Cette étude vise à comprendre de quelle manière Cormac McCarthy caractérise le cow-boy novice dans le contexte contemporain de l'Ouest américain, théâtre de la première tragédie américaine: la fermeture de la frontier. John Grady et Billy, les deux protagonistes de cette Border Trilogy, s'embarquent dans des quêtes initiatiques afin de mieux comprendre leur statut d'héros américain moderne, tiraillé entre l'héritage du mythe et de la frontier, et la modernité d'un monde qui leur échappe. Par leurs méditations, leurs cheminements, les rituels qu'ils tentent de pratiquer à mi-chemin entre mythe et réalité, les jeunes novices définissent une éthique de l'apprentissage qui justifie la violence McCarthienne, un sujet intarissable d'étude critique sur l'auteur. En s'intéressant au problème de l'initiation, cette thèse espère apporter un éclairage nouveau sur ce débat, et propose comme pistes de réflexions les problèmes d'apprentissage et de rites inachevés, la solitude du héros et sa finitude ainsi que la "finitude" narrative d'un livre qui s'achève et la finitude "artistique" du narrateur qui s'interroge sur sa responsabilité sur l'(H)istoire. / This dissertation undertakes the study of Cormac McCarthy's characterization of the cowboy hero,from his early state of innocence in the modern American West to his understanding of the first greatAmerican tragedy, the closing of the frontier. John Grady and Billy, the two main protagonists of thisBorder Trilogy, try to follow in the old pioneers' footsteps, attempting to achieve heroic status throughpublic display of bravery in a modern world that ignores them. Through their meditation, theirinitiatory journeys, and attempts to perform rites they define an ethics of experience making whichhelps justify the violence at the core of McCarthy's novels, a topic very popular in McCarthian studies.This dissertation hopes to shed light on the bond that ties initiation to violence and offers to discussproblems of experimentation and unfulfilled rituals, the hero's solitude and finitude, as well as thenarrative finitude of the book that always ends and the artistic finitude of the storyteller who also seeksanswers on his responsibility in the (hi)story.

This collection of short stories takes its name from various islands historically believed to exist and at one time or other located on maps, sometimes remaining on them for centuries, but later removed after they were proved to be illusory. Reports of these islands usually came from sailors as they explored new realms, mistaking actual islands for imaginary ones or by geographical error. Illusions can persist unchallenged for ages. A similar yet modern illusion is the persistence of vision, a phenomenon by which an afterimage, say, on a screen, is thought to persist on the retina for approximately one twenty-fifth of a second. The characters in these stories live their isolated lives as after-image phantoms on islands that either never existed or no longer exist.

No description available.

This is an investigation between the material and the word - the search for a method within the architectural discipline.

Solitude is a National Register historic property that is today a central part of the Virginia Polytechnic Institute and State University campus. The property was purchased in 1872 to create the site of the land-grant college that later became VPI. The focus of this study is a log dependency associated with the extant nineteenth century mansion on the property. Both buildings have suffered extensively from deterioration in recent years, but are now receiving some attention. By substantially augmenting a historic structure report on the outbuilding filed in 1989, this thesis contributes to the building's documentation and accurate interpretation. As one of two early structures on the site that still retains a large percentage of its original fabric, it is an important artifact that should be preserved for posterity. Documentation through meticulous research is an important part of preservation. When the building is physically gone, knowledge of it will survive. Little was known about the dependency prior to the completion of this research. The best guess on its age appears to have erred by thirty years. The building's original function has long been the subject of debate. If it was a dwelling, there are no historic documents by which to identify the occupants. This study examines various aspects of the building, including its present condition, construction practices and materials, dimensions, form and function, location, age, historical context, and buried cultural deposits around the building. The biological agents that have attacked and caused severe deterioration of the building are identified, as well as the conditions that precipitated the attacks. The methods employed or explored in this research include archaeological excavations, artifact analysis, relative dating methods, wood identification and pathology, dendrochronology, basic chemistry, database generated spatial imaging, library searches, measured drawing, and photography. Use of these methods has provided insightful information regarding construction materials and their properties, construction practices, date of construction, and the history of the building's use and maintenance. Information about the building's occupants has also come to light, such as their socio-economic status, their standard of living, i.e. the goods they consumed and the comfort of their quarters, and their refuse disposal practices. Considering all the information revealed, a strong case is made that the building was originally a domestic slave's dwelling, constructed in the early 1840s. / Master of Science

