<p>This thesis isconcerned with Jean-Jacques Rousseau's treatment of the effect of political actions on the human problem. Four emphases in that treatment are considered.</p> <p> In the first place, Rousseau is concerned about what can be called a tension between nature and society, a tension which is basic to the human situation as he sees it. He wants to distinguish between good nature and bad society and between a good, natural self and a bad, social self.</p> <p>In the second place, closer scrutiny reveals that the tension between nature and society hinges on the problem of passion. Rousseau wants further to distinguish between good, natural passions and bad, social passions, and the political problem is always and everywhere the same: how to control the bad, social passions.</p> <p>In the third place, there is a dialectical unity in Rousseau's treatment of the tension between nature and society. Contrary to many interpretations, he does not treat nature and society as concrete abstractions but only as hypothetical abstractions. His writings are consistent; he is both idealistic and realistic, theoretical and practical, optimistic and pessimistic.</p> <p>In the fourth place, whether Rousseau is talking about individuals or societies there is a continuing emphasis on an organic cycle of life and death. An ironical situation develops in respect of political actions. that affect the tension between nature and society. Political actions have to be as natural as possible, but they confront nature as limit, in the form of a natural tendency on the part of individuals to place their own interests ahead of those of their fellows. Rousseau envisions no way out of that vicious circle, and we are, therefore, faced with the prospect of a never-ending cycle of life and death of all organic bodies, including bodies politic.</p> <p>Those four emphases inform the structure of this thesis. The thesis is divided into a series of chapters dealing with different aspects of the tension between nature and society. The thesis begins with a discussion of how Rousseau himself dealt with the problems that he faced in his life, given that he considered himself an exemplar of what it meant to be both natural and human. The thesis then looks at the tension between nature and society viewed as hypothetical abstractions, after which the tension is considered from an historical perspective. </p> <p>The centrepiece of the thesis consists of a discussion of how political actions can affect the tension between nature and society, through communitarian and egalitarian politics. The cycle is completed by showing why, in the long run, all bodies politic are bound to decay and die, bearing in mind, however, that regeneration is always possible.</p> / Thesis / Doctor of Philosophy (PhD)

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Unfavorable opinions and images of the public relations industry have persisted for decades, and the industry still struggles to deal with them. Additionally, it is a demanding profession that is expected to grow faster than average but struggles to retain talent. Public relations research has also predominantly focused on how nonpractitioners perceive public relations. The present study psychoanalytically analyzed two movies with cinematic representations of public relations practitioners and 20 interviews with public relations practitioners to examine how practitioners' self-perceptions of public relations unconsciously influence their practice and expectations, as well as their stress and burnout. More specifically, stress and burnout dynamics were explored among younger and older practitioners and gender.

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Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the shadow of Blavet, whose prowess as a flutist bolstered his reputation as a composer, or that his music was never quite the right style for the time; in any case, although his name was not unknown, he never gained the fame that earned a contemporary biographer. As a result, no autographs and very little biographical data have been found, although one or more printed copies of all his known works, except two, are to be found in various libraries, principally the Bibliotheque National in Paris.