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Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France,examineles relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig etses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues : celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire. Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’oeuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, sur la transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction dela connaissance est plus complexe et se révèlepar le biais de l’action, et, donc, par celui du corps. / Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionnette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de gradução em Pedagogia do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo. / This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil, and Université Paris Nanterre, France, investigates the relations between body and object grounded on a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For such, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the performing space are used. The study starts from the verification of the deficit of artistic references on part of future pedagogues, as well as the invisibility of theater of animated within this context, which is often considered in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The question of this dissertation is: how to think the possibilities for the body in teacher training in Pedagogy, based on Edward Gordon Craig’s Übermarionnette proposal? For this purpose, eleven groups of students from undergraduate Pedagogy courses from Rio Grande do Sul state, Brazil took part in theater of animated forms workshops. These workshops were registered in writing and recorded in video, having been produced dossiers which were later examined The theoretical basis is inspired by Foucault’s work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s culture of presence (2010). It is understood that what the theater of animated forms has as formativeis its possibility to foster shifts: from the conception of a training process based on content modeling, transmission and repetition of contents to training-experience; from text-centered training to the imprecisionof the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogical proposal that opposes to the formulas and considers that the process of knowledge construction is more complex and happens by means of action, therefore by means of the body.

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France, examine les relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig et ses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues: celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire.Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil. Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’œuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, surla transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction de la connaissance est plus complexe et se révèle par le biais de l’action, et, donc, par celui du corps. / This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil and Université Paris Nanterre, France, investigates the relations between body and object from a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For this purpose, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the scenic space are used. The study departs from the verification of the deficit of artistic references on part of the future pedagogues, as well as the invisibility of theater of animated forms in this context, often seen in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The theoretical basis is inspired by the Foucauldian work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s presence experience (2010). It is understood that what the theater of animated forms has as formative is its possibility of fostering shifts: from the conception of training based on content modeling, transmission and repetition to training-experience; from text-centered training to the lack of definition of the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogic proposal that opposes to formulas and considers that the process of knowledge construction is more complex and happens through action, therefore through the body. / Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em cursos de gradução em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de graduação em Pedagogia de oito universidades do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados. A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo.

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France,examineles relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig etses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues : celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire. Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’oeuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, sur la transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction dela connaissance est plus complexe et se révèlepar le biais de l’action, et, donc, par celui du corps. / Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionnette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de gradução em Pedagogia do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo. / This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil, and Université Paris Nanterre, France, investigates the relations between body and object grounded on a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For such, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the performing space are used. The study starts from the verification of the deficit of artistic references on part of future pedagogues, as well as the invisibility of theater of animated within this context, which is often considered in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The question of this dissertation is: how to think the possibilities for the body in teacher training in Pedagogy, based on Edward Gordon Craig’s Übermarionnette proposal? For this purpose, eleven groups of students from undergraduate Pedagogy courses from Rio Grande do Sul state, Brazil took part in theater of animated forms workshops. These workshops were registered in writing and recorded in video, having been produced dossiers which were later examined The theoretical basis is inspired by Foucault’s work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s culture of presence (2010). It is understood that what the theater of animated forms has as formativeis its possibility to foster shifts: from the conception of a training process based on content modeling, transmission and repetition of contents to training-experience; from text-centered training to the imprecisionof the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogical proposal that opposes to the formulas and considers that the process of knowledge construction is more complex and happens by means of action, therefore by means of the body.

Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.

