The question of Russia’s relationship to Western European culture has been discussed by historians of Russian civilization for several centuries. This study aims to broaden the understanding of that relationship by investigating some of the conditions of eighteenth century Russia and Europe which led the Western Europeans to formulate an image of Russia, of Russian civilization, and of the role that Russia should play in Western European affairs. This study attempts to provide the views of a cross-section of eighteenth century Western Europeans and Americans toward the Russia of Empress Catherine II, 1762-1796.

The solved site is located in the historic town of Znojmo, on the site of the former castle. Its unique position not only adds significant urban areas, but are an integral part of the city skyline. There is one of the most important monuments in the country, Rotunda of St. Catherine (annually visited by tourists to 20000) and former brewery Hostan. The operation ended here and the city bought the land with buildings. There is now the question of what to do with the place and where to get funds for its cultivation. The main idea is to expand the urban areas and the structure of the brewery premises. The spatial concept is based on a pedestrian street leading from the entry of the city to the rotunda, lined with town houses and buildings with shops, housing and services. The aim is to maintain the existing street brewery trail as part of the development and create space for a typical town of Znojmo. South route would remain in its original state, would continue to serve as a lookout trail flowing into the area around the rotunda, accompanied only by peaceful summer terrace offering views of the surrounding area. Around the rotunda is created a cultivated park area used for recreation and offering beautiful views of the surrounding area. Thanks to the closed square and the location of the rotunda it becomes the dominant area. Northern route would be connected with the area by the stairs from the panoramic terrace. It could thus become a valuable space that would serve to stay and rest. It is important to the influx of new services also solve the parking, which will be located in the parking house. There are parking stacker designed to minimize space requirements. This will ensure the required parking space without negatively affecting the street spaces. Panorama of small buildings will be revived by integrating with the surrounding with the recovery of its original landmark - the tower. It will be part of the former Northern Justice, which will be used as a park area designated for sport and recreation. The tower would serve the prospect of an observatory on top of offering the prospect of the surrounding area during the day and evening look at the night sky. The square will be closed by parking house, which will conclude the street Přemyslovců composition. All necessary utilities will be held in Castle Street.

The aim of this study is to explore how it might be possible to talk about God as powerful within a Christian feminist framework. This has been declared impossible by Mary Daly who, in her book Beyond God the Father (1973), strongly criticises the Christian tradition for being too deeply intertwined with patriarchy to be of any use for women seeking liberation from male oppression. This essay compares the works of two contemporary feminist theologians, with the aim to answer Daly’s criticism and seek for ways to talk about God’s power that considers this criticism as relevant while still remaining Christian. The method used is textual analysis, and the material consists of the books Cloud of the impossible by American process theologian Catherine Keller and Powers and Submissions by British Anglican theologian Sarah Coakley. The views presented on God’s power by these two theologians are introduced thematically. The three themes used are The relation between humans and God, The importance of language and The Male Trinity. These are then discussed in comparison to Daly’s standpoints. Keller promotes an image of God as radically relational and uses apophatic theology to show how limited our knowledge of any definite insights of God and the limitations of the human language is. Coakley advocates for submission to God through contemplation, which leads to insights about God’s genderlessness and makes space for God’s power to work within humans in order for them to overthrow gender inequalities. When compared to Daly this essay reaches the conclusion that there are ways to speak of God’s power in a “feminist friendly” way, such as through a form of submission to the creative power of God, although it has to be done with consideration to context and without forgetting the dark history of how the Church has misused power in the past.

