Rooted in philosophy of education, the overall purpose of this dissertation is to renegotiate the relationship between education, religion, and democracy by placing the religious subject at the centre of this renegotiation. While education is the main focus, the study draws its energy from the fact that tensions around religious beliefs and practices seem to touch upon the very heart of liberal democracy. The study reads the tensions religious pluralism seems to be causing in contemporary education through a post-structural approach to difference and subjectivity. The purpose is accomplished in three movements. The first aims to show why the renegotiation is needed by examining how the relationship between education, democracy, and religion is currently being addressed in cosmopolitan education and deliberative education. The second movement introduces a model of democracy, radical democracy, that sees the process of defining the subject as a political process. It is argued that this model offers possibilities for seeing religion and the religious subject as part of the struggle for democracy. The third movement aims to develop how the relationship between education, democracy, and religion might change if we bring them together in a conversation whose conditions are not ‘owned’ by any one of them. To create this conversation, Hannah Arendt, Jacques Derrida, Søren Kierkegaard, and Emmanuel Levinas are brought together around three themes – love, freedom, and dialogue – referred to as ‘windows.’ The windows offer three examples in which religious subjectivity is made manifest but they also create a shift in perspective that invites other ways of seeing the tensions between religion and democracy. The aim of the study is to discuss how education might change when religion and democracy become questions for it through the perspectives offered in the windows and what this implies for the particular religious subject.

“Conflicted” succinctly describes Ernest Hemingway. He had a strong desire to make his parents proud of him but this was in constant conflict with his need to tell a story, warts and all. Of particular importance is his relationship with his mother and the crippling effect it has on his relationships with women. Hemingway’s life becomes a series of dysfunctional relationships that fail to meet his needs, leaving him perpetually searching for the right woman. Kert posits that Hemingway’s contempt for women is related to his inability to make the transition from lover to husband, fueled by Hemingway’s belief that his father surrendered his manhood to Grace Hemingway. Ernest, haunted by his parents’ relationship continues to associate negative connotations with the term “husband,” leaving Hemingway in constant fear of becoming his father, poisoning his marriages, and coloring the relationships Hemingway depicts in his short stories. Evident across the arc of Hemingway’s short stories is an evolution in his skill as a writer, but also in the development of his female characters. Over his career, Hemingway develops a female voice that rings true, and he skillfully uses it to portray female characters who are evolving into strong self-reliant women. In these stories, there is a gradual shift in the dynamics of the relationships as Hemingway’s fictional women struggle to climb from under their man’s domination. Yet, these strong self-reliant women are not fully accepted by Hemingway’s male characters, leaving a palpable tension between Hemingway’s fictional men and women. This tension can be attributed to Hemingway’s ongoing love/hate relationship between himself and the self-reliant women in his life. Hemingway never recovers from the emotional damage inflicted by his mother, evident in his personal life and in the dysfunctional relationships in his short stories. He remains vigilant and is concerned that he will end up like his father and be controlled by a domineering bitch. However, Hemingway exerts so much control in his relationships and becomes a version of his mother as he dominates his significant others. In his life, he transitions from an angry resentful child-man to a young husband, a reluctant parent, a ladies’ man, and an adventurer. Likewise, his perception and portrayal of women in his short stories keeps pace with his personal experiences. These female characters sometimes reflect the women in his life and sometimes reflect Hemingway’s insecurities as a man, and often a seamless melding of both.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

There is a dearth of literature to guide the development of community-based HIV and Sexually Transmitted Infection (STI) prevention and sexual health promotion programs within Inuit communities. The aim of this research project was to create a dialogue with Inuit women to inform future development of such programs. This study employed Indigenous methodologies and methods by drawing from Inuit Qaujimajatuqangit and postcolonial research theory in a framework of Two-Eyed Seeing, and utilizing storytelling sessions to gather data. Community-Based Participatory Research Principles informed the design of the study, ensuring participants were involved in all stages of the project. Nine story-sharing sessions took place with 21 Inuit women ages 18-60. Participants identified several key determinants of sexual health and shared ideas for innovative approaches that they believe will work as prevention efforts within their community. These research results build upon the limited knowledge currently available about perceptions of HIV and STI among Inuit women living in the remote north. / Graduate / 0573 / jenny.r.rand@gmail.com

