The people in Tunisia demanded democracy and civil liberties, which led to large-scale demonstrations against the Tunisian regime in December 2010. The demonstrations against the authoritarian regime was considered to be the beginning of the Arab Spring. Of all states that was affected by the Arabic Spring, Tunisia became that one country that succeeded their transition from an authoritarian state to a democratic one. In order to analyze why Tunisia became a democratic state, this study aims to clarify what factors that affected the democratization process. Through the theoretical framework of Samuel P. Huntington, the factors that affected the third wave democratization are used in this study in order to analyze the Tunisian democratization and transition. Through analyzation; deepening legitimacy problems of the regime and economic growth was considered to affect the Tunisian democratization. Actions of external actors partly affected the country’s democratization. However, religious changes and snowballing effects was considered not to have an impact on the democratization and transition towards democracy.

The Rime of the Ancient Mariner1 is essentially a poem of survival through transformation, one which, according to William Walsh, 'has to do equally with man's capacity for failure and with that which makes available to him resources for recovery."2 It is also. as Richard Haven recognizes, "the record of the evolution of self." 3 Even more specifically, however, The Ancient Mariner is s tale which reveals key elements of Carl Jung's thought: the process of individuation, the nature of shadow and anima forces, the power of dreams and symbolism. Given the myriad and divergent interpretations of the poem--I heartily agree with C.M. Bowra that "there" is no final or single approach" 4 to Coleridge's masterpiece--my purpose must be explorative, suggestive. A Jungian perspective fairly encourages an exploratory approach, as Carl Kepper contends: The very heart of the applicability of Jung to the problem of symbolism is that he requires of us not that we explain (in the sense of explaining away, reducing to something more familiar) the symbol but that we explore it, not that we we remove. the mystery but that we seek to know it in all the mysteriousness it presents.5 In this searching, delving spirit, then, I will discuss the way the Mariner's--and to a lesser extent, the Wedding-Guest's--experiences represent fundamental aspects of the individuation process, which Jung defines as " ' coming to selfhood' or 'self-realization.' " 6 I will concentrate on the roles of the shadow and anima, respectively, vital and necessary constructs of this process. In these sections and throughout the essay, I will emphasize the essential position both Coleridge and Jung attribute to the law of opposites and closely related rebirth motif. Finally, I will explore the ways dreams, color, and bird imagery are symbolic and develop transformation or individuation to reflect the Mariner's degree of awakening. Not only will the complementary of opposites be discussed in this context, but wat Coleridge terms "the principle of unity in multeity"10 --what mythologist Joseph Campbell calls "unity in multiplicity"11 --and its relation to individuation will be considered. The focus throughout this essay will be on that transformational energy which promotes individuation and rebirth: "The study of the symbols of transformation," explains Violet S. de Laszlo, . . . centers upon the basic demand which is imposed upon every individual, that it, the urge as well as the necessity to become self-conscious of himself. . . . For Jung, the path towards this awareness is identical with the process of individuation. Insofar as the transformation results in a new and deeper awareness, it is experienced as a rebirth. . . .12

Cette étude porte principalement sur la flore, les sols et la végétation de la Grosse île au Marteau et de l'île à Samuel, archipel de Mingan. Elle a été entreprise dans le but de voir si ces îles possèdent les caractéristiques appropriées pour devenir une réserve écologique. Les deux îles contiennent 350 plantes vasculaires dont deux taxons rares : Cirsium foliosum var. minganense et Cypripedium passerinum var. minganense. Elles sont, en plus, le domaine de 60 espèces vasculaires nouvelles pour la Minganie. En outre, elles hébergent 150 bryophytes et 152 lichens dont 29 nouveaux pour le Québec. Les sols, développés sur une roche-mère calcaire, se répartissent en quatre ordres : podzolique, organique, régosolique et gleysolique. L'horizon d'accumulation des sols podzolisés présente des particularités intéressantes : il est mince et noir, et sa teneur en matière organique est très élevée. L'analyse phytosociologique de la végétation, effectuée au moyen de la méthode de Braun-Blanquet (1932), nous a permis de définir 101 unités dont 28 associations, 8 sous-associations, 2 variantes et 63 groupements sans rang hiérarchique déterminé. Elles ont été regroupées en 7 unités physionomiques: la forêt (65,0% de la superficie), la tourbière (11,5%), le marais d'eau douce (0,0%), la lande (12,0%), la falaise (0,0%), le littoral sablo-graveleux (0,9%) et le littoral limoneux (1,4%). Le reste (9,2%) est occupé par le sol nu et l'eau douce. Compte tenu de la grande richesse floristique, phy- tosociologique et esthétique, nous croyons que les deux îles sont propices à l'établissement d'une réserve écologique.

