Orientador : Olga Rodrigues de Moraes von Simson / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-01T23:22:46Z (GMT). No. of bitstreams: 1 Silva_DanuzioGilBernardinoda_M.pdf: 20204591 bytes, checksum: 07483e8995781c047ca86173e3067413 (MD5) Previous issue date: 2002 / Mestrado

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Dès les années 1920, la nécessité de créer des monuments religieux qui répondent aux aspirations contemporaines commence peu à peu à émerger dans le milieu intellectuel québécois. Durant la première moitié du XXe siècle, ce modernisme demeure cependant modéré puisqu'il n'opère qu'une rupture partielle avec le passé et n'adhère pas aux modèles du style international. Dans ce contexte, l'architecte de Beauport Adrien Dufresne cherchera à créer des lieux de culte modernes, et contribuera au développement de la modernité en architecture religieuse des années 1930 à 1950, plus particulièrement dans le diocèse de Québec. Ce dernier développe son approche en assimilant les différentes influences avec lesquelles il se familiarise au fil de son parcours professionnel. Sa formation à l'École des beaux-arts de Québec, la relation qu'il entretient avec le moine-architecte dom Paul Bellot, ainsi que ses nombreuses lectures, nourrissent effectivement les bâtiments religieux qu'il conçoit au cours de sa carrière.

La présente étude tente d'analyser la façon dont le fasciste Adrien Arcand était perçu chez les Canadiens, pour essayer de comprendre en partie son incapacité à attirer un nombre important de membres au sein de son organisation. En première partie, nous faisons ressortir que la base de la pensée du chef fasciste était un antisémitisme fanatique, faisant des Juifs les responsables ultimes de l'ensemble des problèmes affligeant les pays civilisés. Dans la deuxième partie, nous affirmons que cet antisémitisme pathologique était ce qui était le plus susceptible d'éloigner les masses du parti d'Arcand. Nous mettons aussi en relief que la perception soulevée par Arcand a évolué au cours de la période, passant de l'indifférence à l'hostilité, influencée en cela par le contexte extérieur. / Québec Université Laval, Bibliothèque 2013

Dans la seconde moitié des années soixante naissent aux États-Unis le rock et la critique rock.Les participants de ces deux sphères s'unissent jusqu'à former une camaraderie, mais de cette rencontre surgit aussi un troisième champ. Ni vraiment musical, ni totalement critique, celui-ci est avant tout « littéraire ». Il nous met au défi de parler de critique rock pour mieux discuter de littérature et non de musique. C'est dans ce paradoxe apparent que Lester Bangs évolue par exemple. Génie tutélaire de ce petit groupe d'auteurs formés au sein des premiers fanzines et magazines rock, il ne décrit pas seulement les mythes rock ; il interroge aussi leur écriture. Plus avant, ce qui se dessine dans ses textes est le portrait du jeune écrivain « débutant » issu de la grande tradition du « journalisme littéraire ». Cela crée des liens entre les conditions d'accès à l'écriture dans la presse et le devenir « écrivain » en littérature. De même, trouve-t-on des annonces et des échos de ces discours dans le « cinéma direct » américain de l'époque, ainsi que dans la critique rock française. Le film Dont Look Back de Donn Alan Pennebaker par exemple montre déjà dès 1965 la nécessité de la création d'une critique non-journalistique sur le rock. Puis, Yves Adrien s'inspire de l'œuvre de Lester Bangs. Et enfin aujourd'hui à plus de quarante ans de distance, toujours Nick Tosches, Peter Guralnick, Greil Marcus et Lenny Kaye reconstruisent en paroles cette première expérience d'écriture et de publication. Aussi, cette thèse étudiera la création inattendue d'un champ littéraire au sein de la critique rock sur un plan mythographique : bien qu'éphémère, celui-ci s'avèrera fécond / In the second half of the sixties, rock music and rock criticism emerge in the United States. The protagonists of the two spheres gather to create a sense of camaraderie, but a third field also arises from that encounter. It is first and foremost a literary one, neither really musical, nor completely criticism-oriented. As a result, it challenges us to discuss rock criticism in order to better understand literature rather than music. Lester Bangs in particular dwells within that apparent paradox. As the figurehead of this little group of authors formed in early rock fanzines and magazines, he not only describes the rock myths but also discusses the way they are written. The portrait of the “aspiring writer” originating from the tradition of “literary journalism” also appears in his texts. This links the conditions of writing in the press to the situation of the fresh writer-to-be in literature. Similarly, auguries and echoes of such discourses can be found during the same period in American “direct cinema” and French rock criticism. For instance Donn Alan Pennebaker already underlines in 1965 the need for a non-journalistic criticism on rock in his documentary Dont Look Back. Later, Yves Adrien follows Lester Bangs works. Finally, forty years on, Nick Tosches, Peter Guralnick, Greil Marcus and Lenny Kaye continue today to reshape verbally this initial experience of writing and publishing. This thesis studies the unexpected birth of a new literary field through mythography. Though short-lived, it was nonetheless fecund