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-05T14:14:38Z No. of bitstreams: 2 Dissertação - Gledson Rodrigues do Nascimento - 2018.pdf: 8741828 bytes, checksum: e9f3b2ebd2dcfbd050bbd37b812b3168 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-05T14:15:32Z (GMT) No. of bitstreams: 2 Dissertação - Gledson Rodrigues do Nascimento - 2018.pdf: 8741828 bytes, checksum: e9f3b2ebd2dcfbd050bbd37b812b3168 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-05T14:15:32Z (GMT). No. of bitstreams: 2 Dissertação - Gledson Rodrigues do Nascimento - 2018.pdf: 8741828 bytes, checksum: e9f3b2ebd2dcfbd050bbd37b812b3168 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Our objective in this work is to develop an investigation on the ways of seeing the icons of the colonial architecture of Goiás, through processes of mediation between the images produced by us in the historical center of the City of Goiás, and the historiographic visual sources that also report inhabiting in Pirenópolis. The images were produced during our exploratory walks through the colonial street, the historical monuments, the squares and the wide ones of the city of Goiás. As for the city of Pirenópolis, the work was more in charge of the visual sources found in the consulted historiography, that also shows the urbanism Portuguese and their respective characteristics. We believe that the structures used to conduct this research provide both the reader and the researcher with greater ownership of the proposed theme. Thus, initially, we present a conceptual, theoretical and methodological approach, so that soon after, we are embarked by the universe of historiographical images and contextualizations. Following, we present reports about the local Iconsphere, amidst an immersive experience in the historical center of the city, where we identify some buildings in the process of decharacterization and others in a state of ruins in an advanced stage of dilution. However, this architecture and urbanism implanted in the eighteenth century, provide constructions of understandings from the transit of the gaze, revealing nuances that were sedimented with studies in the field of Visual Art and Culture. Particularly with regard to Image Culture and Mediation Processes that marked our eyes towards the Arraial de Sant 'Anna, the Vila Boa, and the City of Goiás, as well as, about the old Half Bridge and the way to live in full XIX century. To a certain extent, these settlements and villages mark the paths of this research, on a way of seeing the colonial architecture of Goiás, through processes of mediation, enabled to construct meanings, from images. / Nosso objetivo neste trabalho é desenvolver uma investigação sobre os modos de ver a iconosfera da arquitetura colonial goiana, através de processos de mediação entre as imagens por nós produzidas no centro histórico da Cidade de Goiás, e as fontes visuais historiográficas que também relatam o habitar em Pirenópolis. As imagens foram produzidas durante nossas caminhadas exploratórias pelo arruamento colonial, os monumentos históricos, as praças e largos da cidade de Goiás. Quanto à cidade de Pirenópolis, o trabalho ficou mais a cargo das fontes visuais encontradas na historiografia consultada, que também mostra o urbanismo português e suas respectivas características. Acreditamos que as estruturas utilizadas para conduzir essa pesquisa proporcionam, tanto ao leitor quanto ao pesquisador, uma maior apropriação sobre a temática proposta. Assim, inicialmente, apresentamos uma abordagem conceitual, teórica e metodológica, para, logo em seguida, nos embrenhamos pelo universo de imagens e contextualizações historiográficas. Na sequência, apresentamos relatos sobre a iconosfera local, em meio a uma experiência imersiva no centro histórico da cidade, onde identificamos algumas construções em processo de descaracterização e outras em estado de ruínas em avançado estágio de diluição. No entanto, essa arquitetura e o urbanismo implantados ainda no século XVIII, proporcionam construções de entendimentos a partir do trânsito do olhar, revelando nuances que foram se sedimentando com os estudos no campo da Arte e Cultura Visual. Sobretudo no que se refere a Cultura da Imagem e Processos de Mediação que marcaram nosso olhar para o Arraial de Sant’ Anna, a Vila Boa, e a Cidade de Goiás, assim como, sobre a antiga Meia Ponte e o modo de habitar em pleno século XIX. De certa forma, esses arraiais e vilas, marcam os percursos dessa pesquisa, sobre um modo de ver a arquitetura colonial goiana, através de processos de mediação, facultados à construção de sentidos, a partir de imagens.