Cette étude porte principalement sur la flore, les sols et la végétation de la Grosse île au Marteau et de l'île à Samuel, archipel de Mingan. Elle a été entreprise dans le but de voir si ces îles possèdent les caractéristiques appropriées pour devenir une réserve écologique. Les deux îles contiennent 350 plantes vasculaires dont deux taxons rares : Cirsium foliosum var. minganense et Cypripedium passerinum var. minganense. Elles sont, en plus, le domaine de 60 espèces vasculaires nouvelles pour la Minganie. En outre, elles hébergent 150 bryophytes et 152 lichens dont 29 nouveaux pour le Québec. Les sols, développés sur une roche-mère calcaire, se répartissent en quatre ordres : podzolique, organique, régosolique et gleysolique. L'horizon d'accumulation des sols podzolisés présente des particularités intéressantes : il est mince et noir, et sa teneur en matière organique est très élevée. L'analyse phytosociologique de la végétation, effectuée au moyen de la méthode de Braun-Blanquet (1932), nous a permis de définir 101 unités dont 28 associations, 8 sous-associations, 2 variantes et 63 groupements sans rang hiérarchique déterminé. Elles ont été regroupées en 7 unités physionomiques: la forêt (65,0% de la superficie), la tourbière (11,5%), le marais d'eau douce (0,0%), la lande (12,0%), la falaise (0,0%), le littoral sablo-graveleux (0,9%) et le littoral limoneux (1,4%). Le reste (9,2%) est occupé par le sol nu et l'eau douce. Compte tenu de la grande richesse floristique, phy- tosociologique et esthétique, nous croyons que les deux îles sont propices à l'établissement d'une réserve écologique.

Ce mémoire en recherche-création se déploie en deux parties, soit une création littéraire et un essai réflexif. En première partie se trouve Un mouticide, un roman d’anticipation rétrofuturiste. Dans l’esprit d’un conte philosophique tourné au burlesque, le récit est articulé autour de trois personnages, soit une jeune fille révoltée, un professeur d’histoire aigri et un agriculteur nostalgique, qui vivent une crise identitaire et une désillusion par rapport à leur place dans leur communauté. Dans un monde réinventé à la limite de l’utopie communiste, parodiant des aspects à la fois du roman du terroir, de fictions dystopiques et de La République de Platon, une narration moqueuse oppose un univers déterministe aux personnages et à leur quête de sens. L’essai réflexif consiste en une analyse des thèmes de la mémoire, de l’écriture et du mythe dans Arvida de Samuel Archibald, recueil de nouvelles paru en 2011.L’objectif de la réflexion est de dégager un portrait général de l’oeuvre en tant que construction partagée entre la mémoire, l’histoire et la fiction, sachant qu’Archibald se met en scène dans sa fiction en tant qu’auteur d’Arvida, et que la plupart des histoires se déroulent avant sa naissance. Les trois histoires au centre de la réflexion sont celles sous-titrées « Arvida », soit « Mon père et Proust », « Foyer des loisirs et de l’oubli » et « Madeleines ». Dans ce parcours d’idées seront abordées les questions de l’imaginaire nordique, de l’héritage, du narrateur-auteur et de la littérature fantastique pour montrer comment Archibald réussit à dépeindre une mythologie américaine nordique propre à la région du Saguenay. / This master’s thesis in research and creation is divided into two parts, a novel and an essay. First is Un mouticide, a retro-futuristic prospective novel with a humorous twist. The narrative, in the likeness of a philosophical tale, branches into three characters’ storylines: a young outraged girl, a bitter old history teacher, and a nostalgic farmer who go through an identity crisis and become disillusioned about their community. In a reimagined world at the limits of being a communist utopia, and parodying aspects of the roman du terroir and Plato’s Republic, a mocking narrator opposes a deterministic universe with the characters’ quests for meaning. The essay consists of an analysis of the themes of memory, writing and myth in Arvida, a book of short stories by Samuel Archibald published in 2011. The objective of the research is to depict the writer’s work as a construction between memory, history and fiction, knowing that Archibald stages his appearance in the stories as the author, and that most stories take place before his birth. The main three stories around which the reflection is articulated are subtitled “Arvida”: “Mon père et Proust”, “Foyer des loisirs et de l’oubli” and “Madeleines”. Throughout this journey, Nordic imaginary, heritage, fantastic literature and the author-narrator are discussed, to show how Archibald depicts a unique American and Nordic mythology specific to the Saguenay region in the province of Quebec.

Call number: LD2668 .T4 1964 B16 / Master of Science

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This dissertation demonstrates how Samuel Taylor Coleridge provides a unique vision of reality in which his evolving self-consciousness mirrors, contributes to, and is subsumed by a single universal consciousness. Utilizing the divine power of imagination, he is able to decipher the images from the material world as characters of God's symbolic language of self-revelation; subsequently, through the divine "attribute" of reason, he is able to transform them into a corresponding symbolic language of poetry. He realizes that his creativity is a finite repetition of God's infinite act of creation in which "spirit," God's consciousness in creation, comes to an awareness of itself through the human mind. This study argues that, according to Coleridge, these processes follow a divine intention, and the human faculties and the mind's structure have been molded precisely to achieve a particular understanding of reality that conforms to God's requirements and for spirit's self-actualization. Furthermore, the process by which Coleridge creates and derives knowledge from his poetic expressions follows an archetypal blueprint according to which all natural processes operate. This project illustrates not only how the theory of organicism lies at the foundation of the complex, reciprocal relationship between Coleridge's artistic expression and developing subjectivity, but also how there is an organic interrelationship between an individual's developing self-consciousness and spirit's growing awareness of its cosmic totality. Ultimately, Coleridge's writings reveal that the macrocosmic and microcosmic processes are organically interrelated, interdependent, and symbiotic and that this "truth" is gradually discovered through his experiences of the divine elements of love and beauty in creation.

Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology. / text