Thèse (M.A.) -- Université Laval, 2003. / Bibliogr.: f. 142-149. Publié aussi en version électronique.

This study from Tanzania contributes to the understanding of the management discourses circulating amongst senior managers in Western owned companies in Tanzania. It identifies two dominant discourses, a Western derived Contractual discourse and the local derived Kinship discourse. The division of their use is not by ethnic origin of senior managers but are drawn on in various ways by all managers. This research focuses on senior experienced managers from three different nationalities who were asked to tell stories from their experiences in management life. Their stories contain their perceptions of various populations and show their evaluations of those populations. Analysis shows how people draw on discourses circulating within their societies, reveals these actual underlying discourses, and explores the languages used in communication. Two sets of communication languages emerged from this analysis, the Western contractual and the local kinship discourse. Western contractual thinking rests upon efficiency and profit-making. This stands in contrast to the kinship thinking which is rooted in communal and humanistic values. These contrasting discourses contribute to misunderstanding, but there is common ground between them. If this commensurable dimension is internalised, a local Tanzanian management discourse may appear that would represent a new management discourse. An organisational framework that may support this discourse’s emergency and circulation is suggested.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / O presente trabalho tem por objetivo analisar a residualidade medieval no romance naturalista O Homem, de AluÃsio Azevedo. Ao realizarmos a leitura do romance, percebemos aspectos ao longo da narrativa que nos remetem à mentalidade medieval, principalmente no que diz respeito à religiosidade, ao medo e sentimento de culpa ligado à construÃÃo da idÃia de pecado. A Idade MÃdia teve sua cultura e suas leis profundamente baseadas na religiosidade difundida pelos dogmas judaico-cristÃos da Igreja CatÃlica, a qual detinha o poder de conduzir o cotidiano da sociedade atravÃs dos sacramentos e rotinas religiosas, bem como tinha total liberdade para julgar e condenar as pessoas consideradas pecaminosas e hereges. Para tanto, fez uso de mecanismos de poder para manipular o pensamento e as atitudes dos indivÃduos. Em O Homem, percebe-se a presenÃa desses mecanismos da mentalidade medieval, o que torna pertinente a constÃncia residual desses mecanismos na mentalidade do Ocidente. E para realizar essa ponte entre Idade MÃdia e a obra faremos uso da Teoria da Residualidade, de Roberto Pontes, teoria que estuda os resquÃcios de uma mentalidade em outra mentalidade, seja no Ãmbito cultural ou literÃrio. Pretendemos desenvolver a teoria à luz da HistÃria das Mentalidades, uma das diretrizes norteadoras da teoria, bem como elucidar acerca dos conceitos de resÃduo, cristalizaÃÃo e hibridaÃÃo cultural. AlÃm disso, abordaremos aspectos da vida medieval, focando no papel da Igreja CatÃlica em meio à sociedade, para enfim analisarmos o romance, cujos pontos serÃo desenvolvidos em torno da idÃia de pecado original, demonologia e vampirismo. / The present work aims at analyzing medieval residuality in the naturalistic novel O Homem (The Man) by AluÃsio Azevedo. We can point out some characteristics of the medieval mentality throughout the narrative, mainly when it refers to religiosity, fear and guiltiness of sin. Middle Age culture and laws are deeply based on religiosity through the Catholic Church Christian-Jewish Dogmas. They retain the power of leading the daily society through the sacramental system and religious routine and also feel free to judge and condemn people considered sinful and ungodly. Power based mechanism was used to manipulate and control peopleâs thoughts and attitudes. Residual constancy of the medieval mental cultural heritage found in the O Homem, turns out to be relevant in the Occident mindset. And to perform this link between Middle Age and the novel we will focus on the Residual Theory, by Roberto Pontes, which consists of the residue of one mentality into another mentality within culture or literature. We intend to develop the theory from the point of view of the History of Mentalities, one of the guidelines of the theory, as well as explain cultural hybridization, crystallization and residual concepts. We will also focus on the role of the Catholic Church in the Middle Age society to finally analyze the novel within the idea of the original sin, devilry and vampirism.

