The work of Jean-Jacques Lequeu (1757-1826) is often used by architectural historians to demonstrate the erosion of the principles of classical architecture at the end of the eighteenth century. The Nouvelle Methode appliquee aux Principes elementaires du dessin completed by Lequeu in 1792, a drawing method showing the correct proportions of the face obtained through geometry, reveal another Lequeu, one sympathetic to the architectural theories of his time. The similarities between the Nouvelle Methode and the Dissertation sur les especes naturelles by the Dutch naturalist Petrus Camper (1722-1789) show the importance of the notion of caractere in the structure of knowledge of the classical age as portrayed by Michel Foucault. Simultaneously a theory of physionomy and a theory of architecture, the Nouvelle Methode demonstrates that the theory of caractere in both disciplines, far from announcing the birth of the modern age, is central to the pursuit of order which sustained architecture in the classical age.

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

This dissertation studies understandings, definitions and uses of truth in autobiography, looking specifically at Jean-Jacques Rousseau's Confessions and Dave Eggers' A Heartbreaking Work of Staggering Genius. In order for a text to be considered an autobiography some concept of truthfulness is necessary; however, truth is not always objective and verifiable. Concepts of absolute truth, factual truth, personal truth and essential truth impede a simple understanding of the notion of truth. Furthermore, different circumstances and contexts may affect our understanding and application of concepts of truth. In his autobiography Rousseau claims he will tell the truth as best he can while Eggers states that part of his work is exaggerated or fabricated. Nevertheless, both are classified as autobiographical accounts, thus implicitly claiming that they are representing truths. As some concept of truth is necessary in order for a text to be considered autobiographical, readers' expectations of autobiography will include an expectation of how concepts of truth will be deployed. While readers may accept inadvertent inaccuracies due to faulty memory, deliberate misinformation will not be accepted. Readers expect that the information and events chronicled in the autobiography will be those that best depict the person of the autobiographer. In my dissertation I will look at how Rousseau and Eggers deploy the truth of themselves and their experiences and how this deployment of truth seeks to direct the readers' response to the texts. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

This thesis is a comparative analysis of Jean-Jacques Rousseau's Reveries du promeneur solitaire and Gabrielle Roy's autobiography (La Detresse et l'Enchantement and Le temps qui m'a manque) and establishes that these two works are testamentary autobiographies, that is, autobiographies written with the awareness of approaching death. We first show that both Rousseau and Roy link their ultimate autobiographical desire to the imminence of their own death. We then show that their autobiographical activity is not only motivated by death, but, moreover, that it allows them in a certain sense to live it already, since what this activity allows them to do is, for them, similar to what they long to do in the afterlife. We suggest, finally, that this activity, which allows them to bequeath an ideal picture of themselves that will survive them, gives them a hold on their immortality.

This thesis contributes to critical theoretical interpretation of Sophocles' Antigone. Analyzing texts by Kelly Oliver, Jacques Lacan, and Judith Butler, the thesis demonstrates how the work of these writers re-installs oppositional binarism, the form of thought that undergirds the hierarchical structure of Western metaphysics as exemplified in the dialectical philosophy of G. W. F. Hegel. Focusing on texts by Carol Jacobs, Martin Heidegger, and Jacques Derrida, the thesis analyzes the performative effect of Antigone, as sister figure, in the graphics of these works. Employing a deconstructive and performative critical approach, the thesis explores the theoretical productivity of a "sororal" graphics, that, dispersing and subverting binarism, opens the texts and their interpretation to alterity. The thesis demonstrates how critical reading of the performativity of Antigone as sister figure implicates ethicological discussion on justice in relation to family, genre/gender, classification, and inheritance.

