published_or_final_version / abstract / Comparative Literature / Master / Master of Philosophy

La connaissance des déformations et des contraintes est importante pour une meilleure compréhension des propriétés des matériaux. Plusieurs techniques expérimentales sont disponibles (XRD, Raman …), mais une seule est capable de déterminer les déformations à une échelle microscopique : la diffraction électronique en faisceau convergent (CBED : Convergent Beam Electron Diffraction). Cette technique est connue pour sa haute résolution spatiale (de l'ordre de quelques nanomètres) qui provient de son utilisation dans un Microscope Électronique en Transmission (MET). Les clichés de diffraction en faisceau convergent sont constitués de lignes de HOLZ dont la localisation dépend de la valeur des paramètres cristallins ou de la déformation du matériau. La comparaison de la position des lignes entre un cliché expérimental et un cliché simulé permet la détermination des paramètres cristallins. Dans ce travail, nous avons appliqué une nouvelle approche pour la détermination des paramètres cristallins. Elle utilise l'équation algébrique des "K-lines" et offre la possibilité de travailler simultanément avec plusieurs clichés de diffraction. Nous avons quantifié l'incertitude associée à l'approche KLEBS. Les causes de l'incertitude ont été présentées et nous avons proposé une approche statistique (multi-clichés) pour réduire sa valeur. Ensuite, l'approche multi-clichés a été appliquée à l'étude des superalliages monocristallins à base nickel, et une nouvelle méthode a été proposée pour la détermination du désaccord paramétrique. La dernière partie de ce travail traite de l'étude des hétérogénéités de déformation dans un matériau déformé plastiquement / The knowledge of strains and stresses is important for a better understanding of the materials properties. Several experimental techniques are available (XRD, Raman ...), but only one allows the determination of the strain at a microscopic scale: the Convergent Beam Electron Diffraction (CBED). This technique is known for its high spatial resolution (of a few nanometers), which comes from its use in a Transmission Electronic Microscope (TEM). The diffraction patterns acquired with a convergent beam are constituted of HOLZ lines whose localization depends on the values of the lattice parameters or strain of the material. The comparison of the lines position between an experimental and a simulated pattern allows the determination of the lattice parameters. In this work, we have applied a new approach for the lattice parameters determination. It is based on the algebraic equation of "K-lines" and enables to work simultaneously on several diffraction patterns. We have quantified the uncertainty linked to the KLEBS approach. The causes of the uncertainty have been presented and we have proposed a statistical approach (multiple patterns) to reduce its value. Then, the multiple patterns approach has been applied to the study of the single crystal nickel based superalloys, and a new method for the misfit determination has been proposed. The last part of this work deals with the study of the strain heterogeneities in a material plastically strained

Robert Lepage’s play The Dragons’ Trilogy stretches across space and time, travelling through three generations and three major Canadian cities, each section named for a dragon in the Chinese game Mahjong. The Blue Dragon continues the story of Pierre Lamontagne twenty years later, and in doing so, rounds out and completes the cycle of the three Dragons of The Dragons’ Trilogy. This thesis studies the evolution of Lepage’s treatment of the Other and the Self in The Dragons’ Trilogy and The Blue Dragon. Grouping these two plays together should be a foregone conclusion, because of the titles of each section and the character of Pierre Lamontagne, who appears in both plays, but it has in fact been discussed very little. This thesis thus examines the transformation of characters such as Pierre, who, from one play to the other, and through language and space, find the Other in the Self. To address this issue, the second chapter explores the question of plurilingualism, in order to show how the plurality of languages in the plays and among the characters promotes the ideal of communication and communion with the Other. In the third chapter, the thesis examines the theatrical space of the two plays; from the closed-off city of Québec during the 1930s in The Green Dragon to Pierre Lamontagne’s intimate and modern loft in The Blue Dragon, the imagined worlds perfectly mirror the interior journeys of the characters. Finally, the last chapter, which studies the characters, focuses on the question of stereotypes, the quests for identity, and the role artistic creation plays within these quests. Ultimately, this thesis demonstrates that in The Dragons’ Trilogy and The Blue Dragon, although Otherness may at first appear to be the opposite of Self, it is in fact found within identity. / Thesis (Master, French) -- Queen's University, 2012-12-20 17:04:10.317

<p>The aim of this research has been to describe and analyse Swedish linguistic and cultural influence, on identification, and idiomatic awareness as well as on the Spanish used by Hispanic Americans who have lived more than 12 years in Sweden.</p><p>The analysis has been carried out within the field of sociolinguistics, specifically in the area of language contact, drawing on methodological aspects of ethno linguistics, sociology of language and cognitive linguistics. The research was divided into two phases. In the first phase, we describe and analyse Corpus 1, consisting of 20 interviews of first generation Hispanic Americans political refugees. In the second phase, we describe, compare and analyse Corpus 2, which consists of 105 questionnaires distributed to first and second generation Hispanic Americans in Sweden.</p><p>The results have shown that in Sweden Hispanic Americans have gradually generated a variety of Spanish which clearly shows features of Swedish culture and language and with an aspect of standardisation due to the fact that in the intercommunication between language speakers of varieties of Spanish certain variations have slowly been eliminated over the course of time. The sociolinguistic situation of the informants has been observed as well as the nature of the immigration and identification and idiomatic awareness in relation to their integration or lack of integration into Swedish society. The use of 38 words with a high level of synonymy was also investigated in order to establish standardisation of these representative words among the varieties of Spanish, spoken in Sweden. Furthermore we have investigated clichés, lexical, semantic-pragmatic and syntactic loans from Swedish as well as Swedish cultural influence on use tense among the informants.</p>

