Notion centrale de sa spiritualité, le désir selon Bossuet fait advenir son objet : d'où l'invitation à l'élaguer comme à l'exalter, à la recherche de « l'unique nécessaire ». Héritier de l'Antiquité païenne et chrétienne, augustinien et thomasien plus que cartésien, Bossuet défend la doctrine catholique traditionnelle. Son apologie de l'intérêt propre dans la quête du salut rejoint toutefois des préoccupations propres à son temps. Peut-il évoquer le désir spirituel de manière analogue aux désirs sensibles ? En un siècle où les termes théologiques se laïcisent, sa préférence pour ce mot profane favorise ce lien, même si sa perspective sur les désordres du désir demeure plus métaphysique que celle des moralistes. Naturel et surnaturel, l'élan du désir de Dieu dépasse infiniment le sensible dont il ne peut se déprendre. Cela se traduit dans la rhétorique du prédicateur post-tridentin, qui recourt à des images pédagogiques et imparfaites, ici recensées dans un index. Comme dans le système figural biblique, dispositif attisant le désir d'un accomplissement, leur littéralité est signifiante. Appuyé sur des médiations bibliques et patristiques, l'univers imaginaire de Bossuet est marqué par l'importance de la nature dont l'harmonie chante l'amour de Dieu et par le recours privilégié aux métaphores de l'amour nuptial. Le prédicateur entend susciter ce désir au moyen de son verbe. La délectable musicalité de son éloquence oratoire métaphorise l'orientation du sensible vers Dieu. Ses lettres, sermons et écrits spirituels transmettent l'impetus animant le fidèle et le lyrique langage de sa prière. Car l'expression du désir de Dieu ne peut ici-bas se passer du tâtonnement des mots. / The desire is central to Bossuet's spirituality. According to him, desire will make its object come to be : therefore one must control it or exalt it, in the hopes of securing “the one thing needful”. Heir to Pagan and Christian Antiquity, as an Augustinian and Thomist more so than a Cartesian, Bossuet defends traditional Catholic doctrine. His promotion of self-interest in the quest for salvation nevertheless has a relationship with some concerns typical of his time. Could he evoke spiritual desire in an analogous way to carnal desires ? Since, in the seventeenth century, theological terms were frequently rendered secular, his preference for the profane word encourages this analogy, although his perspective on the disorders of desire remains more metaphysical than the Moralists'views. Both natural and surnatural, the momentum of the desire of God infinitely surpasses the sensitive order from which it cannot free itself. This presents itself through the post-Tridentine predicator's rhetoric. He uses pedagogic and imperfect images, here inventoried in an index. As in the biblical figural system, which arouses the desire for an accomplishment, their literalness is meaningful. Fortified by biblical and patristical mediations, Bossuet's imaginary world is marked by the importance of nature (the harmony of which sings the love of God) and a predilection for metaphors of nuptial love. The predicator aims to instigate this love, through his verb. The delectable musicality of his oratorical elo-quence metaphorically represents this orientation of bodily desires towards God. His letters, sermons and spiritual wrintings communicate the impetus animating the faithful and the lyrical language of his prayer. Because in our world one cannot express God's desire without fumbling with words.

