根據素質-壓力模式（diathesis-stress model）的觀點指出，素質是增加自殺危險的脆弱特質，個體若具有容易引發自殺的脆弱特質，一但面臨重大的壓力，就容易發展出自殺意念及自殺行為。因此探討素質如何使個體進入自殺歷程，對於自殺預防將有很大的助益。 本研究的目的是探討曾有自殺企圖的受試者與未有自殺企圖的受試者在人格特徵上的差異。受試者是133位曾發生自殺行為的自殺企圖者與133位與有自殺企圖的受試者在性別及年齡上配對的控制組，受試者皆完成三向度人格問卷（Tridimensional Personality Questionnaire,TPQ）、自殺危險程度量表（Scale of suicidal risk），以及貝氏憂鬱量表（Beck depression inventory,BDI）。 　 研究結果顯示，新奇追求(NS)、傷害逃避(HA)與自殺意念，以及憂鬱之間的相關皆達顯著。本研究利用條件化洛回歸分析來預測與自殺企圖有關的危險及保護因子，結果顯示傷害逃避(HA)分數高時最能預測自殺企圖的發生；而新奇追求(NS)分數低時對於自殺企圖具有保護作用，會降低自殺企圖的發生。但是，傷害逃避(HA)分數高與新奇追求(NS)分數低交互作用時達顯著，顯示兩者同時出現時會提高自殺企圖的危險。 / According to the diathesis-stress model, diathesis is persistent vulnerability to increase the risk of suicide. Individuals who own the trait of diathesis have been viewed as especially vulnerable to develop the suicidal behaviours when they experience high stress. For suicide prevention, it will be helpful to understand how the diathesis cause individuals enter the suicide process. The purpose of this study was to examine the difference between suicide attempters and normal controls in personality characteristic. Subjects were 133 suicide attempter with a history of suicide behaviours and the same number sex- and age-matched normal controls. Subjects completed a questionnaire consisting of Tridimensional Personality Questionnaire (TPQ), Scale of suicidal risk, and Beck depression inventory(BDI). Significant correlation was found among harm avoidance(HA),novelty seeking(NS) and suicide ideation,depression. Conditional logistic regression analyses has been conducted to predict the risk and protective factors of attempted suicide, and it was found that the high harm avoidance was significant risk, but the low novelty seeking was protective. However,the interaction between low novelty seeking and high harm avoidance was significant, when both of them show up, it would be under high suicide risk.

Le théâtre populaire, concept chargé des finalités les plus diverses, sʼinstitutionnalise en France à la fin du XIXe siècle, notamment grâce à Romain Rolland, Firmin Gémier, Jacques Copeau, Jean Vilar et Bertolt Brecht. De nombreuses traces de ces réflexions et pratiques se retrouvent dans le théâtre québécois, et tout au long de lʼexistence du Théâtre Populaire du Québec (TPQ) dont ce mémoire veut dégager les principaux éléments de la pensée artistique des directions successives pour les confronter aux programmes établis de la fondation de la compagnie en 1963 jusquʼen 1976. Au cours de cette période qui sʼest avérée déterminante dans le domaine de la production théâtrale au Québec, lʼhistoire de la compagnie met en lumière les paradoxes et les apories du concept de théâtre populaire. / The concept of popular theatre, which is full of the most diverse purposes, becomes institutionalized in France at the end of the XIXth century thanks to, among others, Romain Rolland, Firmin Gemier, Jacques Copeau, Jean Vilar and Bertolt Brecht. Numerous traces of these thoughts and practices are found in Quebec theatre, and throughout the existence of the Theatre Populaire du Quebec (TPQ) of which this report aims to draw the artistic thoughtʼs main elements of the successive directions, to then confront them with the established programs, that from the foundation of the company in 1963 until 1976. During this period, which turned out to be a deciding factor in the field of theatrical production in Quebec, the history of this company enlightens the paradoxes and aporias of the concept of popular theatre.

Le théâtre populaire, concept chargé des finalités les plus diverses, sʼinstitutionnalise en France à la fin du XIXe siècle, notamment grâce à Romain Rolland, Firmin Gémier, Jacques Copeau, Jean Vilar et Bertolt Brecht. De nombreuses traces de ces réflexions et pratiques se retrouvent dans le théâtre québécois, et tout au long de lʼexistence du Théâtre Populaire du Québec (TPQ) dont ce mémoire veut dégager les principaux éléments de la pensée artistique des directions successives pour les confronter aux programmes établis de la fondation de la compagnie en 1963 jusquʼen 1976. Au cours de cette période qui sʼest avérée déterminante dans le domaine de la production théâtrale au Québec, lʼhistoire de la compagnie met en lumière les paradoxes et les apories du concept de théâtre populaire. / The concept of popular theatre, which is full of the most diverse purposes, becomes institutionalized in France at the end of the XIXth century thanks to, among others, Romain Rolland, Firmin Gemier, Jacques Copeau, Jean Vilar and Bertolt Brecht. Numerous traces of these thoughts and practices are found in Quebec theatre, and throughout the existence of the Theatre Populaire du Quebec (TPQ) of which this report aims to draw the artistic thoughtʼs main elements of the successive directions, to then confront them with the established programs, that from the foundation of the company in 1963 until 1976. During this period, which turned out to be a deciding factor in the field of theatrical production in Quebec, the history of this company enlightens the paradoxes and aporias of the concept of popular theatre.