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Titre de l'écran-titre (visionné le 15 mars 2024) / Compilées par une moniale du monastère d'Unterlinden autour de 1320, les *Vitae Sororum* offrent un accès privilégié à la pensée de religieuses cloitrées de la fin du Moyen Âge. Composées de courts récits relatant l'existence de moniales exceptionnelles du monastère d'Unterlinden, les *Vitae Sororum* présentent le portrait idéalisé d'une vie chrétienne réussie, soit l'atteinte de la perfection humaine ici-bas et l'agrégation éternelle à Dieu dans l'au-delà. Ce mémoire cherche à mettre en évidence les différents éléments qui composent ce modèle de sainteté, ainsi que l'articulation de ces éléments dans le cadre d'un mouvement de progression, de cheminement vers Dieu. Centré sur le motif de la conversion intérieure, cet idéal de perfection s'articule autour de vertus morales cultivées dans l'objectif de préparer les moniales à accueillir la grâce divine dans leur âme. Les nombreux épisodes de visions, d'extases et d'unions avec le divin s'intègrent à ce modèle de sainteté en tant que signes manifestes de la faveur divine. Ces grâces récompensent les efforts de conversion intérieure des moniales et les fait progresser dans la vertu. La progression vers la perfection ici-bas et le salut éternel est donc réalisée par une action conjointe des moniales et de la grâce divine, la première étant toutefois toujours subordonnée à la seconde. Bien qu'elles établissent clairement le caractère premier et essentiel de la grâce divine dans tout le processus de conversion, les *Vitae Sororum* parviennent à donner une place majeure aux moniales dans leur cheminement vers le salut en articulant conjointement les notions complexes de mérite humain, de récompense, et de gratuité de la grâce. / Compiled by a nun from the Unterlinden monastery around 1320, the *Vitae Sororum* offer privileged access to the thoughts of cloistered nuns in the late Middle Ages. Composed of short narratives recounting the lives of exceptional nuns from the Unterlinden monastery, the *Vitae Sororum* present an idealized portrait of a successful Christian life: the attainment of human perfection here below and eternal aggregation with God in the hereafter. This dissertation seeks to highlight the various elements that make up this model of holiness, as well as the articulation of these elements within the framework of a movement of progression towards God. Centered on the motif of inner conversion, this ideal of perfection is built around moral virtues cultivated with the aim of preparing the nuns to welcome divine grace into their souls. The many episodes of visions, ecstasies, and unions with the divine are part of this model of sanctity as manifest signs of divine favor. These graces reward the nuns' efforts at inner conversion and help them to progress in virtue. Progress towards perfection here below and eternal salvation is thus achieved through the joint action of the nuns and divine grace, the former always subordinate to the latter. Although they clearly establish the primary and essential character of divine grace in the whole process of conversion, the *Vitae Sororum* manage to give a major place to the role of the nuns in their journey to salvation by jointly articulating the complex notions of human merit, reward, and gratuity of grace.

Le mémoire qui suit fait état des recherches et explorations réalisées lors du parcours m'ayant mené à l'exposition L'odeur du sang humain me rit, présentée à la Galerie des arts visuels de l'Université Laval, du 15 au 22 août 2017. Les œuvres proposées ont été exécutées entre 2013 et 2017, dans le cadre du programme de maîtrise en arts visuels de l'Université Laval et abordent les thèmes de la vanité, de l'abjection ainsi que la notion de pérennité. Issu d'une réflexion sur le rapport de l'artiste à la création, mon corpus de maîtrise est porteur d'une attitude autoréflexive vis-à-vis de la pratique artistique, du travail de la peinture et de l'histoire de l'art, et questionne l'importance du choix des matériaux, et de leur compréhension. Les sujets représentés s'éloignent de la dimension moralisatrice de la scène de genre telle qu'on la connait afin de donner à celle-ci une valeur principalement autobiographique. Mes recherches s'articulent autour du motif de la vanité et de l'utilisation de l'art comme catharsis.

This thesis is a study of self-knowledge in the writings of Catherine of Siena. The introductory chapter clarifies the kind of self-knowledge she is describing, viz. metaphysical self-knowledge which, in the case of mystics such as Catherine, blossoms into mystical self-knowledge. Catherine is then situated within the framework of her own era. A survey of catherinian literature follows. Since her major symbol for self-knowledge is the cell, the concept of the cell in the Church tradition of the West, and its influence on Catherine, is explored. The major aspect of the enquiry is the tracing of the chronological unfolding of Catherine's doctrine of self-knowledge, working with the texts themselves. This is done under the headings of her three main symbols for self-knowledge, la eel/a (the cell), la casa (the house) and la citta dell'anima (the city of the soul). Each of these sections is concluded with an interpretation of the significance of the unfolding of that symbol within Catherine's thought and the chapter itself is rounded off by an interpretation of the three symbols for self-knowledge in their integration and interconnectedness. Catherine communicates her experience of mystical self-knowledge by means of a complex system of images and symbols, all of which fit together to form a whole. This warrants an investigation into the role of the imagination, imagery and symbol in mysticism, and explores Catherine's use of imagery and symbol. The study shows Catherine's own gradual integration of mystical experience and ministry as it takes place within her experience and in the development of her thought. What we are able to see, by studying the texts, is the formation and strengthening of the underlying unity in Catherine between the inner movement of mystical love and outgoing concern for others which is redemptive love. These two are really one. / Christian, Spirituality, Church History and Missiology / D. Th. (Religious Studies)

Ce mémoire porte sur les romans Ça va aller et Fleurs de crachat de Catherine Mavrikakis. Il s’appuie sur une réappropriation ambigüe de la figure d’Antigone afin d’en questionner les répercussions sur l’expression identitaire des narratrices et sur le désir prophétique qu’elles nourrissent à l’égard d’une filiation au féminin. Il est divisé en deux chapitres : le premier portant sur la façon dont se manifeste l’héritage d’Antigone ainsi que sur son inscription problématique tant dans l’histoire littéraire que dans les romans de Mavrikakis, tandis que le second s’intéresse à la manière dont y est dépassé cet héritage par le travail d’une langue excessive et le choix d’une posture « cannibale et mélancolique ». Puis, au-delà des questions de transmission, d’héritage et de filiation, nous montrerons à partir des marques laissées par un féminisme radical que c’est à la communauté des filles d’Antigone qu’est destinée la possibilité d’être (in)fidèles au tragique en portant avec violence l’espoir de réinventer le futur, certes, mais surtout de rompre avec lui. / This M.A thesis addresses the novels Ça va aller and Fleurs de crachat by Catherine Mavrikakis. It will focus on the ambiguous reappropriation of Antigone in order to question the narrators' expression of identity and the prophetic desire they envision of another future. Divided into two chapters: the first looks into the development of Antigone's heritage and its problematic entry in both literary history and the works of Mavrikakis, while the second takes an interest in the manner of transmission of this heritage through the use of excessive language and a "cannibalist and melancholic" posture. In addition to the questions of transmission, heritage and filiation, this work shows how stemming from the traces of radical feminism, Antigones' girls are destined towards the possibility of being (un)faithful to tragic fate all the while keeping a violent hope of reinventing their future, but especially of breaking through it.

