The purpose of this thesis is to gain a better understanding of linguistic representations among young Québec adults between 25 and 35 years old. Few studies have dealt with this subject since the 1990s, and the more recent work has been concerned with future teachers (Remysen, 2002) or high school students (Razafimandimbimanana, 2005). I chose to focus on young Québec adults raised after the Quiet Revolution and the adoption of the Charter of the French Language (1977) and who are not working in a field related to language in order to determine if, on the one hand, linguistic representations have changed since the 1990s and, on the other hand, if the facts of not being a"language professional" and of not being assessed by a learning institution anymore could affect their attitude towards language. Based on a corpus of interviews conducted with 30 young Québec adults living in and around Sherbrooke, this study aims firstly at collecting the opinions of my informants on various themes related to linguistic representations in Québec, i. e. superiority of French from France, the threat of English in Québec, the use of anglicisms, the degeneration of French in Québec, the concept of mistakes and the complexity of written French. Second, I identify the normative criteria revealed in the informants' discourse that are used to assess the French that is spoken in Québec. This identification is based on an argumentative analysis of the epilinguistic discourse in order to shed light on commonplaces, which are clues of what the informants view as being part of the common standards. Based on the criteria I found, in combination with the standards of A.-M. Houdebine's linguistic imaginary, I developed a hierarchy allowing to determine, on the one hand, which criteria most often lead to a conclusion, and on the other hand, which ones are only used as a concession, indicating that they are acknowledged as a common standard but not taken up by the informant. As some commonplaces are not agreed upon in the discourse on language, I analyse the discourse in which these contradictions are found while paying special attention to the scope of the arguments put forward and to the dissociation of concepts, which helps foster a better understanding of these apparent contradictions.The results of this research reveal, among the group of a speakers interviewed, a certain tolerance towards discrepancies from the standard described in reference works as well as a certain indifference regarding the standard coming from France. Moreover, the normative criteria that bear the greatest argumentative weight are criteria associated to the use of the language, not to the standard of reference. This distinction between use and standard is also found in the explanation of contradictions, which means that the informants make a distinction between assessment of their own use of French and assessment of the use of others (for instance using French of France) and between the spoken language and the"ideal" language.The conclusions drawn from the various analyses carried out in this study reveal a greater linguistic security among my informants than among the populations that had been examined in previous studies.

In this study Complementarity in Therapy, it has been outlined how the construct, cybernetic complementary description or complementarity can be used in therapy to invent an imaginary team for the helper working solo. Complementarity is used to create alternative ideas, simulating the contribution of a team especially in pre-session hypothesising. A literature study explores the possibilities of complementarity as a cybernetic constructivist construct. Of special significance is the contributions of Varela's formulation of complementarity as trinities, introducing the slash (/) Keeney's emphasis on recursion indicated by circulating arrows and Flemeons emphasis on imbrecation and levels of connection illustrated with different types of lettering. A case study is described to illustrate how complementarity was applied. / Social Work / M.A. (Social science (Mental health))

Design / My work explores methods of creating illusions that make the imaginary and the real worlds appear to co-exist. More specifically, my animations look at ways of connecting the real and fantastical by using “low tech” materials. This report discusses existing work that combines animation with video-installation, live-performance, and advertisements; analyzes my research trajectory, explains my methodology for producing new hybrid work in animation; and then describes my projects. Each project is derived from a matrix I developed that forces integrations between two sets of criteria: (1) physical world action, objects and space, and (2) computer-generated images, representational images in an imaginary state and objects in physical space in an imaginary state. / text

In 1927, Nobel prize winning physicist, E. Schrodinger, in correspondence with Ehrenfest, wrote the following about the new theory: “What is unpleasant here, and indeed directly to be objected to, is the use of complex numbers. Psi is surely fundamentally a real function.” This seemingly simple issue remains unexplained almost ninety years later. In this dissertation I elucidate the physical and theoretical origins of the complex requirement. I identify a freedom/constraint situation encountered by vectors when, employed in accordance with adopted quantum representational methodology, and representing angular momentum states in particular. Complex vectors, quite simply, provide more available adjustable variables than do real vectors. The additional variables relax the constraint situation allowing the theory’s representational program to carry through. This complex number issue, which lies at the deepest foundations of the theory, has implications for important issues located higher in the theory. For example, any unification of the classical and quantum accounts of the settled order of nature, will rest squarely on our ability to account for the introduction of the imaginary unit.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Cette étude vise à montrer l’influence des sciences du XIX° siècle sur le fantastique européen et se fonde sur un corpus de textes anglais, français et croate comprenant Frankenstein de Mary Shelley (1816), Claire Lenoir de Villiers de l’Isle-Adam (1867), Green Tea de Joseph Sheridan Le Fanu (1869), Lokis de Prosper Mérimée (1869), Le Rêve du docteur Mišić [San Doktora Mišića] de Ksaver Sandor Gjalski (1890) et The Parasite d’Arthur Conan Doyle (1894). La première partie de la thèse dresse le portrait du « héros médecin » et analyse l’émergence de ce personnage dans la littérature fantastique, au moment où la science est en passe de devenir une véritable religion. La deuxième partie met en évidence la place réelle du discours scientifique dans les œuvres du corpus, dans une approche à la fois littéraire et linguistique. Enfin, la troisième partie s’interroge sur la manière dont les sciences du XIX° siècle, et les sciences de l’esprit en particulier, modifient l’espace fantastique et ses topoï. / This study aims at showing the influence of nineteenth-century sciences on the European fantastic. It is based on a corpus of English, French and Croatian texts including Mary Shelley’s Frankenstein (1816), Villiers de l’Isle-Adam’s Claire Lenoir (1867), Joseph Sheridan Le Fanu’s Green Tea (1869), Prosper Mérimée’s Lokis (1869), Ksaver Sandor Gjalski’s Doctor Mišić’s Dream [San Doktora Mišića] (1890) and Arthur Conan Doyle’s The Parasite (1894). The first part of the thesis draws the portrait of a “doctor hero” and analyses the emergence of this character in fantastic literature, at a time when science is about to become a true religion. The second part brings out the real place of scientific discourse in the corpus works, with both a literary and linguistic approach. Lastly, the third part examines how nineteenth-century sciences and the sciences of the mind particularly, affect the fantastic space and its topoï.

Este trabalho propõe investigar o imaginário sobre as relações amorosas vivenciadas pelo sujeito na contemporaneidade, marcada pela forte presença da cibercultura, tais como retratadas no discurso artístico evidenciado em seis filmes. Os longas-metragens selecionados para compor a pesquisa, representando heterogeneidade de países e gêneros cinematográficos, são: Apaixonado Thomas (Thomas est Amoureux, 2000), de Pierre-Paul Renders; Im a Cyborg, But Thats OK (Saibogujiman Kwenchana, 2006), de Chan-Wook Park; A Garota Ideal (Lars and the Real Girl, 2007), de Craig Gillespie; Catfish (2010), de Henry Joost e Ariel Schulman; Medianeras (2011), de Gustavo Taretto e, finalmente, Ela (Her), de Spike Jonze. Para tanto, partiremos do referencial teórico da Análise do Discurso (AD) de matriz francesa, sobretudo o trabalho de Michel Pêcheux e os autores que compartilha(va)m a preocupação em observar o discurso como processo imbricado numa rede de múltiplas significações, ao invés de se limitar a perceber o sentido como um produto pronto e acabado a ser extraído pelos leitores. Definindo a linguagem como trabalho, a disciplina desloca a importância dada à função referencial da linguagem, a qual ocupa posição nuclear na Linguística clássica, que defende esse enfoque na comunicação, ou na informação; assim, o viés da AD entende a linguagem como ato sócio-histórico-ideológico, sem negar o conflito, a contradição, as relações de poder que ela traz em seu bojo. Para analisar recortes dos filmes a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre a linguagem no processo discursivo não-verbal. Deste modo, ao analisar os recortes e segmentos dos filmes mencionados que instalam sentidos a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre o processo discursivo não-verbal, como nas publicações de Neckel (2004, 2010), Souza (2001) e Orlandi (1993), entre outros. A cibercultura, notamos, não pode ser reduzida à Internet e deve ser entendida em sua influência em outros campos, como o corpo e o cinema, para que possamos efetivamente compreender como a cibercultura mudou o imaginário sobre o amor, o que o discurso artístico pode nos revelar tão bem. Em vista disso, trabalhamos ainda com os subsídios de autores da sociologia e da filosofia como Bauman (2001, 2004), Bell (2001, 2007) e Lemos (2010), entre outros, para compreender como o sujeito discursiviza(-se) na era do amor virtual a partir do conceito de imaginário discursivo e de condições de produção, tendo como norte o contexto da contemporaneidade marcado pela sociedade líquido-moderna. Tal como descreve Bell, a cibercultura tem muitas histórias nos interessando, sobretudo, a história política e a história simbólica, em especial esta por nos remeter às narrativas da/sobre a cibercultura na arte. O corpo, por sinal, é um dos conceitos em movência na era da cibercultura, sendo de nosso interesse investigar essas gestos tanto no âmbito da AD quanto com o suporte de outros teóricos. Nesse sentido, o manifesto do ciborgue de Donna Haraway (2013) sobre a ressignificação dos corpos e do amor a partir da pós-modernidade também nos auxilia a interpretar o discurso dos longasmetragens. A partir dessas inquietações, buscamos compreender os modos de subjetivação que se inscrevem da/na cibercultura, a partir das condições de produção que (re)configuram o jogo das formações discursivas na memória e no discurso artístico. / This work proposes to investigate the imaginary about romantic relationships experienced by the subject in contemporary society, marked by the strong presence of cyberculture, such as ortrayed in art discourse evidenced in six movies. The selected feature films for inclusion in this research, representing heterogeneity of countries and film genres, are: Thomas est Amoureux (2000), by Pierre-Paul Renders; I\'m a Cyborg, But That\'s OK (Saibogujiman Kwenchana, 2006), by Chan-Wook Park; Lars and the Real Girl (2007), by Craig Gillespie; Catfish (2010), by Henry Joost and Ariel Schulman; Medianeras (2011), by Gustavo Taretto and, finally, Her (2013), directed by Spike Jonze. To this goal, we mobilize the theoretical framework of Discourse Analysis (AD) of French line, especially the work of Michel Pêcheux and the authors who shares with him the concern in observing the discourse as an imbricated process in a network of multiple meanings, rather than limited to making sense as a ready and finished product to be extracted by readers. Setting the language as work, this discipline shifts the emphasis to the referential function of language, which occupies nuclear position in classical linguistics, which advocates this approach in the communication or information; thus the bias of AD understands the language as a social-historical-ideological act, without denying the conflict, contradiction, power relations that it brings with it. To analyze clippings of films from the cyberculture production conditions, we mobilize concepts of AD on language in nonverbal discursive process. Thus, when analyzing the cuts and segments of the aforementioned films wich installs directions from the cyberculture production conditions, qe mobilize concepts of AD on the nonverbal discursive process, as in publications by Neckel (2004, 2010), Souza (2001) and Orlandi (1993), among others. The cyberculture, we notice, can not be reduced to the Internet and must be understood in its influence in other fields, such as the body and the cinema itself, so we can effectively understand how cyberculture changed the imagery of love, what the artistic discourse can reveal as well. As a result, we take further work with authors of sociology and philosophy as Bauman (2001, 2004), Bell (2001, 2007) and Lemos (2010), among others, to understand how the subject discoursivizes in the age of virtual love from the concept of discursive event and production conditions, having the goal of the contemporary context marked by the liquid-modern society. As describes Bell, cyberculture has many stories above all, the political history and the symbolic story, especially in this by referring to the narratives of/on cyberculture in the art. The body, by the way, is one of the concepts in movement in the age of cyberculture, and our interest to investigate these actions both in AD scope and the support of other theorists. In this sense, the cyborg manifesto of Donna Haraway (2013) on the redefinition of the bodies and love from post-modernity also helps us interpret the discourse of the feature films. From these concerns, we seek to understand the ways of subjectivity that are part of/in cyberspace, from the conditions of production that (re)configure the set of discursive formations in memory and artistic discourse.

