Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

The Basic Income concept in the perspective of Agent-Based modelling Abstract: The thesis study the relationship between the basic income introduction and the price level. The basic income would replace the existing social security. The resulting redistribution induce changes in the aggregate demand through the concave consumption function. The aggregate demand in turn affect the price creation mechanism. Because the price level is a result of activity of many different agents with private motivation and information, the work used a simple macroeconomic agent-based model to isolate the relationship. The simulation however did not succeed in isolating the possible link between the price level and the basic income introduction.

This essay investigates the characteristics of Robert Langdon and his female helpers in Dan Brown’s novels Angels and Demons, The Da Vinci Code, The Lost symbol and Inferno.  In each of these novels, the quests are always solved by a male-female team. This essay is therefore going to focus on the character of Robert Langdon and his female helpers with the perspective of the Monomyth by Joseph Campbell. The protagonist Robert Langdon is a Harvard University professor specialised in religious iconology and symbology, but in these four novels he is thrown into breath-taking adventures with dangerous situations, however, with the help of several females he always manages to survive. The aim of this essay is to show how Langdon and his female helpers have the characteristics of a contemporary hero and helper, with the perspective of Campbell’s the Monomyth. Keywords: Character Analysis, Robert Langdon, Hero, Female Helper, the Monomyth, Angels and Demons, The Da Vinci Code, The Lost Symbol, Inferno.

De nos jours, les avatars et les réécritures du mythe du Graal puisent leur source d'inspiration dans la Littérature puisque la première mention littéraire de ce schème apparaît à la fin du XIIeme siècle dans Perceval ou le conte du Graal de Chrétien de Troyes. De par des origines ambivalentes (païennes et chrétiennes), le Graal s'est ancré dans l'imaginaire collectif comme un mythe rédempteur ou tout du moins, étant un idéal à atteindre. Si la quête médiévale chevaleresque demande une rigueur incomparable et une pureté d’âme et de corps pour mériter la révélation des mystères du Saint Calice aujourd’hui, les héros de la littérature populaire et de la culture de masse accèdent à ses secrets par le vecteur d’en-quêtes simplifiées. La dévaluation du mythe s'effectue à mesure des transferts qui s’opèrent dans différents genres, supports et médias mais également dans la réception que la société a du mythe du Graal. De Saint Graal à Graal, de Littérature à paralittérature, de la Bible à la télévision, ce travail cherche à mettre en évidence les différents aspects de ces transferts et tente de prouver qu'il existe des résonances et des points d'articulation entre ces domaines par l'interface du Graal. Dans ce sens, le motif sert aussi de porte-à-faux à une culture et à une littérature dites « mineures » qui peuvent toutefois, sous l'effet du Graal, devenir scientifiques et apporter de nouvelles pistes de réflexion sur le mythe, la société et la Littérature. / Nowadays, avatars and re-writings of the myth of the Grail take their inspiration from Literature because the first literary mention of the scheme appears at the end of the twelfth century in Perceval ou le conte du Graal by Chrétien de Troyes. Thanks to its ambivalent (pagan and christian) origins, the Grail anchored in the collective imaginary as a myth of redemption or, at least, an ideal to reach. If the chivalric medieval quest requires a remarkable rigor and the body and soul purity to deserve the revelation of the Holy Vessel mysteries, in our days, mass culture heroes have an access to its secrets by simplified “quest-igations”. The devaluation of the subject occurs through transpositions in different genres, mediums and medias but also in the way society receives the Grail legend. From Holy Grail to Grail, from Literature to mass culture, from the Holy Bible to TV shows, this study tends to show the aspects of these transpositions and tries to prove that there are echos and exchanges between these mediums via the Grail. Following that point of view, the theme functions also as a overhang for what some call “minor” culture and literature that can, however, under the Grail influence, become scientific and bring new pieces of reflection concerning the myth, society and Literature.

