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xii, 315 p. / Independent filmmaking in China, with the directors' reiteration of literary and cinematic realism carried on from May Fourth, reflects the nation's social uneasiness triggered by the enlarging division between the enlightenment indenture and the unidirectional modernization project. Resisting the national allegories and Hollywood-style big budget fantasies made by the Fifth Generation, independent filmmakers bring back to the screen the unadorned life of city inhabitants. The meaning of "independent" and "alternative" does not exclusively lie in the production and distribution venues but is galvanized by film directors' perception and cinematic depiction of what constitutes the social realities of contemporary China. The locality of hometown and the corporeality of the filmed subjects help to sustain a legitimate image-space for the socially underrepresented, at a time when the Party co-opts the discourse of nation-state to renew their regime. Directors employ the politics of sexuality, where body is the only thing remaining in their control, to usher in a redefinition of the Party and reassure the agency of Chinese intellectuals who were betrayed during the June Fourth massacre. The exegesis of the independent generation extends to the digital video (DV) filmmakers, whose cinematic language features the increased sense of interrogation between the camera and the characters. For the directors' claims of neither representing the people nor wrestling against the Party, nonetheless, DV films retreat to a safe but enclosed space, in which the aggrandized size of the body on screen displays a fractioned and diminished self cutting off from the outside world and falling short of its full potential. Independent filmmaking in China derives its policy-shaping capacity from its increasing participants (domestic audiences, amateur filmmakers, critics, and scholars) and multiplying operative channels (film funds, online forums, and non-official archives), collectively converting filmmaking from a privilege exclusive to the state apparatus and its elite delegates to a right of self-expression belonging to each individual. / Committee in charge: Alison M. Groppe, Chairperson; Tze-Lan Sang, Member; Alisa D. Freedman, Member; David Li, Outside Member

xiv, 165 p. ： ill. (some col.) / Our current focus on the city core includes reintroducing the mixed-use building. This typology is not without challenges, and arguably none is more pressing than full retail occupancy. This analysis investigates the potential for start-up companies to supplement traditional retail on an interim basis. By documenting the needs and expectations of the start-up and development communities (from multiple perspectives), this study assesses the potential connection between mixed-use and the start-up company. Using a methodology informed by literature and augmented by personal accounts, this analysis reveals that the inclusion of start-up companies in mixed-use projects can present both short- and long-term benefits to ongoing retail difficulties: mixed-use buildings can be an ideal location for start-up firms, including start-up tenants can be economically feasible if certain measures are in place, and a new development model is not needed to connect an emerging business with an existing project. / Committee in charge: Howard Davis， Chairperson； John Rowell， Member； Gerardo Sandoval， Member

Cette version du mémoire a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Ce texte présente le processus de composition ayant mené à la création de la performance Soft Revolvers. Cette œuvre repose sur la conception d’interfaces sur mesure, soit quatre toupies lumineuses évoquant les tables tournantes. Je situe la création d’un tel dispositif, connoté et totalement intégré au propos artistique, dans la continuité historique du Gesamtkunstwerk (œuvre totale). Cette perspective englobante permet de questionner tous les aspects qui affectent la réception d’une œuvre. J’exposerai donc comment la lutherie utilisée, la gestuelle développée, la forme musicale et la scénographie ont été articulées autour d’un concept central dans la performance Soft Revolvers. Je présenterai finalement deux autres œuvres connexes, la performance Tempo Deluxe, qui utilise les mêmes interfaces de toupies, et la pièce Lumens&Profits, qui revisite les mêmes thématiques et techniques de composition dans une version fixée. Cette mise en parallèle permettra de mieux cerner les limitations impliquées par la spécificité des interfaces, tout en faisant ressortir l’efficacité du dispositif créé sur mesure dans le contexte numérique. / This text examines the composition process leading to the creation of the performance Soft Revolvers. The work is based on performance specific interfaces: four luminous spinning tops that evoke turntables. These connoted devices, fully integrated in the artistic discourse, are located within the historic continuum of the Gesamtkunstwerk (total work of art). This holistic perspective allows the renegociation of all the aspects that might influence the reception of a performance. Each of these aspects - the digital instrumentation, the gestural language, the musical form and the scenography - is discussed and articulated around the central concept in Soft Revolvers. Finally, two related works are presented, the performance Tempo Deluxe, which uses the same spinning top interfaces, and the piece Lumens&Profits, which explores the same thematic material as Soft Revolvers in a fixed version. Comparing these works allows a better delineation of the limitations implied by the interfaces' specificity, while confirming the effectiveness of the performance specific device in the digital realm.

