Sensations of dizziness or fainting (pre-syncope or syncope) on standing up from a lying or a seated position are usually associated with impaired blood pressure regulation leading to inadequate perfusion of the brain. The purpose of this project was to develop a simple method to provide scientists and doctors a convenient way to monitor cardiovascular control during orthostatic stress with the non-invasive FinometerTM device. This apparatus provides a continuous estimate of arterial blood pressure (BP) contour from the finger and computes brachial blood pressure contours (systolic (SBP) and diastolic (DBP) blood pressure), heart rate (HR), stroke volume and cardiac output (Q) from the Modelflow equation. In this thesis, a method was implemented to obtain an estimate of central venous pressure (CVP) to provide greater insight into cardiovascular control. The accuracy and potential errors resulting from measurement of finger arterial pressure were also evaluated. The thesis first examined whether key variables essential to monitor cardiovascular control can be reliably measured by the FinometerTM in comparison to independent methods. HR was accurate and precise at rest and during stress (difference between methods: 0.05± 0.18 beats/min). According to standards established by the American Association for the Advancement of Medical Instrumentation (AAMI); at rest, DBP was accurate but not precise (1.6± 8.8 mmHg) and SBP was not accurate but precise (14.2± 8.0 mmHg). These errors could be due to an improper use of our reference method. The post-test correction for individual characteristics proposed by the FinometerTM developers did improve overall Q estimation (0.255± 0.441 L/min (6.9%) instead of 0.797± 0.441 L/min (22.4%)) when compared with Doppler ultrasound but did not account for the increasing error with a greater orthostatic stress induced by lower body negative pressure. Using finger BP instead of aortic BP to calculate Q did not explain this error as revealed by a new approach that compared the simultaneous pulse contours from different methods. Indeed, there was no significant difference between the error of the estimation of Q from the finger arterial pulse compared to the estimation of Q from the independent measurement by tonometry on the brachial artery at rest (-1.13± 14.67%) and at the maximum orthostatic stress used (-0.61± 9.33%) (p>0.05). Using brachial BP to calculate Q did not improve the result found with finger BP. The first hypothesis of this thesis that CVP could be estimated from outputs of the FinometerTM compared to direct venous pressure measurement was supported for the individual (0.2± 1.7 mmHg) and test specific (0.1± 1.2 mmHg) equations. The general equations derived from group data were accurate but not precise enough (0.4± 2.8 mmHg) to be used in clinical and research setting. The success of the individual equations suggests that it might be possible to derive a personal equation that will be useful over a long period for similar tests by using a catheter only once. The second and third hypotheses related to the cause of discrepancy between Q from FinometerTM and Q from Doppler, were not supported by the data. However, a new contour analysis method introduced here in a graphical format might provide an opportunity for systematic analyses of the deviation between methods. It could reveal sources of error allowing future improvements in the accuracy and precision of Q from FinometerTM during orthostatic or physical stress.