The Non-Measured Preludes for Horn, Op. 27, Nos. 21 -40, by Jacques-Francois Gallay are important tools for teaching advanced horn students to make music - not just by playing the right notes and right rhythms, but by requiring students to make musical decisions based on the contours of melodic lines and the characters implicit in the work. There has been no single synthesis, however, of the issues performers face when trying to interpret non-measured music. This study determines the most accurate published edition and corrects or clarifies several items in that text, presents appropriate questions regarding the interpretation of non-measured preludes through historical and contextual analyses, and presents a sample of modern pedagogical opinions regarding performance of Gallay's Non-Measured Preludes.I compared four published editions to the earliest available edition (published by Gallet in 1933) and noted all differences. I then synthesized research from a wide range of historical and pedagogical materials so as to provide a single source of information regarding performance practice and interpretative issues. In addition, I took lessons on the Gallay Preludes with three major horn teachers in order to collect and document a sample of current pedagogical opinion.Of the four later published editions, the Sansone edition of 1960 seems to be the most accurate; the study includes a table of twenty-five corrections or clarifications to the Sansone edition. The historical evidence points to the improvisatory nature of the original non-measured preludes as one of the most important considerations in developing a conceptual framework for interpretation. Other important considerations include hand horn technique and the overall character of each prelude. The Non-Measured Preludes are used to introduce advanced students to the more refined analytical and musical skills required of professional-level playing. / School of Music

No description available.

In der Produktion von Kinofilmen werden Bild und Ton aus technischen Gründen separat behandelt: Es gibt die Bildkamera und auch das Tonaufnahmegerät. Auch in der Filmbetrachtung werden die Erörterungen über das bewegte Bild, die Narration, die Filmmusik, die Geräuschebene gerne als getrennte Diskurse geführt. Gleichzeitig gibt es im frühen 21. Jahrhundert eine weit verbreitete Faszination für mediale Übergänge, für Transmediales, Visuelle Musik oder speziell für die Ästhetik der Geräusche im Film. Im Zentrum der folgenden Betrachtungen stehen die oft sehr komischen Verschränkungen von visuellen Vorgängen und akustischen Ereignissen in Jacques Tatis Film PLAY TIME. Dabei wird ebenso genau hingehört, wie auch detailliert betrachtet, um musikalisch Visuelles und/oder visuelle Musik zu entdecken.

This dissertation engages a very general question: what matters politically? This question is characterized as a point of heresy, as a site through which different political stances differentiate themselves from one another and account for their differences. Building on the concept of aesthetics of politics developed by Jacques Rancière, I seek to free up this concept’s critical and analytical potential by arguing that different aesthetics of politics act as prerequisites to divergent determinations of political importance. More precisely, I argue that significant formulations of how variations in distributions of political importance occur tend to presuppose particular accounts of the relationships between perception and interpretation, sensibility and understanding, or how we sense and how we make sense. While the concept of aesthetics is tied to particular histories of what has been called Western Modernity, I argue that Western political thought has been characterized by a deep concern for questions of perception since its allegedly inaugural texts in Classical Greece, and that the so-called postmodern condition continues to put into play aesthetic terms of political engagement. To test this hypothesis positing that we always already think of politics aesthetically, I map five influential aesthetics of politics: aesthetics of prevalence, aesthetics of emancipation, aesthetics of temperament, aesthetics of friction, and aesthetics of endurance. Each one is already manifold. To make sense of these multiplicities, each aesthetics of politics is studied through a fourfold engagement with the politics of one of the senses of the age-old fivefold of sight, taste, hearing, touch, and smell. The politics of each sense are engaged along a politological, an artistico-political, a polemological and a hauntological folds. I am thereby able to show the intricacies of how the problem of political importance has been and is being dealt with. / Graduate / 0615 / simonlab@uvic.ca

Thomas Pynchon’s novel, The Crying of Lot 49, details Oedipa Maas’ quest to unearth a possibly centuries-old clandestine mail system, the Trystero. Oedipa is immersed in notions of sociality and she must navigate the social landscape, searching for clues as to the existence of the social system. In her quest she assumes the role of a detective who searches for meaning, as she looks for clues and questions others who might potentially be privy to the secrets of the Trystero. She necessarily performs the process of symbolic exchange with those she encounters in an attempt at ascertaining some greater meaning within the world that she thinks might lie behind the Trystero. In this, the nature of the circulation of meaning is revealed as a cultural construct.