L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle. / The present thesis aims to understand how audience and critical reception of politically and socially engaged art exhibitions articulates itself in the museum context in Quebec. In order to do so, two case studies will be examined: Art et féminisme (1982) and Pour la suite du Monde (1992). Within the scope of this thesis, a thorough study will be facilitated by selecting exhibitions which took place in a single institution, the Musée d’art contemporain de Montréal. Before directly addressing reception and in order to better define the artistic and theoretical context of the 1980’s and 1990’s, the first chapter will be dedicated to the different theories and practices regarding exhibitions as they were developed in that period. As such, the work of exhibition practitioners and theorists Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich and Michel Pollak, as well as Daniel Buren, will be summarised. The second and third chapters will exclusively address the Art et féminisme and Pour la suite du Monde exhibitions. While their reception will be examined, the specific conceptual and socio-historical context in which they were deployed will be detailed. The aim of this exercise is to fully comprehend the way in which an exhibition enunciates its subject matter when the latter is closely linked to its political, cultural and institutional reality.

This thesis draws on a community-engaged digital-mapping project with the Vancouver Island Coast Salish community of the Stz’uminus First Nation. In this paper, I discuss the ways in which conventional cartographic representations of Indigenous peoples are laden with methodological and visual assumptions that position Indigenous peoples’ perspectives, stories, and experiences within test-, proof-, and boundary-driven legal and Eurocentric contexts. In contrast, I frame this project’s methodology and digital mapping tools as an effort to map a depth of place, the emotional, spiritual, experiential, and kin-based cultural context that is routinely glossed over in conventional mapping practices. I argue elders’ place-based stories, when recorded on video and embedded in a digital map, produce a space for the “unmappable,” that which cannot, or will not, be expressed within the constructs of a static two-dimensional map. This thesis also describes a refusal to steep maps too deeply in cultural context for a public audience. I detail the conversations that emerged in response to a set of deeply spiritual, cultural, and personal stories to mark how the presence of Coast Salish law, customs, power structures, varying intra-community perspectives, and refusal came to bear on the production of “blank space” (interpreted colonially and legally as terra nullius) in this project’s cartographic representation. Finally, I conclude that Coast Salish sharing customs are embedded within networks of Coast Salish customary legal traditions, which fundamentally affects tensions that arise between storytelling and digital mapping technologies, between academic and community accountabilities, and between collective and individual consent. / Graduate / 2019-10-13

Ample empirical evidence highlights the significant prevalence of persons with mental health issues and concurrent disorders involved in the criminal justice system. This population frequently uses services provided by community based non-profit organizations for aid and support. Yet, there is a dearth of research that addresses the prevalence of mental health issues and concurrent disorders amongst those served by such organizations, and the barriers to community reintegration that they face. Focusing on the prevalence of mental health issues and concurrent disorders among individuals involved or at risk of involvement in the criminal justice system, the John Howard Society of Waterloo-Wellington and the University of Guelph embarked upon a mixed-methods community-engaged research partnership. Information for the clients in the ‘Community Aftercare’ program was collected in relation to mental health issues and concurrent disorders. Our data reveal the ‘typical’ profile of the clients accessing the Aftercare program, which includes a high prevalence of mental health issues and concurrent disorders. Further, interviews identified stigma, history of victimization, complex needs, criminal history, diminished welfare state, and a lack of social support/social capital as barriers faced by the Aftercare clients. The Aftercare program, however, acts as a form of social support and builds social capital for the clients. A lack of adequate funding to address the complex needs of the Aftercare clients was identified as a program limitation, and the findings revealed a need for additional funding.

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle. / The present thesis aims to understand how audience and critical reception of politically and socially engaged art exhibitions articulates itself in the museum context in Quebec. In order to do so, two case studies will be examined: Art et féminisme (1982) and Pour la suite du Monde (1992). Within the scope of this thesis, a thorough study will be facilitated by selecting exhibitions which took place in a single institution, the Musée d’art contemporain de Montréal. Before directly addressing reception and in order to better define the artistic and theoretical context of the 1980’s and 1990’s, the first chapter will be dedicated to the different theories and practices regarding exhibitions as they were developed in that period. As such, the work of exhibition practitioners and theorists Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich and Michel Pollak, as well as Daniel Buren, will be summarised. The second and third chapters will exclusively address the Art et féminisme and Pour la suite du Monde exhibitions. While their reception will be examined, the specific conceptual and socio-historical context in which they were deployed will be detailed. The aim of this exercise is to fully comprehend the way in which an exhibition enunciates its subject matter when the latter is closely linked to its political, cultural and institutional reality.

