Jarry semble avoir totalement abandonné les complications stylistiques qui caractérisaient ses premiers textes lorsqu'il fait œuvre de critique littéraire à la Revue blanche. En réalité, l'auteur de Messaline continue, mais de façon extrêmement sous-jacente, à pratiquer une forme d'obscurité, elle paradoxale, dans le sens où elle est inapparente, et qui se traduit par le développement constant d'une esthétique du raccourci et par un apparent retrait de sa présence de critique jusque dans l'acte même du compte rendu, Jarry donnant toute sa place au texte commente, en taisant cette façon qu'il a, incessamment, de le citer. Ainsi, ce travail est conduit d'une part par notre souci de faire affleurer la façon dont se fait jour l'esthétique du raccourci (Jarry procède par synthèses incessantes qui, à force d'affirmation, en deviennent soit obscures soit insaisissables) au sein de ces textes apparemment alimentaires que sont les critiques littéraires de Jarry, l'auteur du Surmâle présentant de véritables concrétions de sens, en lien avec la notion d'érudition, dans des domaines extrêmement divers. D'autre part, notre travail vise à montrer comment se fait jour chez Jarry le détournement de l'usage habituel de la citation, qui porte en creux une critique corrosive du statut de critique, l'auteur de la chandelle verte devenant un critique qui ne s'exprime le plus souvent que suivant l'absence totale de propos critique - puisque lorsqu'il s'agit d'énoncer des " jugements ", c'est en fait pour continuer de tisser une filiation avec une communauté d'auteurs desquels il se sent proche et ainsi, principalement, avec le lieu du Mercure de France.

The goal of this thesis is to analyze the philosophy and pedagogy of an almost forgotten figure in Saskatchewan history, whose work has had a lasting impact on the theory and practice of adult education. Watson Thomson, who was appointed as director of the Adult Education Division (AED) by the newly elected CCF government of Tommy Douglas in 1944, initiated an ambitious program designed to animate the citizenry of Saskatchewan, bring a variety of educational services to the common person, and develop co-operative and community enterprises throughout the province. Thomsons work is significant for a number of reasons. First, I compare and contrast it with the pedagogy of Brazilian educator, Paulo Freire. Second, I show that it was influenced by the humanistic philosophy of Personalism, especially that of Emmanuel Mounier. Third, and perhaps most importantly, Watsons philosophy embodies insights from the depth psychology of Alfred Adler enabling him to advocate a distinctive, dialogical pedagogy. Fourth, his influence as director of the AED was considerable as can be gauged from the fact that within one year of its formation, the division had organized over 500 study-action groups and more than 100 cooperative enterprises. Fifth, Watsons educational achievements are important not only for historical reasons but as a model for the development of social economy enterprises today, as evidence from a recent UNESCO report shows. The thesis uses an interdisciplinary approach of intellectual biography, historical documentation, and philosophical and psychological analysis in order to establish a comprehensive account of the theory and practice of this important figure.

Ce mémoire a pour objectif principal l'analyse du concept de métalangage tel qu'il s'est développé en logique mathématique. L'introduction et la conclusion mises à part, chaque chapitre porte sur un auteur -logicien, mathématicien ou philosophe ayant contribué de manière significative à l'évolution de ce concept. Ces auteurs sont, en ordre de présentation, Gottlob Frege, Bertrand Russell, Ludwig Wittgenstein, David Hilbert, Kurt Godel et Alfed Tarski. Puisque la notion de métalangage s'est développée avec la formalisation progressive de la logique, une attention particulière est accordée à l'émergence des systèmes formels et à leur présentation. Trois périodes se dessinent dans la genèse de cette notion. Une première, que j'appelle « pré-météthéorique », où l'intervention d'une théorie externe au langage formel est rejetée catégoriquement, mais où certaines notions métathéoriques sont implicitement tracées. Une seconde, dite « hilbertienne », qui marque l'entrée en jeu de la métamathématique et qui consacre le métalangage dans l'étude des mathématiques, quoiqu'avec des moyens limités. Et une troisième, dite « tarskienne », où la notion moderne de métalangage est exposée. Par ailleurs, j'effectue une analyse détaillée de la preuve que Godel donne de son second théorème d'incomplétude où je prétends qu'il commet une erreur conceptuelle entre langage et métalangage. Enfin, en conclusion, j'explore une conception fondationnelle de la logique compatible avec l'étude métathéorique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Métalangage, Logique, Philosophie, Métamathématique, Godel, Tarski.