Ajahn Chah (1918-1992) est un maître de méditation appartenant à la tradition bouddhique thaïlandaise des moines de la forêt. À partir de la fin des années 1960 jusqu’à ce qu’il tombe gravement malade au début des années 1980, Ajahn Chah offre une formation monastique à plusieurs dizaines d’Occidentaux. Dans la vague de l’engouement occidental pour le bouddhisme, il est invité en Angleterre à la fin des années 1970 pour y établir un monastère. Son principal disciple occidental, Ajahn Sumedho, en assurera la direction. L’implantation réussit, et d’autres monastères sont ensuite fondés dans plusieurs pays d’Europe, d’Amérique du Nord et d’Océanie. Malgré son conservatisme notoire, la lignée a mis en oeuvre plusieurs innovations pour s’adapter et assurer sa pérennité en terre occidentale, d’une part dans son propre fonctionnement interne afin de faciliter l’implantation, et d’autre part à l’intérieur des enseignements dispensés. Nous analysons ces innovations en termes de stratégies afin de mettre en lumière le dynamisme de la lignée et de situer celle-ci au sein de la constellation bouddhique occidentale contemporaine.

This study from Tanzania contributes to the understanding of the management discourses circulating amongst senior managers in Western owned companies in Tanzania. It identifies two dominant discourses, a Western derived Contractual discourse and the local derived Kinship discourse. The division of their use is not by ethnic origin of senior managers but are drawn on in various ways by all managers. This research focuses on senior experienced managers from three different nationalities who were asked to tell stories from their experiences in management life. Their stories contain their perceptions of various populations and show their evaluations of those populations. Analysis shows how people draw on discourses circulating within their societies, reveals these actual underlying discourses, and explores the languages used in communication. Two sets of communication languages emerged from this analysis, the Western contractual and the local kinship discourse. Western contractual thinking rests upon efficiency and profit-making. This stands in contrast to the kinship thinking which is rooted in communal and humanistic values. These contrasting discourses contribute to misunderstanding, but there is common ground between them. If this commensurable dimension is internalised, a local Tanzanian management discourse may appear that would represent a new management discourse. An organisational framework that may support this discourse’s emergency and circulation is suggested.

Le Siam – l’actuelle Thaïlande – est le produit d’un métissage, encore dynamique de nos jours, qu’il s’agisse de son peuplement, de sa culture ou de sa littérature. L’influence occidentale, apparue avec les Européens au début du XVIième siècle, s’est accélérée au XIXième, quand ses rois se sont préparés à faire face aux appétits coloniaux français et britannique. Le roi Vajiravudh (1910-1925), éduqué en Grande-Bretagne, a tenté de faire connaître à ses compatriotes le théâtre à l’occidentale, d’abord par des traductions d’œuvres françaises et anglaises, puis par des adaptations et des œuvres originales. Contrairement à ce qui est généralement admis, son action ne représente pas une rupture dans l’histoire littéraire du Siam : il se place dans une continuité littéraire ininterrompue et n’a jamais rejeté les thèmes anciens. Ses pièces de théâtre ont surtout apporté des techniques dramatiques et scénographiques, dont le développement s’est poursuivi tout au long du siècle passé. Plus que l’acteur d’une révolution dans la dramaturgie siamoise, il est le marqueur de son évolution continue depuis des siècles. / Siam – Thailand as it has been known for several decades – is the result of a mix of people, cultures and literatures, which is still dynamic nowadays. Western influence appeared there at the beginning of the 16th century and increased very quickly during the 19th century when its kings had to prepare the kingdom to face the British and Frenchcolonial greed. King Vajiravudh (1910-1925), who studied about ten years in Great Britain, tried to make Occidental-style drama become well-known with his compatriots through translations, adaptations and, later, original works. Contrary to what has generally been affirmed, his action did not mark a break in the history of Thai literature : it was placed in an uninterrupted literary continuity and never rejected the traditional topics : his plays especially brought western dramatic and scenographic techniques, which have been developed through the last century. More than being the actor of a revolution in Thaidrama, King Vajiravudh marked out an evolution which has been continuous for centuries.

