Réalisé en codirection avec Hélène Buzelin / Depuis le début des années 1980, le milieu théâtral québécois manifeste un intérêt croissant pour Tchekhov. Pourtant, les pièces traduites ne répondent pas à la tendance qui, dans le Québec des années 1970-1980, consistait à adapter les classiques du théâtre étranger de façon ethnocentrique, notamment en les traduisant en québécois. Pour Tchekhov, les traducteurs et les praticiens semblent davantage préoccupés par la dimension dramaturgique de la langue que par l'adaptation au contexte sociolinguistique d'accueil. Intriguée par ce phénomène, nous avons cherché à le vérifier et à le comprendre dans le présent mémoire en analysant trois traductions québécoises d’Oncle Vania, représentées entre 1983 et 2001. Notre travail se trouve au carrefour de deux disciplines : la traductologie et l’analyse dramaturgique. Il cherche à démontrer l’ancrage proprement dramaturgique des différentes stratégies de traduction d’Oncle Vania en étudiant la série de leurs concrétisations, du texte source jusqu’à la mise en jeu cible. Le corpus se compose de deux traductions à visée mimétique et d’une réécriture. Dans l'Oncle Vania de Michel Tremblay (1983), l'idiolecte du personnage de Marina a été traduit en joual de façon à recréer l'effet dramaturgique source. Dans Uncle Vanya (1993), une production anglaise du Théâtre du Centaur, les répliques de Sérébriakov ont été traduites en français par Jean-Louis Roux, l'interprète du personnage, et mettent en valeur plusieurs traits distinctifs de celui-ci. La troisième pièce à l'étude est une réécriture de la pièce par Howard Barker, (Uncle) Vanya, traduite au Québec par Paul Lefebvre (2001). La vulgarité de la langue de cette pièce a été traduite de façon sémantique pour recréer la relation déstabilisante spectacle/spectateur propre au Théâtre de la Catastrophe de Barker. Très différentes les unes des autres, ces versions d'Oncle Vania démontrent que la traduction peut s'inscrire, en tant que processus d'analyse dramaturgique, au sein de la critique et de la réflexion sur l'œuvre de Tchekhov. En effet, ces traductions semblent participer davantage de l'histoire globale de l'interprétation du théâtre de Tchekhov en français que d’un projet sociopolitique. Ce mémoire contribue ainsi aux études de traductologie, en y intégrant des modalités d’analyse dramaturgique et apporte un nouvel éclairage à l’histoire de la traduction théâtrale au Québec. / Since the beginning of the 1980’s, Quebec's theatrical milieu interest for Chekhov plays is growing. However, the translated plays do not reflect the tendency which, in the 1970’s and the 1980’s, consisted in adapting the foreign classics of theater in an ethnocentric way, especially by translating them into québécois French. For Chekhov, the translators and the practitioners seemed more worried about the dramaturgic aspects of the language than by the sociolinguistic adaptation of the plays to the context of reception. Intrigued by this phenomenon, we tried to verify and understand it by analyzing three Uncle Vania plays translated and produced in Quebec between 1983 and 2001. Our work is at the crossroads of two disciplines : traductology and dramaturgical analysis. It tries to demonstrate the strictly dramaturgic roots of the various translations strategies for Uncle Vania by studying the series of their concretizations, from the source text to the target mise en jeu. The corpus consists of two mimetic translations and a rewriting. The first play is Oncle Vania, translated by Michel Tremblay (1983), where the idiolect of Marina, one of the characters, was translated in joual in order to recreate the dramaturgic effect of the source text. In the second translation, Uncle Vanya, played in English at the Centaur Theater (1993), the lines of professor Serebryakov were translated into French by Jean-Louis Roux, the character's interpreter, and emphasize several of his characteristics. The third play of the corpus is a rewriting of Chekhov's, (Uncle) Vanya by Howard Barker, translated in Quebec by Paul Lefebvre (2001). The vulgarity of the language of this last play was translated in a semantic way, in order to recreate the show/spectator relation particular to the Barker’s Theatre of Catastrophe. These Uncle Vania’s versions are very different from one another and demonstrate that translation, as a process of dramaturgic analysis, can contribute to the criticism and the reflection on the work of Chekhov. In fact, these translations seem to participate more in the global history of the interpretation of Chekhov’s theater in French, than in a sociopolitical reading of theatrical translation in Quebec. In contributing top translation studies by the mean of dramaturgical analysis, this work also sheds new light on the history of theatrical translation in Quebec.