Dan Simmons's far-future science fiction epic Hyperion Cantos, in which seven disparate individuals become enmeshed in a convoluted plot to enslave humanity, provides extensive support for British theologian John Hick's theory of transcendental pluralism. Using the central figures of the Shrike, a mysterious killing machine, and the Technocore, a collective of autonomous artificial intelligences, Simmons demonstrates Hick's postulation that all major Western religions actually focus on the same divine being (God) by creating a negative divine being, akin to Satan, to which characters of various religions react in similar ways. Simmons's pilgrims each represent a particular spiritual outlook, from specific organized religions to less-defined positions such as secularism and agnosticism, but each pilgrim's tale contributes to the evidence of transcendental pluralism. This thesis explores each characters' experiences as they relate to the Shrike, the Technocore, and, ultimately the theory of transcendental pluralism. / by Zachary Stewart. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Made available in DSpace on 2015-04-14T13:53:46Z (GMT). No. of bitstreams: 1 438255.pdf: 2456273 bytes, checksum: 84d84e49833a3f870eafaa2bc92666ef (MD5) Previous issue date: 2012-03-08 / Introduction: Breast cancer incidence is associated with age of those affected patients. The quality of life (QOL) of patients with breast cancer is an important aspect to be considered in the healthy aging process. It is important to consider new options for intervention on the QOL of women after treatment of breast cancer. One alternative is to use dance as a therapeutic resource. The aim of this study was to evaluate the association between dance intervention and QOL in women with breast cancer, as well as pain perception. Methods: A sample of 15 women, 50 to 79 yearsold, outpatients from Oncogenetics, Mastology and Oncology, Hospital de Clinicas de Porto Alegre (HCPA) participated in a ballroom dancing intervention of 13 sessions, 1:30 weekly. Validated instruments were used to assess the quality of life (WHOQOL-Bref and Fact B),and the pain visual analog scale. All participants signed Informed Consent Forms. After the intervention of dance, focus groups was used in order to evaluate the experience of study participants.Results: The quantitative results showed no statistically significant differences when comparing the periods before and after dance intervention. However, qualitative data showed relevant changes reported by the participants in terms of pain, social integration and selfesteem. Conclusion: The reports presented by the patients showed the importance attached to dance, which allowed to combine physical activity with social interaction. / Introdu??o: O c?ncer de mama tem a sua incid?ncia associada ? idade avan?ada das pessoas afetadas. A qualidade de vida (QV) das pacientes com c?ncer de mama ? um importante aspecto a ser considerado no processo de envelhecimento. ? relevante estudar novas op??es de interven??o na QV de mulheres p?s tratamento de c?ncer de mama. Uma das alternativas ? a utiliza??o da dan?a como recurso terap?utico. O objetivo do presente estudo foi avaliar a associa??o entre a interven??o da dan?a e a QV de mulheres com c?ncer de mama, assim como a percep??o de dor e a express?o de coer??o na decis?o do tratamento. M?todos: Uma amostra de 15 mulheres com idades de 50 a 79 anos, pacientes ambulatoriais da Oncogen?tica, Oncologia e Mastologia do Hospital de Cl?nicas de Porto Alegre (HCPA) participaram de uma interven??o de 13 sess?es de 1h30min semanais de dan?a de sal?o. Foram utilizados instrumentos validados para avaliar a qualidade de vida (WHOQOL Bref e Fact B), escala de express?o de coer??o e escala an?logo visual de dor. Todas as participantes assinaram TCLE. Ap?s a interven??o de dan?a foi utilizada a t?cnica de grupos focais para avaliar qualitativamente a viv?ncia das participantes do estudo. Resultados: Os resultados quantitativos n?o apresentaram diferen?as estatisticamente significativas na compara??o dos per?odos antes e depois da interven??o de dan?a. Contudo, os dados qualitativos evidenciaram mudan?as relevantes relatadas pelas pr?prias participantes em termos de dor, integra??o social e auto-estima. Conclus?o: Os relatos apresentados pelas pacientes evidenciaram a import?ncia atribu?da a dan?a, que permitiu conjugar a realiza??o de atividades f?sicas com a intera??o social.