Dans le cadre de la conception de turbo-machines aéronautiques, l'amélioration du rendement est assurée, entre autres, par la diminution du jeu fonctionnel entre les parties tournantes et statiques, telles que les roues aubagées et le carter qui les entoure. Cette stratégie a des conséquences sur le comportement vibratoire des turbo-machines en favorisant l'apparition de contacts structuraux entre les sommets d'aubes et le carter, par exemple. Lorsque plusieurs points de contact co-existent, des phénomènes d'interaction modale peuvent apparaître. La simulation de ces phénomènes, potentiellement dangereux, dans un cadre indutriel est au cœur de notre étude. Du fait de la dimension du problème à traiter, des méthodes de réduction modale sont utilisées : une méthode à interfaces fixes, la méthode de Craig-Bampton, et une méthode à interfaces libres, la méthode de Craig-Martinez. L'étude porte notamment sur la performance de ces méthodes de réduction lorsqu'elles sont associées à une non linéarité de type contact. Le phénomène d'interaction modale est tout d'abord étudié sur des modèles 2D simplifiés avec l'analyse de la sensibilité des régimes d'interaction à la taille des modèles réduits, puis sur les modèles 3D industriels pour lesquels la solution vraie n'est pas accessible. La gestion du contact dans le 3D fait appel aux B-splines bicubiques surfaciques afin d'assurer de meilleures propriétés à la surface de contact et de faciliter la résolution numérique. Les résultats obtenus à l'aide des deux méthodes de réduction modale sont comparés et permettent de déterminer la méthode la plus appropriée pour l'industrialisation du code présentée en annexe de ce mémoire.

This thesis examines a problem regarding the separation of post-mortem persons into ‘heaven’ and ‘hell’, taken to mean two eternal and inescapable eschatological destinations for human persons: the former being an ultimate satisfaction of sorts, the latter being characterized by eternal misery. The question that is contemplated is whether the saved in heaven can experience their heavenly existence as genuinely blissful, whilst at the same time being aware of the sufferings of the lost – especially if the lost consists of one or more persons whom they love dearly, such as a close family member. Arguments given by Christian philosophers Thomas Talbott and William Lane Craig are analysed in order to establish whether the problem, referred to as ‘the problem of eschatological separation’, gives us reason to abandon the idea of an eternal hell and opt, instead, to endorse the doctrine of universal reconciliation. Talbott makes the claim that an eternal hell, considering the problem of eschatological separation, is a logical impossibility. Craig, on the other hand, puts forth two objections that he believes proves that hell is a logical possibility. Both of Craig’s objections are shown to be unsound, and the problem of eschatological separation is thus considered to be sufficient reason for rejecting the possibility of an eternal hell.

Introduktion: Anatomiska variationer i det muskuloskeletala systemet är vanliga bland oss människor och behöver inte nödvändigtvis medföra ökad risk för besvär, men kan påverka en individs funktion. Inom fysioterapi är det viktigt med vetskapen om anatomiska variationers påverkan för att optimalt individanpassa behandling. En typ av anatomisk variation är vinkeln av lårbenshalsen gentemot frontalplanet. Det finns en stark evidens för hur lårbenshalsens vinkel påverkar höftens inåt- och utåtrotation, men det finns begränsad information om hur det påverkar rörligheten i andra rörelseriktningar.   Syfte: Att undersöka om höfter med ‘femoral neck retroversion’ (FNR) har en större grad av passiv flexion i kombination med utåtrotation och abduktion jämfört med enbart passiv flexion i sagittalplan.    Metod: För att avgöra om höfter mötte inklusionskriteriet att en retroversion fanns användes Craig ́s test. Interbedömarreliabilitet av Craig´s test undersöktes med ‘intraclass correlation coefficient’ (ICC). Passiv inåt/utåtrotation mättes sittande på brits och passiv flexion i sagittalplan utfördes ryggliggandes. Vid mätning av passiv flexion i kombination med utåtrotation och abduktion letades det potentiella läget där låret kunde nå närmast bröstet. Goniometer av typ Brodin med 31 cm skänklar användes vid samtliga mätningar. Wilcoxons icke-parametriska test användes för att analysera differensen mellan passiv flexion i kombination med utåtrotation och abduktion och passiv flexion i sagittalplan.  Resultat: 23 personer mellan 18 och 48 år rekryterades, varav 10 kvinnor och 13 män. Därmed undersöktes 46 ben. ICC vid Craig´s test blev 0.73, vilket klassas som moderat reliabilitet. En signifikant skillnad mellan passiv flexion i sagittalplan och passiv flexion i kombination med utåtrotation och abduktion sågs för inkluderade ben (p <0.001). Medianen för denna skillnad var 19o.  Slutsats: Retroverterade höfter har en större grad av passiv flexion i ett mer abducerat och utåtroterat läge jämfört med enbart passiv flexion i sagittalplan. Vidare forskning bör undersöka om det finns ett samband mellan den exakta FNR-vinkeln och differensen mellan flexion i sagittalplan och flexion i kombination med utåtrotation och abduktion. Vidare kan även differensen i flexion jämföras mellan olika grupper med FNR, ‘femoral neck anteversion’ (FNA) och normalspann. Validitet och reliabilitet bör undersökas närmare för metoden att bestämma flexionsvinkel i ett mer abducerat och utåtroterat läge.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