Le cyborg est un avatar de ce que permet la science-fiction lorsqu’elle s’offre comme terrain où développer une heuristique des identités genrées. Donna Haraway, dans le Manifeste cyborg, a relevé le potentiel de liberté discursive que promettait cette figure romanesque. Il m’apparaît que, depuis sa fictionnalisation puis sa théorisation dans les années 1980 et 1990, le cyborg a muté au sein de l’entreprise science-fictionnelle littéraire. Le Silence de la Cité d’Élisabeth Vonarburg et Le Goût de l’immortalité de Catherine Dufour présentent des personnages dont la cyborgitude problématise les questions identitaires du genre humain, à travers une écriture spécifique, affectée par les technologies. Mon analyse des procédés scripturaux s’effectue de pair avec une analyse gender, ce qui me permet de mieux saisir la fictionnalisation toujours changeante des cyborgs dans les oeuvres de Vonarburg et de Dufour. Ces cyborgs déconstruisent les frontières des systèmes binaires traditionnels, en explorant les possibilités trans-genres et trans-espèces que permettent les métamorphoses de leurs corps excentriques. En tant que représentations fantasmées de désirs autrement inavouables, les cyborgs science-fictionnels témoignent du malaise inhérent de couples comme homme/femme, humain/animal ou organique/artificiel. / The cyborg is an avatar of what science fiction can produce as a territory where heuristics of gender identities are developed. In her Cyborg Manifesto, Donna Haraway reveals the potential of discursive liberty provided by the cyborg’s narrative figure. It appears to me that since its fictionalization as well as its theorization throughout the 1980’s and the 1990’s, the cyborg has evolved within science fiction. Élisabeth Vonarburg’s Le Silence de la Cité and Catherine Dufour’s Le Goût de l’immortalité present characters whose cyborg nature explores questions of humankind’s identities through a certain writing affected by technology. My study of these writing processes is conducted through the analysis of gender. This allows me to better understand the ever-changing fictionalization of the cyborgs found within Vonarburg’s and Dufour’s work. These cyborgs deconstruct the borders of traditional binarist systems by experimenting the trans-genders and trans-species possibilities their excentric bodies enable. As fantasized representations of desires otherwise unmentionable, the science fictional cyborgs attest the inherent uneasiness of couples such as man/woman, human/animal or organic/artificial.

Ce mémoire porte sur les romans Ça va aller et Fleurs de crachat de Catherine Mavrikakis. Il s’appuie sur une réappropriation ambigüe de la figure d’Antigone afin d’en questionner les répercussions sur l’expression identitaire des narratrices et sur le désir prophétique qu’elles nourrissent à l’égard d’une filiation au féminin. Il est divisé en deux chapitres : le premier portant sur la façon dont se manifeste l’héritage d’Antigone ainsi que sur son inscription problématique tant dans l’histoire littéraire que dans les romans de Mavrikakis, tandis que le second s’intéresse à la manière dont y est dépassé cet héritage par le travail d’une langue excessive et le choix d’une posture « cannibale et mélancolique ». Puis, au-delà des questions de transmission, d’héritage et de filiation, nous montrerons à partir des marques laissées par un féminisme radical que c’est à la communauté des filles d’Antigone qu’est destinée la possibilité d’être (in)fidèles au tragique en portant avec violence l’espoir de réinventer le futur, certes, mais surtout de rompre avec lui. / This M.A thesis addresses the novels Ça va aller and Fleurs de crachat by Catherine Mavrikakis. It will focus on the ambiguous reappropriation of Antigone in order to question the narrators' expression of identity and the prophetic desire they envision of another future. Divided into two chapters: the first looks into the development of Antigone's heritage and its problematic entry in both literary history and the works of Mavrikakis, while the second takes an interest in the manner of transmission of this heritage through the use of excessive language and a "cannibalist and melancholic" posture. In addition to the questions of transmission, heritage and filiation, this work shows how stemming from the traces of radical feminism, Antigones' girls are destined towards the possibility of being (un)faithful to tragic fate all the while keeping a violent hope of reinventing their future, but especially of breaking through it.