L’échange sino-occidental constitue un phénomène majeur de notre ère. Il s’étend des parties importantes de l’économie et de la politique à l’art, la philosophie et la littérature. Depuis l’ouverture de la Chine dans les années 1980, c’est d’abord la France qui est devenue pays d’accueil pour des intellectuels et des étudiants d’origine chinoise dits ‘dissidents‘, facilitant un nouvel échange d’idées plus direct. La thèse aborde le sujet de l’interculturalité d’intellectuels chinois de la sorte dans le contexte littéraire du roman franco-chinois, ainsi traitant une partie importante des relations interculturelles : par la publication de leurs œuvres, les romanciers initient un vaste échange culturel avec leurs lecteurs en liant leur monde d’idées chinois à la civilisation française. L’approche méthodologique est basée sur la notion de culture comme un système ouvert et dynamique qui est développé et élargi de manière continue par les êtres humains : en considérant le système culturel comme un grand ‘texte’ général, Clifford Geertz attribue un statut textuel à tous les cadres culturels et souligne le caractère interprétatif du système culturel comme un réseau de pratiques et de discours auquel les acteurs font référence et qu’ils développent et modifient en tant que participants actifs. De cette façon, un texte littéraire est d’un côté lui-même élément d’un système textuel. D’un autre côté, il fait partie de la création du grand ‘texte de la culture’ en interprétant et en exposant le système culturel en question. La thèse prend en compte ces qualités d’un texte littéraire de la manière suivante: elle comprend d’abord les textes en tant que résultats d’une évolution socio-culturelle. Ensuite, elle les conçoit comme des modes de représentation et d’interprétation d’un système interculturel.Les romans de cinq écrivains exemplaires, dont les œuvres sont considérées comme particulièrement pertinentes quant à une thématique de l’interculturel, constituent la base textuelle du projet. Il s’agit de François Cheng, Gao Xingjian, Dai Sijie, Ya Ding et Shan Sa, qui ont rédigé leurs romans sous l’influence de trois phénomènes contextuels majeurs : le souvenir commun de la Chine, l’expérience de l’exil et la confrontation avec le monde littéraire français. / Intercultural relations between China and the Occident have become a vital phenomenon of our age. They range from dealings in major areas of economy and politics to interactions in the visual arts, literature and philosophy. Since the Opening of China during the 1980s, France, in particular, has become the primary destination for dissident intellectuals and students of Chinese origin, a fact which has facilitated a new direct exchange of ideas. This thesis deals with the interculturalism of those very intellectuals in the literary context of the Franco-Chinese novel, hence addressing a key area of this new interculturalism: the authors generate a substantial cultural contact by publishing their works in France, thus linking their Chinese world of thoughts to French culture.The methodological approach is based on the notion of culture as an entity undergoing permanent development caused by human beings who are perceived as participants in the process. Defining culture as ‘text’, Clifford Geertz assigns textual status to all cultural phenomena, thereby emphasizing the interpretative nature of culture as a network of practices and discourses being permanently changed and refined. Literary texts are on the one hand partial elements of this network themselves; on the other hand, they also participate in the productive process by representing and interpreting the bigger text of culture. The thesis accounts for those properties of literary texts by first investigating them as results of a cultural development and subsequently comprehending them as a form of intercultural representation and interpretation.The text corpus of the analysis has been built on the basis of the works of five exemplary writers: François Cheng, Gao Xingjian, Dai Sijie, Ya Ding and Shan Sa. Showing particular pertinence with respect to the subject matter, their intercultural dimension is shaped by three major contextual phenomena: the shared memory of China, the exile experience and the confrontation with the French world of publishing.

The aim of this study is to examine the collection One Thousand and One Nights (also: The Arabian Nights) from a european perspective, by comparing different european translations. The study focuses on three translations into Swedish from different periods of time and how the tales have changed in the translation process - depending on the prevailing line of approach and Western perceptions of Eastern standards. The thesis of the study is that Eastern culture, from a Western perspective, has been seen as exotic and different but not as a high literary culture and that this view has affected the translations into european languages. The study shows, among other things, that Western culture is many times considered normative in the translations and that the translators often give their own voices a prominent role, also that common Western notions of the East affects the translations. The word ”orientalism” is used frequently in the study and it refers primarily to the image of the Orient as it is described in Edward Saids' book Orientalism: as a Western construction whose main purpose is to strengthen its own conception of the Orient and thereby strengthen the Western identity as better than the Orient. The study shows, with basis in Saids' Orientalism, that the translation of One Thousand and One Nights often serves as a filter for Western beliefs and a fulfillment of expectations that already exist.