Trata-se de pesquisa empírica e documental realizada com três grupos distintos de jovens e adultos leitores habituais e leitores não-habituais. Um grupo composto por alunos do Cursinho Comunitário Pré-Vestibular Sagrado Coração Pastoral Cultural -, sediado na Paróquia Nossa Senhora do Sagrado Coração, outro grupo constituído por assíduos frequentadores da Biblioteca Pública Paulo Setúbal, ambos localizados na Vila Formosa, Zona Leste da Cidade de São Paulo, e, o terceiro grupo formado por participantes do Núcleo da Palavra, do Laboratório Experimental de Arte- Educação & Cultura Lab_Arte, da Faculdade de Educação, da Universidade de São Paulo Feusp. O Objetivo é desvelar as principais questões comportamentais e educacionais geradoras das dificuldades e/ou facilidades com a leitura de obras literárias desenvolvidas no trajeto da formação do leitor. Formação para leitura que pressupõe, nesta tese, uma fisiologia simbólica da leitura, que se instaura nos espaços-tempos familiar, escolar e cultural, conformando-se através da pessoa do leitor, num processo que perpassa a corporeidade. A pesquisa reflete sobre os leitores a partir da reflexão dos mesmos sobre suas trajetórias com a leitura de obras literárias, registradas nas redações produzidas pelos alunos do cursinho, nas entrevistas concedidas pelos leitores da biblioteca e nas produções de textos de cunho poético e narrativo, escritas pelos participantes do Núcleo da Palavra, privilegiando assim uma hermenêutica pontuada pelo gradiente-holonômico, ou seja por múltiplos olhares que integram vários pontos de vista, inclusive o do leitor, focando o tema de modo a verificar as relações que as pessoas estabelecem com a leitura, interpretando-a de modo de deleitoso ou angustiante. O referencial teórico norteador fundamenta-se em Gilbert Durand nAs Estruturas Antropológicas do Imaginário e A Imaginação Simbólica, apoiado pela compreensão do imaginário em Gaston Bachelard, Danielle Perin Rocha Pitta, Marcos Ferreira-Santos, Maurice Merleau-Ponty, Paul Ricoeur, acrescidos dos pensamentos sobre literatura, arte e educação de Antônio Cândido, Edmir Perrotti, Paulo Freire, Michel de Certeau, dentre outros. / This paper deals with empirical and documentary research data culled from 3 different habitual and non-habitual readerships comprised of youngsters and adults. The first group comprehends students from the Sacred Heart Community Pre- College Preparatory Course, located in the Our Lady of the Sacred Heart parish. The second group comprehends regular readers from Paulo Setúbal Public Library. Both sites are located in Vila Formosa district, East Area of the city of São Paulo. The third group was formed by collaborators of the Literary Nucleus of the Art, Education and Culture Experimental Lab belonging to the School of Education of Universidade de São Paulo (FEUSP). The aim of the present work is to reveal the main behavioral and educational issues which generate both the difficulties and ease of understanding literary works, and which occur along the formation of readerships themselves. Reading formation presupposes herein a symbolic reading physiology, which settles upon family, school and cultural space-times and shows itself through the figure of the reader, in a process which lies beyond readers´ actions. The research reflects on readerships based on their own perception about their track records in reading literary works, which were registered in prep courses´ students´ essays, in interviews with library readers and in poetic and narrative texts written by Literary Nucleus collaborators. Thus there is herein the prevalence of hermeneutics marked by an emerging paradigm, that is, by multiple looks which belong to several viewpoints, including that of the reader, framing the subject matter so that relations between reader and reading process might be verified, the last being interpreted as either pleasant or annoying. Theoretical references are mainly Gilbert Durand´s works (Anthropological Structures of the Imaginary and The Symbolic Imagination), supported by the understanding of the imaginary in Gaston Bachelard, Danielle Perin Rocha Pitta, Marcos Ferreira-Santos, Maurice Merleau-Ponty and Paul Ricoeur, as well as by thoughts about literature, art and education in Antonio Candido, Edmir Perrotti, Paulo Freire, Michel de Certeau, among others.

