[pt] Arthur Bispo do Rosario: do claustro infinito à instalação de um nome é um estudo que aborda a vida e a obra de Bispo do Rosario. Partindo da distinção fundamental, evidenciada pelo próprio fazer de Bispo do Rosario, entre objeto e obra de arte, investigamos a articulação entre delírio e fazer de objetos na instalação de um nome como suplência, como sinthoma, conceito desenvolvido por Jacques Lacan. Tal distinção foi essencial para abordar de que forma Bispo do Rosario foi capaz de inventar para si, por meio do delírio e da produção de objetos, alguma estabilização, sua possibilidade de ancoramento no mundo. Empreendemos ainda uma leitura desses objetos, como obras, e uma reflexão sobre o nome que se instala também no campo da arte, a partir da articulação entre psicanálise e arte e da noção de acumulação. Ao final deste percurso foi possível propor a possibilidade de convergência entre a leitura clínica e a da obra de arte, esclarecendo que tal convergência não se presta à uma mera explicação da singularidade do artista através da obra ou seu oposto, a explicar a obra através da singularidade do artista. / [fr] Arthur Bispo do Rosario: du cloître infini vers l installation d un nom est une étude de la vie et de l oeuvre d Arthur Bispo do Rosario. En partant de la distinction fondamentale, mise en évidence par le travail même de Bispo de Rosario, entre objet et oeuvre d art, nous avons chercher à en savoir davantage sur l articulation du délire et de la réalisation d objets lors de l installation d un nom en temps que suppléance, en temps que sinthome, concept développé para Jacques Lacan. Une telle distinction fut essentielle pour aborder la façon selon laquelle Bispo do Rosario fut capable de s inventer, par le bais du délire et de la production d objets, une certaine stabilisation, sa possibilité d ancrage dans le monde. Nous entreprîmes aussi une lecture de ces objets en temps qu oeuvres et une réflexion sur le nom qui s installe aussi dans le champs de l art à partir de l articulation entre la psychanalyse et l art ainsi que la notion d accumulation. À la fin de ce parcours, il nous fut possible de proposer la possibilité de convergence entre la lecture clinique et celle de l oeuvre d art, laissant claire qu une telle convergence ne consiste pas en une simple explication de la singularité de l artiste à travers l oeuvre ou son opposée, expliquer l oeuvre à travers la singularité de l artiste.

En retraçant le développement des théories de la comédie dans la philosophie occidentale, cette thèse avance que des préjugés l’ont empêchée d’être reconnue comme un genre littéraire sérieux. Il est montré que la place donnée à la comédie comme genre mineur pendant plus de deux mille ans correspond à un modèle éthique qui affirme, en distinguant le réel de l'Idéal, une vision néo-platonicienne de l'existence. Partant de l’analyse d’un phénomène théâtral précis dans l’Europe de l’après-guerre et à travers de nombreux exemples choisis parmi des pièces de cinq dramaturges différents, cette thèse propose trois principaux critères de la comédie : le statut ontologique des personnages comiques, la relation paradoxale de la comédie au monde des apparences, et son aptitude à permettre l'impossible. Opérant ainsi un renversement total des systèmes de valeurs et remettant en question une vision binaire, la comédie brouille les clivages entre l’abstrait et le concret, le mécanique et l’organique, et au bout du compte entre la vie et la mort. Il est démontré comment ce renversement s’accomplit de manière linguistique, métaphorique ou encore dramaturgique. L’étude conclut que la comédie bouleverse l'ordre socio-symbolique qui repose sur la logique du possible. / By tracing the development of theories of comedy within Western philosophy, this thesis claims that anti-comic prejudices prevented comedy from being recognized as a serious genre. Comedy’s inferior status for over two thousand years is shown to correspond to an ethical model that distinguishes the real from the Ideal and affirms a Neo-Platonic vision of existence. Through numerous examples taken from a particular phenomenon of post-war European theatre comprising five different playwrights, this thesis proposes three primary characteristics of comedy: the ontological instability of comic characters, comedy’s paradoxical relation to the world of appearances, and comedy’s willingness to accommodate the impossible. By throwing binaries into question and promoting a complete reversal of dominant value systems, comedy blurs the lines of distinction between the abstract and the concrete, the mechanical and the organic and, ultimately, between life and death. Demonstrating how this reversal is accomplished linguistically, metaphorically, or dramaturgically, this study concludes that comedy subverts the socio-symbolic order that relies upon the logic of possibility.

This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.

The diploma thesis deals with a project design documentation of a multifunctional house in Považská Bystrica. The object is designed as a detached four-storey building. Its ground plan is rectangle-shaped. The building´s first floor is split into an administrative section and housing section with shared premises. The other floors are fully designed and meant for housing consisting of housing units with shared premises. A construction system is designed as a transversal wall system with reinforced concrete continuous slabs roofed with a warm flat duo roof.