Le théâtre est le lieu d’un rapport privilégié au corps, dans la co-présence du corps de l’acteur et du corps du spectateur au moment de la représentation théâtrale. Il est l’arène privilégiée où s’observe l’impact des bouleversements qui ont modifié les codes de la représentation au cours du vingtième siècle. Le théâtre anglais contemporain attire les regards sur le spectacle d’un corps souffrant, exhibé, violenté (théâtre In-yer-face, théâtre de la Catastrophe) et dans le même temps propose la représentation d’un corps spectral dans un théâtre influencé par Beckett. Ces deux tendances – corps spectacle et corps spectral – sont les signes visibles d’une crise de la représentation du corps et de la déconstruction du sujet. Les auteurs que nous avons choisis pour cette étude (Edward Bond, Howard Barker, Martin Crimp et Sarah Kane) se sont imposés comme les figures de proue d’un théâtre non-naturaliste, poétique et subversif, qui font du corps le pilier de leurs esthétiques. Notre étude se présente comme une anatomie du « corps esthétique » (Roland Barthes) dans une perspective comparatiste des dramaturgies abordées. Elle explore le rôle du corps dans tous les domaines de la représentation : Comment le texte construit-il le corps ? Comment le corps envahit-il le texte ? Quelles sont les stratégies mises en œuvre pour représenter le corps dans le passage de la page au plateau ? Quelle est la place du corps de l’acteur ? du corps du spectateur ? Parce que « le » corps n’existe pas, les théâtres du corps en jeu ne cessent d’affirmer le potentiel illimité du corps en exposant la labilité du corps du personnage, de l’acteur et du spectateur. / The theatre is a privileged site to understand the body, because of the copresence of the body of the actor and that of the spectator during the representation. It is the privileged arena where we can observe the consequences of the upheavals that changed the conventions in representation in the course of the twentieth century. English contemporary theatre attracts our attention both to the spectacle of a suffering body, which is also exposed and violated (In-yer-face theatre, the theatre of Catastrophe) and that of a spectral body, in a theatre influenced by Beckett. These two trends – the body as spectacle and the spectral body – are the visible signs of a crisis in the representation of the body and the deconstruction of the subject. The authors chosen for this study (Edward Bond, Howard Barker, Martin Crimp and Sarah Kane) are the figureheads of a non-naturalistic, poetic and subversive theatre. The body is at the core of their aesthetics. Our contention is to develop an anatomy of the “aesthetic body” (Roland Barthes) with a comparative approach of the works, and to investigate the role of the body in all the different fields of representation: How does the text create a body? How does the body invade the text? What are the strategies at stake to represent the body in the translation from page to stage? How is the body of the actor used? How is the spectator’s body affected? Because it seems there is no such thing as “the” body, the theatres of the “body-at-play” try to reassess the limitless potential of the body, to deliver it from all constraints, and to expose the lability of the character’s body, as well as the actor’s and the spectator’s.