Cette étude examine l’effet de l’âge, du niveau scolaire, du milieu socioéconomique, de la latéralité et des pratiques linguistiques, sur la réalisation d’une épreuve psychologique non verbale dynamisée selon la procédure Test –Apprentissage- Re-test (T.A.R). Nous partons du constat que les tests non verbaux sont culturellement connotés (Dasen, 1993 ; Lautrey, 2001) ainsi, les facteurs culturels peuvent être considérés comme des biais ne permettant pas de comparer directement les performances réelles des personnes issues de cultures différentes. Notre hypothèse est qu’une évaluation psychologique dynamique est possible en Algérie permettant de distinguer les profils psychologiques des enfants d’âge scolaire ayant un niveau d’intelligence normal, de ceux pour qui une remédiation cognitive serait nécessaire.Les 93 enfants âgés de 5 à 11 ans, en plus d’avoir complété un questionnaire sociodémographique, ont participé à une épreuve de latéralité et à une épreuve de compétences linguistiques. Le test non verbal, la Figure Complexe de Rey (Rey, 1959), leur a été proposé une première fois, puis une seconde fois après une phase d’apprentissage selon le modèle de Kirkwood & al., 2001.Les résultats montrent que ce sont les enfants les plus âgés qui réussissent le mieux la FCR autant au test qu’au re-test. Les enfants plus âgés réalisent la Figure Complexe de Rey plus rapidement que les plus jeunes. La latéralité et le milieu socioéconomique d’appartenance ne semblent pas influencer la réalisation de la FCR. Par contre, les enfants plurilingues réalisent de meilleurs dessins que leurs homologues monolingues. Pour la grande majorité des enfants, la phase d’apprentissage est bénéfique quel que soit leurs caractéristiques personnelles. / This study examines the effect of age, school level, socioeconomic status, handedness and language skills, on children’s performance in the non-verbal test that is rendered dynamic according to the Test – Learning – Retest procedure (TLR). We argue that non-verbal tests are also culturally connoted (Dasen, 1993 ; Lautrey, 2001). Therefore, cultural factors can be considered as biases rendering questionable direct comparisons of performances of subjects from different cultures. Our hypothesis is that a dynamic psychological evaluation is possible in Algeria allowing us to differentiate psychological profiles of elementary school children with normal intelligence from those needing cognitive remediation.93 children aged between 5 and 11 years filled out a sociodemographic questionnaire, were tested for handedness and linguistic competence. They realized the Rey-Osterrieth Complex Figure Test (Rey, 1959) once and then again a second time after a learning phase according to Kirkwood & al. 2001 model.Results indicate that older children perform better at the RCFT both in the test and re-test situations than younger children. Handedness and socioeconomic status do not affect children’s performance. However, children who are speaked more than one language realize more precise drawings than unilingual children. All children profit from the learning phase. / تتناول هذه الدراسة تأثير العمر ، والمستوى التعليمي ، والبيئة الاجتماعية والاقتصادية ، و تجانب والممارسات اللغة على إعمال الاختبار النفسي غير اللفظي مدعوما بإجراء تجارب التعلم - إعادة الاختبار (T.A.R ) . نبدأ من فرضية أن الاختبارات غير اللفظية يبينها ثقافيا ( Dasen ، 1993؛ Lautrey ، 2001) و يمكن اعتبار العوامل الثقافية لا تسمح للمقارنة بشكل مباشر على الأداء الفعلي لل أشخاص من ثقافات مختلفة . لدينا فرضية هي أن التقييم النفسي الديناميكي هو ممكن في الجزائر لتمييز الملامح النفسية للأطفال في سن المدرسة مع المستوى العادي للذكاء من أولئك الذين سيلزم المعالجة المعرفية .93أطفال تتراوح أعمارهم بين 5 سنوات و 11 سنة ، بالإضافة إلى بعد الانتهاء من استبيان الاجتماعية والديموغرافية ، شارك في اختبار ل تجانب و اختبارا ل مهارات اللغة . واقترح الاختبار غير اللفظي ، و الرسم المعقدة لى ري( ري، 1959) ،قدمت لهم لأول ؤهلة ، ثم مرة ثانية بعد مرحلة التعلم في نموذج كيركوود وآخرون، 2001.وتظهر النتائج أنه الأطفال الأكبر سنا الذين هم الأكثر نجاح اإختبار FCR و إعادة الاختبار. الأطفال الأكبر سنا تحقيق هذا الرقم من لرسم ري أسرع من الأصغر سنا . لا يبدو أن هناك تأثيربالانتماء للبيئة الاجتماعية والاقتصادية و تجانب على إعمال FCR . الأطفال متعددي اللغات تحقيق أفضل التصاميم من نظرائهم أحادي اللغة . بالنسبة للغالبية العظمى من الأطفال ، مرحلة التعلم هو مفيد بغض النظر عن الخصائص الشخصية.