Sensations of dizziness or fainting (pre-syncope or syncope) on standing up from a lying or a seated position are usually associated with impaired blood pressure regulation leading to inadequate perfusion of the brain. The purpose of this project was to develop a simple method to provide scientists and doctors a convenient way to monitor cardiovascular control during orthostatic stress with the non-invasive FinometerTM device. This apparatus provides a continuous estimate of arterial blood pressure (BP) contour from the finger and computes brachial blood pressure contours (systolic (SBP) and diastolic (DBP) blood pressure), heart rate (HR), stroke volume and cardiac output (Q) from the Modelflow equation. In this thesis, a method was implemented to obtain an estimate of central venous pressure (CVP) to provide greater insight into cardiovascular control. The accuracy and potential errors resulting from measurement of finger arterial pressure were also evaluated. The thesis first examined whether key variables essential to monitor cardiovascular control can be reliably measured by the FinometerTM in comparison to independent methods. HR was accurate and precise at rest and during stress (difference between methods: 0.05± 0.18 beats/min). According to standards established by the American Association for the Advancement of Medical Instrumentation (AAMI); at rest, DBP was accurate but not precise (1.6± 8.8 mmHg) and SBP was not accurate but precise (14.2± 8.0 mmHg). These errors could be due to an improper use of our reference method. The post-test correction for individual characteristics proposed by the FinometerTM developers did improve overall Q estimation (0.255± 0.441 L/min (6.9%) instead of 0.797± 0.441 L/min (22.4%)) when compared with Doppler ultrasound but did not account for the increasing error with a greater orthostatic stress induced by lower body negative pressure. Using finger BP instead of aortic BP to calculate Q did not explain this error as revealed by a new approach that compared the simultaneous pulse contours from different methods. Indeed, there was no significant difference between the error of the estimation of Q from the finger arterial pulse compared to the estimation of Q from the independent measurement by tonometry on the brachial artery at rest (-1.13± 14.67%) and at the maximum orthostatic stress used (-0.61± 9.33%) (p>0.05). Using brachial BP to calculate Q did not improve the result found with finger BP. The first hypothesis of this thesis that CVP could be estimated from outputs of the FinometerTM compared to direct venous pressure measurement was supported for the individual (0.2± 1.7 mmHg) and test specific (0.1± 1.2 mmHg) equations. The general equations derived from group data were accurate but not precise enough (0.4± 2.8 mmHg) to be used in clinical and research setting. The success of the individual equations suggests that it might be possible to derive a personal equation that will be useful over a long period for similar tests by using a catheter only once. The second and third hypotheses related to the cause of discrepancy between Q from FinometerTM and Q from Doppler, were not supported by the data. However, a new contour analysis method introduced here in a graphical format might provide an opportunity for systematic analyses of the deviation between methods. It could reveal sources of error allowing future improvements in the accuracy and precision of Q from FinometerTM during orthostatic or physical stress.

The elderly population is increasing at a rapid rate each year, and with the increase in the elderly population there is a need for better medical assistance and devices. The greatest problem this demographic is facing is the ability to age in place. More elderly people are being placed in nursing homes, assisted living homes, moving in with relatives due to disabilities or fear of disabilities caused by a life threaten event such as heart disease, stroke, falling/fainting, or uncontrolled glucose levels. Falling is the number one leading cause of deaths, injuries and incapacity in the elderly. Stroke is the 3rd leading cause of death in the U.S; it is the 2nd leading cause worldwide. Rapid change in glucose levels is another leading cause of disabilities and deaths. Heart disease is the 2nd leading cause of death in the elderly. These life threatening events can be prevented and if treated early enough can allow the person to have a full recovery and continue to age in place. A device was proposed that could monitor these four life threatening events: heart disease, stroke, falling/fainting and changes in glucose levels. This device will monitor the user continuously. Research was conducted to see what other products are on the market and how they detect these events and how reliable they are for the user. A literature review was performed to understand what other people are doing to solve the aging in place problem. Using this and needs assessment of the elderly, the system architecture for the wrist worn device was designed along with a testing plan and procedure. More research needs to be done in certain areas to better improve solutions and technology in the area aging in place of the elderly. Before this device can bridge some of the gaps between the current issues and the solution the device will have to be tested for several things such as its ability to differentiate between stimulated falling/fainting and fall like activities such as sitting then lying. The orientation and position will be tested to see if the device can actually tell where the person is located. The device will have to be tested against well-known devices and see if it gives similar precise and accurate readings in real time. / Master of Science