This dissertation examines how the trait of intelligence is portrayed in novels of twentieth-century Britain, and how this portrayal grapples with the quantitative revolution in the conception of intelligence, brought on by the invention of IQ testing in the 1900s. I trace the construction of characters’ intelligence across different genres, starting with Arthur Conan Doyle’s Sherlock Holmes stories, through the modernist Bildungsromane of Henry James, James Joyce, and Virginia Woolf, to Iris Murdoch’s realism, and finally to Lee Child’s late twentieth- century serial thrillers featuring Jack Reacher. I posit that the IQ model of intelligence as abstracted, quantified, and statistically measurable is profoundly at odds with the novelistic investment in the unique individual subject. This project traces the narratological strategies of characterization through which intelligence—or cleverness, or smartness, or brightness—are conveyed to the reader. Novels, generally speaking, do not provide the IQ scores of their characters; and though we might occasionally encounter an explicit narratorial characterization of some fictional being or other as “remarkably clever,” most often we must rely on perceptions of behavior, speech, and thought in order to assess characters’ intelligence, much as we do in real life. As the psychometric paradigm gained prominence in the psychological circles in the United States, England, and Europe, and as more people were exposed—and subjected—to intelligence testing, its values and assumptions gained more cultural traction. Attributes like mathematical facility, logical and systemic thinking, or a large vocabulary, are likely to yield a high score on an IQ test, as well as a favorable judgment in an informal, casual assessment, such as that of a date or a new acquaintance at a party. This dissertation, therefore, explores how this permeation of the psychometric paradigm into general culture affect the novelistic construction of smartness. Ultimately, I argue that against the IQ model, the novels I am reading construct a conception of intelligence as a coherent set of cognitive abilities, remarkably consistent across genres, which overlaps, yet reconfigures, the priorities and epistemological frameworks of psychometrics. This model centers on the notion of observation, i.e., a mix of sensory susceptibility to impressions and the cognitive skill of taking notice of the world and of other people. It is both anchored to the body by connoting a sensory experience, and divorced from it in conveying a more purely cognitive process, one of directing attention and processing information, thus renegotiating psychometric assumptions regarding embodiment and sensory experience—as well as the relationship between the individual’s intelligence, the world, and the minds of others.

Call number: LD2668 .T4 1948 N6 / Master of Science

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette étude porte sur la musique de film des années 1930 en France, durant la décennie qui a vu naître et évoluer le cinéma parlant. Le cinéma de cette période y est appréhendé à travers son statut artistique et son rôle dans la transmission des idées. Dans le contexte de la crise économique et des bouleversements politiques et internationaux qui sévissent, les années 1930 offrent aux artistes, écrivains et compositeurs français, une opportunité de redéfinir leur rôle dans la cité, en intervenant à travers un médium nouveau. Ces circonstances, propices à la définition d’un nouvel engagement en arts, guident le choix de trois films à partir desquels sont analysées les contributions musicales et la démarche du compositeur en lien avec ses motivations et ses attentes face au cinéma. En se penchant sur l’aspect musical de ces films, l’auteure cherche à dégager le rôle de la musique au sein des processus de communication artistiques, dans le but de comprendre les moyens avec lesquels le compositeur défend ses idées tout en collaborant à celles du réalisateur. À quel point l’engagement du compositeur s’arrime-t-il à la réalité de l’industrie cinématographique? À quel point la musique permet-elle l’expression des idées au sein d’un art dont elle n’est qu’une composante? C’est à ces questionnements que cette recherche a voulu donner voix, tout en faisant une place privilégiée à la musique elle-même. / The subject of the present study is film soundtracks from the 1930s in France. The music under examination originated during a decade which saw the birth and early development of talking films. French cinematographic productions from this period are examined on the basis of their artistic status and their role in the transmission of ideas. The pandemic economic crisis, combined with international political upheavals, were actual incentives for artists, writers, and composers to redefine their societal role through an innovative artistic medium, and to give voice to new types of artistic engagement. The choice of the three cinematographic works in this study is based on these conditions; their soundtracks are analyzed in relation to composers’ motivations and expectations of what cinema had to offer them. By closely examining the musical components of these films, the author also aims to define the ways in which music, among other artistic communication processes, was a vehicle for composers to defend their own ideas while endorsing those of a film’s director and/or producer. At what point does the composer’s personal engagement coincide with the requirements of the film industry during the period under examination? What are the limitations of the musical expression of ideas, in the context of an art form in which music was only a component part? These questions are at the heart of this study, with the music itself as the primary focus of research.

