The legalization of marijuana in Canada represents a significant change in the course of Canadian drug policy. Using a semiotic approach based on the work of Roland Barthes, this dissertation explores marijuana’s signification within the House of Commons and Senate debates between 1891 and 2018. When examined through this conceptual lens, the ongoing parliamentary debates about marijuana over the last 127 years are revealed to be rife with what Barthes referred to as myths, ideas that have become so familiar that they cease to be recognized as constructions and appear innocent and natural. Exploring one such myth—the necessity of asserting “paternal power” over individuals deemed incapable of rational calculation—this dissertation demonstrates that the processes of political debate and law-making are also a complex “politics of signification” in which myths are continually being invoked, (re)produced, and (re)transmitted. The evolution of this myth is traced to the contemporary era and it is shown that recent attempts to criminalize, decriminalize, and legalize marijuana are indices of a process of juridification that is entrenching legal regulation into increasingly new areas of Canadian life in order to assert greater control over the consumption of marijuana and, importantly, over the risks that this activity has been semiologically associated with. Although the government’s legalization decision seems to be a liberalization of drug policy at odds with processes of juridification, it is shown that legalization’s transformation of irrational and criminal marijuana users into legitimate consumers subject to a strict regulatory framework is entirely compatible with a neo-liberal perspective that is saturated by the myth of irrationality and the necessity of paternal power. The reaching of this counterintuitive conclusion helps demonstrate this dissertation’s primary contribution: the illustration of the value of Barthesian semiotics as a means of producing new and alternative insights into seemingly familiar criminological issues.

Tzvetan Todorov définit le fantastique comme étant le propre de la nouvelle et non pas de la poésie et c’est un genre qui se situerait entre l’étrange et le merveilleux. Pourtant la poésie baudelairienne semble déroger à cette règle, tant au niveau formel que thématique. Les Petits Poèmes en prose constituent un genre hybride entre le recueil de nouvelles et le recueil de poèmes. Dans Les Fleurs du mal, l’ordre des pièces obéit à la logique d’un récit. Quant aux traductions des œuvres d’Edgar Poe, Baudelaire y injecte de la poésie. Sur le plan thématique, les motifs fantastiques sont présents dans l’œuvre de Baudelaire de manière quasi-systématique. Certains d’entre eux prennent des formes singulières et insolites chez l’écrivain. Et par le fait qu’il exalte la bipolarité formelle et thématique, le romantisme baudelairien n’est pas sans nous rappeler la démarche hoffmannienne de l’écriture. Tout en gardant à l’esprit la théorie de Todorov, nous essayons, pas à pas, de démontrer l’existence d’un fantastique baudelairien dont semble même s’inspirer certaines œuvres cinématographiques. / Tzvetan Todorov defines the fantastic as being a genre at the interface between the strange and the wonderful, a genre characteristic of the novel but not of poetry. Baudelaire's poetry, however, seems to depart from this rule, both formally and thematically. The Little Poems in Prose is a hybrid between the collection of short stories and that of poetry. In The Flowers of Evil, the order of the plays obeys the logic of a narrative. As for the translations of the works of Edgar Allan Poe, Baudelaire indulged into poetry. Thematically, the fantastic patterns are present in Baudelaire's work almost systematically. Some of them are unique and unusual forms to the writer. Given that he exalts the formal and thematic bipolarity, Baudelaire’s romance is not reminiscent of Hoffman's approach to writing. Bearing in mind the theory of Todorov, we attempt, step by step to demonstrate the existence of a Baudelairean fantasy which seems to have inspired even some films.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-29T15:05:14Z No. of bitstreams: 1 mariainaciopeixotoquaresma.pdf: 579114 bytes, checksum: 7cc5154e79919cdb750d0a19cab25ec3 (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: Renata, confirma, por favor, se no título da dissertaçào a palavra Naus realmente está em letra minúscula. on 2016-03-03T14:24:29Z (GMT) / Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-03T14:35:35Z No. of bitstreams: 1 mariainaciopeixotoquaresma.pdf: 579114 bytes, checksum: 7cc5154e79919cdb750d0a19cab25ec3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:45:28Z (GMT) No. of bitstreams: 1 mariainaciopeixotoquaresma.pdf: 579114 bytes, checksum: 7cc5154e79919cdb750d0a19cab25ec3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:46:30Z (GMT) No. of bitstreams: 1 mariainaciopeixotoquaresma.pdf: 579114 bytes, checksum: 7cc5154e79919cdb750d0a19cab25ec3 (MD5) / Made available in DSpace on 2016-04-24T01:46:30Z (GMT). No. of bitstreams: 1 mariainaciopeixotoquaresma.pdf: 579114 bytes, checksum: 7cc5154e79919cdb750d0a19cab25ec3 (MD5) Previous issue date: 2013-08-16 / A desmistificação do passado português presente em As Naus, romance de António Lobo Antunes, a procura da identidade portuguesa pós-moderna e as consequências da descolonização africana para os retornados da guerra na sua difícil readaptação a Portugal. O autor recria, através de um jogo parodístico, o conceito de ser português. Como viveu em Angola durante o processo revolucionário de independência do país, transcreveu para sua obra os horrores de que foi testemunha. São desnudadas não somente a realidade da descolonização portuguesa na África, mas também a eclosão da luta contra a ocupação colonial e suas consequências para os portugueses e seus descendentes angolanos, que são obrigados a retornar a Portugal. Uma coletânea de registros desses retornados, sendo que muitos deles possuem, na narrativa, nomes de figuras ilustres de Portugal e do mundo. Esses personagens, porém, apesar de carregarem a identidade das personalidades históricas, são pessoas simples, quase sempre marginalizadas, que não conseguem prosperar em meio a nova sociedade portuguesa. Sobretudo através da paródia, o autor consegue fazer a aproximação de dois momentos completamente distintos da história portuguesa: o século XV, gloriosamente marcado pelas conquistas marítimas, e o século XX, período da descolonização. A problemática do romance pós-moderno revela-se justamente na construção de uma narrativa fragmentada, na presentificação do passado e sua consequente mistura de planos temporais, na multiplicidade de vozes, nos experimentalismos de linguagem, dentre outros. / The demystification of the past, the search of Portuguese postmodern identity and the consequences of African decolonization for the ex-colons through the difficult process of readjustment to Portugal in the Portuguese novel As Naus, by António Lobo Antunes. The author recreates, through parody, the concept of being Portuguese. The author lived in Angola during the revolutionary process of independence of the country transcribing to his novel the horrors he witnessed. He shows not only the reality of Portuguese decolonization in Africa, but also the outbreak of the colonial occupation and its consequences for the Portuguese and their Angolan descendants, who are forced to return to Portugal. In the narrative, many of these returnees have names of famous Portuguese and world figures. In spite of carrying the identity of historical figures, these characters are very simple people. Often marginalized, they cannot thrive in Portuguese society. Particularly through parody, the author manages to combine two completely different moments of Portuguese history: the fifteenth century, gloriously marked by maritime conquests, and the twentieth century, the period of decolonization. The paradox of postmodern novels is revealed in the construction of a fragmented narrative, in the presentification of the past and its consequent mixing of temporal planes, in the multiplicity of voices and in experimentalism in language; among others.

This study is done from an autobiographical perspective. It focuses on three issues: myths, the resurrection of Jesus from death, and the canon. It approaches the traditional ecclesiastical and confessional teachings from the perspective of a postmodern hermeneutics of suspicion. Being autobiographical, the study is in the first place relevant for its author. In the second place, because he is a researcher, the study has also relevance for the scholarly community. The faith community also asks their questions. Then there is the institutionalized church that is a watchdog for the dogma, and, lastly there is the secular community who is also interested in the debate. The study aims to find answers to the question how the myth of Easter faith developed into kerygma, which became a text with canonical status? It is a search for the relationship between myth, resurrection and canon. On the issue of myth, the study concludes that myth is just as important to postmoderns as it were to their pre-modern ancestors. The Christ myth is a first century Mediterranean version of an ancient inherited subconscious archetypal myth. It represents stories in the language, symbols, and metaphors of the cultures and peoples in which it originated. It is language recycled. On the question about the resurrection, the study concludes that the Christ cult and its narratives developed within a mythological worldview. First, there was the kerygma of a dying and resurrected Christ. Then narratives, as material for preaching in the early congregations emerged around the figure of the historical Jesus. The resurrection as the content of the kerygma is perceived as mythical speech that serves as the foundational myth for the Christ cult. The third issue was about the documents called canon and questions such as how did it emerge, and how did it become authority bearing? To recap the argument: In the beginning, there was the kerygma! The content of this kerygma was the death and resurrection of Christ. During the development stages of the Christ myth, this kerygma was linked to the life and death of the historical Jesus. His story became a mythical narrative that serves as the foundational myth for the Christ cult. It explains its reason for existence and its rituals. As this faith community grew and became more and more institutionalized it produced more and more literature. Orthodoxy in early Christianity decided which of these writings contain the truth and the right teaching. They are the books, which became the index of what is called the Christian Bible today. The author of this study believes in a canon behind the canon. For him, the Jesus figure is the “vehicle” that makes the content of the kerygma accessible. He is a mythological figure, with historical roots that has become the observable face of God to Christians. The New Testament represents kerygmatic narrative with an invitation to its readers and hearers to join in this mythological experience and encounter with God. / Thesis (DD (New Testament))--University of Pretoria, 2006. / New Testament Studies / unrestricted