Ill health, accident and death are themes common to all of Jane Austen's novels. Some illnesses are physical, whereas some of her heroines experience excessive psychological, emotional and spiritual traumas. These references are too numerous to be either coincidental, glossed over or ignored. Austen expressed an interest in the mind/body relationship, believing that illness could be brought upon in certain personalities by the sufferer herself, and it seems that she might have held theories similar to those advocated by Mary Wollstonecraft in A Vindication of the Rights of Woman and even have anticipated those on feminine hysteria, and the effects of unconscious motives on behaviour, which were advanced by Freud in works such as The Interpretation of Dreams. This study examines Austen's novels, and the origin and purpose of physical and psychological illness in these, and looks at how Austen uses illness, accident and death, and more particularly how their roles progressively change and develop. For Austen's handling of these common issues appears to vary and to develop in line with the order of composition of her novels. She places increasing emphasis on them, not just to further plot, but also to reflect character change and development. Many of the parents or guardians of Austen's heroines are inadequate. And so Austen's heroines are often deprived of commendable models, left to find their own way, alone and in need of emotional support, to confront their youthful excesses, to work their way through these and to find their own destiny despite their handicaps. Self-improvement is neither pleasant nor easy, especially where one is young, inexperienced and alone. And, where heroines exhibit unhealthy or excessive interests in anything that diverts them from their paths of virtue or usefulness, the correction may frequently be painful. Thus most of the novels are, to a greater or lesser degree, filled with references to both physical and psychological ill health. This thesis examines how Austen used these illnesses, accidents and deaths in the various novels, both in the development of plot, as well as in the development of the character of the heroine in each instance. / English Studies / M.A. (English)

Ill health, accident and death are themes common to all of Jane Austen's novels. Some illnesses are physical, whereas some of her heroines experience excessive psychological, emotional and spiritual traumas. These references are too numerous to be either coincidental, glossed over or ignored. Austen expressed an interest in the mind/body relationship, believing that illness could be brought upon in certain personalities by the sufferer herself, and it seems that she might have held theories similar to those advocated by Mary Wollstonecraft in A Vindication of the Rights of Woman and even have anticipated those on feminine hysteria, and the effects of unconscious motives on behaviour, which were advanced by Freud in works such as The Interpretation of Dreams. This study examines Austen's novels, and the origin and purpose of physical and psychological illness in these, and looks at how Austen uses illness, accident and death, and more particularly how their roles progressively change and develop. For Austen's handling of these common issues appears to vary and to develop in line with the order of composition of her novels. She places increasing emphasis on them, not just to further plot, but also to reflect character change and development. Many of the parents or guardians of Austen's heroines are inadequate. And so Austen's heroines are often deprived of commendable models, left to find their own way, alone and in need of emotional support, to confront their youthful excesses, to work their way through these and to find their own destiny despite their handicaps. Self-improvement is neither pleasant nor easy, especially where one is young, inexperienced and alone. And, where heroines exhibit unhealthy or excessive interests in anything that diverts them from their paths of virtue or usefulness, the correction may frequently be painful. Thus most of the novels are, to a greater or lesser degree, filled with references to both physical and psychological ill health. This thesis examines how Austen used these illnesses, accidents and deaths in the various novels, both in the development of plot, as well as in the development of the character of the heroine in each instance. / English Studies / M.A. (English)