During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

Dans notre étude, nous cherchons à démontrer qu'Arthur Buies se présente comme le témoin d'une forme de modernité dans ses chroniques sur les régions qui sont publiées dans les années 1870 dans divers journaux puis rassemblées en trois recueils. En effet, nous nous appuyons sur l'idée qu'il observerait sensiblement les mêmes traits dans ses chroniques rurales que dans ses chroniques urbaines. Nous pensons aussi que les postures littéraires (Jérôme Meizoz) qu'il adopte permettent à Buies de transmettre - de manière formelle - sa vision de la modernité. Au terme de la recherche, il ressort que Buies, conscient de ce qu'est la modernité, juge qu'elle ne se trouve pas inéluctablement dans les villes. Pour lui, Paris et San Francisco sont modernes, alors que Québec ne l'est pas. De plus, pour lui, il existe bel et bien une forme de modernité dans les chroniques rurales, puisqu'il y observe sensiblement les mêmes traits que ceux qu'il relevait dans ses chroniques sur Paris et San Francisco. Aussi, Buies est-il convaincu que la colonisation au Québec stagne. Il en vient à ce constat lorsqu'il la compare à celle se produisant simultanément aux États-Unis. Toutefois, il remarque un certain progrès au cours de la décennie, insuffisant, selon lui, pour compenser l'absence de chemin de fer sur la rive nord du Saint-Laurent. Nous concluons, à partir de nos analyses, que les postures littéraires que Buies choisit - particulièrement celle du flâneur et celle du géographe - lui permettent de véhiculer les traits de la modernité dans l'écriture même de ses chroniques. / In our study, we focus on demonstrating that Arthur Buies presents himself as a witness of a form of modernity in his chronicles on the country published in the 1870's in three collections. We lean on the idea that he would observe approximately the same characteristics in his rural chronicles as in his urban chronicles. We also think that the 'literary postures' (Jérôme Meizoz) adopted by Buies allow him to pass on - in a formal way - his vision of modernity. By the research's end, it stands out that Buies, aware of the concept of modernity, judges that it doesn't inevitably appear in the cities. For Buies, Paris and San Francisco are modern whereas Quebec City is not. Furthermore, for him, there really is a form of modernity in his rural chronicles because he notices in them more or less the same characteristics as the ones he found in the chronicles about Paris and San Francisco. Also, Buies is convinced that the colonization in Quebec stagnates. He comes to this observation when he compares it to the American colonization happening simultaneously. However, he notices some progress regarding Quebec colonization over the decade, but insufficient, according to him, to make up for the absence of a railroad on the northern bank of the St. Lawrence River. Based on our analysis, we conclude that the 'literary postures' chosen by Buies - especially the 'flâneur' and the geographer ones - are figures through which the characteristics of modernity are conveyed within the writing of the chronicles itself.

La Lanterne d’Arthur Buies, publiée à Montréal de 1868 à 1869 et inspirée de La Lanterne de Rochefort, se distingue des journaux de cette période durant laquelle le clergé, qui en contrôle un grand nombre, impose l’idée que tout bon catholique obéisse au pouvoir en place. En publiant La Lanterne, Buies s’oppose au milieu journalistique, non seulement par ses nombreuses critiques à son endroit, mais aussi par le choix du genre du pamphlet, qui confronte les normes de l’époque en empruntant une forme plus proche du discours oral et centrée essentiellement sur la dénonciation. Sans être officiellement victime de censure, le pamphlétaire subit les pressions du clergé et de la presse conservatrice, qui nuisent à ses projets de faire de son journal un grand organe de la jeunesse. Faire l’histoire de la publication de La Lanterne et son analyse littéraire, en comparaison avec la réédition de 1884, permet d’identifier les manifestations de l’ambition de Buies, qui s’oppose aux signes plus discrets indiquant les difficultés liées à la rédaction du journal. Le pamphlétaire se met en scène dans son propre journal, en interaction avec ses adversaires et ses lecteurs. De plus, l’étude de la réception de La Lanterne révèle que les rares journaux qui s’intéressent à Buies dénigrent son pamphlet, celui-ci lutte alors contre l’absence d’un véritable interlocuteur. Notre analyse du texte apporte une meilleure compréhension des objectifs de Buies et des outils dont il entendait se servir pour transformer la presse et, par là, la jeunesse canadienne. En nous intéressant à la réception, nous désirons également éclairer le fonctionnent du milieu journalistique canadien-français et comprendre le rôle que Buies a pu y tenir. / La Lanterne, written in Montreal by Arthur Buies from 1868 to 1869 and inspired by Rochefort’s La Lanterne, diverges from newspapers published at that time, when the clergy - who controlled most of them - imposes upon Catholics obedience to the authorities. By publishing La Lanterne, Buies opposes French-Canadian newspapers not only through his criticisms towards them, but also through his choice to write it as a pamphlet, a literary genre that confronts the standards from that period by being written in a style close to spoken language and essentially based on denunciation. Although not officially censored, the polemist is under pressure from the clergy and the conservative press, which affects his project of turning his newspaper into an organ for the youth. Reconstructing the history of La Lanterne and analysing the text, in comparison with the 1884 reedition, allow us to identify the expression of Buies’ ambition, in opposition to the more discreet signs of the difficulties he had to face while writing his journal. The polemist portrays himself in interaction with his opponents and his readers. Thus, the study of the response La Lanterne received from other newspapers shows there was little reaction and that those who wrote about it discredit the publication. Buies was in fact struggling with the absence of a true interlocutor. Our analysis of the literary dimension of La Lanterne brings a better comprehension of Buies’ goals and the tools he intended to use to transform the press - and, by that, the Canadian youth. By looking at the response Buies received, we also want to highlight how the French-Canadian journalistic community worked and understand the part Buies played in it.