This study is about Michel Morin's opera omnia, a contemporary Quebec essayist and philosopher. The first part analyzes Morin's work with a sustained attention given to the question of the essay as a specific literary and philosophical genre (with references to Vigneault, Lukacs, Adorno, Barthes). Morin's work is for us the occasion to develop a reflection on the relationship between literature and philosophy (with references to Nietzsche, Kierkegaard, Bergson, Heidegger). Finally, going forward, we elaborate the concept of philosophy as Ideational Novel to read Morin's work, a concept that describes Morin's intellectual adventure and involvement in the reflexive text. The second part proposes a more detailed analysis of Michel Morin's reflexive adventure through four distinct moments. All Morin's essays will be studied. Issues and beacons-ideas will be analyzed without ever losing sight of the genuine style of his writing.

Montaigne said it himself: "The titles of (his) chapters, embrace not always the matter" (Florio). In fact many of the 109 titles that comprise the three books of the Essais have nothing or little to do with the text they introduce. Why this lack of congruence? Where, when and how does it manifest itself? This study attempts to answer these questions in a diachronic and semiotic perspective. Starting with a typology of the various title functions--identificational, illocutionary, perlocutionary and contractual, the author proceeds to an analysis of the different title manifestations in the text and tries to demonstrate that the discrepancy between titles and contents originates from an evolving poetics that tends toward the absence of shape.

The subject matter of this thesis is concerned with a series of novels written by Michel Tremblay referred to as "Les Chroniques du Plateau Mont-Royal"; and more specifically, it is limited to the first four in the series. In these, Tremblay deals with the phenomena of human nature as it unfolds between birth and death. The gradual emergence of the wholeness and uniqueness of the individual during this process is a major theme developed sequentially in these four novels. This has been clearly demonstrated and critically evaluated in this thesis both somatically by using Ovid's Theory of Metamorphosis and psychologically by using Jung's Theory of Individuation. It has been concluded as a result of such analyses; firstly, that the unfolding process of human nature is a central theme, and secondly, these four novels are importantly interrelated in the development of this theme.

This thesis is a study of the male character in the works of Michel Tremblay, particularly as depicted in his novels and original plays, excluding translated works, adaptations, musical comedies and movies. Beginning with the play entitled Les Belles-Soeurs (1968) and up to Marcel poursuivi par les chiens (1992), this thesis presents a threefold analysis of the males in Tremblay's dramatic and romanesque universe. The first part of this thesis focuses on Tremblay's methods of characterization; this provides us with the description of the physical and psychological attributes of the character. This first part also features a chapter describing the physical environment and socio-historical context in which the male character evolves. The second part of this thesis and by far the most important, describes the masculine archetypes in Tremblay's works. Since the male archetypes have so far been set aside in favor of extensive study of the female archetypes, our research in the former seems most appropriate. Finally, the third part presents the symbolic representation of the characters: Is the male, according to Tremblay, the image of a powerless and tortured Quebec, as it has often been claimed? In conclusion, this thesis attempts to show that the males, in Tremblay's works, play an important role despite appearances and statements to the contrary made by the author in the course of many interviews.

This study proposes an in-depth analysis of the concept of imagination in the Essais as it emerges through various occurrences of the words "imagination" and "fantasie" (synonymous in the XVIth century) and their numerous derivatives. By focusing on two fundamental characteristics of this faculty, its "autonomy" and "power of sensory representation", this dissertation argues that Montaigne's idea of imagination, intimately related to man's desire and presumptuousness, is based on an essential ambivalence by which it produces indifferently real or illusory images, representations of truth as well as falsehood. This work explores the actualisation of this paradoxical character of imagination in its relationship with nature and in its participation in the knowledge process. The study considers both Montaigne's own thinking and the act of writing through which it is realized, form and matter being inseparable for the essayist.

This research investigates the formation of visual as discursive practice. Discourses that celebrate, denigrate and omit visual are examined with a particular focus on discourses of the child and technology in art education. This thesis applies poststructural methodologies of discourse analysis to disrupt traditional accounts of discipline configurations determined in histories of art education. With a particular focus on Michel Foucault's methods of history, archaeology and genealogy, art education as discipline is mapped through an investigation of visual as concept and practice. This research contends that the emergence of current practices in visual culture, as configured within the constraints of art education amplifies the conditions of visual to define art education as a field. It examines the mobilisation of discourse, verified by discipline formations in art education, and the way in which such formations distribute and categorise knowledge that is sequenced within power structures. Therefore, visual, as a discursive practice is one way through which to trace the conditions of the field, including the structure of discipline as knowledge and subject in art education.

Proefschrift Universiteit van Amsterdam. / Met bibliogr., lit. opg.

Zugl.: Dresden, Universiẗat, Diplomarbeit, 2005. / Hergestellt on demand.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Philosophy, Philosophy, Interpretation and Culture, 2006. / Includes bibliographical references.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Theatre. / Typescript. Includes bibliographical references (leaves 48-50). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29277