Depuis toujours, Salomé hante les esprits et se profile dans les créations artistiques. Elle évolue selon les siècles, changeant selon l’humeur des artistes, assouvissant leur désir créateur. Cependant, ce sont les artistes symbolistes et décadents qui vont donner à la danseuse biblique son véritable essor et l’imposer comme une véritable figure archétypale, avec la danse au cœur de cette recréation. L’art de Terpsichore s’empare également de Salomé et les techniques scéniques et chorégraphiques permettent l’affirmation de nouvelles idées sociales, de courants de danse novateurs ainsi que le développement de nouveaux savoir-faire artistiques à travers la figure de la fille d’Hérodiade. Notre travail va porter non pas sur Salomé dans l’absolu, mais sur sa danse en tant que telle, et plus particulièrement sur la façon dont elle est retranscrite dans les textes et sur scène. Il s’agira donc de se demander, à travers la figure de la danseuse, quelles sont les connivences entre les deux langages, celui du corps, des gestes, et celui des mots. En quoi Salomé arrive-t-elle à conjuguer influence artistique et révolution socioculturelle ? / Salomé has always been haunting our minds and sneaking into artistic creations. She evolves through the centuries, changing with artists' state of mind and meeting their creative desire. However, symbolist and decadent artists are those who gave the biblical dancer her real take-off, imposed her as a true archetypal figure, with dance at the heart of the recreation. Terpsichore's art also takes hold of Salome and stage and chorography techniques enable the assertion of new social ideas, innovative dance trends and the development of new artistic know-hows through the myth of Herodias. This work tackles not Salome in absolute, but rather her dance, and more specifically the way it is expressed in writings and on stage. We shall see, through the figure of the dancer, what complicity bond the two languages, that of the body and the moves, and that of the words. How does Salome mix artistic influence and social and cultural revolution?

This diploma thesis focuses primarily on the relation between inner and outer landscape in postmodern fiction, i.e. on specific concepts of individual fictional spaces and the ways in which they resonate with the protagonists' means of perception. As a particular starting point, these four works are used: Trýznivé město by D. Hodrová, Pravěk a jiné časy by O. Tokarczuková, Země vod by G. Swift and prose collections Fikce and Alef by J. L. Borges. In the diploma thesis, the term "inner landscape" refers to a spectrum of concepts connected with the theme of subjective perception, among which the most important are topics of recollection and descending into deeper layers of the space - i.e. to the symbolical or mythical layer - and, thus, deeper to understanding one's identity. Therefore, a crucial part of the diploma thesis is to grasp characteristic features of individual fictional worlds and to interpret them in relation to perception and identity of characters. This interpretation is based on the definition of individual topoi and dominants as well as on the presupposition of the vertical structure of the works which implies merging of different time, space and conceptual levels. In the diploma thesis, the dynamic aspect is accentuated so the attention is paid to the protagonists' moving through...

Proposed thesis is an attempt to summarise the term object in the work of American philosopher Graham Harman, he himself named Object oriented ontology. The accent will be given also to other terms such as realism, essence, quadruple dimension of object, withdrawal of object, intentionality, conception of time and space, emanation and others. It attempts to create a certain genealogy of those terms in the work of other authors (Kant, Schopenhauer, Nietzche, Merleau-Ponty) and consequent comparison with the use of those terms in Harman's work. The aim is to create a certain critical overview of Harman's conception of o object and in general speculative realism theory and point out certain other approached to the classical subject-object dimension.

The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.

Thèse numérisée 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.

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At the close of 1946, a year marked by domestic white-on-black violence, Harry S. Truman, in a dramatic move, established the President’s Committee on Civil Rights (PCCR). Five years before, his predecessor Franklin D. Roosevelt had formed the Fair Employment Practices Committee (FEPC), under pressure from civil rights groups mobilized against racial discrimination in the defense industry. The FEPC was the first major federal civil rights legislation since Reconstruction. However, when race riots later erupted in cities across the country in 1943, Roosevelt ignored his staff's recommendation to appoint a national race relations committee. Instead, he agreed to a “maypole” committee, which was, in actuality, a decentralized network of individuals, including Philleo Nash, whose purpose was to anticipate and diffuse urban racial tensions in order to avert further race riots. Superficially, Truman's PCCR seemed to resemble Roosevelt's rather conservative race relations strategy of appointing a committee rather than taking direct action under the authority of the federal government. But, as this project will argue, Truman's PCCR represented a major, historical change in the approach to civil rights that would have a profound effect on activists, such as Dorothy Tilly and Frank Porter Graham, and the movement itself. Where FDR's committees were created to avoid further racial confrontations, Truman’s committee invited and ignited controversy. Its groundbreaking report, To Secure These Rights (TSTR), unequivocally declared the federal government as the guardian of all Americans’ civil rights. In essence, Truman’s PCCR elevated the civil rights dialogue to a national level by recasting the civil rights issue as an American problem rather than just a black-American problem. Moreover, TSTR attacked segregation directly, and challenged the federal government to take the lead by immediately desegregating the armed services. These radical recommendations came only six years after a reluctant FDR formed the FEPC and six and one-half years before the Unites States’ Supreme Court’s landmark ruling, Brown v. the Board of Education of Topeka, Kansas and the ensuing backlash. Thus, Truman’s PCCR and TSTR, in 1947, forged a new “civil rights frontier.”

Graham Swifts novel Last Orders has yet to be viewed as containing carnivalesque elements as defined by Mikhail Bakhtin in Rabelais and His World. Through the examination of Bakhtins theory of the carnivalesque and through a corresponding close reading of Last Orders, this article details the carnivalesque nature of the locations visited by the characters in the narrative, of the grotesque incidents that occur in these locations, and of the narrative style and structure of the novel itself.

Edgar Allan Poe has long been recognized as one of American literature's most intriguing authors, usually for reasons other than his writing. Most literary studies examine one or two of his tales and perhaps one or two comments he made about the short tale. This dissertation will instead look at the work Poe did while involved in the world of early-American magazines for the last seventeen years of his life. It will explore how the magazine world affected his writing and his theories, especially his theories on the genre of the short story, a genre that Poe essentially described and formed in the magazines, but a genre he did not name. Poe worked with many magazines in his career: one magazine, Graham's under George Graham, owner and editor, will be examined to see how Poe worked within this medium to shape short fiction.

Thèse numérisée 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.