Ce mémoire de recherche création s’intéresse aux différents impacts de la représentation des troubles mentaux dans les œuvres cinématographiques et télévisuelles sur les individus souffrant de diverses maladies mentales. Quels sont les visions ou les discours qui sont véhiculés dans les films et les séries télévisuelles mettant en scène des personnages souffrant de maladie mentale ? Ce mémoire vise à analyser un corpus de films et de séries afin d’identifier comment la maladie mentale est construite et mise en scène à l’écran. Notre ambition est d’analyser le rôle que jouent les médias dans la stigmatisation ou non, des troubles mentaux. La manière dont sont dépeints les gens qui souffrent de maladie mentale dans les œuvres des vingt dernières années sera interrogée. Cette étude cherche à analyser des œuvres cinématographiques et télévisuelles qui sont potentiellement nuisibles à la société à cause de leur manière de représenter les maladies mentales. Nous analyserons aussi, par ailleurs, des œuvres qui sont au contraire bénéfiques aux gens grâce au message et aux représentations adéquates et positives qu’elles véhiculent. Le volet création de ce mémoire est constitué de deux scénarios de courts métrages. / This Master’s memoir focuses on the different impacts of the representation of mental disorders in cinematographic and television works on individuals suffering from various mental illnesses. What visions are conveyed in movies and tv shows featuring characters suffering from mental illness? This thesis aims to analyze a body of films and tv shows in order to identify how mental illness is constructed and staged on the screen. Our ambition is to analyze the role of the media in stigmatizing or not, mental disorders. The way in which people with mental illness are portrayed in works of the last twenty years will be questioned. This study seeks to analyze cinematographic and television works that are potentially harmful to society because of their way of representing mental illnesses. We will also analyze works which are, on the contrary, beneficial to people due to the message and the adequate and positive representations that they convey. The creation part of this memoir will consist of two short film scenarios.

Cette thèse traite de l’évolution des modes de représentations et de l’image du Polynésien dans les littératures française, anglaise et américaine depuis 1842, la date du Protectorat de Tahiti, jusqu’en 1911, la période qui précède la Première Guerre mondiale. Il s’agit d’une lecture postcoloniale analysant l’influence des facteurs temporels et culturels des voyageurs occidentaux sur l’image de l’Autre et sur sa transformation du bon sauvage ou du cannibale païen en métis tiraillé entre les traditions et la modernité. Cette analyse a pour ambition de tracer la métamorphose qui marque le discours occidental sur la Polynésie et qui atteint son paroxysme à partir de la fin du XIXe. Il est question de tracer les origines de cette métamorphose, son impact sur la littérature et de déterminer si cette évolution dans le discours colonial représente une prise de conscience de l’Autre ou bien s’il s’agit des symptômes avant-coureurs d’un état de décadence qui frapperait la littérature coloniale. / This thesis deals with the evolution of the modes of representation and the image of the Polynesian in the French, English, and American literatures since 1842, the date of the French Protectorate over Tahiti, until 1911, the period which precedes the First World War. It is about a postcolonial reading of the influence of temporal and cultural factors of Western travelers on the image of the Other, on its transformation from a Noble Savage or a Cannibal into a person who lives in a cultural hybridity, and who is in a conflict between tradition and modernity. This analysis aims to outline the metamorphosis that affects the Western discourse on Polynesia and which reaches its peak starting from the late nineteenth century. It endeavors to study the origins of this metamorphosis, its impact on the literature and to determine if the evolution of the colonial discourse represents a growing awareness of the Other or if it is only a kind of warning symptoms of a literary decadence.

Colonization, which has resulted in the direct contact between the black man and the white man, leaves behind it an eternity of realities, of questioning and even an identity crisis. It was imposed on Africans by means of force, leaving no room for the concept of balance, equality or even of brotherhood. Instead you are faced with the concept of dominance between oppressors and oppressed. During colonization the white man had managed to impose its superiority to the black man by creating an absolute hierarchy: the white man is the all-powerful, the civilized, the absolute master of all, it is superior to all indigenous black; the black man, in the opposite, is found stripped of its roots, its customs, its history, in short it is found lower than the white man. In this work it was question to analyze the process of the demystification of the white man by the black man through Ferdinand Oyono’s Houseboy. We should then, through a study of this novel and other materials, show how this demystification is highlighted. By analyzing this novel and Toundi building his life the kingdom of the West, which will enable him to see more clearly in the behavior of its masters and demystify as well their universalist claims that their claims to the humanism ; we understand then the process and the circumstances which have enabled this demystification. The white man is debunked. Its superiority and its all-powerful are rendered to zero by the degradation of morals characterizing its way of life.