Der Orient und der Okzident sind zwei von Menschen, von Gesellschaft geschaffene räumliche Einheiten, die zu geographischen Zonen zugeordnet werden können. Gleichzeitig haben die beiden Begriffe eine kulturelle Bedeutung. Die Modernität, die Aufklärung und die Demokratie unterscheiden den Westen von den rückständig gebliebenen, undemokratischen Osten. Das Gegenbild, die Gegenidee, die Gegenpersönlichkeit und die Gegenerfahrung des Orients sind zum Eigenbild des Europäers geworden. Die Bilder der Anderen, die Abgrenzung zwischen die eigenen und fremden Kulturen hilft zur Erkennung des eigenen Identität. Jeder Handlung der literarischen Texte spielt in einem Raum. Dieser Raum stellt einen fiktiven Ort der Handlung, der gleichzeitig eine kulturelle Bedeutung hat. Die koloniale Literatur wird vor allem mit „binären Raummodelle“ geprägt. Der Raum der Handlung wird durch eine imaginative Grenze in zwei Bereichen abgetrennt, die nach bestimmten Hierarchie zugeorgnet werden: der eigene und fremde Raum. Kurban Said alias Lev Nussimbaum alias Mohammed Essad Bey ist ein Autor, dessen Wurzeln in Orient liegen. Er ist in einer toleranter, multikultureller Stadt Baku in Aserbeidschan aufgewachsen. In seinem Roman „Ali und Nino“ stellt der Autor seine Heimatstadt als eine Stadt dar, die weder zur Orient noch zur Okzident gehört, sondern ein Raum ist, wo die beiden Welten sich treffen und unmerklich in einander vermischen. Die Hauptstadt Baku von Aserbeidschan wird als eine Brücke zwischen... [der volle Text, siehe weiter] / Orientas ir okcidentas – tai dvi žmogaus sukurtos erdvės sąvokos, kuriomis apibūdinama ne tik geografinė teritorija, bet ir tam tikros kultūrinės vertybės. Pasaulis suskirstytas i dvi kategorijas: Vakarai ir Rytai. Vakarų pasauliui priskiriamos tokios vertybės kaip modernumas, švietimas ir demokratija, tuo tarpu rytų šalys laikomos atsilikusiomis kulturos ir švietimo atžvilgiu bei demokratijos stoka. Pastarajai kategorijai priskiriamos Afrikos ir Azijos valstybės, kuriose gyvena islamo išpažintojai. Edvardas Saidas nustatė, jog mūsų pasaulio suskirstymas į orientą ir oksidentą, savos ir kitos kultūros žmonių supriešinimas buvo reikalingas tam, kad suvoktume savo tapatybė. Kiekvieno literatūrinio kūrinio veiksmas vyksta tam tikroje erdvėje. Ši erdvė atlieka dvigubą funkciją: vienavertus veiksmas vyksta kūrinio autoriaus išgalvotoje vietoje, tačiau ta išgalvota vieta turi dažniausiai realių atitikmenį kasdieninėje tikrovėje. Kolonizmo epochoje orientas tapo žemesne kategorija. Oriento gyventojai buvo laikomi bejėgiais, kuriuos reikia valdyti. Tokia nuomonė buvo diegiama tekstų pagalba. Norėdama atsakyti į klausimą, kaip orientas vaizduojamas literatūriniame kūrinyje, pasirinkau autorių, kilusį iš šalies, priskiriamos orientui. Kurbanas Saidas užaugo tolerantiškumu ir daugiakultūriškumu išsiskiriančioje Azerbaidženo sostinėje. Romane „Ali ir Nino” vaizduojamas miestas, kuriame susikerta dviejų visiškai skirtingų kultūrų ribos. Baku neįmanoma priskirti nei orientui, nei... [toliau žr. visą tekstą] / Orient and okcidentas - the two man-made space concept, which describes not only the geographical area, but also a certain cultural values​​. The world is divided into two categories: the West and East. The Western world include the values ​​of modernity, democracy and education, while the eastern countries are backward in respect of culture and education, and lack of democracy. Edward Said has found that a breakdown of our world in the Orient and Occidental, has its own culture and other people's confrontation was necessary in order to realize their own identity. For each literary work takes place in a given area. This area is twofold task: On one hand the author of the work takes place in an imaginary place, but the place is mostly a fictional counterpart of real everyday reality. Orient residents were considered to be powerless, to be managed. This perception has been installed help texts. To answer the question of how the orientation depicted in the literary piece, the author chose, originating from a country belonging to the Orient. Kurbanas Said grew up in tolerance and multiculturalism in a conspicuous Baku. In the novel "Ali and Nino" depicts a city where the two intersect completely different cultural boundaries. Tank can not be assigned to either the Orient, nor occidental. City by the bridge function, and become the third space. Novels set in the Caucasus area, the precise area. This area consists of many smaller units, which are united in a common set of a... [to full text]

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