Notre mémoire porte sur la jeunesse et les débuts de la carrière de Marc-Aurèle Fortin. Cet artiste québécois est l'un des plus aimés et des plus connus du public. Il a fait l'objet d'un nombre considérable de publications qui ont participé, selon nous, à lui donner un statut de figure légendaire. Par notre recherche, nous souhaitons montrer, plus spécifiquement, comment le discours sur les trente-cinq premières années de la vie du peintre a contribué à cette mise en légende. Pour ce faire, nous nous basons sur les travaux de Nathalie Heinich ainsi que sur ceux d'Ernst Kris et Otto Kurz. Nous avons dégagé de leurs ouvrages une série de « motifs » ou d'anecdotes qui, lorsque présents dans les biographies d'artistes, concourent, selon ces auteurs, à les présenter comme des êtres admirables et hors du commun. En analysant chronologiquement, jusqu'au décès de Fortin, comment s'est construit, auteur après auteur, le discours portant sur sa jeunesse et les débuts de sa carrière, nous relevons, dans chacun des articles de critiques, des catalogues et des extraits de livres, la présence de ces motifs ou anecdotes. Nous mettons ainsi en relief la façon dont sont apparus les premiers éléments de la légende du peintre, puis comment, avec le temps, cette légende s'est enracinée dans les discours et s'est enrichie de nouvelles facettes, et ce, jusqu'à la fin des années 1960. Enfin, nous examinons comment les monographies, les films et les biographies romancées, parus après le décès de l'artiste, continuent de véhiculer les principaux éléments de la légende de Fortin liés aux trente-cinq premières années de sa vie. Parmi les « motifs » identifiés par Heinich ou Kris et Kurz qui sont au fondement de cette partie de la légende du peintre, nous avons entre autres noté : la création d'une image de l'enfance dans un cadre rustique idyllique propice à un contact privilégié avec la nature; l'opposition parentale et les obstacles posés à la vocation de l'artiste; la précocité d'un talent exceptionnel permettant d'exclure les influences de l'enseignement reçu et de mettre l'accent sur l'autodidaxie ainsi que sur l'apprentissage individuel auprès de la seule nature, garante de l'authenticité et de l'originalité d'une œuvre « unique » et admirable. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Marc-Aurèle Fortin, biographie, jeunesse et années de formation, mise en légende.

Thèse de doctorat : langue et littérature françaises : Nancy 2 : 2001. / Bibliographie.

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The use of quotation is a crucial element in Bernd Alois Zimmermann's (1918-1970) creative thinking. This thesis explores the evolution of Zimmermann's compositional approach to the use of this procedure. The first chapter defines four categories of borrowing which correspond, although in a non-exclusive manner, to the features which characterize four compositional periods: stylisation, homage, teleological genesis and pluralism (A compositional technique defined by the composer around 1960 and aiming at representing a spherical conception of time). The second chapter considers the nature, source and content of the quotations and focuses on the recurrence of the identical fragments, themes and types of writing common to several works. It also establishes that the same logic--where theological concerns and the concept of time function as essential points in a network of reference--unifies older works with more recent ones. The third chapter analyzes the strategic role of passages containing quotations with respect to global form and as solution to compositional problems which confronted the composer. The fourth chapter deals with methods of construction which characterize passages with quotations and demonstrates the composer's fascination with Franco-Flemish polyphonic techniques (cantus firmus, proportional canon and isorhythm). In these contexts, borrowed fragments tend not only to have a historical association with such structural types, but also stem from a repertoire supposedly universal. This permits the creation of textures charged with meaning and allows the listener to perceive different superimposed layers.