Thèse réalisée en cotutelle (Université de Montréal et Université Paris Diderot - Paris 7) / Antonin Artaud et Jean Genet ont respectivement connu l’enfermement asilaire et carcéral. Ils conçoivent tous les deux l’écriture comme le théâtre, sur le même plan que la vie, et partagent en outre la même conviction que la littérature, comme toute forme d’art, peut quelque chose pour nous. Malgré leurs nombreux points de contact biographiques, poétiques et éthiques, leurs œuvres n’ont jamais fait l’objet d’un rapprochement exclusif, une étonnante lacune que l’introduction substantielle de cette étude se donne pour tâche d’éclairer. En fait, si les œuvres d’Artaud et de Genet sont souvent comparées, c’est invariablement de façon limitée : brièvement, par le biais d’un tiers auteur et au plan du théâtre. Or toute leur écriture est théâtrale : c’est la prémisse sur laquelle se base ce travail qui constitue, donc, la première étude comparative approfondie de leurs œuvres. Dans un premier temps, nous étudions la conception du théâtre d’Artaud et de Genet dans la perspective de la tragédie qu’ils privilégient, parce qu’ils estiment primordiale la reprise vivante de l’œuvre par chacun de nous. En fait, nous nous intéressons à Genet et Artaud aussi bien en tant qu’écrivains que lecteurs, en analysant la manière singulière dont ils puisent l’un et l’autre de grandes figures dans les textes de la mythologie, de la littérature et de l’histoire pour les faire intervenir, indifféremment de leur provenance, dans leur propre texte. Pour démontrer ce travail de "reconfiguration" tout à la fois biographique, esthétique et éthique chez Artaud et Genet, nous analysons leur traitement de la figure tragique par excellence d’Antigone, dans "Antigone chez les Français" et "Journal du voleur". Dans un second temps, nous examinons comment Artaud et Genet s’en prennent à la dialectique du jugement qui préside à la lecture univoque qu’ils récusent : d’une part, par la conjuration, dans les textes qu’ils rédigent en 1948 pour une même série radiophonique, "Pour en finir avec le jugement de dieu" et "L’Enfant criminel" (tous deux censurés) et, d’autre part, par la révélation, en pratiquant ce que nous appelons une écriture de l’évanouissement – qui n’a rien de sublime, qui ne conserve en fait de la relève hégélienne que la structure du coup de théâtre, à savoir l’interruption qu’elle introduit dans la délibération de la conscience. Nous analysons alors les commentaires de dessins d’Artaud et les nombreuses scènes d’évanouissement dans l’œuvre de Genet. Dans un troisième temps, nous suggérons d’approcher de manière éthique les troublants termes de "cruauté" et de "trahison" qu’Artaud et Genet nous ont légués. Plus que des notions, celles-ci, avançons-nous, sont des méthodes visant l’acquisition d’un nouveau mode de lecture. Par l’entremise de ces concepts anti-conceptuels, Artaud et Genet nous invitent en fait à vivre comme ils écrivent et lisent : à "voire" la réalité. Pour le démontrer, nous proposons une micro-lecture du "Théâtre et son double" d’Artaud au regard de "La Sentence" de Genet, texte dont la publication toute récente vient confirmer la pertinence du rapprochement que nous établissons dans cette étude. / Antonin Artaud and Jean Genet experienced confinement in an asylum and a prison respectively. They both also conceived of writing as theatre, on the same level of tragedy as life, and shared the same conviction that literature, like all forms of art, has the power to do something for us. Despite their many points of contact in terms of biography, poetics, and ethics, their works have never been the object of an exclusive comparative study, a surprising omission that the substantial introduction of this study sets out to elucidate. In fact, if the works of Artaud and Genet are often compared, it is inevitably in a limited fashion: briefly, via a third author, and in terms of the theatre. Yet all their writing is theatrical: it is the premise on which this, the first full-length comparative study of their works, is based. Firstly, I study Artaud and Genet’s conception of theatre from the perspective of the tragic which they both privilege, because above all they value the reanimation of their work performed by the reader. In fact, I engage with Genet and Artaud as both writers and readers, analysing the singular way in which each takes great figures from mythology, literature, and history, in order to introduce them, irrespective of their provenance, into their own works. To demonstrate this work of "reconfiguration" in Artaud and Genet, which is at once biographical, aesthetic, and ethical, I analyse their treatment of Antigone, in "Antigone chez les Français" and "Journal du voleur". Secondly, I examine how Artaud and Genet defy the dialectic of judgement ruling the univocal reading which they oppose. In part, I focus on their defiance in the texts that they composed in 1948 for the same radio broadcast, "Pour en finir avec le jugement de dieu" and "L’Enfant criminel" (both of which were censored). And in part I focus on the defiance they practice by way of a revelation that I call a writing of fainting—which has nothing of the sublime in it, which in fact only retains the structure of the interruption from the Hegelian Aufhebung, that is to say the coup de theatre that it introduces in the deliberation of consciousness. I further analyse the commentaries of Artaud on his drawings and numerous scenes of fainting in Genet’s works. Thirdly, I put forward an ethical way of approaching the troubling terms "cruelty" and "treason" that Artaud and Genet have bequeathed us. More than being notions, I propose, these are methods aiming towards a new mode of reading. By the intervention of these anti-conceptual concepts Artaud and Genet invite us to live in the same way they write and read, that is to say in the same way they "see" the multiplicities of reality. As an exemplification, I advance a close reading of Artaud’s "Théâtre et son double" in relation to Genet’s "La Sentence"—a text whose recent publication confirms the pertinence of the comparative approach taken in this study.