Ce mémoire de maîtrise propose des outils d’analyse permettant de souligner la cohérence harmonique du langage de Franz Schubert, en particulier dans les œuvres tardives de sa production. L’analyse d’un corpus incluant principalement sa musique de chambre, ses sonates pour piano et une sélection de lieder, nous a permis d’observer des constantes dans le discours harmonique du compositeur. Confrontée à la fois à la richesse de l’écriture tonale de Schubert et aux limites d’un mémoire de maîtrise, nous avons été amenée à concentrer notre étude sur deux traits caractéristiques de son style harmonique, soit le majeur-mineur et sa pratique modulatoire. D’une part, la typologie des emplois du majeur-mineur développée dans ce travail permet de préciser la nature des différents phénomènes s’y rapportant, tout en soulignant l’importance structurelle qu’ils occupent au sein de la forme. Ainsi, nous avons identifié trois types d’emploi de l’interchangeabilité des modes majeur et mineur : l’ornementation à l’intérieur d’un accord (coloration), l’emprunt d’accords au mode opposé à l’intérieur d’une unité structurelle harmonique (mode mixte), et le changement de modes entre deux unités structurelles harmoniques successives (opposition de modes). D’autre part, les mécanismes modulatoires expliqués dans ce mémoire, soit l’emploi du majeur-mineur lors de l’accord pivot, l’altération de la fonction VII ainsi que l’utilisation de dominantes contrariées, entraînent un accroissement de la tension tonale en reliant des zones très éloignées entre elles et agissent comme marqueurs formels dans les œuvres du compositeur. Les mécanismes présentés dans ce mémoire permettent ainsi de préciser la logique harmonique qui sous-tend les œuvres de Schubert, en mettant en valeur l’interaction entre la microstructure et la macrostructure. / This master’s thesis provides analysis tools to highlight the internal consistency of Schubert’s harmonic language, especially in his late works. The analysis of a corpus including mainly his chamber music, his piano sonatas, and a selection of lieder, reveals some constants in the composer’s harmonic organization. Confronted with both the richness of Schubert’s tonal writing and the limits of a master’s thesis, I have chosen two characteristic features of his harmonic style for study : his use of major-minor harmonies and his modulatory practice. First, the typology of the major-minor usages developed in this thesis allows for the specification of the nature of different phenomena related to them, while emphasizing their structural importance in the form. Thus, three types of application of the interchangeability of major and minor modes are identified: ornamentation within a chord (colouration), borrowing of chords from the opposite mode inside a harmonic structural unit (modal mixture), and modal shift between two successive harmonic structural units (mode opposition). Furthermore, the modulatory mechanisms explained in this thesis including the use of major-minor at pivot chords, chromatically altered VII chords, as well as the use of what Serge Gut identifies as « dominantes contrariées » cause an increase in tonal tension by linking remote tonalities and act as formal markers in the works of Schubert. The mechanisms presented in this thesis advance our understanding of the harmonic logic that underlies Schubert’s works by drawing attention to the interaction between microstructure and macrostructure.

Le visuel, et notamment la théâtralité, les gestes, la vidéo et la danse, pourraient-ils être traités en tant que matière connexe au son dans la composition musicale ? Quelles sont les stratégies à notre disposition pour intégrer de manière pertinente l’image et le son ? Qu’est-ce qu’implique l’intégration du visuel dans la création et l’interprétation d’une oeuvre musicale ? À partir de ces questionnements, sept pièces ont été composées dans le cadre de ma maîtrise entre les mois de septembre 2014 et août 2016. Ce mémoire décrit les principales étapes de conception de ces pièces ainsi que leur processus de composition dont le but était la recherche de solutions et de stratégies visant un rapport homologue entre le visuel et le sonore dans le processus de création musicale. Le premier chapitre dresse un portrait des artistes et compositeurs qui ont travaillé sur le rapport entre le son et le visuel. Quelques stratégies de ces compositeurs ont été utilisées lors du processus visant la création d’une composition musicale capable d’intégrer le visuel en tant qu’élément essentiel. Le deuxième chapitre présente des pièces dans le cadre desquelles je me suis penchée sur le lien entre la musique et la vidéo, la gestuelle ou la danse. Le troisième chapitre aborde une série de quatre pièces composées dans le but d’exprimer, à travers la musique et la mise en scène, des questions liées à notre quotidien. Le dernier chapitre présente finalement des conclusions qui ont émergé à la suite de mon processus de composition et, dans certains cas, à la suite de la performance des pièces. / Is it possible to treat visual material, in particular theatre, physical gestures, video and dance, as an equal element to sound in musical composition? What strategies are available to us to incorporate, in a relevant way, image and sound? What does the interaction between sound and visual material in the creation and the performance of a musical piece imply? Guided by these questions, I composed seven pieces as part of my Masters, between September 2014 and August 2016. This paper describes the main stages of these pieces and their composition process, which aimed to find solutions and strategies for a homologous relationship between the visual and the sound in the process of musical creation. The first chapter draws a portrait of artists and composers who worked on the relationship between sound and visual. Some strategies of these composers were used during the process of creating a musical composition capable of integrating the visual as an essential element. The second chapter presents the pieces which I have investigated the link between music and video, gesture and dance. The third chapter addresses a series of four pieces composed for the purpose of expressing, through the relation between music and staging, issues related to our daily life. Finally, the last chapter presents conclusions that emerged as a result of my writing process and, in some cases as a result of the performance of the parts.

The purpose of this dissertation was to examine the persuasive effects personal stories have on the university recruitment process. Specifically, this study explored how Fisher's (1984) concepts of narrative probability and fidelity influenced Ajzen's (1991) theory of planned behavior model using a four-staged quasi-experimental study. Jablin's (1982) anticipatory socialization phase of organizational assimilation theory acted as a context for this applied dissertation. This study evolved over four stages while working with the North Dakota State University Office of Admission. The first stage provided qualitative data exploring students' opinions of using story-based recruitment material. Focus groups also revealed what types of stories would be helpful for prospective students during the college admission process. Stage two developed and tested the narrative probability and fidelity scales based on Fisher's (1984) narrative paradigm. These newly created scales were used to determine the level of narrative probability and narrative fidelity in each of the experimental conditions. Stage three consisted of the creation and testing of the recruitment videos used in each experimental condition. The final stage tested the story-based recruitment and control videos on prospective students visiting North Dakota State University. The results of this dissertation were obtained using a series of ANOVAs, regression analyses, and path model testing techniques. Overall, the results suggested that high levels of narrative probability and narrative fidelity do positively influence prospective students' attitudes toward choosing a university and have a less powerful, but still positive, influence on their subjective norms beliefs and perceived behavioral control of choosing a university. The theory of planned behavior model was also supported by this data. The results of each stage of this study produced theoretical and practical implications. This dissertation concludes with a discussion of the results, implications, limitations, and future research opportunities.

