Founded in 1963, Playwrights' Workshop Montreal has served the English-Canadian playwriting community for over twenty-five years. An integral but often ignored part of the nationalistic alternative theatre movement, PWM has developed and supported the work of hundreds of English playwrights both within and outside of the Montreal area. / This study examines the work of PWM in an historical context, and as revealed in the organization's records and in contemporary reports. The written documentation is supplemented by interviews with persons who have worked with PWM. A number of these have made important contributions to Canadian dramaturgy on a national scale.

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Thesis (M.Sc.). / Title from title page of PDF (viewed 2008/01/30). Written for the Medical Physics Unit, Faculty of Medicine. Includes bibliographical references.

A Thesis submitted to The University of Arizona College of Medicine - Phoenix in partial fulfillment of the requirements for the Degree of Doctor of Medicine. / Objective: This study was performed to provide a detailed analysis of the MoCA versus the MMSE, including an item analysis and an examination of threshold scores appropriate for use in different clinical settings. Methods: 135 subjects enrolled in a longitudinal clinicopathologic study were administered the MoCA and MMSE. Subjects were classified as cognitively impaired or cognitively normal based on neuropsychological testing and consensus conference diagnosis. Results: 89 subjects were cognitively normal, 46 cognitively impaired (20 dementia, 26 MCI). ROC analysis showed that, for any threshold value selected for the MMSE to identify cognitive impairment, a MoCA value with better sensitivity and specificity could be identified. Recall performed best among individual items on the MMSE, and Orientation performed best on the MoCA. Overall, the best discrimination was obtained using a weighted combination of four items (2*MoCA-Orientation + MMSE-Recall + MoCA-Language + 0.5* MoCA-Visuospatial/Executive; AUC 0.94). A MoCA threshold score of 26 had a sensitivity of 98% and specificity of 52% for identifying cognitive 5 impairment. A MoCA threshold score of 21 had a sensitivity of 57% and specificity of 96%. Conclusions: The MoCA was superior to the MMSE in detecting cognitive impairment. Individual domains on the MoCA and MMSE made substantially different contributions to each instrument’s sensitivity, and a weighted subset of items from both instruments performed best in detecting cognitive impairment. A lower MoCA threshold score may be appropriate in a population with a higher prevalence of cognitive impairment such as a memory clinic.

The inception of Montreal’s underground displayed significant inventiveness in striving for a multi-level city, however today the urban network has developed into an overly-commercialized, perfunctory series of ‘unfelt’ commuting spaces. This thesis is firstly an invitation to see past the glossy storefronts and re-connect to the romantic notion of a subterranean urban labyrinth. Situated between the Expo islands and Mount Royal, the underground city needs an infusion of places of active engagement in order to exist in the city’s social imaginary. This thesis also emphasizes the sense in which these dormant spaces can be awoken to provoke in its occupants a sense of their potential for play and encounter. Transgression puts this potential in motion. The notion of transgression forwarded is personified by the 21st century ‘urbanist’, who studies and uses the city. As flâneur, drifter, urban explorer, traceur, tracker, the transgressive urbanist transforms familiarity by crossing thresholds. Beyond these thresholds lies new territory of sensual engagement and physicality, where we playfully search for the city’s secrets, and engage our capacities to ‘feel’ space. By investigating these practices, a design direction emerges that offers relief from the persistence of ‘anesthetic space’ in Montreal’s underground. This thesis presents reflections on the history of Montreal, a poetic exploration of ‘urban ambiances’, and a curation of works by transgressive urbanists. Through a series of cartographic explorations charting the network’s accidents and deviations, a series of zones are identified as potential intervention sites. Within these places are converging traces of subterranean tunnels, freeways and passages. The intention of these interventions is to unearth a latent urban ambiance of play.

The inception of Montreal’s underground displayed significant inventiveness in striving for a multi-level city, however today the urban network has developed into an overly-commercialized, perfunctory series of ‘unfelt’ commuting spaces. This thesis is firstly an invitation to see past the glossy storefronts and re-connect to the romantic notion of a subterranean urban labyrinth. Situated between the Expo islands and Mount Royal, the underground city needs an infusion of places of active engagement in order to exist in the city’s social imaginary. This thesis also emphasizes the sense in which these dormant spaces can be awoken to provoke in its occupants a sense of their potential for play and encounter. Transgression puts this potential in motion. The notion of transgression forwarded is personified by the 21st century ‘urbanist’, who studies and uses the city. As flâneur, drifter, urban explorer, traceur, tracker, the transgressive urbanist transforms familiarity by crossing thresholds. Beyond these thresholds lies new territory of sensual engagement and physicality, where we playfully search for the city’s secrets, and engage our capacities to ‘feel’ space. By investigating these practices, a design direction emerges that offers relief from the persistence of ‘anesthetic space’ in Montreal’s underground. This thesis presents reflections on the history of Montreal, a poetic exploration of ‘urban ambiances’, and a curation of works by transgressive urbanists. Through a series of cartographic explorations charting the network’s accidents and deviations, a series of zones are identified as potential intervention sites. Within these places are converging traces of subterranean tunnels, freeways and passages. The intention of these interventions is to unearth a latent urban ambiance of play.

Wells Oliver, a mathematician, and his partner Malin move to Kythera, a remote Greek island, from Canada and Sweden, their respective countries of origin. In doing so, they hope to transform their lives in a way that will allow them to focus on their budding love affair, but they are also running away from obligations and people they are trying to leave behind. On Kythera, they realize that even in the most distant locales, the past is never far below the surface.

Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Ukrainian staged dance is a popular element of Ukrainian culture. In Canada, Ukrainian dance flourished and has transformed into a distinct symbol of Canadian-Ukrainian culture. Each Canadian province shows an evolution in its Ukrainian dance that is distinct from the others, depending on where the choreographers found inspiration. Ukrainian dance in Montral has been influenced strongly by the spectacular dance model, which was associated most strongly with the state sponsored dance companies coming from the Soviet Union. A question arose regarding this observation: why would these rather anti-Soviet communities in Canada choose a Soviet style to represent Ukrainians? And why would Qubcois choreographers repeatedly choose to add Ukrainian dance into their international dance repertoire? The goal of this research project is to set a chronological and aesthetic framework of Ukrainian dance in Montral and to observe the main influences that changed its aesthetics both inside and outside the Ukrainian community. / Ukrainian Folklore

Québec’s historical attachment to Roman Catholicism is visible: there is still a great amount of church buildings throughout the province. However, changing attitudes in Québec (as in other regions around the world) are leading to a chronic desertion of spaces of worship. Conceived as the heart of a community, churches constitute imposing presences in the built and social fabrics of the neighbourhoods they serve. In today’s context, this status is shifting, and communities are now striving to somehow re-engage with the churches they have abandoned. However, the sacred nature of these buildings often frames a specific way of looking at them, which can limit a potentially innovative reuse. Given this situation, how can a church be granted anew its status as a public space in a plural environment, thus preserving some of the exceptional qualities of its architecture? Looking at the case of the abandoned Roman Catholic church Très Saint-Nom-de-Jésus in Montréal, this thesis challenges the current approaches to church preservation by converting the building into a bathing space. Characteristic elements of church typology, such as the quality of light and the ritual, are preserved and revised in a contemporary manner, opening the building to a more diverse society. This strategy of valuing intangible elements of church architecture leads to a proposal that demonstrates the responsiveness of this typology and offers ways in which it can regain its role as a space for the public in an increasingly multicultural community, thus challenging the traditional look, both conservationist and the larger public, at a church.