Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mireille Havet, née en 1898, rencontre très tôt le succès grâce à ses poèmes. Proche d’Apollinaire et de Cocteau, elle se fait une place dans le milieu littéraire de l’époque. Parallèlement à ses poèmes, et à son roman publié en 1923, elle écrit un journal intime, qu’elle commence alors qu’elle est encore adolescente. Forte de ses succès de jeunesse, la jeune femme se laisse alors peu à peu rattraper par la vie : les femmes et les drogues, ses deux grandes passions, l’entraînent dans un tourbillon dont elle peine à s’extraire pour produire la grande œuvre dont elle rêve. Résignée, au fil des années, elle se concentrera sur la rédaction de son journal, devenu le seul support s’accordant avec son mode de vie, sa mélancolie et son addiction de plus en plus extrême aux drogues. Elle tente alors de transcrire son âme dans ses carnets intimes, de « dire et révéler [son] monde » intérieur. Ce projet, s’il n’est pas celui, idéal, de l’œuvre fantasmée, contient cependant toute la poésie de Mireille Havet et s’avère, après relecture, former un « tout complet », presque à l’insu de son auteur. Ce journal peut-il alors remplacer la grande œuvre avortée dont la diariste a toujours rêvé ? / Mireille Havet, born in 1898, meets early success through her poems. Being close to Apollinaire and Cocteau, she makes a name for herself in the literary sphere of the time. Simultaneously with her poems and her novel published in 1923, she writes a diary, started when she was still a teenager. Driven by this success, the young woman is gradually caught up by her two great passions: women and drugs. It results in a turbulence against which she will struggle to attempt to produce the great work she dreamed of. Over the years, she finally resigned and will focus on her diary. It became the only reconcilable medium with her lifestyle, her melancholy and extremely increasing drug addiction. She then tries to transcribe her soul into her diary, "to say and reveal [her] world" inside. This project, even if it is not the ideal fantasized work, yet contains all the poetry of Mireille Havet, and forms, after rereading, a "complete whole" almost unknown to the author herself. Can this journal then replace the failed masterpiece the diarist always dreamed of?

Steel frame construction with unreinforced masonry infill walls is a common system found in high-rise structures built in the late nineteenth and early twentieth centuries. Recorded performance of this dual system during seismic events shows that the structures are able to resist a high level of lateral loads without collapse, primarily because a majority of damage is confined to the infill walls instead of the gravity carrying frame. To better understand expected performance of this structural system in different seismic risk regions, a prototypical building was analyzed using modal and nonlinear static procedures based on currently accepted evaluation guidelines. Nonlinear results from the computer model were compared with calculated target displacements for seventeen cities likely to have steel frame construction with unreinforced masonry infill in order to determine expected damage levels at varying levels of seismic risk. It was concluded that the structural system studied could experience damage in all seismic risk regions, including post-yield damage of the structure, although in low risk regions that damage is confined entirely to the infill walls. Practicing structural engineers should be aware that in all seismic risk zones existing steel frame buildings with unreinforced masonry infill, while able to resist a high magnitude of displacement without complete structural failure, will require additional lateral support under currently accepted rehabilitation guidelines.

No description available.

No description available.

No description available.

No description available.