La musique a le pouvoir d’exprimer ce qui est latent dans d’autres formes d’art, comme elle peut aussi transcender et ajouter d’autres niveaux de signification au texte d’une chanson. Mais seules les illustrations peuvent encapsuler une scène au cœur de la musique. Dans ce mémoire, j’explore différents moyens musicaux dont dispose le compositeur pour mettre en musique son interprétation d’une œuvre picturale. Cette œuvre est, par définition, privée de la dimension temporelle. Si, pour le peintre Eugène Delacroix, « Le véritable but du peintre est de nous faire prendre part à l’intensité de l’instant », la musique, elle, ne peut être appréciée et laisser sa trace sur nous qu’en fonction du temps qu’elle prend pour se déployer. Conséquemment, une question a nourri ma réflexion : sous quels angles et selon quels critères d’analyse puis-je aborder une œuvre picturale afin d’en tirer des constats qui pourront, par la suite, servir de support à la création de ma musique? Je tente de répondre à mon questionnement en approchant l’interprétation d’une illustration par quatre avenues possibles : réaliste ou descriptive, impressionniste, narrative et, finalement, par association stylistique entre le medium illustratif et le medium musical. Pour le besoin de mon étude, j’ai composé trois œuvres basées sur sept illustrations : 1) Tableaux Montmartre. Suite symphonique inspirée de Tableaux d’une exposition de Modeste Moussorgski et dont le support illustratif consiste en cinq toiles représentant le Montmartre par cinq peintres différents : Charles Malle, Armand Lourenço, Kees Van Dongen, Eugène Paul (Gen-Paul) et Georges Braque. 2) Lumière fossile. Poème symphonique ayant comme source d’inspiration une photographie du cosmos prise par le télescope spatial Planck. 3) Tennis Duet. Pièce à forme variable pour piano seul ayant comme source d’inspiration extra-musicale une photographie d’Arnold Schoenberg jouant au tennis. / Music has the power to express what may be latent in other art-forms, just as it may transcend and add new layers of meaning to the text set in a song. But only the illustrations themselves can actually encapsulate the scene, character or item at the heart of the music. In this thesis, I explore the different musical means available to the composer to set his interpretation of a pictorial work to music. This work is, by definition, deprived of the temporal dimension. If, for the painter Eugène Delacroix, « The true goal of the painter is to make us take part in the intensity of the moment », music can be appreciated and leave its mark on us only according to the time it takes to deploy. Consequently, a question nurtured my reflection: From what angles and according to what criteria of analysis can I approach a pictorial work in order to draw observations that could subsequently serve as a support for the creation of my music? I try to answer these questions by approaching the interpretation of an illustration through four possible avenues: Realist or descriptive, impressionist, narrative and, finally, by a stylistic transfer from the illustrative medium to the musical medium. For the purposes of my study, I composed three works based on seven illustrations : 1) Tableaux Montmartre. Symphonic piece inspiered by Pictures at an exhibition by Modest Moussorgsky and whose illustrative support consists of five canvases representing Montmartre by five different painters: Charles Malle, Armand Lourenço, Kees Van Dongen, Eugène Paul (Gen-Paul) and Georges Braque. 2) Lumière fossile. Symphonic poem inspired by a photograph of the cosmic radiation taken by the Planck space telescope 3) Tennis Duet. Piece, whose structural form may vary, for solo piano inspired by a photograph of Arnold Schoenberg playing tennis.

With the recent emergence of copious and diverse scholarship that considers the discursive valence of the term "human", posthumanism has emerged as a timely and powerful interdisciplinary discourse. This study is a critical analysis of three dominant strains of the technologically oriented segment of this discourse; namely "scientific" (Ollivier Dyens), "humanist" (N. Katherine Hayles), and "organismic" (Mark B. N. Hansen) constructions of technological posthumanism. In each case, the study desublimates (and often deconstructs) the particular ideological claims that underwrite a given perspective, emphasizing the specific elements that such presumptions enable or foreclose. To this end, particular emphasis is given throughout the essay to the critical capacity of performativity, a perspective that is enacted through analyses of selected new media artworks. / 10000-01-01