En soulignant les similitudes entre la révolution virtuelle à celle qui eue lieu au dix-neuvième siècle, avec la mécanisation des transports et de l'image, l'installation vidéo intitulée Transcénique stéréo questionne les impacts des technologies numériques sur notre façon d'être et de se déplacer dans le monde. Le pouvoir libérateur du récit, qui émerge de l'acte de se déplacer et de se représenter ces déplacements, est opposé à la cartographie comme outil de possession et de contrôle. Différentes technologies de l'image analogique sont étudiées afin de comprendre leur mode opératoire et d'en retracer les applications à l'ère du numérique. Finalement, les notions de prise de vue et de montage cinématographique sont analysées afin de comprendre comment ces techniques peuvent être applicable à l'image numérique, et ce, dans l'espoir d'en saisir son « essence ».

Titre de l'écran-titre (visionné le 19 janvier 2024) / En ces pages, je propose questionnements, idées, créations et recherches sur le développement de ma pratique artistique entourant ma Maîtrise en arts visuels. Ce corpus se penche sur le concept du vide quotidien qui affecte par sa motion vers le sensible du vécu. Ces brèches de la vie sont présentées en images aux côtés d'objets courants du quotidien qui habitent l'idée d'un chez-soi par l'absence qu'ils portent. Fragments de textes, images, matérialité et installation se rencontrent dans un amalgame organisé par les sentiments de l'artiste. Ceux-ci ont guidé le processus de création de son commencement jusqu'à la mise en place de l'exposition. Tout au long de cette évolution, le cheminement est questionné pour être mieux approfondi par diverses recherches et lectures présentées dans ce texte. Les réponses de cette progression se retrouvent visuellement dans l'exposition La passéité du paysage pour le poétique du vécu. Dans l'œuvre, la temporalité des paysages en nature vient être confrontée à celle vécue de manière individuelle par son regardeur, ouvrant sur la possibilité de l'inscrire de contemplateur à voyeur par la nostalgie. Du bout des doigts, je tente simplement de tracer la présence de l'absence. Partout.

Thèses (M.Sc.)--Université de Sherbrooke (Canada), 1999. / Titre de l'écran-titre (visionné le 19 juillet 2006). Publié aussi en version papier.

La majorité de problèmes réels d'optimisation (ex. gérer grandes infrastructures, planifier les ressources pour les communautés, villes ou entreprises, etc.) sont combinatoire par la nature et impliquent l'utilisation de plusieurs objectifs, souvent contradictoire ou différent par le type. Comme déterminé par la nature contradictoire des objectifs, une solution "idéale" n'existe pas, sur une base générale, le but étant fixée d’atteindre un ensemble des meilleures solutions de compromis. Les résultats de cette thèse font partie de l'effort d'améliorer les capacités de méthodes d'optimisation combinatoire multi-objectif (MOCO), pour des instances de grand taille. La thèse propose l'utilisation de l'analyse de paysage en tant qu'outil de guidage pour des méthodes d'optimisation, mais également en tant que moyen de mesurer la difficulté des problèmes en s'appuyant sur l'analyse topologique. L'étude est principalement basée sur les études d'analyse de paysage qui fournissent des informations au sujet de la distribution des solutions faisables dans l'espace objectif. Les approches d'analyse de paysage proposées traitent un aspect quelque peu nouvel des problèmes MOCO, c'est-à-dire les études topologiques réalisées au-dessus de l'ensemble de solutions faisables ou pour les ensembles spécifiques d'intérêts comme l'ensemble de Pareto (l'ensemble des meilleures solutions de compromis) ou l'ensemble de e-Pareto. En outre, les études de structuralité sont intégrées dans des techniques interactives afin d'aider le processus de recherche et fournir des garanties de performance même pour des recherches stochastiques dans le cas combinatoire à objectifs multiples. / The majority of real-life optimization problems (e.g. managing large infrastructures, the planning of resources for communities, cities or enterprises, etc.) are combinatorial by nature and imply the use of several objectives, often conflicting or different by type. As determined by the conflicting nature of the objectives, there exists no single "ideal" best compromise solution, on a general basis, the goal being set on attaining a set of best compromise solutions. The results of this thesis are part of the effort of improving Multi-Objective Combinatorial Optimization (MOCO) methods capabilities, for large instances.The thesis proposes the use of landscape analysis as guiding tool for optimization methods, but also as mean of quantifying the difficulty of problems based on topological analysis. The present study is mainly based on landscape analysis studies that provide information about the distribution of feasible solutions in the objective space. The proposed landscape analysis approaches tackle a somewhat new aspect of MOCO problems, i.e. the topological studies performed over the set of feasible solutions or for specific sets of interests as the Pareto set (the set of best compromise solutions) or the e-Pareto set. These techniques are seen as a priori techniques, providing useful information for the design of approximation methods. Furthermore, the structurality studies are integrated in online interactive techniques in order to help the search process and to provide performance guarantees even for stochastic searches in the multi-objective combinatorial case.