Antonin Artaud et Jean Genet ont respectivement connu l’enfermement asilaire et carcéral. Ils conçoivent tous les deux l’écriture comme le théâtre, sur le même plan que la vie, et partagent en outre la même conviction que la littérature, comme toute forme d’art, peut quelque chose pour nous. Malgré leurs nombreux points de contact biographiques, poétiques et éthiques, leurs œuvres n’ont jamais fait l’objet d’un rapprochement exclusif, une étonnante lacune que l’introduction substantielle de cette étude se donne pour tâche d’éclairer. En fait, si les œuvres d’Artaud et de Genet sont souvent comparées, c’est invariablement de façon limitée : brièvement, par le biais d’un tiers auteur et au plan du théâtre. Or toute leur écriture est théâtrale : c’est la prémisse sur laquelle se base ce travail qui constitue, donc, la première étude comparative approfondie de leurs œuvres. Dans un premier temps, nous étudions la conception du théâtre d’Artaud et de Genet dans la perspective de la tragédie qu’ils privilégient, parce qu’ils estiment primordiale la reprise vivante de l’œuvre par chacun de nous. En fait, nous nous intéressons à Genet et Artaud aussi bien en tant qu’écrivains que lecteurs, en analysant la manière singulière dont ils puisent l’un et l’autre de grandes figures dans les textes de la mythologie, de la littérature et de l’histoire pour les faire intervenir, indifféremment de leur provenance, dans leur propre texte. Pour démontrer ce travail de "reconfiguration" tout à la fois biographique, esthétique et éthique chez Artaud et Genet, nous analysons leur traitement de la figure tragique par excellence d’Antigone, dans "Antigone chez les Français" et "Journal du voleur". Dans un second temps, nous examinons comment Artaud et Genet s’en prennent à la dialectique du jugement qui préside à la lecture univoque qu’ils récusent : d’une part, par la conjuration, dans les textes qu’ils rédigent en 1948 pour une même série radiophonique, "Pour en finir avec le jugement de dieu" et "L’Enfant criminel" (tous deux censurés) et, d’autre part, par la révélation, en pratiquant ce que nous appelons une écriture de l’évanouissement – qui n’a rien de sublime, qui ne conserve en fait de la relève hégélienne que la structure du coup de théâtre, à savoir l’interruption qu’elle introduit dans la délibération de la conscience. Nous analysons alors les commentaires de dessins d’Artaud et les nombreuses scènes d’évanouissement dans l’œuvre de Genet. Dans un troisième temps, nous suggérons d’approcher de manière éthique les troublants termes de "cruauté" et de "trahison" qu’Artaud et Genet nous ont légués. Plus que des notions, celles-ci, avançons-nous, sont des méthodes visant l’acquisition d’un nouveau mode de lecture. Par l’entremise de ces concepts anti-conceptuels, Artaud et Genet nous invitent en fait à vivre comme ils écrivent et lisent : à "voire" la réalité. Pour le démontrer, nous proposons une micro-lecture du "Théâtre et son double" d’Artaud au regard de "La Sentence" de Genet, texte dont la publication toute récente vient confirmer la pertinence du rapprochement que nous établissons dans cette étude. / Antonin Artaud and Jean Genet experienced confinement in an asylum and a prison respectively. They both also conceived of writing as theatre, on the same level of tragedy as life, and shared the same conviction that literature, like all forms of art, has the power to do something for us. Despite their many points of contact in terms of biography, poetics, and ethics, their works have never been the object of an exclusive comparative study, a surprising omission that the substantial introduction of this study sets out to elucidate. In fact, if the works of Artaud and Genet are