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In America alone, 19 million people live with depression. Untreated depression is the leading cause of suicide in the United States and the third leading cause of death between 18-25 year olds. The aim of the project was guided based on the idea that we could take sadness as a manifestation in order to allow the possibility of controlling and manipulating it.  The idea was based on a well documented understanding that melancholia creates a permeable boundary between consciousness and unconsciousness.  In melancholia there is an internalization of behaviors that insulate and isolate the individual. With this level of introspection also comes an underlying gift of deep passion, curiosity and cognition.  This gift brings a deep understanding to the workings of the world.  It is in this dual reality that lies a realm of complexity and possibility.  This understanding of depression led me to believe in how powerful and how necessary the simple yet essential feeling of hope was. The concept of hope seems like an illusion but sometimes it\'s the only thing you have.  The hope is what keeps you going and allows a tangible identity to sanity.  How can architecture reflect hope and how can a space help the weary hearted? These questions pleaded for answers and this thesis is a result of the search.  The search for a better place in our minds. The desire for a hope that we are not prisoners to our sadness The quest for answers laid its journey on a cliff edge on the Olmsted Island of Great Falls, MD ; a site amplified with majestic soaring views and soundscapes of water and nature that accentuate the program of an alternative mental therapy retreat. / Master of Architecture

Form, space, rhythm, order, symmetry, balance, repetition, proportion and scale are few from a long checklist of principles that, if followed carefully by the designer, will result in "beautiful" architecture, or so I was told. However, what exactly is "beautiful"? In his book "The beautiful necessity" (1910, p.34) Claude Fayette Bragdon suggests that "Beauty is the name we give to truth we cannot understand". This statement implies that there is a hidden quality within each building, or even within each space, a quality that we can sense but cannot make sense of, a quality very similar to having a soul. The soul seems to linger on the threshold that divides two opposite worlds, it is always in-between. Between the dream and the awake, between the physical and the imaginary, between the conscious and the subconscious and between the real and the unreal. In this thesis, the "real" world consists of an animation studio (the program), the studio's staff and visitors, the selected site located in Alexandria, and it is bound by the building methods, materials and codes. The "unreal" world consists of four fictional characters that, assumingly, emerged from my subconscious and who live in a fictional dimension that overlaps ours.   The different encounters within the "real" world and within the "unreal" world, and also the interactions between the "real" and the "unreal" worlds are translated into an architectural language as an attempt to investigate the soul. / Master of Architecture

The thesis explores the subject of purgatory and its relative value for modern people. It summarises: 1. The manner in which biblical texts used to underpin the doctrine; 2. The history of the doctrine within the Roman Catholic Church and the reaction to it during the Reformation and beyond; and 3. Contemporary formulations of purgatory and purgatory-like ideas. The thesis argues, from several perspectives, that a modern formulation of the doctrine is: 1. Reasonable; 2. Biblically consistent; 3. Meets the criteria of an established Tradition at practice within the Church; and 4. Is capable of assisting people in understanding and appreciating the existential questions of death and the after life. The thesis is approached from the angle of a Legal Counsel presenting an argument for acceptance of the thesis. / SYS THEOLOGY & THEOL ETHICS / MTH (SYSTEMATIC THEOLOGY)

The thesis explores the subject of purgatory and its relative value for modern people. It summarises: 1. The manner in which biblical texts used to underpin the doctrine; 2. The history of the doctrine within the Roman Catholic Church and the reaction to it during the Reformation and beyond; and 3. Contemporary formulations of purgatory and purgatory-like ideas. The thesis argues, from several perspectives, that a modern formulation of the doctrine is: 1. Reasonable; 2. Biblically consistent; 3. Meets the criteria of an established Tradition at practice within the Church; and 4. Is capable of assisting people in understanding and appreciating the existential questions of death and the after life. The thesis is approached from the angle of a Legal Counsel presenting an argument for acceptance of the thesis. / SYS THEOLOGY and THEOL ETHICS / MTH (SYSTEMATIC THEOLOGY)

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La thèse étudie le Vocabulaire psychologique dans les drames conservés d’Euripide. Par le terme « psychologique » est entendu tout ce qui se rapporte à la psychè, la conception antique de l’âme, et aide à la décrire. La thèse comporte trois grandes parties : 1. Le vocabulaire de l’âme, 2. L’intelligence, 3. Les émotions. Dans un premier temps, sont répertoriés et classés les sens principaux des termes psychologiques, leurs nuances ainsi que leur emplois métaphoriques, et cela en fonction du contexte dans lequel ces termes apparaissaient. Dans un deuxième temps, à partir de cette première analyse, nous avons tenté de tirer quelques conclusions plus générales sur le sens et l’importance accordés par le poète à chaque notion. D’après cette analyse, il ressort que le souci d’Euripide est de décrire la richesse de l’humain sans le réduire à des catégories et à des oppositions rigoureuses et, du coup, nécessairement réductrices. L’élément le plus accentué de son œuvre est sans doute l’ambiguïté qui traduit dans ses tragédies la complexité humaine. / Our Doctoral Dissertation proposes an analysis of the Euripides’ psychological terms. By “psychological” we mean everything that has to do with the psyche, the Greek concept of the soul, and helps us describe it. We have divided our work in three parts: 1. The vocabulary of the soul, 2. The intellect, 3. The emotions. Firstly, we have identified and classified the main meanings of the psychological terms, their nuances as well as their metaphorical use, and this in reference to the context in which they are used. Secondly, based on the results of our first examination, we have tried to induce some more general conclusions about the sense and the significance accorded to each notion by the tragic poet. According to our analysis, it appears that Euripides’ ultimate goal was above all to describe the richness of the human soul without reducing it into strict categories or oppositions, and thus, inevitably reductive. The most salient element of his work is probably the ambiguity that translates in his tragedies the human complexity.

