Le meilleur intérêt de l'enfant est l'unique critère légal concernant l'octroi de la garde d'enfants au Québec. Plusieurs ont soulevé ses difficultés d'application pratique en raison de son caractère largement discrétionnaire. Le présent mémoire de maîtrise défend la thèse selon laquelle une présomption de garde alternée devrait être appliquée au Québec, afin de minimiser les effets négatifs de la large discrétion judiciaire en matière de garde d'enfants. La première partie consiste à vérifier si la loi actuelle peut être interprétée comme donnant ouverture à une telle présomption. Nous avons également analysé la jurisprudence des tribunaux d'appel rendue depuis les 15 dernières années afin de vérifier si les juges appliquent une présomption de fait de garde alternée. La dernière partie a pour but de mettre en contexte l'introduction éventuelle de cette présomption dans la loi. Elle constitue dans un premier temps en une analyse des débats sur la présomption légale de garde alternée au Canada et, dans un deuxième temps, en une analyse de la Politique familiale québécoise afin de valider le réalisme de la mesure proposée. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Autorité parentale, garde, présomption de garde partagée, politique familiale, implication du père.

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

In the contemporary art-historical vision, Mikhail Larionov is renowned as the author and the main figure in the polemical discourse of Neoprimitivism and the inventor of the Rayonism style. These aspects, although crucial to his career, are far from exhausting the artist’s legacy. During his most industrious period, from 1910 to 1915, he was equally, if not more, engaged in the development of new forms of art than in the practice of painting; in fact, the conventional cornerstone of the high art in the era of Modernism – a painting – lost its central position and receded to the status of the peripheral phenomenon in his artistic practice. When considering his position as a central figure in the events of the 1910-1915 in Russia, Larionov’s ambivalence as an artist implies hesitation about the picture of gestalt homogeneity of Modernist discourse (with a painting as the hierarchical apex of high art in the Modernist era) in Russia of the early decades of the twentieth century. While historical evaluation privileges the painting over the non-painting practice of the artist, there is sufficient evidence testifying to the need to consider them as equal and synergetic.

<p>This dissertation develops a "politics of ambiguity" through case studies of affect in contemporary works by European, American and Singaporean composers. While studies of intercultural music have focused on narratives of power relations (e.g. orientalism, postcolonial ambivalence), a new method of interpretation can be based on the affective ambiguity that arises from intercultural encounters, indicating a less than totalitarian power and thus forming a basis for political struggle. The focus is on three pieces of music by American-born John Sharpley, Belgium-born Robert Casteels, and Singaporean Joyce Koh, who hail from across the globe and incorporate Asian musics, arts, and philosophies into a variety of modernist, neo-romantic, and postmodern musical idioms. Modalities of ambiguity include: perceptual focus on musicalized Chinese calligraphy strokes, versus perceptual liminality arising from modernist technique; the musical embodiment of Buddhist disembodiment; and, ambiguous relationality of intercultural sounds. Liminality, disembodiment, and relationality mark the cessation of identity politics in favor of a form of cultural hermeneutics that pays heed to the complex interaction between society, sonic media and the neurophysiology of listening.</p> / Dissertation

At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture. / French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism. / Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.

This thesis tries to distinguish kitsch and art with the help of philosophical hermeneutics by reading it in the light of Derrida&rsquo / s interpretation of Hamlet in Specters of Marx. It defines kitsch as experience in order to go beyond both of the two main approaches, namely, the one that sees kitsch as an object and the one that reduces it to the behaviour of the subject. It tries to show that kitsch is not just an aesthetic problem, but also, a political one.

En esta tesis se interpreta a través del prisma conceptual del nihilismo el desarrollo de la literatura española de entreguerras, y el papel central de los escritores en el reconocimiento de desorientación del hombre moderno. Primero se analiza teóricamente el concepto de nihilismo; luego se proporciona una descripción del contexto ideológico-estético de entreguerras, la coyuntura de la literatura de vanguardia y la cuestión de la jovialidad del Arte Nuevo ante una profunda crisis de valores. Posteriormente se atiende diacrónicamente a las interrelaciones del Arte Nuevo con el nihilismo, se analiza el cambio de sensibilidad de la actitud vanguardista en revolucionaria y se presenta el horizonte de las distintas alternativas ideológicas que afectan al escritor: liberalismo, pensamiento religioso y propuestas ideológicas "totales" como son el fascismo y el bolchevismo. Finalmente se estudia la ideología estética del novelista Benjamín Jarnés, cuya evolución ejemplifica la tarea de la práctica artística como modo de resistencia frente al nihilismo. / This research interprets through the concept of nihilism the evolution of the Spanish interwar literature (1918-1936) and the central role of writers in recognizing the essential disorientation of modern man.First there is the analysis of the concept of nihilism. Then it is provided a description of the ideological and aesthetical context of interwar years, and it is discussed the position of avant-garde literature and the question of the joyfulness of the new art before a deep crisis of values. After that, I try to explain the interactions between new literature and nihilism and I analyze the change of sensibility from avant-gardism to revolution, and how writers react to several ideological alternatives: liberalism, religious thought and especially total proposals such as Fascism and Bolchevism. Finally I focus on the aesthetic ideology of the novelist Benjamín Jarnés, whose evolution shows how the artistic praxis posits itself as a mode of resistance to nihilism.

Doctor of Philosophy / ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.

Thesis (Ph.D.)--Ohio University, June, 2007. / Includes bibliographical references (leaves 280-297)

Freie Univ., Habil.-Schr.--Berlin, 2003.