Made available in DSpace on 2016-04-28T14:16:13Z (GMT). No. of bitstreams: 1 Paulo Henrique Trentin.pdf: 779555 bytes, checksum: f4b3577b8c94884cbacb3620b3070ac2 (MD5) Previous issue date: 2011-05-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis addresses the life and works of Manoel Ferreira de Araújo Guimarães (1777-1838), a major author in the History of Brazilian Mathematics. The study centers on the translation by Manoel Ferreira de Araújo Guimarães of Éleménts de Geométrie e Traité de Trigonométrie, written by Adrien Marie Legendre (1752-1833), as important contributions to the process of institutionalizing the teaching of Mathematics in Brazil at the beginning of the 19th century. The analysis of Guimarães´s translations helped shed light on the reasons that led the translator to propose changes and, based on the identification of some of his interlocutors, understand what directed Guimarães to the works of Adrien Marie Legendre. Regarding further works by the Brazilian mathematician, we have been able to identify, directly or indirectly, scholars who had access to his translated works. Therefore, this study is intended to contribute to researchers who seek to (re)study the period ranging from the beginning to the first half of the 19th century, on the teaching of Mathematics in Brazil / Este trabalho aborda a vida e a obra de Manoel Ferreira de Araújo Guimarães (1777-1838), personagem importante para o cenário da História da Matemática Brasileira. Centralizamos nosso estudo nas traduções das obras Éleménts de Geométrie e Traité de Trigonométrie de Adrien Marie Legendre (1752-1833), realizadas por Manoel Ferreira de Araújo Guimarães, como contribuições significativas para o processo de institucionalização do ensino da Matemática no Brasil, no início do século XIX. Analisando essas traduções pudemos compreender os motivos que levaram o tradutor a propor alterações e, a partir da identificação de alguns de seus interlocutores, compreender o que o levou aos trabalhos de Adrien Marie Legendre. Relativamente aos desdobramentos das produções de Manoel Ferreira de Araújo Guimarães, pudemos identificar, direta ou indiretamente, alguns nomes que tiveram acesso a suas traduções. Assim, este trabalho pretende contribuir com os pesquisadores que buscam empreender uma (re)leitura do período, que vai do início a meados do século XIX, relativo ao ensino da matemática no Brasil

The pamphleteers popularized the mythology of despotism by denouncing lettres de cachet and other supposed abuses of power that had little effect on most people. Historians like Funck-Brentano may be correct in arguing that the government was really moderate at this time, but it is important to show that radical propagandists were quite successful in convincing Frenchmen that thousands of innocent victims huddled miserably in <em >cachots for having inflamed the despotic passions of a minister. Moreover the prisons that were mythological for most Frenchmen had been terribly real for Brissot, Carra, Gorsas and many other writers, and this consideration also suggests the importance of the biographical approach. The Bastille may have been nearly empty, but it was a powerful symbol, effectively exploited by pamphleteers who dealt in symbols, declamation and distortions of political realities. They were highly successful in dominating public opinion, which exerted an influence on events that has been unappreciated in relation to the weak, irresolute rule of Louis XVI. The thesis attempts to develop this interprettion of the political importance of radical propaganda with reference to the scientific, financial and literary history of the period. It may seem weak on some ponts of these specialized fields, but it is hoped that it assimilates them successfully in its main attempt to contribute to an understanding of the last years of the Ancien Regime: its analysis of the character of radical propaganda in relation to the men who created it.

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This thesis examines Tse Keh Nay (Sekani) ethnic identity over three periods of Aboriginal-European relations: the fur trade period, the missionary period, and the treaty and reserve period. It examines the affects these three periods have had on the Tse Keh Nay as an ethnic group in four chapters, the first two dealing with the fur trade and missionary periods, and the last two with the treaty and reserve aspects of the treaty and reserve period. In it I argue that during the first two periods wider Tse Keh Nay ethnic identity was reinforced, while during the latter period local Tse Keh Nay identities were reinforced through government policies that dealt with Tse Keh Nay subgroups on a regional and localized basis. Despite this shift in emphasis, wider Tse Keh Nay ethnic identity has remained, proving that Tse Keh Nay ethnic identity is both situational and dynamic. / History

In this thesis I present new insights into aspects of Peter Guthrie Tait's life and work, derived principally from largely-unexplored primary source material: Tait's scrapbook, the Tait–Maxwell school-book and Tait's pocket notebook. By way of associated historical insights, I also come to discuss the innovative and far-reaching mathematics of the elusive Frenchman, C.-V. Mourey. P. G. Tait (1831–1901) F.R.S.E., Professor of Mathematics at the Queen's College, Belfast (1854–1860) and of Natural Philosophy at the University of Edinburgh (1860–1901), was one of the leading physicists and mathematicians in Europe in the nineteenth century. His expertise encompassed the breadth of physical science and mathematics. However, since the nineteenth century he has been unfortunately overlooked—overshadowed, perhaps, by the brilliance of his personal friends, James Clerk Maxwell (1831–1879), Sir William Rowan Hamilton (1805–1865) and William Thomson (1824–1907), later Lord Kelvin. Here I present the results of extensive research into the Tait family history. I explore the spiritual aspect of Tait's life in connection with The Unseen Universe (1875) which Tait co-authored with Balfour Stewart (1828–1887). I also reveal Tait's surprising involvement in statistics and give an account of his introduction to complex numbers, as a schoolboy at the Edinburgh Academy. A highlight of the thesis is a re-evaluation of C.-V. Mourey's 1828 work, La Vraie Théorie des quantités négatives et des quantités prétendues imaginaires, which I consider from the perspective of algebraic reform. The thesis also contains: (i) a transcription of an unpublished paper by Hamilton on the fundamental theorem of algebra which was inspired by Mourey and (ii) new biographical information on Mourey.