Cette thèse vise à mettre en lumière, dans les Essais de Montaigne, un aspect peu connu du débat sur la constance à la fin du 16ème s. Alors que la vertu de constance devient un enjeu philosophique et moral d’importance, servant à la fois des idéaux stoïciens, chrétiens et civils, nous constatons une insistance des Essais à souligner le phénomène contraire, l’inconstance. Il s’agit dans un premier temps de montrer le dialogue que construit Montaigne face à la vertu de constance, puis d’établir le statut argumentatif de l’inconstance dans les Essais. Dans le but de situer le débat constance - inconstance, nous nous rapportons d’abord aux écoles de philosophies hellénistiques que pillent les Essais. Le scepticisme de Montaigne s’en trouve déstabilisé, le stoïcisme à la fois débattu et repoussé, l’épicurisme instrumentalisé. L’inconstance prend un visage universel qui rend présomptueuse et même dangereuse toute aspiration à la constance. Nous montrons ensuite la prise en charge méthodologique de l’inconstance dans les Essais, à travers le Distingo. Nous constatons alors que l’inconstance a le statut d’une condition pré éthique poussant les Essais à déconsidérer toute entreprise humaine dans la sphère publique. Mais les Essais n’encouragent pas simplement à se laisser porter par la fortune ou la coutume. Dans la sphère privée, Ils construisent plusieurs règles éthiques hétérodoxes : non repentir, diversion, vanité, expérience…qui reposent sur le possible (selon qu’on peut) et contribuent à redéfinir la grandeur d’âme, en présentant un nouvel ordre ou une nouvelle conformité de l’action, ce que nous appellerons « l’éthique de l’inconstance » ou « éthique de l’indirection » . / This thesis aims to emphasize in Montaigne’s Essays a little known aspect concerning the debate of constancy towards the end of the 16th. c. While the virtue of constancy becomes a philosophical issue of importance, favouring at the same time the stoic, Christian and civil ideals, we observe in Montaigne’s Essays, an insistence to underline a contradictory phenomenon; inconstancy. First, it is essential to demonstrate the dialogue that builds Montaigne’s work concerning the virtue of constancy, to finally establish the proper argumentation on inconstancy. With the intent to situate this debate concerning the virtue of constancy, we will refer primarily to the Hellenistic philosophies plundered by the Essays. We will present in the first part the origin and in the second part, the transfer of the debate. Montaigne’s scepticism happens to be destabilized, his stoicism is at the same time debated and rejected, his Epicureanism becoming a tool determining their truth. The second section of the thesis demonstrates that methodology of the Essays takes over the notion of inconstancy, notably through the “Distingo”, and its effects on the historical knowledge relating to prudential activities. We claim that the nature of the essay is to correct this error and thus give the right place to human inconstancy. We acknowledge the fact that inconstancy has a status of a pre-ethic condition which pushes the Essays to disrepute any human enterprise in the public sphere. However, this denial cast upon the public sphere does not lead us to reject any kind of ethical reflection. In the private sphere, the Essays construct ethical regulations: non repentance, diversion, vanity, experience...These aspects are all grounded in the ethical mode of the possible, (« Selon qu’on peut ») and at the same time contribute in redefining the magnitude of the soul by presenting a new order or a new conformity of action. We name the project ethic of inconstancy or ethic of indirection

Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant considéré comme un gage de qualité, celui-ci a pu être renforcé ou fabriqué de toutes pièces par l’industrie musicale : paradoxalement, la géomusicalité serait le signe d’une manipulation, du factice, de l’inauthentique. Malgré tout, la musique ayant le pouvoir de rendre le lieu magnétique, en ce qu’il devient l’objet du désir des fans, la fiction musicale peut générer sa propre réalité. Ceci est d’autant plus le cas lorsqu’elle retient l’attention des responsables locaux, et est exploitée dans le cadre d’initiatives de développement économique, notamment sous l’angle touristique – ce qui correspond à une géomusicalité appliquée. Cette étude se donne pour objectif d’explorer les mécanismes de l’esthétique géomusicale, du discours journalistique à ses applications sur le territoire américains. Elle se conclut par une analyse des représentations de la Nouvelle-Orléans en tant que ville musicale au lendemain de l’ouragan Katrina. Les discours qui ont entouré la reconstruction du « berceau du jazz » permettent de mesurer les enjeux de l’association entre musique et lieu aux Etats-Unis, et leurs répercussions sur les identités locales. / The discourse on American popular music is fraught with geographical terms whose function is not merely to situate or to categorize music. This lexical field points to the existence of a geomusical imagination around American popular music, which attributes value and meaning to genres and styles that can be traced back to specific locales. Such rootedness is interpreted as a sign of authenticity in the musical discourse. For that reason, geographic authenticity has been fabricated by the music industry in order to increase the value of cultural products. In the same way, local authorities and the tourism industry have promoted the musical image of specifc places in order to make them more attractive to residents and visitors alike. Such initiatives can be considered as applied geomusicality, and decrease the gap between geomusical fiction and geographic reality. This study explores the many facets of geomusicality, from the American journalistic discourse to local initiatives that aim at promoting the musical image of places. It closes on a case study devoted to New Orleans after hurricane Katrina. The way the “cradle of jazz” was represented in the news and in official discourses as well as the musical reactions to the hurricane allow one to assess the many implications of geomusicality and its hold on popular imaginations.

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