Thèse (Ph.D.)--Université Laval, 1999. / Comprend des réf. bibliogr.

Thèse (Ph.D.)--Université Laval, 1999. / Comprend des réf. bibliogr.

Les années cinquante ont vu l'apparition d'un «théâtre d'avant-garde» en France, sous la plume d'auteurs tels que Samuel Beckett, Eugene Ionesco, Jean Genet et Arthur Adamov. Au Québec, le même phénomène s'est produit, mais l'étiquette officielle de «théâtre de l'absurde québécois» n'a pas encore été prêtée à un corpus défini de pièces de théâtre. Cette étude, dans un premier temps, effectue un repérage des caractéristiques intrinsèques aux oeuvres du théâtre de l'absurde français, plus précisément celles des quatre auteurs mentionnes ci-dessus, a l'aide d'ouvrages théoriques reconnus (notamment The Theatre of the Absurd de Martin Esslin, Histoire du «nouveau théâtre» de Geneviève Serreau, Le Théâtre du nouveau langage de Gilbert Tarrab et Le théâtre de dérision d'Emmanuel Jacquart). Les chapitres subséquents sont consacrés a 1'analyse des oeuvres dramatiques québécoises Les Insolites de Jacques Languirand et La répétition de Dominic Champagne, afin de vérifier l'occurence des mêmes traits, particuliers au théâtre de dérision, et de montrer l'existence réelle de ce type de théâtre au Québec.

No description available.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This study explores performance elements in Quebec folk culture events in the context of evaluating the resources needed to construct studies in québécois theatre history for Anglophone students. Using the metaphor of history as a map that charts the landscape of the past and needs many layers of information to do so effectively, resources dealing with Quebec theatre history in English and in French are surveyed and underdeveloped areas are marked for future research. To deal with the unusual circumstance of a very low incidence of theatre practice in Quebec from 1606 until late in the 1800's, juxtaposed against the vibrant and international developments in the last 50 years, three instances of Quebec folk culture are investigated for their performance elements. That research is structured in accordance with the guidelines and definitions in Living Folklore (Sims & Stevens, 2005). Performance elements revealed through the study include full body synchronized movements, mask and costume, improvisation, role-playing, choral work and monologues. The relationship of these events to present-day québécois theatre is analyzed.

Neurofibromin (NF1) is a 2,818aa protein encoded by the very large NF1 tumour suppressor gene located on chromosome 17q11.2. Loss of function mutations and deletions in NF1 underlie Neurofibromatosis type-1 (NF-1) - the most common inherited syndrome of the nervous system in humans with a birth incidence of 1:3,000. The most visible feature of NF-1 is the neoplastic manifestations known as neurofibromas, however, the syndrome is also characterized by pigmentary defects, peripheral motor dysfunction, learning disabilities and several developmental abnormalities. The molecular etiology of many of these non-neoplastic phenotypes remains unknown. Here we demonstrate that the Tubulin Binding Domain (TBD) of NF1 is a binding partner of the Leucine Rich Pentatrico Peptide Repeat motif-Containing protein (LRPPRC) and cytoplasmic Dynein Heavy Chain (DHC). The NF1-LRPPRC interaction is of high significance as it links NF-1 with Leigh’s Syndrome, French Canadian variant (LSFC) – an autosomal recessive neurodegenerative disorder that arises due to mutations in the LRPPRC gene. This interaction occurs as part of an RNA granule complex, and use of transgenic mouse models establishes an important role of NF1 and LRPPRC in peripheral nerve development. The NF1-DHC interaction is of importance in melanocytes where our studies suggest a possible role in melanosome localization, disruptions in which may underlie the abnormal pigmentary features known as café-au-lait macules that are commonly associated with NF-1. The validation of LRPPRC and DHC as novel NF1 interactors reveal new roles of NF1, which open the door to better understanding the molecular mechanisms that underlie the myriad of NF-1 manifestations.

Neurofibromin (NF1) is a 2,818aa protein encoded by the very large NF1 tumour suppressor gene located on chromosome 17q11.2. Loss of function mutations and deletions in NF1 underlie Neurofibromatosis type-1 (NF-1) - the most common inherited syndrome of the nervous system in humans with a birth incidence of 1:3,000. The most visible feature of NF-1 is the neoplastic manifestations known as neurofibromas, however, the syndrome is also characterized by pigmentary defects, peripheral motor dysfunction, learning disabilities and several developmental abnormalities. The molecular etiology of many of these non-neoplastic phenotypes remains unknown. Here we demonstrate that the Tubulin Binding Domain (TBD) of NF1 is a binding partner of the Leucine Rich Pentatrico Peptide Repeat motif-Containing protein (LRPPRC) and cytoplasmic Dynein Heavy Chain (DHC). The NF1-LRPPRC interaction is of high significance as it links NF-1 with Leigh’s Syndrome, French Canadian variant (LSFC) – an autosomal recessive neurodegenerative disorder that arises due to mutations in the LRPPRC gene. This interaction occurs as part of an RNA granule complex, and use of transgenic mouse models establishes an important role of NF1 and LRPPRC in peripheral nerve development. The NF1-DHC interaction is of importance in melanocytes where our studies suggest a possible role in melanosome localization, disruptions in which may underlie the abnormal pigmentary features known as café-au-lait macules that are commonly associated with NF-1. The validation of LRPPRC and DHC as novel NF1 interactors reveal new roles of NF1, which open the door to better understanding the molecular mechanisms that underlie the myriad of NF-1 manifestations.

No description available.

Les années cinquante ont vu l'apparition d'un «théâtre d'avant-garde» en France, sous la plume d'auteurs tels que Samuel Beckett, Eugene Ionesco, Jean Genet et Arthur Adamov. Au Québec, le même phénomène s'est produit, mais l'étiquette officielle de «théâtre de l'absurde québécois» n'a pas encore été prêtée à un corpus défini de pièces de théâtre. Cette étude, dans un premier temps, effectue un repérage des caractéristiques intrinsèques aux oeuvres du théâtre de l'absurde français, plus précisément celles des quatre auteurs mentionnes ci-dessus, a l'aide d'ouvrages théoriques reconnus (notamment The Theatre of the Absurd de Martin Esslin, Histoire du «nouveau théâtre» de Geneviève Serreau, Le Théâtre du nouveau langage de Gilbert Tarrab et Le théâtre de dérision d'Emmanuel Jacquart). Les chapitres subséquents sont consacrés a 1'analyse des oeuvres dramatiques québécoises Les Insolites de Jacques Languirand et La répétition de Dominic Champagne, afin de vérifier l'occurence des mêmes traits, particuliers au théâtre de dérision, et de montrer l'existence réelle de ce type de théâtre au Québec. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate