This thesis provides analysis of the networks of power and authority, which interconnect commonly referenced sources of knowledge about Tuvan throat singing. These sources–books, websites, performances, a documentary film, CD liner notes, and the individuals involved in their production–comprise a substantial portion of contemporary public discourse that represents Tuva and its musical practices to the English speaking world and serve to produce “experts” and “expert knowledge” of throat singing. This work also shows how public discourse of Tuva forms an “authentic”, homogenous, romanticized and spiritualized pan-Asian identity centered on the practices of throat singing, shamanism, and nomadism. The conclusion offers an explanation as to why the public discourse focused on Tuvan throat singing locates the “authentic” in rural Tuva, why throat singing is so often aligned with the spiritual, the healing, and the eternal, and why such conceptions serve to benefit the careers of those involved with the production of such an image. This chapter also explores whether or not representing Tuva with an idealized and romanticized image places Tuvans and related ethnic groups at a disadvantage socially, politically, and economically. / text

<p>E-uppsatsen ventilerades i NT-högre seminariet.</p>

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

I find a similarity between my work and the absurd character of many of the unrealized inventions of earlier times. An example of the latter is the Saluting Device, whch allowed a gentleman to tip his hat without having to use his hand. These machines were never produced for popular use precisely because of their absurdity. Unlike these inventions, however, my sculptures are not created to perform any useful function. I intend them to be viewed as satirical, comical, and fictitious oddities through which I work to convey ideas and feelings about the dilemmas of modem society. Like a machine, our society needs careful maintenance and fuel to function smoothly, but it is, I believe, running out of energy and beginning to break down. I build my obsessive-compulsive objects to resemble household appliances and toys. Ths is an attempt to establish a comfort level for the viewer. Contemplation of ,these machnes will, I hope, spark the viewer's curiosity and stimulate their imagnation to propel and enable the objects to perform their intended satirical purpose. My creative process starts with intuitive pencil sketches that resemble crude technical drawings. The drawings suggest machnes that might perform some imagnary function. I determine the function and then fkther refine the drawing. The final drawing becomes a reference point and sometimes a template for the building process. For further interpretation and intricacy, I allow for deviation from the drawing as I build. The buildmg process begms with an interior frame which is similar to house construction, except that I use clay slabs instead of framing boards. After the skeleton is complete, I enclose the structure and make any parts that must be added or assembled after firing. I use whatever type of builQng procedure necessary to complete the object; this may include coil building, wheel throwing, extruding shapes, and surface carving. Through these odd, imagnative gizmos and gadgets, I offer social commentary. I have chosen satire and humor to engage the viewer in various ways of looking at the modem world. This is an attempt to provoke joyful imagination and intrigue through the intricacy of the pieces. I also suggest my view of the current human condition through the precariousness of the various elements in these sculptures. Finally, my work is an attempt to provide another context from whch to view and respond to our place and time in history.

Notre étude du roman de Sony Labou Tansi aborde les notions de violence et des mythes dans leurs fonctions littéraire et sémiologique. Elle les envisage comme les sources fondatrices de l'écriture romanesque.C'est dans ce sens que la violence est assimilée à l'action des états postcoloniaux représentés par la fiction. Dans une interaction entre l'imaginaire et le réel, l'auteur évoque la confrontation des identités, des mémoires collectives et des territoires en résistance contre une autorité postcoloniale liberticide.Une autre forme de violence dite scriptuaire poursuit, avec audace, cet élan initié par les premières œuvres africaines de langue occidentale, elle s'exerce sur le langage littéraire déstructuré et dont les bases narratologiques sont éclatées. Le roman sonyen amène les mots à leur limite pour réinventer un langage néologique qui instaure, dans le roman, le domaine de « la tropicalité » sonyenne, une hétérogénéité littéraire et une hybridation du roman francophone.Notre étude du mythe exploite deux axes majeurs, en tant que parole et récit des origines, la mythologie structure une vision du monde basée sur l'ethno-religieux, dans sa fonction sémiologique, le mythe est lui-même signe et symbole, il appelle à l'analyse des langages littéraire, artistique et mythique démystifiés et débridés par un univers où l'humour et l'ironie participent d'une démythification du pouvoir et des traditions. / Our study of the novel of Sony Labou Tansi approaches the notions of violence and myths in their literary and semiological functions. It envisages them as the founder sources of the romantic writing.In this sense that violence is assimilated to the postcolon states action represented by the fiction. In a correlation between fiction and reality, the author recalls iditities conflicts, collectives memories and territories in resistance against the postcolon authority oppression.nother forms of said violence scriptuaire follow, with boldness, this impulse initiated by the first Africain writings of western language, it's on the literary language destruction and narratologiques foundations of which are burst.The sonyen novel brings words to their border to reinvent a neological language which institutes, in the novel, the domain of " the sonyenne tropicalité ", a literary heterogeneity and a hybridization of the French-speaking novel.Our study of the myth exploits two major axles, as word and tale of origins, mythology structures a vision of the world based on the ethno-monk, in its semiological function, the myth is itself sign and symbol, he calls to the analysis of literary, artistic languages and mythical dispelled the illusions and unbridled by a world where humour and irony participate in demythologization of power and traditions.