This study explored the perspectives of children whose complex health needs included respiratory technology dependence, and that of their parents, regarding community life and helpful patterns of coping and relationship. In-depth interviews were conducted with 7 children (3-18 yrs. old) and 8 parents. Survey data collected from 31 parents contributed to a convergent mixed methods design. Findings showed that children viewed themselves as normal, but experienced "a constricted life". Parents' active engagement in their child's life, as system navigators and advocates, was necessary to ensure their child's wellbeing. Key relational components included "authentic engaged presence", caring, competence, communication and collaboration. Effective coping patterns included reliable social support and both emotion-focused and problem-focused strategies. Contextual factors significantly affecting parental coping and relationships included family structure and child’s dependence on invasive respiratory technology (tracheostomy). Respite reported inadequate. Findings have practice and policy implications for health, respite and education systems, professionals and parents.

This study explored the perspectives of children whose complex health needs included respiratory technology dependence, and that of their parents, regarding community life and helpful patterns of coping and relationship. In-depth interviews were conducted with 7 children (3-18 yrs. old) and 8 parents. Survey data collected from 31 parents contributed to a convergent mixed methods design. Findings showed that children viewed themselves as normal, but experienced "a constricted life". Parents' active engagement in their child's life, as system navigators and advocates, was necessary to ensure their child's wellbeing. Key relational components included "authentic engaged presence", caring, competence, communication and collaboration. Effective coping patterns included reliable social support and both emotion-focused and problem-focused strategies. Contextual factors significantly affecting parental coping and relationships included family structure and child’s dependence on invasive respiratory technology (tracheostomy). Respite reported inadequate. Findings have practice and policy implications for health, respite and education systems, professionals and parents.

There are two transport systems used by agricultural businesses engaged in primary production. These are transport systems involving tractors and motorized vehicles. Transport systems involving tractors are made up of motorized vehicles and vehicles that are Toled Grand Super , or more specifically, a motor vehicle plus one or more vehicles that are towed along. A motorized vehicle refers to an agricultural traktor John Deere 6620. Motorized transport systems are comprised of Lorries Tatra 815 Agro. A lorry can only have one additional vehicle connected to itself. The transport systems mentioned above can be used in agricultural businesses engaged in primary production along with similar or identical productions. Motorized transport systems used in agricultural primary production are in the majority of cases applied to additional productions. This is the given transport system framework, which can be setup with adaptations for various uses. It therefore follows that the possibilities of comparing transport systems using universal undercarriages are increased. Expenditure associated with these transport systems, are easily compared. It is also possible to easily compare transport systems involving tractors with motorized transport systems as long as there is no need for more vehicles connected to them. It is obvious that the use of motorized transport systems for longer distances is preferable to transport systems involving tractors. Expenses for every driven kilometre with the comparable transport systems show a significant difference in cost. This difference is 36,85 Kč. On the other hand, it is preferable to use tractors for shorter distances involving a larger amount of material. he cost of one tonne of material transported is different about 11,55 Kč.

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Exploring both political aesthetics and the politics of aesthetics to outline an environmental ruralism for art in public spaces, this practice lead research project postulates a “complemental practice”, outlining its methodology and contexts for operation, the rural, spaces of leisure and the public realm. It is a response to threats to spatial and environmental commons from heritage, place-making and nostalgia, psychological inhibition such as a sense of global contingency and widespread economic exploitation. Responses by artists to this situation can be characterised as a binary of dialogism (Kester, 2004) and relational antagonism (Bishop, 2004), i.e. consensual/collaborative or antagonistic/autonomous practices. Informing both is the work of Jacques Rancière who theorises an ethical and social turn in the arts. Through both commissioned and self-initiated projects this thesis offers an interpretation of Jacques Rancière’s conception of dissensus (Rancière, 2010) modulated through an application of the work of philosopher Slajov Žižek on environmental politics and complementarity - the inscription of the universal within the particular (Žižek, 2011). The thesis’ originality lies in this theoretical synthesis which sets out a complemental practice based on dissensus and the undecidability of subject and context, but which dismisses any inflexible schema of either aesthetic autonomy or ethico-political egalitarianism. In addition it suggests an approach to practice in this field and a situation for this - a dissensual infrastructure for the common public realm which is socially relational and evolutionary over time.

The access to technology, the effects of instant information and the emergence of an increasingly empowered global citizen have contributed to the fundamental shift of the global political and economic landscape over the last twenty years. In consequence, the soft-power resources are becoming more and more important components of nation's foreign policy. Foreign policy instruments of public diplomacy and cultural diplomacy can effectively utilize such soft-power resources in order to assert foreign policy goals by purposefully supporting wide range of cultural and artistic activities. It is the aim of the thesis to examine both the direct and indirect impacts of artistic production on societies with various degrees of democratic culture and in connection to elaborate on the relevance of the right to freedom of artistic expression and creativity. The essential aim of this thesis is to look at the role that art production plays in the development of a democratic society.