The aim of this research has been to describe and analyse Swedish linguistic and cultural influence, on identification, and idiomatic awareness as well as on the Spanish used by Hispanic Americans who have lived more than 12 years in Sweden. The analysis has been carried out within the field of sociolinguistics, specifically in the area of language contact, drawing on methodological aspects of ethno linguistics, sociology of language and cognitive linguistics. The research was divided into two phases. In the first phase, we describe and analyse Corpus 1, consisting of 20 interviews of first generation Hispanic Americans political refugees. In the second phase, we describe, compare and analyse Corpus 2, which consists of 105 questionnaires distributed to first and second generation Hispanic Americans in Sweden. The results have shown that in Sweden Hispanic Americans have gradually generated a variety of Spanish which clearly shows features of Swedish culture and language and with an aspect of standardisation due to the fact that in the intercommunication between language speakers of varieties of Spanish certain variations have slowly been eliminated over the course of time. The sociolinguistic situation of the informants has been observed as well as the nature of the immigration and identification and idiomatic awareness in relation to their integration or lack of integration into Swedish society. The use of 38 words with a high level of synonymy was also investigated in order to establish standardisation of these representative words among the varieties of Spanish, spoken in Sweden. Furthermore we have investigated clichés, lexical, semantic-pragmatic and syntactic loans from Swedish as well as Swedish cultural influence on use tense among the informants.

Ce mémoire étudie la dynamique des clichés et des stéréotypes ayant pour motif la japonité dans l’œuvre de Dany Laferrière, en particulier dans deux romans : Éroshima (1987) et Je suis un écrivain japonais (2009). Cette étude vise à rapprocher ces deux œuvres afin de dévoiler le regard interculturel qui y est présent et dont la construction esthétique est basée sur la représentation (images, clichés et stéréotypes de sexe, de race et d’identité) de la figure nipponne. Le présent travail de recherche analyse différentes perspectives théoriques et épistémologiques concernant les notions de stéréotype et de cliché, en plus de porter attention aux enjeux des discours posés par la représentation de l’identité dans ces deux romans. Cette approche permet de dégager un discours sur l’Altérité qui est déployé, recyclé, manipulé et déformé à la guise de l’écrivain, et qui conduit le lecteur vers un travail de questionnement sur l’identité et la perception de l’Autre. / This thesis focuses on the dynamics of clichés and stereotypes based on japanese motifs in the works of Dany Laferrière, particulary in two of his novels: Éroshima (1987) and Je suis un écrivain japonais (2009). By comparing the two novels, this study examines different intercultural perspectives whose aesthetic construction are based on the representations (images, clichés and stereotypes of sex, race and identity) of the Japanese figure. This research analyzes different theoretical and epistemological perspectives of the notions of stereotypes and clichés, while paying attention to the issues of representation in both novels. This approach allows a discussion of Alterity/Otherness which is unfolded, recycled, manipulated and distorted by the writer, and invites the reader to question the concepts of identity and the perception of the Other.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Cette thèse présente un projet de recherche création et recherche action dont l'axe principal questionne le rapport entre le processus identitaire à l’oeuvre dans l’activité picturale. Un lieu interne d'expérimentations devient « espace » de la peinture qui n’est plus abordée d’un point de vue esthétique mais sous un rapport subjectiviste et constructiviste. Ma démarche s’est construite autour d’un axe principal: le parallèle entre la construction de la peinture et la construction d'un individu devenu « sujet » créatif et autonome au sens où l'entend E. Kant. Ce rapport entre la pratique artistique et le processus d'individuation (tel que l'a défini C-G Jung) aboutit au paradoxe d’une « éthique de la relation » fondée sur un travail sur soi que j’ai approfondie pour proposer une théorie et une méthode pédagogique d’accompagnement en peinture. Accessible à tous, cette méthode accompagne des personnes en situation de handicap mental, de maladie psychique ou d’autisme, mais notre thèse engage une réflexion plus globale sur la peinture vécue par le corps « musical » comme vecteur de structure identitaire. Une nouvelle architecture de la peinture faite de « boues », de « dépôts », propose, comme appui à cette lecture musicale, des métaphores de renouvellement. Une théorie du rater se fait ici vecteur pédagogique. Elle se présente sous forme de jeux contre les principaux blocages privilégiant l’« imagination motrice » induite par la couleur et par la forme tant chez l’accompagnant que chez l’accompagné. Nous proposons un espace en peinture mutuellement constructeur permettant de sortir de la fermeture psychique et sociale parfois contrainte, pour s'ouvrir au monde et se transformer. / This thesis presents an action creation research project whose main axis analyses the relationship to the identity process at work in the pictorial activity. An internal locus of experimentation becomes a painting “space“which is no longer approached from an aesthetic point of view but more from a subjectivist and constructivist one. My approach is built around a main axis: the parallel between the construction of the painting and the construction of an individual become creative autonomous "subject" as E.Kant understands it. This relationship between artistic practice and the process of individuation (as defined by CG Jung) leads to the paradox of an "ethics of the relationship" based on self study that I have developed more thoroughly to provide both a theoretical framework and a teaching method in accompanying painting. Accessible to all, this method accompanies people with mental disability, mental illness or autism but our thesis undertakes a more comprehensive reflection on painting as embodied in a musical body as a vector of identity. A new architecture of painting as made up of "sludge", "deposits" supports this musical reading with metaphors of renewal. A theory of miss is seen here as an educational vector. It comes in the form of games against major obstacles favoring the “motor imagination” induced by shape and color both in the one that is accompanying and the one accompanied. We offer a mutually constructive painting space as a way out of psychological, sometimes social closure and stress, to open up to the world and transform ourselves.