Depuis le début des années 1980, le milieu théâtral québécois manifeste un intérêt croissant pour Tchekhov. Pourtant, les pièces traduites ne répondent pas à la tendance qui, dans le Québec des années 1970-1980, consistait à adapter les classiques du théâtre étranger de façon ethnocentrique, notamment en les traduisant en québécois. Pour Tchekhov, les traducteurs et les praticiens semblent davantage préoccupés par la dimension dramaturgique de la langue que par l'adaptation au contexte sociolinguistique d'accueil. Intriguée par ce phénomène, nous avons cherché à le vérifier et à le comprendre dans le présent mémoire en analysant trois traductions québécoises d’Oncle Vania, représentées entre 1983 et 2001. Notre travail se trouve au carrefour de deux disciplines : la traductologie et l’analyse dramaturgique. Il cherche à démontrer l’ancrage proprement dramaturgique des différentes stratégies de traduction d’Oncle Vania en étudiant la série de leurs concrétisations, du texte source jusqu’à la mise en jeu cible. Le corpus se compose de deux traductions à visée mimétique et d’une réécriture. Dans l'Oncle Vania de Michel Tremblay (1983), l'idiolecte du personnage de Marina a été traduit en joual de façon à recréer l'effet dramaturgique source. Dans Uncle Vanya (1993), une production anglaise du Théâtre du Centaur, les répliques de Sérébriakov ont été traduites en français par Jean-Louis Roux, l'interprète du personnage, et mettent en valeur plusieurs traits distinctifs de celui-ci. La troisième pièce à l'étude est une réécriture de la pièce par Howard Barker, (Uncle) Vanya, traduite au Québec par Paul Lefebvre (2001). La vulgarité de la langue de cette pièce a été traduite de façon sémantique pour recréer la relation déstabilisante spectacle/spectateur propre au Théâtre de la Catastrophe de Barker. Très différentes les unes des autres, ces versions d'Oncle Vania démontrent que la traduction peut s'inscrire, en tant que processus d'analyse dramaturgique, au sein de la critique et de la réflexion sur l'œuvre de Tchekhov. En effet, ces traductions semblent participer davantage de l'histoire globale de l'interprétation du théâtre de Tchekhov en français que d’un projet sociopolitique. Ce mémoire contribue ainsi aux études de traductologie, en y intégrant des modalités d’analyse dramaturgique et apporte un nouvel éclairage à l’histoire de la traduction théâtrale au Québec. / Since the beginning of the 1980’s, Quebec's theatrical milieu interest for Chekhov plays is growing. However, the translated plays do not reflect the tendency which, in the 1970’s and the 1980’s, consisted in adapting the foreign classics of theater in an ethnocentric way, especially by translating them into québécois French. For Chekhov, the translators and the practitioners seemed more worried about the dramaturgic aspects of the language than by the sociolinguistic adaptation of the plays to the context of reception. Intrigued by this phenomenon, we tried to verify and understand it by analyzing three Uncle Vania plays translated and produced in Quebec between 1983 and 2001. Our work is at the crossroads of two disciplines : traductology and dramaturgical analysis. It tries to demonstrate the strictly dramaturgic roots of the various translations strategies for Uncle Vania by studying the series of their concretizations, from the source text to the target mise en jeu. The corpus consists of two mimetic translations and a rewriting. The first play is Oncle Vania, translated by Michel Tremblay (1983), where the idiolect of Marina, one of the characters, was translated in joual in order to recreate the dramaturgic effect of the source text. In the second translation, Uncle Vanya, played in English at the Centaur Theater (1993), the lines of professor Serebryakov were translated into French by Jean-Louis Roux, the character's interpreter, and emphasize several of his characteristics. The third play of the corpus is a rewriting of Chekhov's, (Uncle) Vanya by Howard Barker, translated in Quebec by Paul Lefebvre (2001). The vulgarity of the language of this last play was translated in a semantic way, in order to recreate the show/spectator relation particular to the Barker’s Theatre of Catastrophe. These Uncle Vania’s versions are very different from one another and demonstrate that translation, as a process of dramaturgic analysis, can contribute to the criticism and the reflection on the work of Chekhov. In fact, these translations seem to participate more in the global history of the interpretation of Chekhov’s theater in French, than in a sociopolitical reading of theatrical translation in Quebec. In contributing top translation studies by the mean of dramaturgical analysis, this work also sheds new light on the history of theatrical translation in Quebec. / Réalisé en codirection avec Hélène Buzelin

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed May 20, 2005). Includes bibliographical references.

Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaissent d’abord comme radicalement différentes, ne serait-ce qu’en raison du statut marginal que Barker occupe au sein du paysage théâtral anglais. Dès lors, si Shakespeare se manifeste dans son œuvre, ce sera sous une forme altérée, méconnaissable, transformée, autrement dit sous forme de spectres. Pourquoi l’œuvre de Barker a-t-elle suscité de façon si insistante la comparaison à celle de Shakespeare ? Et que révèle cette comparaison, non seulement de la pratique critique, mais surtout des enjeux poétiques du théâtre de Barker ? Cette étude s’efforce de répondre à ces questions en examinant d’abord les modalités d’élaboration de l’œuvre de Barker, et la manière dont celle-ci place le spectre, figure majeure du doute, au cœur de son esthétique. Elle se penche ensuite sur les critères qui ont pu justifier le rapprochement entre les deux dramaturges, notamment l’histoire et l’écriture, pour montrer que Shakespeare est toujours convoqué sur le mode paradoxal du leurre, modèle avancé pour être mieux rejeté. De la sorte, elle essaie de dégager non pas les traits que partagent les deux dramaturges, mais la manière dont Barker tente d’exorciser la présence étouffante du dramaturge élisabéthain en élaborant une poétique singulière. / From his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice.

The (in)visible Briseis. A comparative literary analysis of the relationship between Achilles, Patroclus and Briseis in Homer’s Iliad and Pat Barker’s The Silence of the Girls The purpose of this essay is to compare the relationship between Achilles and Patroclus in Homer’s Iliad (700s BC) and Pat Barker’s The Silence of the Girls (2019), while also looking into the role of Briseis and how the story differs when it is told from her point of view. Through the analysis I find that the relationship between Achilles and Patroclus have always been intense. I argue, however, that the intensity is given more depth and meaning when described from different perspectives, such as that of Briseis and Achilles himself, as is done in The Silence of the Girls. With the help of Kevin Goddard’s theory of the male gaze, the perspective of both Briseis and Achilles become invaluable for interpreting the relationship between the characters, as well as the characters themselves. For Achilles, the gaze of his mother influences him in a negative way in his relationship with Briseis, while the gaze of Patroclus causes changes in his mentality. I argue that this has to do with the Oedipus complex. For once, Briseis is not invisible and even though she continues to be the slave everyone expects her to be, she is, through the gaze, able to create her own story once that of Achilles ends. It is still the story of the great Achilles, but one in which he is also human.

Bakgrund: Vid bipolär sjukdom kan sinnestillståndet skifta mellan upprymt stämningsläge och svår depression. Sjukdomsbilden står i fokus och är grundläggande för att diagnostisera en individ med bipolär sjukdom. Behandling för bipolär sjukdom är framför allt farmakologisk men psykoterapi tillämpas vid behov. Ett gemensamt arbete mellan patient, familjemedlemmar och vårdteamet kan bidra till bättre förutsättningar till återhämtning. Syfte: Syftet var att belysa vuxna personers upplevelser av att leva med bipolär sjukdom. Metod: En allmän litteraturöversikt genomfördes baserad på tio kvalitativa artiklar i resultatet.  Resultat: Vid analys av de sammanställda vetenskapliga artiklarnas resultat framkom det fem teman: att förlora och återta kontrollen, påverkan på interpersonella relationer, påverkan på självbilden/identiteten, upplevelse av stigmatisering och upplevelse av medicinsk behandling. Personer hade svårigheter att kontrollera sina beteenden och humörsvängningarna vid bipolär sjukdom. Kontrollförlusten medförde att de gjorde handlingar som de inte skulle göra när de var symtomfri, vilket skapade känslor av skam och skuld. Sjukdomen påverkade även interpersonella relationer och ledde till förlust av studier, jobb samt identitet. Den maniska episoden kännetecknades av positiva upplevelser, kontrollförlust och pågående pinsamheter. Den depressiva episoden präglades av negativa tankar och känslor. Livsstilsförändringar och olika metoder användes i kombination med medicinering för att hantera sjukdomen. Slutsats: Bipolär sjukdom är en komplex psykisk sjukdom som skapar stort lidande för den drabbade. Symtomen är som berg- och dalbana och oförutsägbar vilket skapar svårigheter att förstå och hantera humörsvängningar. Trots utmaningarna kan sjukdomens omfattning och leva med samt ha ett relativt bra liv med hjälp av olika hanteringsstrategier. / Background: Bipolar disorder is a state of mind the can shift between elevation and severe depression. The disease picture is in focus and is fundamental to diagnosing an individual with bipolar disorder.Treatment for bipolar disorder is primarily pharmacological, but psychotherapy is applied if necessary. Good cooperation between the patient, family members and the care team can help the patient to get better condition for recovery through treatment.  Aim: The aim was to highlight adults' experiences of living with bipolar disorder.  Method: A general literature review was carried out based on ten qualitative articles in the results. Results: An analysis of the results of the compiled scientific articles revealed five themes: losing and regaining control, impact on interpersonal relationships, impact on self-image / identity, experience of stigma and experience of medical treatment. People had difficulty controlling their behaviors and mood swings in bipolar disorder. The loss of control meant that they did actions that they would not do when they were symptom-free, which created feelings of shame and guilt. The disease also affected interpersonal relationships and led to loss of studies, jobs and identity. The manic episode was characterized by positive experiences, loss of control and ongoing embarrassment. The depressive episode was characterized by negative thoughts and feelings. Lifestyle changes and various methods were used in combination with medication to manage the disease. Conclusion: Bipolar disorder is a complex mental illness that creates great suffering for people who have the diagnosis. The symptoms are like a roller coaster and unpredictable, which creates difficulties to understand and manage the mood swings. Despite the challenges, it is possible to limit the extent of the disease and live with it and have a relatively good life with the help of different management strategies.