Made available in DSpace on 2014-12-17T15:38:39Z (GMT). No. of bitstreams: 1 MarianaTCL.pdf: 507315 bytes, checksum: beb89e49ccbe8d6c70158cc7e8bc53f7 (MD5) Previous issue date: 2007-12-10 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / Taking from starting point the contact with the experience of a dancing body language group at Centro de Aten??o Psicossocial (CAPS) II in Fortaleza-CE, aiming to investigate the relationship between what we denominate dancing-dispositive and the process of de-institutionalization of insanity. Based in the philosophy of difference and in the cartographic perspective, we used the concept of dispositive in order to make visible the lines that compose it and the way they tangle in the production of different ways of subjectivation through another form of expression using the body. We followed two fortnight groups of body language recording the conversations that took place in the beginning and in the end of the activities. We also recorded our informal talks with the workshopper, with the psychiatrist responsible for the course of formation of artists of CAPS and the choreographer who was part of the artistic formation of the workshopper aiming to elucidate the body, dance and art conceptions which guided such work. Finally, we interviewed some technicians and we participated of a meeting of the team aiming to understand how that activity was perceived. We observed that the use of certain conception of dance in the field of mental health is in consonance with the the Phychiatric Reform, since it provides another way of dealing with the body, different from that produced by the contention and by the discipline. Nevertheless, we understood that there is a risk that, in some moments, the group being more a place of normalization than one of experimenting other ways of relating with yourself and with the others. We also noted that the dancing-dispositive appears as an important analyzer of the connections established at CAPS, indicating a need of the service to be more opened to the production of new care and harboring strategies, breaking the mental health facility logic of incarceration of life which still persists in the quotidian of that institution / A partir do contato com a experi?ncia de um grupo de express?o corporal em dan?a num Centro de Aten??o Psicossocial (CAPS) II em Fortaleza-CE, objetivamos investigar a rela??o entre o que denominamos dispositivo-dan?a e o processo de desinstitucionaliza??o da loucura. Baseando-nos na filosofia da diferen?a e na perspectiva cartogr?fica, utilizamos o conceito de dispositivo no intuito de tornar vis?veis as linhas que o comp?em e a maneira como se enredam na produ??o de diferentes modos de subjetiva??o atrav?s de uma outra forma de express?o por meio do corpo. Acompanhamos duas turmas quinzenais do grupo de express?o corporal, registrando os momentos de conversa realizados no come?o e no fim das atividades. Registramos tamb?m nossas conversas informais com o oficineiro, com o psiquiatra respons?vel pelo curso de forma??o dos artistas dos CAPS e com a core?grafa que fez parte da forma??o art?stica do oficineiro no intuito de elucidarmos as concep??es de corpo, dan?a e arte que norteavam tal trabalho. Por fim, entrevistamos alguns t?cnicos e participamos de uma reuni?o da equipe objetivando entender como tal atividade era percebida. Observamos que o uso de determinada concep??o de dan?a no ?mbito da sa?de mental encontra-se em conson?ncia com a Reforma Psiqui?trica, visto proporcionar uma outra forma de lidar com o corpo, distinta daquela produzida pela conten??o e pelo disciplinamento. Todavia, vimos que existe o risco de, em alguns momentos, o grupo ser mais um local de normaliza??o do que de experimenta??o de outras formas de se relacionar consigo e com outros. Notamos, ainda, que o dispositivo-dan?a aparece como um analisador importante das liga??es estabelecidas no CAPS, indicando uma necessidade do servi?o se abrir mais a produ??o de novas estrat?gias de cuidado e acolhimento, desconstruindo a l?gica manicomial de encarceramento da vida que ainda persiste no cotidiano daquela institui??o

