Cette thèse est une étude sur les quatre règles de base qui pourraient constituer un corpus cohérent pour l'enseignement du breton. Les trois premières, concernant les mots en eux-mêmes, sont présentées dans le premier volume : accent tonique, longueur sous l'accent et dévoisement de la consonne en finale absolue. La proposition d'un accent unique standard est la clef réaliste qui permet de donner cohérence à l'ensemble. Le second volume traite des phénomènes de sandhi. Après une large enquête menée dans les écoles bilingues du CE2 au Lycée, de Mai 2007 à Avril 2008, on constate une pénétration importante du modèle français dans la prononciation scolaire. Sont mis en évidence plusieurs points faibles de l'enseignement du breton : 1) plus de 50% des ouvrages répertoriés ne mentionnent pas la question des liaisons, fonctionnant pourtant le plus souvent à l'inverse du français. 2) Ce qui intervient pour beaucoup dans l'extension des liaisons “à la française” chez les apprenants, est la différence faite à la finale, depuis 1901, entre les substantifs et les autres espèces de mots. Cette décision, qui ne tenait pas compte de l'existence de deux sortes de suffixes en breton, les neutres et les durcissants, entraîne en effet une multiplication artificielle des consonnes sourdes visuelles en finales. On peut mesurer aujourd'hui les conséquences de cette décision sur le terrain. 3) Outre son impact sur les liaisons compte-tenu de l'effet Buben, la décision de 1901, reconduite jusqu'à l'accord orthographique de 1941, désorganise aussi le décodage de la longueur de la voyelle sous l'accent dans bon nombre de mots, autres que les substantifs. La thèse pose donc clairement la question de la pertinence de cette règle vieille de plus d'un siècle, à l'heure où l'enseignement du breton tente de se structurer

Many historians have presented the narrative of Canada’s Second World War experience as a “good” war. Individuals and communities came together in patriotism and a common purpose to furnish the national war effort with military manpower, labour, financial contributions, and voluntary efforts. As the dark years of the Great Depression gave way to unprecedented levels of industrial and economic growth, falling unemployment rates, increased urbanization, and a wealth of social programs, Canada’s future was bright. However, this optimistic picture is not representative of Canada as a whole. Some regions fared better than others, and industrial Cape Breton was one of those that benefited the least from the opportunities presented by the war. Glace Bay, Cape Breton’s largest mining town and long-time hotbed of industrial strife and labour radicalism, serves as an ideal case study of the region’s largely unprofitable and unchanging wartime experience. Long plagued by poverty, poor living conditions, and underdeveloped industry, and desperately seeking to break free of its destitution, Glace Bay tried and failed to take advantage of wartime opportunities for industrial diversification and local improvement.

Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses’ form and power. Most also represent the theology of the Cross through their form and decoration, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross’ status as the Church’s central sign reflects the Church’s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross—which I term the “instrumental” cross—is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2–3. The second half of the dissertation concentrates upon the case studies of four complex, hitherto neglected gospel codices from ninth–tenth century western France. In each, the deep relationship between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands. / History of Art and Architecture

After King William created the New Forest in the twelfth century, the English monarchy sought to define the vert, both legally and ideologically, as a site in which the king’s rights were vigorously enforced. In the romance literature of England, the forest was treated as an exclusive chivalric testing ground, as the site of the aristocracy’s self-validation. The folk reaction against the privatization of this common space and its resources finds a strong literary articulation in the first Robin Hood ballads centuries later. The outlaw reclaims the forest by inhabiting it, appropriating the symbols of its governance, and establishing within it a court that is both legal and social, decked out in the trappings and traditions of romance chivalry and the forest administration. This thesis examines the ideological impulses behind Robin’s occupation of the forest, discussing their relationship to the legal and literary history of the English forest.

Light and shadow have the capacity to move us emotionally and create atmospheres that allow us to better understand stories. This thesis explores how light and shadow can propel the design of a music hall and museum space to commemorate the miners that lived and worked in the former industrial landscapes of Cape Breton, Nova Scotia, Canada.

Background: The literature on the social relationships of unpartnered women is inconclusive. These different findings suggest that unpartnered women’s relationships may vary across place. This research adds to the literature by focusing on the key relationships of unpartnered, older women living in one place – rural Cape Breton. Methods: Nine interviews were completed with unpartnered women, ages 50-65 living alone in rural Cape Breton. Results: The first theme speaks to the value of positive relationships to the women’s mental and emotional health. The second theme is about obstacles to developing and maintaining positive social relationships. The third key theme centres on the need for change. Conclusions: Older, unpartnered women living alone in rural Cape Breton have numerous positive relationships. However, they also experience various obstacles to these relationships. These findings point to the need to promote positive relationships and reduce the obstacles to these relationships.

Zugl.: Berlin, Humboldt-Univ., Diss., 2004

Thesis (doctoral)--Humboldt-Universität, Berlin, 2004. / Includes bibliographical references (p. [507]-525).

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in French." Includes bibliographical references (p. 439-442).

Thesis (M.A.) -- Memorial University of Newfoundland. / Typescript. Bibliography : leaves 203-215. Also available online.