This thesis traces Hardy's involvement in the theatre from the 1880s to the 1920s. The narrative of Hardy's relationship with the theatre is set against an analysis of the changing nature of the stage during this period, though I acknowledge throughout the thesis the fact that Hardy's awareness of the theatre did not perfectly keep pace with its evolution. The aim of the thesis is to examine the motivations determining Hardy's work in the theatre in light of the fact that he seemed so dismissive of its efficacy. I trace the history of Hardy's adaptations of his work for the stage, before setting the scripts against the novels in order to weigh the extent to which the novels resist translation into a different medium – whether there is something integral to Hardy's plots that cannot be conveyed on stage. I have chosen to focus predominantly on material that made it beyond a rough sketch on a scrap of paper, on projects that reached the stage of rewritings and commercial negotiations - often years before they were produced. My selection has been determined by the belief that the material is indicative of the development of Hardy's understanding of the relationship between his work and the possibilities adaptation offered. My first chapter, on the history of an adaptation of 'Far From the Madding Crowd' in 1882, argues that Hardy's collaboration with J. Comyns Carr on the script was driven by his desire to assert his copyright over the novel's afterlife. The adaptation may never have been performed, but simply have been registered with the Lord Chamberlain as a deterrent against unauthorised adapters. It was the plagiarism row over Arthur Wing Pinero's possible theft of Hardy's plot in his popular pastoral play, 'The Squire', that pushed Hardy and Carr to stage their version. My second chapter looks at the history of Hardy's adaptations of 'Tess'. I am interested primarily in his writing of two scripts in the mid-1890s, and his negotiations with leading actresses in response to their interest in creating the part of Tess. The chapter then looks at the circumstances leading to the eventual staging of the play in the 1920s, focusing on the difficulties posed by producing a script which was by then thirty years old, and showing its age. In the third chapter I concentrate on plans to stage two novels, 'The Woodlanders' and 'Jude'. Neither was produced, but both are evidence of Hardy's increasing interest in the possibility of selecting from his material, rather than compressing it into the time available. The two adaptations allied Hardy much more closely with the avant garde than his earlier work had done – 'The Woodlanders' was begun in 1889 at the suggestion of J. T. Grein and C. W. Jarvis, two men who would later found the Independent Theatre, a private subscription society which pioneered the staging of Ibsen in England. Hardy's own sketches for adapting 'Jude' (1895, 1897, 1910, 1926) concentrated on Sue's position. I set Hardy’s realignment of 'Jude' against a focus on the place of women in unhappy marriages, drawing principally on Hardy's contribution to a debate about the role of wives in the 'New Review' for June 1894 and a 'Westminster Review' article by the feminist Mona Caird (August 1888), which provoked three months of debate (and 27,000 letters) in 'The Daily Telegraph' on the question 'Is Marriage a Failure?' Caird’s ideal dovetails with Sue's views on marriage as 'legalized prostitution' and her revulsion from 'the dreadful contract to feel in a particular way in a matter whose essence is its voluntariness!' The final chapter of the thesis looks at two adaptations of 'The Dynasts'. The first is a wartime entertainment staged by Harley Granville Barker in 1914, the second is Hardy's own adaptation for Dorset amateur actors (the Hardy Players) to perform in 1916, which concentrated on the impact of the war on the local populace. I then turn to the premiere of Hardy's only full-length drama written specifically for the stage – the one-act Arthurian play 'The Queen of Cornwall' (1923). I argue in this final chapter that Hardy was beginning to move from the role of reluctant adapter to that of director, conscious of the boundaries imposed by the stage and experimenting with how to craft his work to fit within them, rather than abridging his material indiscriminately.

This dissertation demonstrates that a group of western women connected to May Maxwell through ties of faith and friendship exemplified a distinct form of early twentieth-century feminism in their adoption and promotion of the transplanted Bahá’í Faith. In actualizing their doctrinal principles, they worked to inaugurate a millennial new World Order predicated on the spiritual and social equality of women. This group championed a unique organizational structure and transnational perspective that propelled them to female leadership, both as inspirational models and agents of practical change. By examining how Bahá’í doctrines shaped the beliefs, mythologies, relationships and reform goals of women, this dissertation broadens understandings of the ways in which religion can act as a vehicle for female empowerment and transformative identity. Together, western early Bahá’í women built individual and collective capacity, challenging gender prescriptions and social norms. Their millennial worldview advocated a key role for women in shaping nascent Bahá’í culture, and initiating personal, institutional, and societal change. Their inclusive collaborative organizational style, non-western origins and leadership, diverse membership, and global locus of activity, made them one of the first groups to establish and sustain a transnational feminist reform network. Although in some respects this group resembled other religious, feminist, and reform-oriented women, identifiably “Bahá’í” features of their ideology, methodologies, and reform activities made them distinctive. This research contributes to a more nuanced understanding of the role of women in the creation of modern religious and social mythologies and paradigms. A study of Bahá’í millennial religious feminism also expands current conceptions of the boundaries, diversities, and intersections of early twentieth-century western millennial, feminist, religious, and transnational reform movements.