Le travail s'effectue sur six roman gabonais : &quot;Parole de vivant&quot; de Moussirou-Mouyama, &quot;Histoire d'Awu&quot; de Justine Mintsa, &quot;Les Matitis&quot; de Freddy Ndong Mbeng, &quot;Au bout du silence&quot; de Laurent Owondo, &quot;La courbe du soleil&quot; de Maurice Okoumba-Nkoghé, et &quot;Fureurs et cris de femmes&quot; d'Angèle Rawiri. La subjectivité se comprend dans un double sens : elle signifie que l'individu est sujet de l'action au sens grammatical du terme, et qu'il est en outre l'objet de cette action. Organisée en deux parties, la thèse étudie le déploiement de la subjectivité en tant que modèle romanesque et modèle anthropologique. En ce sens, la première partie s'applique à relever le fonctionnement autotélique du roman. La subjectivité romanesque s'exprime à travers la littérarité de chaque texte en se distinguant d'une tradition normative que semble exemplifier le roman. Les singularités langagières, la redistribution des valeurs à travers la persistance de thématiques qui ouvrent de nouveaux horizons de sens. Mais malgré leurs singularités, les romans gabonais se signalent d'abord par une &quot;poétique du cliché&quot; qui, non seulement reprend les thématiques traditionnelles, mais adopte aussi une écriture ayant un fort ancrage anthropologique. Sous cette double critique, la critique universitaire gabonaise s'est appesantie à démontrer d'abord l'absence de préoccupation stylistique puis un certain &quot;minimalisme de la pensée&quot;. A la faveur d'une querelle portant sur &quot;l'existence de la littérature gabonaise&quot;, cette dernière semble affirmer son hégémonie sur tous les autres genres. Deux régimes poétiques semblent s'opposer clairement : un régime de proximité anthropologique et un régime de distanciation maximal. Les romanciers semblent conduits par un impératif social où l'oeuvre signifie au premier degré. A l'opposé, la critique attend de l'oeuvre littéraire qu'elle déjoue les logiques narratives et sociales traditionnelles pour se hisser à un niveau critique conséquent. La controverse a toutefois permis au genre romanesque d'affirmer son hégémonie dans l'espace littéraire gabonais. La seconde partie aborde la question de la subjectivité au double plan éthique et politique. Les sociétés africaines, et la société gabonaise en particulier, ont vu s'étaler l'organisation sociale sous le primat de la collectivité. L'holisme communautaire vient signifier que les individus trouve leur sens à l'intérieur d'une totalité qui les transcende par ses normes. Celles-ci ont cours à travers les traditions, les mentalités, les rites et coutumes qui ont façonné des manières d'être et du vivre ensemble. Les changements structurels qui opèrent depuis l'envolée du capitalisme font apparaître chez les individus un &quot;souci de soi&quot; dont la priorité n'est plus la stabilité absolue de la collectivité. En effet, l'individu se signale comme sujet et laisse s'épanouir ses désirs et ses voeux. Toutefois, au risque de sevoir marginaliser, l'anticonformisme du sujet s'accomode encore avec une réappropriation de la raison objective qui permet de concilier les écarts du sujet et l'impératif communautaire. A travers l'étude des personnages, il apparaît que les tentatives du sujet n'ont pas touché à &quot;l'ivresse de soi&quot;. L'expression de la subjectivité y est donc bien observable, allant jusqu'à des écarts sexuels. Même sur le plan politique, le sujet revendique de plus en plus d'espaces de liberté. Aussi renverse-t-il les pouvoirs qui méprisent le bien commun et la dignité d'Autrui. La subjectivité imprime ainsi sa volonté dans les relations intimes, dans l'espace social. Elle laisse entrevoir de la sorte une nouvelle &quot;ère de l'individu&quot; / The work is based on six Gabonese novels : &quot;Parole de vivant&quot; by Moussirou-Mouyama, &quot;Histoire d'Awu&quot; by Justine Mintsa, &quot;Les Matitis&quot; by Freddy Ndong Mbeng, &quot;Au bout du silence&quot; by Laurent Owondo, &quot;La courbe du soleil&quot; by Maurice Okoumba-Nkoghé, et &quot;Fureurs et cris de femmes&quot; by Angèle Rawiri. Subjectivity in this work means that not only the individual is subject, thus performs an action as shown in grammar but also that he is the object of the performed action too. The thesis deals with the analyses of the deployment of subjectivity as a fictional and anthropological pattern. It is split into two parts. The first part strives to point out the autotelic functioning of the novel. The fictional subjectivity is read through the literary feature of each text by distinguishing itself from a normative tradition that the novel seems to represent. The linguistic peculiarities, the redistribution of values through the persistence of themes which open up new horizons of sense. But in spite of their peculiarities, Gabonese novels distinguish themselves by a &quot;poetic of cliché&quot; which adopt not only the traditional themes but also a writing which is deeply rooted anthropologically. Through this double criticism, the Gabonese university criticism dwelt to demonstrate at first the absence of stylistic preoccupation then a certain &quot;minimalism of the throught&quot;. On the debate on &quot;the existence of the Gabonese literature&quot;, one retains that the Gabonese literature seems to assert her hegemony over all other genres. Two poetic regimes seem to oppose clearly : a regime of anthropological closeness and a regime of maximal distanciation. The novelists seem to be driven by a social obligation in which the novel must be read in its surface meaning. In contrast, the criticism expects from the literary work that it thwarts the traditional narrative and social logic to raise itself on a consequent critical level. The controversy however allowed the novel to assert its hegemony in the Gabonese literary space. The second part approaches the issue of subjectivity through the double ethical and political plan.Among African communities, and the Gabonese ones in particular, the social organization spreads out under the primacy of the community. The community holism means that the individuals find their essence inside a totality which transcends them by its standards. These standards are present in traditions, mentalities, rites and customs which shaped ways of being and living together. The structural changes which take place since the rise of capitalism create a &quot;self concern&quot; among the individuals whose priority is no longer the stability of the community by any means. Indeed, the individual distinguishes himself as subject and lets bloom his desires and his whishes. However, at the risk of being marginalized, the non-conformism of the subject still adapts with a re-appropriation of the objective reason which allows to reconcile the distances from the subject and the community obligations. Through the study of the characters, it seems that the attempts of the subject did not reach &quot;the fullness of oneself&quot;. The expression of subjectivity is therein very welle noticeable, goingso far as to sexual infringement. Even on the political plan the subject claims for more and more spaces of freedom. Thus, he knocks down the powers which disdain the common property and the dignity of the others. Subjectivity therefore prints its will in the private relations and in the social space. So, it helps glimpse a new &quot;era of the individual&quot;.

Title: Patentability of biotechnological inventions under European Patent Convention The topic of thesis is the patentability of biotechnological inventions under the European Patent Convention (Munich, 1973) (hereinafter the "EPC") with special emphasis on decision making practices of the European Patent Office. At the beginning, the author deals with general patent law, in particular with fundamental substantive conditions of patentability of inventions, both positive and negative. A brief explanation is then devoted to the definition of biotechnological science and biotechnological invention. In the subsequent part of the thesis, the author discusses the sources of patent law in general and in relation to biotechnological inventions. The chapter is divided into three parts - international, European and national sources. Discussion regarding European sources is split into two subsections dealing with EPC and EU law. The author examines in particular the complicated legislative procedure for the adoption of the Directive 98/44/EC of the European Parliament and of the Council dated 6th July 1998 on the legal protection of biotechnological inventions and its impact on European patent law. National sources address primarily imperfect transposition of Directive 98/44/EC into the Czech law. The next chapter is...

Les perspectives dites des « cliniques de l’exil » se présentent souvent, dans la littérature psychopathologique et clinique, comme une clinique de ce qui a été perdu, dont le sujet se voit séparé de force. Une clinique de l’objet perdu donc, perçu comme manque ; cette perte est le plus souvent posée comme douloureuse et pensée comme détermination d’un état mélancolique. Or la clinique freudienne de l’objet perdu insiste sur sa construction, son avènement comme toujours déjà perdu et invite à saisir l’exil comme modalité de la séparation d’avec le Wohl primordial. C’est une séparation nécessaire pour advenir comme sujet de l’énonciation. Lacan pointe pour sa part une logique des exils au pluriel. Nos patients d’origine « étrangère » indiquent comment l’exil et le recours à une langue étrangère sont élevés au rang de symptôme et donc à accueillir et soutenir en clinique. Cette clinique « de la vie quotidienne » enseigne que l’exil implique la question de la filiation. Se pose ainsi la question du père. De la tuchè du père, quel automaton ou quelles inventions subjectives pour trouver une place dans le monde ? Cette clinique nous ouvre à des considérations qui nous font relire la littérature de manière renouvelée et repenser la « clinique de l’exil » en « clinique de l’exilé ». / « Exile » is presented in literature as an awful experience where the subject cries desperately after the lost object. Freudian psycho-analysis shows how important it is for the infant to get exiled from the primordial Wohl. The Lacanian definition of « exile » suggests to talk about « exiles », a plural, i.e as a structural disharmony. We have, therefore, wanted to examine the relationship between « exile », foreign langage » and their function for a foreign patient. The other side of our work is to examine the effects of exile upon the next generations. Actually, the main question is in what way both exile and foreign langage are symptoms when the father’s function is inefficient. We have based our everyday work with foreign patients upon a clinical approach which respects the psychic structure, the symptom and the various solutions or subjective inventions looking for a place in this world among men.Key words

Esta dissertação consiste em: a) um conjunto de reflexões teóricas sobre as relações entre os conceitos de literatura e história e sobre como é possível articulá-los na escrita e na leitura de romances contemporâneos; b) uma mediação que propõe a crítica como espaço para a emergência de uma literatura do presente; c) uma leitura de intervenção de três romances brasileiros contemporâneos. A dissertação investiga elementos para a discussão do valor literário como um jogo entre invenção, no plano da linguagem, e intervenção, no plano do imaginário. / This thesis consists of: a) a set of theoretical reflections on the relations between Literature and History concepts. It proposes an approach to articulate them in the writing and reading of contemporary novels; b) a mediation that proposes criticism as a space for the emergence of present day Literature; c) an interventional reading of three contemporary Brazilian novels. The thesis explores elements for discussing literary value as an interplay between invention, in language level, and intervention, in the imaginary level.

Em 1967 João Guimarães Rosa publica Tutaméia: Terceiras Estórias, livro em que a história é questionada desde o início, quando o autor define seu texto como estória, uma forma narrativa mais próxima à anedota e contrária às grandes narrações da historiografia. Em Tutaméia, o sertão mineiro não é apenas um cenário de carências que só pode ser expresso por discursos míticos, pois também possui a sua história, que é contada nestes textos literários extremamente herméticos, que se sustentam na temática da memória e da invenção. Para interpretar estas estórias e situá-las no contexto da modernização do sertão, partimos de pesquisas arquivísticas, filológicas e empíricas, com o objetivo de encontrar um lugar legítimo para a história na obra rosiana. / In 1967, João Guimarães Rosas Tutaméia: Terceiras Estórias was published. Defining this prose work as estória narrative form closer to the anecdote and opposed to the great historiographical narratives , Rosa challenges the concept of history from the beginning. In Tutaméia, the sertão mineiro is not merely a landscape of privations which could be better expressed by mythical discourse; in fact, it has its own history, told in Tutaméias extremely hermetic texts founded on memory and invention. This dissertation has departed from documental, philological and empirical research to give interpretation to the estória texts and to situate them in the context of sertão modernization. The aim of this research is to find a proper place for history in Rosas works.