Made available in DSpace on 2015-04-14T14:52:21Z (GMT). No. of bitstreams: 1 437575.pdf: 1856541 bytes, checksum: bf2011cb2be817b27dc02dd1a63c3d3c (MD5) Previous issue date: 2012-03-14 / The present research reflected upon the theme identity in organizations, especially how the physical, personal, institutional e spiritual are bodily lived (embodied) by the dancers at a Dance Company. The theorical research was developed upon three main subjects: dance - specifically ballet, identity and embodiment. There are many studies with cognitiverepresentational perspective at the fields of Anthropology, Sociology and at Organisational Research and Management that deny the development of a theorical ground envolving the body and its embodied analysis as a methodological and epistemological resource to comprehend identity. Far from representational, there is an analysis dimension named embodiment, that conceives the body as the center of formation of the people lived world and pratice, builded historically and culturally by their bodily perceptions. In this perspective theories of embodiment such as phenomenology, feminist, of practice, postmodern and cultural, recognize the body as locus of multiple social activities. Therefore the importance of inclusion of analysis of embodiment at identity studies, as it is impossible to think organizations as before or transcendent of human beings. To investigate the subject of identity in a Dance Company through the body (dancer) as a methodological and epistemological resource has been made a qualitative empirical research through ethnography, named here as embodied ethnography. It was based in a field diary, interviews and documents. Living the ethnographic method made me include analysis categories of the body (dancer) in relation with space, time, weight, sthrenght, movement dynamics, voice, senses hearing, vision, touch, taste, smell, an ethnography guided by the senses and emotions of the researched bodies specially the dancers- in training, rehearsals and performances. This embodied etnography resulted in discussions upon: the Identity Organisational Theory, about embodied identity at organizations; theorical-methodologic, about embodied etnography; an specific empyrical-management subject at this Dance Company, by the perspective of institutional identity; and at the social empirical subject, about contributions of identity to the field of dance at a globalized context of mass culture. Therefore all these subjects have potential to be explored in future research. / Nesta disserta??o investiguei a identidade nas organiza??es, especificamente como a identidade f?sica, pessoal, institucional e espiritual s?o corporalmente vivenciadas (embodied) pelos bailarinos em uma Companhia de Dan?a. O embasamento te?rico se constitui sobre tr?s pilares principais: a dan?a e o ballet, a identidade e o embodiment. Na Antropologia, na Sociologia, e nos Estudos Organizacionais e de Administra??o existem diversas abordagens de base cognitiva-representacional que ignoram o corpo e sua an?lise embodied como recurso metodol?gico e epistemol?gico para uma compreens?o da identidade. Longe de ser uma an?lise representacional do mundo, o embodiment considera o corpo como o centro de forma??o da viv?ncia das pessoas no mundo da pr?tica. O mundo, nesse contexto, ? compreendido como algo constru?do hist?rico e culturalmente pelas percep??es corporais. Neste sentido as perspectivas te?ricas do embodiment a fenomenol?gica, a feminista, a da pr?tica, as p?s-modernas e a cultural reconhecem o corpo como locus de m?ltiplas atividades sociais. Da? a import?ncia da inclus?o da an?lise do embodiment nos estudos de identidade nas organiza??es, j? que n?o se pode pensar as organiza??es como anteriores ou transcendentes aos corpos humanos. Para investigar quest?es de identidade na Companhia de Dan?a, realizei uma pesquisa emp?rica qualitativa, etnogr?fica, aqui denominada como etnografia embodied. Isso por que a viv?ncia do m?todo etnogr?fico baseada em di?rio de campo, entrevistas e material documental incluiu em suas categorias de an?lise o corpo (bailarino) e sua rela??o com o espa?o, o tempo, o peso, a for?a, a din?mica do movimento, a voz, os cinco sentidos, ou seja, uma etnografia guiada pela experi?ncia dos corpos dos pesquisados, principalmente os bailarinos em rela??o aos treinos, ensaios e espet?culos. Esta etnografia embodied proporcionou discuss?es com potencial para pesquisas futuras: na Teoria da Identidade nas Organiza??es, sobre a identidade embodied nas organiza??es; na abordagem metodol?gica, sobre uma etnografia embodied; na quest?o gerencial emp?rica da Companhia de Dan?a pesquisada, sobre a perspectiva da identidade institucional; e na quest?o sociol?gica, sobre a identidade no campo da dan?a, no contexto globalizado da cultura de massa.

This study utilizes William Benoit’s Image Repair Theory to frame the dominant crisis communication strategies that fast food chain Chick-fil-A (CFA) employed before, during and after their CEO mixed his personal opinion on social issues with corporate policy in June 2012. The thematic analysis draws from three distinct data sets that include 3,900 Facebook comments posted by the general public on CFA’s social media page, 32 individual Atlanta Journal-Constitution news articles that address the debate and CFA’s public response to the crisis titled “Who We Are.” This thesis aims to identify both the dominant themes in Facebook posts and the news articles, as well as how these themes are situated within Benoit’s Image Repair Theory. Research shows that CFA representatives utilized eight of Benoit’s 14 strategies to address their CEO’s comments on gay marriage in an attempt to salvage their reputation. The transcendence strategy was used more than any other throughout the crisis. The thematic analysis of Facebook comments showed that religion and loyalty were the most addressed theme within social media users’ posts on the company’s page. Research also shows that a national boycott initiated against CFA by the LGBTQ community did not hurt the company, but may have helped to spur brand recognition and overall sales. Another pertinent question arose during this research; did company representatives purposely forgo sharing their 2011 and 2012 tax documents that prove they had already stopped contributing to supposed anti-gay organizations more than a year before the controversy arose? Was CFA benefiting from the crisis to such an extent that they strategically remained silent and allowed the misconception to take place when they could have ended the crisis and shown proof?

This thesis contains descriptions and definitions of the Iron Age Proto-Aeolic capitals from Israel - Palestine area. The modern area, which my materials cover is Israel and Jordan. The time period of the capitals is between the 9th century BC and the late 8th or the beginning of the 7th century BC. Attention has been put on issues of typological characteristics, usage and time periods of the capitals and how this, through the new examples, described here for the first time, created a new typology and usage for the Proto-Aeolic capitals.