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SANTRAUKA PROFESINIŲ LIGŲ STRUKTŪRA IR DINAMIKA LIETUVOJE 1965 – 1970 M. Darbo tikslas: ištirti profesinių ligų struktūrą ir dinamiką Lietuvoje 1965 – 1970 m. Darbo uždaviniai: išnagrinėti profesinių ligų pasiskirstymą pagal ekonominės veiklos sritis, profesijas, lytį, kenksmingus darbo veiksnius, profesinių ligų formą ir rūšį; įvertinti profesinių ligų dinamiką 1965 – 1970 m. Tyrimo metodai ir apimtis: darbui panaudotos 1965 – 1970 m. SAM Sanitarinės/ epideminės valdybos ataskaitos, kuriose užregistruoti visi ( N=1989 ) profesinių ligų atvejai. Duomenų analizė atlikta remiantis Tarptautine ligų klasifikacija (TLK – 10), Ekonominės veiklos rūšių klasifikatoriumi (EVRK), Lietuvos profesijų klasifikatoriumi (LPK). Statistinė duomenų analizė atlikta kompiuterinėmis programomis Microsoft Excel, WinPepi, Skirtumų tarp grupių patikimumas vertinamas &#967;2 testu. Išvada, kad grupės skiriasi buvo daroma, kai p &#8804;0,05. Rezultatai pateikti paveiksluose ir lentelėse. Rezultatai: 1965 – 1970 m. Lietuvoje buvo registruojami 26,5 – 36,02 profesinių ligų atvejai 100 000 dirbančiųjų . Didžiausią profesinių ligų dalį – 54% sudarė infekcinės ir parazitinės ligos. Odos ir poodžio ligos sudarė 28%, apsinuodijimai – 9%. Daugiausia profesinių ligų užregistruota apdirbamojoje gamyboje – 87%, žemės ūkyje 5%. Profesinės ligos 1965 – 1970 m. dažniausiai buvo diagnozuojamos maisto gamintojams, medžio apdirbėjams, siuvėjams, tekstilininkams, batsiuviams ir giminingų profesijų atstovams – 64%... [toliau žr. visą tekstą] / SUMMARY THE STRUCTURE AND TRENDS OF OCCUPATIONAL DISEASES IN LITHUANIA IN THE YEAR 1965-1970 Key words: occupational diseases, structure, trends,1965 -1970 m. The object of the work: to investigate structure and trends of occupational diseases in Lithuania in 1965-1970. The task of the work: to evaluate the distribution of occupational diseases according to the economic activity spheres, occupations, sex, harmful work factor, form and type of occupational diseases; to evaluate the trends of occupational diseases in 1965-1970. The methodology of the investigation: the 1965 -1970 accounts of the Sanitary Epidemic Board of the Ministry of Public Health Care have been used in this work. In these accounts, 1989 cases of occupational diseases have been registered. The analysis of the data has been performed using International Classification of Diseases (ICD - 10), classifier of the Economic activities (NACE) and Lithuanian classifier of Occupations (LPK), as well as data about employed persons from the Lithuanian Statistics Department. The statistical analysis of the data has been performed using Microsoft Excel, WinPepi computer programs. The reliability of the difference between the groups is estimated by &#967;2 test, the statistic conclusions are formed when p<0,05. The results: the results of the investigation show that within 1965-1970 the most frequent occupational diseases group was the infection and parazitis diseases – 54%, skin diseases – 28%. The index of occupational... [to full text]

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An analysis of Manhattan Transfer yields one very formidable conclusion: it is an extraordinarily contrived work of fiction that is a work of art. The novel is extraordinary because nothing quite like it had ever been done before in American literature; contrived, because it is a carefully wrought, deliberated piece of fiction. Thus Manhattan Transfer is an experimental novel in the best sense of the word. It is not the result of any kind of "spontaneous combustion," in which the author was the mere instrument to guide the pen while wrapt in the ecstatic warblings of the muse.Dos Passos believed that he had to find a form that would capture the hum and throb, the agony and the ecstasy of the modern metropolis. He wanted to represent its kaleidoscopic variety, its noise and confusion, and, above all, he wanted to show how modern man is responsible for projecting the monster in his own soul. The monster in Manhattan Transfer is New York City, conceived and built in the image of power and success. The city is a tribute to man's genius;it is also a tribute to his greed. In his desire to succeed at all costs, man has created a labyrinthine technology that he does not understand. Man finds himself going through revolving doors endlessly, finally to the point where he himself is fed through the huge modern machines, like a tapeworm devoid of any direction and sensibility.Moreover Manhattan Transfer is an altogether American novel, because it deals with the phenomenon of the mushrooming American technology with its focus on a huge metropolis. Furthermore, because it is such an innovative novel in terms of traditional fiction, it is clearly in the American stream of literature. It points both forward and backward. It takes as its departure Whitman's tremendous achievements in language experimentation. In his essay in The New Republic (October 14, 1916), Doe Passos proded future practitioners in American literature to experiment, to look back at Walt Whitman and renew his spirit of genuine individualism and gusto. He reminded American writers to look within themselves and create forms that would speak for the times that were flexible and adaptable enough to capture the American spirit. He reprimanded those writers who would follow in the European traditions of the novel without questioning their relationship to the wholly new American experience.One need not have read much Whitman to remember that he called his Leaves of Grass, in the final analysis, a "language experiment." And one need not have read far into ManhattanTransfer to realize that it is also a language experiment. Doe Passos adores language; he is intrigued by its endless manipulatability.Manhattan Transfer is also an enviable source of important knowledge about New York City during the first two decades of the twentieth century. What was it like to live there prior to the first world war? What were the peculiar anxieties, hopes, and dreams, of the people who lived there when it was growing so rapidly into the complex metropolitan center it is today? Almost on every page one can both feel and sense the emerging bigness. The city was becoming cosmopolitan, chaotic, dazzling, and needless to say, frustratingly awesome.