Les mythes gréco-romains sont révélateurs des croyances et des conceptions mentales des Anciens. À ce titre, le dépouillement des récits mythologiques apparaît comme un axe de travail à la fois pertinent pour analyser les rapports entre Voir et Savoir et novateur car cette approche des schèmes de pensée de l’Antiquité permet d’aborder un aspect de l’homme grec qui n’a que peu été étudié jusqu’à maintenant. Vingt mythes et leurs variantes, formant un corpus de plus de cent textes regroupés autour d’une trentaine d’auteurs, constituent ainsi l’entrée d’une enquête sur le rôle de la vue dans la connaissance et abordée sous différents angles : que pouvait-on voir du divin ? Quels étaient les interdits ? Comment les mythes véhiculaient-ils les valeurs des Anciens ? Dans quelles mesures participaient-ils à la construction de l’homme grec ? L’ensemble répond à l’objectif principal consistant à mieux cerner pour mieux les comprendre les conceptions mentales des Anciens. / Greco-Roman myths Ancient people’s beliefs and mental conceptions. Thus, theanalysis of myths seems to be an area of work at once pertinent to analyzing thelinks between Seeing and Knowing, and innovative because this approach to theways of thinking in Antiquity permits one to broach an aspect of the Greek man thathas been studied little until now. Twenty myths and their variants, forming a bodyof more than a hundred texts, gathered from around thirty authors, constitute thebeginning of an investigation on the role of sight in knowledge, approached fromdifferent angles : What could be seen of divinity ? What was forbidden ? How didmyths convey the values of the Ancients ? To what extent did they participate in theformation of the Greek man ? The whole answers the main objective consisting ofbetter grasping Ancient people’s mental conceptions to understand them better

This thesis rest upon a distinction between the artistic creative process on the one hand and the architectural creative process on the other. This distinction rest upon the writers own experiences of both fields. The thesis aim to discuss similarities and discrepancies between the two and ground this reasoning in theoretical texts.  Starting out by analyzing the introduction of photography into the realm of architecture, this thesis makes the claim that our processes has since this introduction been increasingly ruled by the point of view of the camera and decreasingly ruled by our experiences as physical bodies in space.  Arguing that this has a negative impact on both the spaces we create and on the quality and joy of our creative processes the thesis connects this to the never ending aim for efficiency, an aim facilitated by computer software. The thesis proceeds by stating that this negative impact ought to be more analysed, and that architects might have things to gain by welcoming in parts that might seem evident for an artist in their processes i.e. time for reflection, a valuing of mistakes as holders of potential and knowledge, the notion of play, and the possibility to fail and perhaps even perceive those failures as treasures rather then perceive them as failed perfectionism.  In a fragment of my case study, accounted for in the appendix to this written report, the thesis dives in to one of the mistakes created during the architectural project of the thesis. Aiming to prove the point that no mistake is without potential, I let this case study illustrate how this specific mistake came to be a founding part of the whole project. The thesis argues that when one person sees and/or experiences what another might deem as a mistake, their interpretation might lead to new ideas and possibilities. Hence, in order for a project or an art piece to reach its full potential, the thesis concludes that no one should perform processes of architecture, nor art, completely alone.

No description available.

Quel type d’expérience faisons-nous quand nous « regardons un film » ? Si cette formulation se montre impropre du fait de la double implication sensorielle d’un voir/entendre qu’engage l’expérience spectatorielle, elle signale d’emblée une forme d’équivocité à propos de ce qu’on « regarde » comme de ce qu’engage le rapport que nous établissons avec ce que nous percevons d’un film. Il s’offre en effet comme une expérience de mimèsis singulière, dont l’examen est l’enjeu du présent travail. La méthode retenue a consisté à mener notre réflexion à partir de l’étude attentive d’un corpus de six films : Valse avec Bachir, d’Ari Folman, Caché, de Michael Haneke, le diptyque Mulholland drive/Lost highway, de David Lynch, Le mystère Picasso, de Henri-Georges Clouzot, et Eût-elle été criminelle…, de Jean-Gabriel Périot. Cette méthode nous a permis de nous interroger sur le type d’opérations que le visionnage d’un film requiert chez le spectateur, comme de nous demander quelle est la nature des objets perçus par le biais du dispositif cinématographique. Nous avons mis à jour le statut équivoque de ce que le spectateur perçoit, en distinguant trois aspects de l’image filmique : profigurant, figuratif, figural. Cette distinction met en évidence l’ambiguïté de l’image filmique quant à ce qu’elle image : monde représenté, complexe d’images et de sons, ensemble d’événements issus du monde réel. Ceci dans un second temps nous a conduit à étudier en quoi la réalisation engage des opérations productives de sens et de prescriptions pour le spectateur. A quelles conditions peut-on la penser comme écriture ? Et qu’est-ce qui est ainsi « réalisé » par ces opérations ? Enfin il s’agissait de s’interroger sur le rôle singulier que le cinéma réserve au spectateur : cette expérience particulière engage des activités tant perceptives, que cognitives et affectives, des immersions dans des temporalités hétérogènes, et un mode de croyance qui n’exclut pas le savoir de ce qui s’y joue. / What exactly do we experience when we “watch a movie” ? This phrase may seem ill-chosen since, in this “spectatorial experience” the viewer not only watches but he also listens. However it announces straightaway a form of equivocity between what we watch and what we connect with, while watching a movie. It appears as a unique experience of mimesis whose analysis is the aim of this study.The chosen method consisted in carrying out our reflection starting from the attentive study of a corpus of six films: Waltz with Bachir, by Ari Folman, Hidden, by Michael Haneke, the diptych Mulholland drive/Lost highway, by David Lynch, the Mystery Picasso, by Henri-Georges Clouzot, and Even if she had been a criminal…, by Jean-Gabriel Périot. This method enabled us to study the type of operations which the watching of a film requires from the spectator, and led us to ask ourselves which is the nature of the objects perceived by the means of the cinematographic device. We’ve highlighted the equivocity of what the spectator perceives, by distinguishing three aspects of the filmic image : profigurant, figurative, figural. This distinction underlines the ambiguity of the filmic image in what it actually shows : a representation of the world, a mixing of images and sounds, a set of events resulting from the real world. This, in a second time, led us to study to what extent the director’s choices engages productive operations of direction and regulations for the spectator. On which conditions can we consider it as writing? And what is thus « realized » by these operations? At last, we have tried to analyse the singular role that the cinema offers to the spectator : this particular experience involves perceptive, cognitive and emotional activities, immersions in heterogeneous temporalities, and a mode of belief in which the viewer is aware of what is at stake.