No description available.

The literatures of Immigration from North Africa to France represent one of the constitutive fields of investigation for Postcolonial Francophone studies. As such, approaches to this are often locked in a postcolonial perspective. Through my courses in 20th century literature, I discovered several aspects of literature of immigration that relate to French popular literature. In light of this, my dissertation establishes a link between these two literary genres by analyzing the evolution of urban spaces in the Parisian periphery. The primary objective of this dissertation is to translate aspects of the contemporary issues of the French banlieues from a purely postcolonial perspective to questions of institutional choices in French city planning over the course of the past hundred and fifty years. The underlying assumption is that the spatial transformation that has taken place has affected the social interactions of the inhabitants and contributed to the evolution of a working class mentality. The expectation is that in-depth understanding of this interaction will allow me to explore the socio-cultural situation in France’s suburbs today. Beginning with the renovation of Paris, undertaken by Haussmann in the second half of the nineteenth century, each of the five chapters of my dissertation corresponds to a particular moment of this evolution. For every chapter, I analyze the characters’ relationships with their spatial surroundings, as well as the nature of their social interactions with other residents. The first novels are the only ones of my corpus set in the interior part of Paris. As more and more of the urban working class is driven outside of the city limits by the renovations and the rapidly developing industry in the periphery, the texts illustrate the increasing social isolation and loss of agency for the characters. In aligning popular literature and literature of immigration on the same axis, my focus lies primarily on the geographical space, the banlieue, and its transformation in time.

This dissertation examines the different ways in which Edouard Glissant, Kateb Yacine and William Faulkner combine landscape, history and identity in their work. The depiction of landscape in literature is not new, but the French Romantics in the 19th century, for instance, tended to describe the beauty of landscape without conceiving any rapport between landscape and humankind, and thus created a gap between the two. For Kateb and Glissant, landscape is also a witness of History. The (hi)story of their respective communities has been confiscated and shattered by the respective colonizers, hence the necessity to recreate it through the poetics of land. However, because of the different contexts some differences in the conception and use of landscape arise between these three writers. In the case of Kateb Yacine, the Algerian landscape is the repository for the ancient history of North Africa. The North African people have to turn to their landscape in order to recreate their history and redefine their identity. For Edouard Glissant, the landscape was an accomplice of the Caribbean People. When the slaves escaped the plantation confinements the wilderness was their only refuge. It is then essential for the Caribbean community to take roots in this land in order to create its own history. In the case of William Faulkner, the land of his "Yoknapatawpha county" is presented as the podium where some injustices in the South took place, such as the dispossession of Indians, the spoliation of their lands, slavery, and above all the tragedy of the Civil War.

No description available.

Thesis / Dissertation ETD / application/pdf

M.A. (French) / This study examines the Comptes amoureux, Le Printemps and L'Esté, three frame novels of the sixteenth century in which the setting plays an important rôle. The setting in both the framework and the seven interpolated tales of the Comptes amoureux by Jeanne Flore is largely responsible for their thematic cohesion. Since parts of the volume have been lost, a garden is the only remaining setting in which the storytellers are presented. The garden constitutes a charming spot, containing many features traditionally encountered in descriptions of literary pleasances, including a preponderance of elements representing Venus. These emblems keep the theme of love, illustrated in each of the interpolated stories, constantly in view. Jacques Yver's work, Le Printemps d'Yver, contains five stories about love narrated by a group of storytellers who have retired to a country seat created by fairy enchantment. Since the frame narrative has been developed more in this collection than it appears to have been in the admittedly fragmentary Comptes amoureux, it permits the detailed description of the many distinguishing features of the gardens in which the company sit, particularly of various emblems of Venus. These garden settings provide a great many motifs which are taken up by the storytellers in their narrations, establishing an intimate relationship between the setting and the themes of the stories and thereby constituting an important difference between Le Printemps and the other two works. In this frame novel, settings within the stories themselves are not usually elaborated. Those which are presented in detail mirror the setting in which the storytellers are gathered, further strengthening the cohesion between framework and tale. The evocation of Venus, together with the motifs introduced by the outstanding features of the gardens, strengthen the bond between the disparate narratives, drawing attention to the subject of love and contributing greatly to the thematic unity of the work. In Benigne Poissenot's volume, L'Esté, the setting is not approached in the same way as it is in either of the other two works. As in the case of Le Printemps, it is painted in detail in the frame narrative rather than in the interpolated stories, but here the resemblance ends. The debates and stories are launched in three comparatively unadorned places. Although two of these are reminiscent of the attractive settings encountered in the other two works, the author emphasises their utility rather than their beauty. This incongruity, combining a down-to-earth backdrop with the often idealistic stories, constitutes the most striking feature of this volume. Unlike the traditional settings in the other two frame novels, the decor of L'Esté, by its very distance from the conventionally idyllic, ndermines the serious nature of the themes discussed, producing a mildly satirical effect. Thus, the setting in each of these three frame novels plays an instrumental, and unique, role in establishing the overall unity of each work.