tout comme la charge narrative et expressive d’ensemble. L’éventail de ces paramètres se trouve toutefois orchestré selon des équilibres changeants, en fonction du projet en cours et d’une position esthétique sous-jacente, développée de projet en projet. À l’aide des oeuvres, entretiens et prises de position de quelques auteurs ayant emprunté cette voie alternative — Diane Obomsawin, Jimmy Beaulieu, Michel Rabagliati et Zviane —, Mario Beaulac retrace les grandes lignes de ce métadiscours, pour faire émerger quelques-uns des enjeux esthétiques pressentis comme pertinents par ces praticiens notoires de la bande dessinée québécoise actuelle.The current vitality of the comic art milieu in Quebec is related both to the appearance of new authors and to the consolidation of their work through new editorial formats in which their talents can develop. The recognition of this alternative way, more or less consciously chosen at a time when the traditional model (44-page Franco-Belgian album in colour) is still in use and a new model (identified with the “graphic novel”) is being incorporated into the commercial channels of the book trade, is encouraging authors to develop a reflexive discourse in which the visual creation of their panels is justified according to various formal parameters that are acknowledged to enhance the work’s storyline, as well as its narrative and expressive force. However, the range of these parameters is orchestrated according to an equilibrium that is continuously changing, depending on the project currently being carried out and on an underlying aesthetic position developed from one project to the next. Through the works, interviews, and statements of position of authors who have chosen this alternative way—Diane Obomsawin, Jimmy Beaulieu, Michel Rabagliati, and Zviane—the author provides an outline of their metadiscourse, in order to identify some of the aesthetic issues seen as relevant by well-known practitioners of comic art in Quebec today.El vigor actual del ámbito del cómic quebequense se debe, por una parte, al surgimiento de nuevos autores, y por otra, a la consolidación de su obra, gracias a nuevos formatos editoriales donde pueden refinarse sus talentos. El reconocimiento de esta vía alternativa, elegida de forma más o menos consciente cuando sigue vigente la explotación del modelo tradicional (álbum franco-belga de 44 páginas en color) y que se desarrolla paralelamente la integración de un nuevo modelo (asimilado a la ‘novela gráfica’) en los circuitos comerciales del libro, incita a los autores a enunciar un discurso reflexivo en el cual la confección visual de sus planchas se justifica según diversos parámetros formales reconocidos como apoyo a las palabras, así como a la carga narrativa y expresiva de conjunto. No obstante, la gama de estos parámetros se organiza según equilibrios cambiantes, en función del proyecto en curso y de una posición estética subyacente, desarrollada de un proyecto a otro. Con la ayuda de las obras, conversaciones y posicionamientos de algunos autores que han optado por esta vía alternativa -Diane Obomsawin, Jimmy Beaulieu, Michel Rabagliati y Zviane-, el autor reconstituye a grandes rasgos este metadiscurso, para que emerjan algunos de los retos estéticos propuestos como pertinentes por estos prácticos notorios del cómic quebequense actual

Analyse des taux de réussite, d'échec et d'abandon de cours au Cégep du Vieux Montréal (de l'automne 1968 à l'hiver 1975) /

Vol. 1 Programmes généraux -- v.2 Programmes professionnel

Performance of Bio-Rad and Limiting Antigen Avidity Assays in Detecting Recent HIV Infections Using the Quebec Primary HIV-1 Infection Cohort

<div><p>Background</p><p>Accurate and practical biologic tools to estimate HIV incidence is crucial to better monitor the epidemic and evaluate the effectiveness of HIV prevention and treatment programs.</p><p>Methods</p><p>We evaluated two avidity assays to measure recent HIV infection: the Sedia HIV-1 LAg-Avidity EIA (Sedia Biosciences, Portland) and the Centers for Disease Control and Prevention (CDC)-modified Bio-Rad-Avidity assay (Bio-Rad Laboratories, Mississauga, ON). Longitudinal specimens (n = 473) obtained from 123 treatment-naive seroconverted individuals enrolled in the Primary HIV-1 Infection (PHI) cohort of Quebec were used to determine the average time an individual is considered to be recently infected (mean duration of recent infection; MDRI), for the two avidity assays alone and in combination using a nonparametric survival method analysis. A total of 420 specimens from individuals with established HIV infection (90 individuals from the PHI cohort of Quebec and 330 individuals from the Laboratoire de santé publique du Quebec (LSPQ) serobank) were also tested to investigate false recency rate (FRR).</p><p>Results</p><p>The CDC-modified Bio-Rad-Avidity gave an estimated MDRI of 234 days (95% CI 220–249) at the avidity index cutoff of 30% while the Sedia-LAg-Avidity assay gave an estimated MDRI of 120 days (95% CI 109–132) at the normalized optical density (ODn) cutoff of 1.5. The FRR among individuals with established HIV infection was 10.2% (7.5%-13.5%) with the CDC-modified Bio-Rad-Avidity assay as compared to 6.0% (3.9%-8.7%) with the Sedia-LAg-Avidity assay. When optimizing a multiassay algorithm (MAA) that includes sequentially the CDC-modified Bio-Rad-Avidity assay then the Sedia-LAg-Avidity assay EIA (avidity index/ODn: 30%/1.7), the MDRI was 136 days (95% CI 123–148) and the FRR, 3.3% (95% CI 1.8–5.6).</p><p>Conclusion</p><p>Multiassay algorithms that include the CDC-modified Bio-Rad-Avidity assay and the Sedia-LAg-Avidity assay performed better than each avidity assay alone. Such 2-assay algorithm that starts with the CDC-modified Bio-Rad-Avidity assay followed by the Sedia-LAg-Avidity assay allowed a better classification of HIV-1 infections.</p></div

HIV antibody kinetics (up) and box-and-whisker plots showing median of AI measurements at 50 days intervals (bottom) of the all 150 seroconverting individuals of the PHI cohort of Québec (A), the 123 treatment-naive patients of the PHI cohort of Québec (B), the individuals of the PHI cohort of Québec treated between 0 and 400 days post-seroconversion (C), using the CDC-modified Bio-Rad-Avidity assay.

<p>The ‘recent/long-standing’ infection cutoff value is shown by the horizontal dashed line. AI: avidity index.</p

Performance characteristics of the CDC-modified Bio-Rad-Avidity (AI: 30%) and the Sedia-LAg-Avidity (ODn: 1.5) assays.

<p>Performance characteristics of the CDC-modified Bio-Rad-Avidity (AI: 30%) and the Sedia-LAg-Avidity (ODn: 1.5) assays.</p

Characteristics of individuals and samples used for analysis.

<p>Characteristics of individuals and samples used for analysis.</p