La « promenade architecturale », expression inventée par Le Corbusier en 1929, à l’occasion de la publication du premier volume de l’Œuvre Complète, représente un concept clé corbuséen parmi les plus fréquemment évoqués. En suivant les pistes tracées par l’utilisation du terme «promenade architecturale» par l’architecte lui-même, sans s’y limiter toutefois, notre étude vise à clarifier la genèse, l’application et le développement de ce concept. Une méthodologie constituée de trois approches — historique, projectuelle et textuelle — est adoptée afin de mesurer son évolution de 1907 à 1939. La période de formation de l’architecte (1907-1915), constitue le champ d’observation de ses principales sources d’inspiration. Les débuts de la carrière de Charles-Édouard Jeanneret à La Chaux-de-Fonds depuis son retour du Voyage d’Orient en novembre 1911, son installation à Paris en janvier 1917, et la première décennie de la carrière de Le Corbusier (1920-1929), fournissent les pistes utiles à éclairer sa mise en place à l’échelle des maisons individuelles. L’«ère des grands travaux » (1929-1939) témoigne, enfin, de son développement et de sa mutation, particulièrement dans une suite d’études consacrées au musée. Cette dernière phase marque l’apogée de la promenade architecturale et présage de sa disparition textuelle dans la carrière corbuséenne de l’Après-guerre. Loin d’être une simple formule esthétique, la promenade architecturale se développe sur la base d’un croisement de diverses sources d’inspiration — peinture, art de bâtir les villes, littérature, cinéma et architecture — et à partir d’une fusion entre expériences de perception et de conception. Elle constitue ainsi une méthode fondamentale et spécifique de Le Corbusier pour penser l’architecture, qui le distingue des précurseurs et d’autres figures de proue du Mouvement moderne. / The promenade architecturale, an expression invented by Le Corbusier in 1929 when the first volume of L’Œuvre complète was published, represents one of the most frequently mentioned key concept of Le Corbusier. By following the paths traced by the uses of the term promenade architecturale by the architect himself, without limiting ourselves to them, our research aims to clarify the genesis, the implementation and the development of this concept. A methodology consisting of three approaches — historical, project-based and textual — has been adopted in order to evaluate how it evolved bet-ween 1907 and 1939. The formative years of the architect (1907-1915) constitutes a field to observe his main sources of inspiration. The early career of Charles-Edouard Jeanneret at La Chaux-de-Fonds, dating from the return of the young architect from the Voyage d’Orient to his departure for Paris in 1917, and the first decade of the career of Le Corbusier (1920-1929), provide helpful indices to understand how this concept was put into practice on private houses. At last, the ère des grands travaux (1929-1939) constitutes a testimony to the development of this concept, and is a witness of its mutation particularly along a series of studies that Le Corbusier devoted to museums. This last phase marks the peak of the promenade architecturale and announces its disappearing from Le Corbusier’s written work in his postwar career. Far from being a simple aesthetic formulation appeared accidentally, the promenade architecturale was developed on the basis of an action of crossing varied sources of inspiration — painting, art of building cities, literature, cinema and architecture —, and was deduced from a fusion of perceptive and conceptual experiences. Thus, it constitutes Le Corbusier’s fundamental and specific method for thinking architecture, which makes him stand out from his precursors and from other prominent characters of the Modern Movement.