This thesis presents a portrait of cultural diversity filtered through a lens of memory, experience and architecture. What does diversity look like? Where do we experience diversity? How unrestrained is our experience of it? Although cultural identity is tied to both personal experience and memory, Toronto’s experience of diversity has evolved with the growth of the city. Consequently, Toronto’s cultural diversity is today experienced through a limited and problematic architectural and marketing-based framework. These frameworks make ethnicity more accessible, but also limit our experience of it. I propose to release these limitations by highlighting the frameworks within which we view our various ethnicities. These are 1) the marketing of ethnic products to consumers (specifically Loblaws Presidents Choice, No Name and Memories Of…products) and 2) architectural uniformity. I examine these issues by recounting personal experiences with my family in South Western Ontario; by conducting a typological study of Toronto’s storefront restaurants – a portrait of a city which expands on the representation of industrial landscapes made by Bernd and Hilla Becher and the study of social types made by August Sander; and through my own experience of the street food and outdoor markets of Thailand. However, to highlight such constraints did not seem enough. So I created a white, unmarked model of a typical Toronto restaurant façade (formerly a shop front.) This tabula rasa suggests the possibility for an alternative strategy by showing the limitations of the channels through which we are forcing cultural diversity. The blank shop front model brings us back to a starting point from which cultural diversity can be reconsidered.

This thesis presents a portrait of cultural diversity filtered through a lens of memory, experience and architecture. What does diversity look like? Where do we experience diversity? How unrestrained is our experience of it? Although cultural identity is tied to both personal experience and memory, Toronto’s experience of diversity has evolved with the growth of the city. Consequently, Toronto’s cultural diversity is today experienced through a limited and problematic architectural and marketing-based framework. These frameworks make ethnicity more accessible, but also limit our experience of it. I propose to release these limitations by highlighting the frameworks within which we view our various ethnicities. These are 1) the marketing of ethnic products to consumers (specifically Loblaws Presidents Choice, No Name and Memories Of…products) and 2) architectural uniformity. I examine these issues by recounting personal experiences with my family in South Western Ontario; by conducting a typological study of Toronto’s storefront restaurants – a portrait of a city which expands on the representation of industrial landscapes made by Bernd and Hilla Becher and the study of social types made by August Sander; and through my own experience of the street food and outdoor markets of Thailand. However, to highlight such constraints did not seem enough. So I created a white, unmarked model of a typical Toronto restaurant façade (formerly a shop front.) This tabula rasa suggests the possibility for an alternative strategy by showing the limitations of the channels through which we are forcing cultural diversity. The blank shop front model brings us back to a starting point from which cultural diversity can be reconsidered.

Thesis (M.Eng.Sc)--University of Adelaide, Dept. of Civil and Environmental Engineering, 2000? / Bibliography :leaves 158-171. A monitoring program, funded by the South Australian government (through the former MFP Development Corporation), was established to monitor the quality and quantity of storm water entering and leaving the wetland. This study formed part of the funded program. Simple regression models were developed; and will assist in the monitoring of performance of the wetland to alleviate the pollutant load into the Barker Inlet.