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The common conception that the cemetery holds the memory of all who died and were buried before us is a false one. There were certain biases in who was being commemorated, a form of selectivity to the memorial process, that caused a great number of people to erode from the landscape. The argument is based on observations from a sample of seventeen hundred individuals from the latter half of the nineteenth century in Montreal and surrounding villages. A selection of twelve surnames from archival data includes the three main cultures present in Montreal in the nineteenth century (French Canadians, Irish Catholics and English Protestants) and allows me to reconstitute families, to identify their kinship ties, and to determine their situation in life. Records from the cemeteries on Mount Royal and from the parishes of three rural villages confirm the burial of individuals from the sample. The presence or absence of these individuals in the cemetery landscapes depends on different commemorative practices influenced by religion, culture, gender, status and age.

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Note: Some illustrations out of order in manuscript.

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Cette these propose une interpretation de l'histoire du centre culturel montrealais, la Place des Arts, depuis les origines du projet en 1954 jusqu'a la nationalisation de l'institution en 1964. L'analyse qui en est offerte privilegie l'etude des fonctions politiques attribuees au centre culturel pendant cette periode. Elle montre comment cette institution culturelle a servi de catalyseur et de symbole pour nombre d'acteurs sociaux implique dans les changements radicaux qui caracterisent la Revolution Tranquille. Elle dresse ainsi un tableau des grandes forces ideologiques, sociales et politiques presentes au debut des annees Soixante en s'appuyant sur l'etude de cas de la Place des Arts dont l'histoire particuliere est mise en perspective avec des tendances plus structurelles de la societe quebecoise. / L'etude de ces differentes dimensions de l'histoire de la Place des Arts confirme le caractere profondement politique que peuvent revetir des institutions dont les fonctions originales se limitent en apparence a des activites artistiques. (Abstract shortened by UMI.)

The Golden Square Mile is well known as the historic domain of Montreal's anglophone elite. Its idyllic setting on the mountainside, overlooking the city and the St Lawrence River, was a natural magnet for wealthy nineteenth-century families, just as it had been in the days of fur traders such as James McGill. As an urban environment, however, the Golden Square Mile was far more complicated than the sum of its mansions. Despite a long history of habitation by gentlemen farmers, the "GSM" took shape only as of mid-century, accompanying the rise of capitalist institutions and the middle classes. Furthermore, it was the result of a considerable amount of planning and salesmanship, which made fortunes for some landowners and speculators even before the first mansions appeared. The anglophone, Protestant character of the area also had to be encouraged, reflecting a growing cultural dichotomy within Montreal society. This thesis considers the Golden Square Mile within the context of urban history: it is a study of town planning, land ownership, architecture, and social geography. It also considers the built environment as a venue for broader social and cultural change.