The goal of this thesis is to analyze the philosophy and pedagogy of an almost forgotten figure in Saskatchewan history, whose work has had a lasting impact on the theory and practice of adult education. Watson Thomson, who was appointed as director of the Adult Education Division (AED) by the newly elected CCF government of Tommy Douglas in 1944, initiated an ambitious program designed to animate the citizenry of Saskatchewan, bring a variety of educational services to the common person, and develop co-operative and community enterprises throughout the province. Thomsons work is significant for a number of reasons. First, I compare and contrast it with the pedagogy of Brazilian educator, Paulo Freire. Second, I show that it was influenced by the humanistic philosophy of Personalism, especially that of Emmanuel Mounier. Third, and perhaps most importantly, Watsons philosophy embodies insights from the depth psychology of Alfred Adler enabling him to advocate a distinctive, dialogical pedagogy. Fourth, his influence as director of the AED was considerable as can be gauged from the fact that within one year of its formation, the division had organized over 500 study-action groups and more than 100 cooperative enterprises. Fifth, Watsons educational achievements are important not only for historical reasons but as a model for the development of social economy enterprises today, as evidence from a recent UNESCO report shows. The thesis uses an interdisciplinary approach of intellectual biography, historical documentation, and philosophical and psychological analysis in order to establish a comprehensive account of the theory and practice of this important figure.

My dissertation examines the putative success of Curitiba, the Brazilian capital of Paraná, and seeks to understand how it came to be touted as the model city of Brazil. The standard explication for Curitiba’s success credits the power of a single city agency, the Urban Planning and Research Institute of Curitiba (IPPUC), and the vision of its first president, Jaime Lerner. According to this narrative, in 1971 IPPUC formalized a broad urbanistic vision for the city’s growth and initiated projects aimed at improving traffic congestion, expanding green space, and increasing city and social services. I argue that the narrative of the institute’s contributions provide an incomplete genealogy of Curitiba’s success. It fails to examine the historical context of the city’s status and does not consider the significance of publicity campaigns in sustaining this image. Also, IPPUC’s story is not only tendentious but derivative. My historical research shows how IPPUC has rearticulated longstanding tropes that celebrate the region’s unique characteristics -such as Curitiba’s edenic cityscape and its European social composition- and has recycled deterministic arguments related to race, ethnicity, and geography. My dissertation demonstrates that exceptionalist discourses have circulated for more than a century. I trace these claims from the 1880s to the 1940s and investigate how and why they changed over time. I show that politicians first initiated efforts to promote the region at the turn of the twentieth century to attract European colonists. Over the next fifty years, politicians, elites, and intellectuals forwarded new claims that positioned Curitiba and Paraná as ideal locations for economic and social development. Planning specialists from around the world have closely studied Curitiba’s urban development, but in their analyses they have largely failed to consider the intellectual and social constructs that undergird this story of progress. My dissertation focuses on century-old celebratory claims about Curitiba and reveals the epistemological roots of the current explications of the city’s success. / text

ABSTRACT Imaginative storytelling offered as an invitation to learning dovetails with the notion of Romance in cyclical, organic learning. It is upon the theme of rhythmic storytelling and its relationship to Alfred North Whitehead’s cycle of Romance/Freedom of “The Wood between the Worlds” that I concentrate in this thesis. The thesis proceeds in four chapters to facilitate such understanding. Chapter One reawakens the childlike wonder of the stories my father related to me when I was young; my personal academic trajectory traces out the Whiteheadian pattern of the overlapping tri-cycle of Romance/Freedom, Precision/Self-Discipline, and Generalization/Freedom. Chapter Two introduces the enchanted Narnian “Wood between the Worlds” envisioned by Clive Staples Lewis with reference to the literary and sensory forests I have known. Chapter Three presents the Voices of the Children from my Grade Two class over a period of one year, based upon my memories and personal anecdotal notes of their stories as well as their creative use of storytelling. I also explore Antonio Machón’s consideration of children’s drawings as storytelling. In conclusion, Chapter Four describes my journeys with First Nations pilot programs Math Warriors (Saskatoon Catholic School Board) and Indigenous Knowledge in Science (Saskatoon Public School Board), leading me to better appreciate Indigenous educational philosophy. In the process I consider insights shared by Verna Kirkness (Cree), Jo-ann Archibald (Stó:lö and Coast Salish), and others. Finally, I interpret “The Wood between the Worlds” from a Whiteheadian perspective, reflecting upon contrasts and commonalities Whitehead may share with Aboriginal thought.