One of the world’s largest freshwater deltas (~4000 km2), the Peace-Athabasca Delta (PAD), is located at the convergence of the Peace and Athabasca rivers and Lake Athabasca in northern Alberta, Canada. Since the early 1970s, there has been increasing concern regarding the ecological impacts on the PAD after flow regulation of the Peace River began in 1968, decreased discharge in the Peace and Athabasca rivers as a result of hydroclimatic changes in Western Canada, and increased Athabasca River water usage by oil sands development to the south. This thesis is part of an ongoing, multi-disciplinary project assessing current and past hydrological and ecological conditions in the PAD. Research conducted in this thesis aims to better understand the processes controlling water balance of lakes in the PAD using mainly stable water isotope data collected from lakes and their input sources. Isotope data are used to describe and quantify hydrological processes for individual lakes (seasonal and annual) and across the delta and are supported by other chemical and hydrometric data. An isotopic framework in d18O-d2H-space is developed for the PAD using evaporation-flux-weighted local climate data, and isotopic data collected from a reference basin, lakes throughout the PAD, and lake input sources (i.e., snowmelt, rainfall, and river water). The framework is comprised of two reference lines, the Local Meteoric Water Line, which is based on measured isotopic composition of precipitation, and the Local Evaporation Line, which is based on modelled isotopic composition of reference points. Evaporation pan data is used to assess short-term variations in key isotopic reference values, which are important for addressing short-term changes in the isotopic signature of shallow basins. This framework is used in subsequent chapters including assessment of seasonal and annual water balance of two hydrologically-contrasting shallow lakes, and to quantify the impacts of flood water and snowmelt on a set of 45 lakes in spring 2003. Five years of isotope data using time-series analysis and the isotopic framework suggested that a perched (isolated) lake and its catchment (forest and bedrock) in the northern, relict Peace sector captured sufficient rain, snow, and runoff to maintain a relatively stable water balance, and also that a low-lying lake in the southern, active Athabasca sector was regularly replenished with river water in both spring and summer. Snowmelt and rainfall were found to have diluted the perched basin by an average of 16% and 28 % respectively, while spring and summer floods were found to almost completely flush the low-lying lake. Using the spring 2003 regional dataset, flooded lakes were separated from snowmelt-dominated lakes through use of suspended sediment concentrations, isotope data, and field observations. Application of an isotope mixing model translated d18O values into a range of replenishment amount by either river water or snowmelt, which compared well with hydrological conditions at the time of sampling and previously classified drainage types of the lakes. Spatial mapping of replenishment amounts illustrated flooding of much of the Athabasca sector due to ice-jams, except for two sub-regions isolated from flooding by artificial and natural northern diversion of flow from the Athabasca River. It is also shown that most of the relict landscape of the Peace sector was replenished by snowmelt except for a few low-lying lakes close to the Peace River and its tributaries. Overall, improved understanding of lake and regional hydrology in the PAD, especially the ability to quantify the affects of various lake inputs, will improve the ability to develop effective guidelines and management practices in the PAD as lakes respond to future changes in climate and river discharge.