La thèse a pour corpus le Canon des Poèmes (Shijing 詩經). S’appuyant sur l’étude de diverses interprétations des Poèmes, elle propose une application numérique pour interpréter le procédé incitatif (Xing 興) qui, jusque-là, n’a pas été clairement défini au plan rythmique. On y considère le sinogramme à la manière d’une note musicale, ou plus précisément d’une sino-syllabe (hanzi -yinjie 漢字-音節). La thèse peut alors se baser sur trois principes d’analyse :1. le contraste d’effectifs des sino-syllabes ;2. le calcul combinatoire des sino-syllabes ;3. l’échelle de perception des sino-syllabes.En suivant ces trois principes d’analyse, la thèse expose une méthode de lecture expérimentale qui distingue deux aspects dans les sino-syllabes aperçues pendant la lecture : les composants fondamentaux (qui créent le rythme dominant) et les idées principales (qui constituent le sujet thématique). La collaboration harmonieuse du rythme dominant avec le sujet thématique, révèle un système de figuration qui transforme les propos en langage poétique sur le plan rythmique. Ce système sert de référence interne au corpus pour objectiver le rapport rythmique entre le motif initial (= premier groupe de vers) et le motif final (= deuxième groupe de vers), dans la strophe créée par le procédé de Xing. On propose de nommer ce système « figure rythmique » (jielü xiuci 節律修辭). / The present thesis has chosen to center its attention on The Book of Odes. After the study of diverse interpretations of these poems, the thesis is brought to suggest using numeric humanities in the analysis of what Xing calls “the incentive process” whose rhythmic figure has not yet been clearly defined. At the condition that a sinogram could be considered a musical note, it would be more accurate to call it a “sino-syllable” (hanzi-yinjie 漢字-音節). The results are relayed by these three principles: 1. The contrast of occurrences between sino-syllables 2. The sino-syllables’ combinatorial calculation 3. The scale of perception in comprehending sino-syllablesApplying these principles of analysis, the thesis then reveals an experimental method of reading which sets forth two aspects: the basic components that create the dominant rhythm and the mean ideas that constitute the thematic subject.The harmonious relationship of the dominant rhythm with the thematic subject reveals a system that rhythmically transforms words to poetic language. This metaphorical system, called “rhythmic figure” (jiulü xiuci 節律修辭) for the purpose of this research, serves as an internal reference to the corpus to manifest the rhythmic relationship between the first and final patterns in verses produced with Xing’s method.

Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.

Tails & Tales is a collection of work that explores the construction of identity within a contemporary painting practice. Based on an autobiographical use of my own body as source material, this series of paintings and drawings incorporates narrative strategies of representation alongside imagery that is reminiscent of childhood states of being.<p>This thesis exhibition and support paper explore the liminal period of pre-adolescence and poses questions about the positing of identity. There is a focus on the construction of masculinities and sexualities, with a particular interest in how cultural, social, and moral norms are encoded into being.

Tails & Tales is a collection of work that explores the construction of identity within a contemporary painting practice. Based on an autobiographical use of my own body as source material, this series of paintings and drawings incorporates narrative strategies of representation alongside imagery that is reminiscent of childhood states of being.<p>This thesis exhibition and support paper explore the liminal period of pre-adolescence and poses questions about the positing of identity. There is a focus on the construction of masculinities and sexualities, with a particular interest in how cultural, social, and moral norms are encoded into being.

The father figure has a strong but often hidden presence in Marie-Claire Blais’ novels. Although frequently absent from daily life, fathers have an important impact on the family. Blais’ early novels present traditional fathers, while more recent novels portray a modern figure. The dissolution of the traditional role for fathers has led to confusion: expectations and responsibilities are no longer clearly defined. The presentation of father figures rests with the narrator. Every narrator offers a unique perspective, which changes with age. We propose to study the father figure throughout Blais’ novels in order to determine the influence of the narrative perspective, the impact that age has on this perspective, and also the influence of Québécois societal transformations on the portrayal of father figures within Blais’ work. We will examine the father figure from a child’s perspective, before moving on to the perspective of adolescents, young adults and finally, adults. / Dans l’œuvre romanesque de Marie-Claire Blais, la figure du père est omniprésente mais souvent silencieuse. Elle y change et évolue au fil des transformations de la société québécoise et de ses normes. Le rôle traditionnel du père perd sa place privilégiée ; les pères cherchent un nouveau modèle de paternité. Le portrait du père est surtout déterminé par le narrateur et la perspective de celui-ci évolue au fil de l’œuvre. Au début, les jeunes narrateurs portent des jugements sévères sur les figures paternelles. Toutefois, les romans les plus récents ont des narrateurs adultes qui racontent les histoires de manière moins biaisée. Dans ce travail, nous nous proposons d’effectuer une étude approfondie des différentes figures de père dans l’œuvre romanesque blaisienne. D’abord, nous étudierons comment ces figures sont représentées de la perspective des enfants, avant de nous concentrer sur les perspectives des adolescents, des jeunes adultes, puis des adultes.

This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence. / Department of Art

Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.

Theses (M.A.)--Marshall University, 2005. / Title from document title page. Includes abstract. Document formatted into pages: contains vi, 76 p. Bibliography: p. 73-74.