The thesis takes the form of a residential house, exploring different ways of separating a space while answering different needs for solitude. It experimented with a diversity of architectural devices designed to demarcate functional units in the house with respect to their varying demands for solitude. Individual spaces are examined based on where they fall on the spectrum: from the most secluded to the most inclusive. Efforts are made to refrain from resorting to full size walls when not necessary. The actual means of separation used for a certain space is usually a balance between the desire for seclusion and the urge to evade walls. The form of the house unfolds from the order of an overarching cruciform structure, dividing the space into four quadrants, which are further bisected by a horizontal plane producing a total of eight cubic spaces. Each space is shaped with different dimensions suitable to their respective functions assigned, but all fit into a spatial matrix of two-foot spacing points. A featuring cross is brought out and made visible on the roof, plan and each of the four facades. / Master of Architecture

No description available.

This dissertation develops an existential-aesthetic theory of the subversive power and lure of limited and recessive forms of social intimacy that it calls queer indifference. By putting queer concerns with the normative politics of identity, visibility, and inter-relationality in conversation with philosophical concepts of indifference, it responds to expectations of the self-evident value of active bodies, personal recognition, and mutual experience for meaningful social political agency, and argues that recessive relations experienced and cultivated in the fortuitous spaces of “shared-separation” constitute a queerly-imagined rapport with alterity rather than being the source of social deprivation. Queer indifferences, I argue, effect their own ethical engagements beyond the self that are not reducible to readily legible connections to the social, while they may be continuous with such modes of connection. Drawing on a number of critical resources from queer theory, poststructuralist philosophy, film criticism, dream science, and the history of AIDS activism, this dissertation seeks to discover the generative impasses in perception, consciousness, and connection articulated by queer aesthetic media that make themselves seen and heard through the involutions of social legibility and recognition. In social postures such as solitude, techno-mediated encounters with cinematic worlds, and the creative automation of dreamlife, this dissertation locates aesthetic-ethical expressions of justice oriented towards the defiant persistence of queer life. Films such as Brokeback Mountain and Last Address, and the dream diaries of American artist and activist David Wojnarowicz, access and communicate a certain inaccessible and incommunicable core of self and intimate expression that elicits relations with the other in appearances of isolation or remoteness, and that generates creative and imaginative possibilities for justice ahead of indeterminate futures. / Dissertation / Doctor of Philosophy (PhD) / This dissertation explores a series of limited and obscure relations marshalled under the concept of “indifference” to develop what I call a theory of queer indifference. By bringing concerns from queer theory about socially compulsive forms of inclusion and connection in conversation with philosophical concepts of indifference, this dissertation expands the political, ethical, and aesthetic potential of such ways of being to challenge existing relations of power. It argues that the dissident force of indifferent relations generates the queerly critical, imaginative, susceptible, and hospitable capacities inherent to doing justice. Experiences of solitude, film-viewing, and dreaming illustrate the social lure of indifferent relations as practices or embodiments that can be understood otherwise than as a source of deprivation. From the un-belonging spaces of solitude, to the film camera’s technological gaze, to the unwitting intelligence of dreamlife, this dissertation examines the “space of shared-separation” between self and other, viewer and camera, and waking and sleeping selves as a type of existence that produces queer relations to social order and that nurtures creative orientations to indeterminate futures. The films Brokeback Mountain and Last Address, and the dream diaries of American artist and activist David Wojnarowicz, are the aesthetic core of this dissertation’s investigation of and experimentation with ways of being that are queerly at odds with the way things are.

This thesis is an exploration of how an existing parking lot in Washington, DC is transformed into a greenspace with ten public pavilions. This structured garden is designed to promote solitude and reflection and to develop an awareness of path, movement, composition, scale, and material. / Master of Architecture

Québec Université Laval, Bibliothèque 2016