Ce travail part d'une double ambition : permettre d'une part la relecture de l'œuvre de Jarry, souvent interprétée selon des modèles structuralistes ou à la lumière des mouvements littéraires qui lui ont succédé ; proposer d'autre part une réflexion qui permette de construire une histoire dynamique des formes littéraires. Une première partie analyse l'inscription de Jarry dans le champ littéraire de son époque, en définissant la manière dont il s'approprie les outils herméneutiques de la communauté interprétative symboliste à laquelle il s'affilie lors de ses débuts en littérature. Une seconde partie s'intéresse plus particulièrement aux stratégies de programmation de la lecture mises en place dans ses ouvrages. Le " colin-maillard cérébral " est le nom que prend la rhétorique de Jarry, qui établit des dispositifs de diffraction sémantique pour provoquer un effet de suggestivité.

Being Isadora is a story of possession. Isadora Duncan, the founder of modern dance, was an intensely creative, free-spirited woman. Her life experiences early last century were as fascinating and tragic as her achievements. In New York in 1985, Isadora's last surviving pupil and adopted daughter, ninety-year old Anna Duncan, is searching for a way to fulfill a long held promise. Isadora wished to control the way she was remembered and had made Anna promise that any remaining film of her dancing would be destroyed. But one film survives and Anna is running out of time to find it. A young Australian journalist, Tamsin Doyle, attends a dance class at the Isadora Duncan Studio and meets Anna, unknowingly becoming part of the quest. Initially the stories of Isadora and Tamsin run parallel, then as Tamsin gets to know Anna, she becomes immersed in a dream world of dramatic incidents from Isadora's life. The dreams become waking experiences and she fears her will is gradually being taken over. She ends up in places - in fact other countries - that she had no intention of being, pursuing an agenda that is not her own. In the second part of the book, she finds herself in Russia, where Isadora lived after the Revolution. She meets and falls in love with Vladimir, the grandson of Isadora's former dance collaborator. Unable to prevent herself being possessed while visiting the school Isadora founded, Tamsin is arrested by the authorities. A Russian KGB officer has his own plans and abducts her, keeping her prisoner in a dacha outside Moscow. He shows her a film of herself dancing and then the surviving film of Isadora. The two are almost identical and a dramatic climax ensues. Themes in the book explore the nature of memory and how it is influenced by photographic and filmic record, love and loss and the way patterns repeat in people's lives in an attempt to change outcomes.

A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad. / Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’

This thesis surveys all the found British settings of A. E. Housman's A Shropshire Lad (1896) but concentrates on the period after 1940, which, the author believes, has not previously received critical attention. A new study is timely especially because of a renewed interest among composers in the poet's highly influential lyric collection. The author found about 110 British composers with about 340 settings of individual poems not listed in previous Shropshire Lad catalogues. This number adds more than fifty per cent to the known repertoire. The search was not restricted to art song; it found, in addition, multi-voice settings, settings in popular styles and non-vocal music. Largely because of the work of broadly trained musicians, there is now a much wider range of medium, style and compositional technique applied to A Shropshire Lad. There are also new ways in which words and music relate. Different catalogues in the thesis list settings according to period, genre, poem and composer. The author hopes to broaden the British canon of Shropshire Lad music, which, despite recent commissions and competitions, is still mostly limited to the major composers of the English musical renaissance (the early decades of the twentieth century). Accordingly, the catalogues let performers know how to obtain the settings. In preliminary chapters, the thesis attempts a literary examination of A Shropshire Lad and reviews the already-researched pre-Second World War settings. It then divides the post-1940 period into two parts–a Decline (to c.1980) and a Renewal (since c.1980)–and surveys them. The compositions of this period are placed in three tonal-stylistic streams of development: a mainstream tonal with ultraconservative and atonal tributaries. Then follow detailed literary-musical analyses of post-1940 songs, song cycles, collaborative sets, and multi-voice settings. A final summary draws together the conclusions of the individual chapters, summarizes and evaluates the achievement of the post-1940 composers, and suggests how further research might be carried out. / Art History, Visucal Arts and Music / D. Litt. et Phil. (Musicology)