Esta pesquisa teve como objetivo analisar os novos paradigmas da sociedade tecnocêntrica, por meio da evolução dos meios de diversão, tomando-se como metáfora o trem-fantasma dos parques de diversões mambembes, contextualizando-o em seu momento histórico e social e comparando-o com as novas experiências de simulações, por meio da chamada Realidade Virtual, produzida a partir de equipamentos eletrônicos de última geração tecnológica. Verificar também se, por meio dessa evolução, vem ocorrendo alterações na visão de mundo das pessoas e possíveis consequências nas relações sociais, principalmente na escola. Como metodologia foram utilizadas entrevistas estruturadas com funcionários, usuários de parques de diversões, jogadores de videogame, alunos e professores e também coleta de imagens visuais como fotografias e vídeos de parques, de histórias em quadrinhos, de capas de discos e trechos de filmes capturados na Internet, além da pesquisa bibliográfica que foram analisadas à luz da Teoria Geral do Imaginário, buscando identificar os traços míticos dessa amostra na contemporaneidade. Foi possível perceber que, embora os avanços tecnológicos estejam modificando as formas de relacionamento social e provocando uma mudança na bacia semântica, os universos míticos ainda são os mesmos, assim como o imaginário coletivo, as fantasmagorias e os medos. / This research aimed to analyze the new paradigms of technocentric society, through the evolution of the means of entertainment, taking as a metaphor the \"ghost train\" of mambembes amusement parks, contextualizing it in its historical and social moment and comparing it with the new experiences of simulations, through the so-called Virtual Reality, produced from state-of-the-art electronic equipment. This paper also aims to check whether, through this \"evolution\", there have been changes in the world view of people and possible consequences in social relations, especially in school. In order to identify the mythical features of this sample in the contemporaneity, the methodology used was the structured interviews with employees, users of amusement parks, video game players, students and teachers, as well excerpts from films obtained from the Internet, besides the bibliographical research that was analyzed in the light of the General Theory of Imaginary. Although technological advances are changing the forms of social relationships and causing a change in the semantic basin, it was possible to perceive that the mythical universes, the collective imagination, the phantasmagoria and the fear are still the same.

In this project, I focus on the function of the "amtal" or test of definition or destruction, in Frank Herbert's Dune. It is my argument that these tests "to destruction" determine not only the limits or defects of the person being tested, but also - and more crucially - the very limits and defects of the definition of humanity in three specific cultural spheres within the novel: the Bene Gesserit, the Fremen, and the Faufreluches. The definitions of "amtal" as well as "humanity," like all definitions, are somewhat fluid, changing depending on usage, cultural context, and the political and social needs of the society which uses them. Accordingly, Dune remains an instructive text for thinking through contemporary and controversial notions about the limits of humanism and, consequently, of animalism and posthumanism. / by Adella Irizarry. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.