often compared, it is inevitably in a limited fashion: briefly, via a third author, and in terms of the theatre. Yet all their writing is theatrical: it is the premise on which this, the first full-length comparative study of their works, is based. Firstly, I study Artaud and Genet’s conception of theatre from the perspective of the tragic which they both privilege, because above all they value the reanimation of their work performed by the reader. In fact, I engage with Genet and Artaud as both writers and readers, analysing the singular way in which each takes great figures from mythology, literature, and history, in order to introduce them, irrespective of their provenance, into their own works. To demonstrate this work of "reconfiguration" in Artaud and Genet, which is at once biographical, aesthetic, and ethical, I analyse their treatment of Antigone, in "Antigone chez les Français" and "Journal du voleur". Secondly, I examine how Artaud and Genet defy the dialectic of judgement ruling the univocal reading which they oppose. In part, I focus on their defiance in the texts that they composed in 1948 for the same radio broadcast, "Pour en finir avec le jugement de dieu" and "L’Enfant criminel" (both of which were censored). And in part I focus on the defiance they practice by way of a revelation that I call a writing of fainting—which has nothing of the sublime in it, which in fact only retains the structure of the interruption from the Hegelian Aufhebung, that is to say the coup de theatre that it introduces in the deliberation of consciousness. I further analyse the commentaries of Artaud on his drawings and numerous scenes of fainting in Genet’s works. Thirdly, I put forward an ethical way of approaching the troubling terms "cruelty" and "treason" that Artaud and Genet have bequeathed us. More than being notions, I propose, these are methods aiming towards a new mode of reading. By the intervention of these anti-conceptual concepts Artaud and Genet invite us to live in the same way they write and read, that is to say in the same way they "see" the multiplicities of reality. As an exemplification, I advance a close reading of Artaud’s "Théâtre et son double" in relation to Genet’s "La Sentence"—a text whose recent publication confirms the pertinence of the comparative approach taken in this study. / Thèse réalisée en cotutelle (Université de Montréal et Université Paris Diderot - Paris 7)

Die Studie strebt an, die Lücke innerhalb der literaturwissenschaftlichen Forschung, die hinsichtlich der Relevanz des Phänomens der körperlichen Ohnmacht für die deutsche Literatur des späten 18. und frühen 19. Jahrhunderts festzustellen ist, im Rahmen eines Typologieentwurfs zumindest in Teilen zu füllen. Dazu werden alle Ohnmachtsszenen innerhalb der Gesamtwerke Heinrich von Kleists, Friedrich Schillers, Johann Wolfgang von Goethes, J.M.R. Lenz‘, E.T.A. Hoffmanns, Sophie la Roches und Sophie Mereaus untersucht, kategorisiert und untereinander verglichen. Der erste Teil der Untersuchung beschäftigt sich ausschließlich mit den Werken Heinrich von Kleists, während sich der zweite Teil der Frage nach der Übertragbarkeit des kleistschen Ohnmachtsverständnisses auf die Gesamtwerke der anderen Autoren widmet. Die Thematisierung der Ohnmacht um 1800 bildet hier einen übergeordneten Bezugspunkt, wobei der Kontext ‚Körperzeichen’ neben den philosophisch-medizinischen Aspekten sowie der Analyse des Zusammenhangs zwischen den geschlechterspezifischen Differenzierungen und dem zeitgenössischen Tugend- und Weiblichkeitsideal besondere Beachtung findet. Zudem steht die Beantwortung der Frage nach einer möglichen genre- sowie epochenspezifischen Gesamtverteilung der Ohnmachten im Fokus.