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

In H.P. Lovecraft’s horror novella “The Shadow over Innsmouth” (1936), the incursions of ‘exotic’ cultural and religious practices result in an isolated New England community’s moral and genetic degeneration. This article traces the story’s depictions of Orientalized Others and hybrid identities to themes of spatial transgressions as well as distortions of language and western rationality. In colonial times, when it functioned mainly as an outlet for accumulated domestic issues and tabooed fantasies, the Orient appeared as a safe space that could be conjured or ignored at will. Accelerating industrialization, globalizing trade, imperialism, and the advent of modernity diminished the epistemic and spatial distance needed to uphold these fantasies. This abating distance, the article suggests, is where Lovecraftian themes of the monstrous take hold by establishing an American variant of Orientalism that perforates the boundaries between whiteness and Otherness through the lens of nonwhite immigration during the first decades of the twentieth century.

Dans ses actions, l'ONU doit assurer un équilibre entre les impératifs liés au principe de non-intervention et ceux liés au respect des droits fondamentaux. L'intervention au Timor oriental témoigne de la complexité entourant la décision d'entreprendre une action coercitive. L'analyse de la résolution 1264 du Conseil de sécurité révèle une mise en pratique du rôle de gardien de la paix différente de celle prévue par la Charte des Nations Unies. Cette recherche vise à expliquer l'écart entre la procédure d'intervention de l'ONU basée sur la Charte des Nations Unies et l'intervention coercitive au Timor oriental. S'appuyant sur la théorie libérale de la politique internationale d'Andrew Moravcsik, ce mémoire propose une analyse documentaire de ce cas d'intervention et dresse un portrait des capacités à agir de l'organisation internationale en cas de crises humanitaires semblables. / In its actions, the United Nations has to balance the imperatives related to the principle of non-intervention and those related to the respect of basic human rights. The intervention in East Timor attests to the difficulty of the decision to undertake coercive action. The analysis of Security Council resolution 1264 reveals an application of the peacekeeping role that is different from what the Charter of the United Nations had originally outlined. This research aims to explain the gap between the UN intervention procedure based on the Charter of the United Nations and the coercive intervention in East Timor. Supported by Andrew Moravcsik's liberal theory of international politics, this thesis offers a literature analysis of this intervention and provides a portrait of the organization's intervention capacities in similar humanitarian crises.

Esta pesquisa tem como objetivo analisar o período compreendido entre a metade do século XIX e o começo do século XX a fim de identificar que aspectos e componentes da estética e valores culturais japoneses teriam sido eventualmente integrados aos movimentos artísticos europeus e ao design de moda. O interesse ocidental pelo Oriente sempre existiu, porém, foi intensificado após a abertura dos portos japoneses em 1854, depois de mais de dois séculos em reclusão. O encontro entre duas culturas tão distintas causou grande entusiasmo na Europa, com diversos autores que defendem que esta aproximação influenciou o rumo das artes, do design e de outros diversos campos, resultando em um movimento estético denominado Japonismo. Desse modo, esta pesquisa de natureza qualitativa, na modalidade histórica, gerada a partir de estudos bibliográficos e estudo de campo em museus e exposições, pretende expor exemplos e tecer reflexões sobre a importância do intercâmbio cultural entre o Japão e a Europa do final do século XIX e início do século XX, mais especificamente nos campos da arte e da moda / The aim of this research is to study the period between mid-19th century and beginning of 20th century to identify which aesthetic and cultural values aspects and components would eventually have been integrated to European fashion design and art movements. The occidental interest towards the orient have always existed, although, it was intensified after the opening of Japanese ports on 1854, after more than two centuries of seclusion. The encounter of such different cultures triggered enthusiasm in Europe, and several authors suggest that this gathering led the way of art, design and many several fields, resulting in an aesthetic movement called Japonism. Therefore, this qualitative research, on history, generated from bibliographical and field study in museums and exhibits, intends to bring into thought the importance of cultural exchange between Japan and Europe on the end of 19th Century and beginning of 20th century, specifically on art and fashion

by Simon Siu-man Tam. / Includes bibliographical references / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

Esta pesquisa tem como objetivo analisar o período compreendido entre a metade do século XIX e o começo do século XX a fim de identificar que aspectos e componentes da estética e valores culturais japoneses teriam sido eventualmente integrados aos movimentos artísticos europeus e ao design de moda. O interesse ocidental pelo Oriente sempre existiu, porém, foi intensificado após a abertura dos portos japoneses em 1854, depois de mais de dois séculos em reclusão. O encontro entre duas culturas tão distintas causou grande entusiasmo na Europa, com diversos autores que defendem que esta aproximação influenciou o rumo das artes, do design e de outros diversos campos, resultando em um movimento estético denominado Japonismo. Desse modo, esta pesquisa de natureza qualitativa, na modalidade histórica, gerada a partir de estudos bibliográficos e estudo de campo em museus e exposições, pretende expor exemplos e tecer reflexões sobre a importância do intercâmbio cultural entre o Japão e a Europa do final do século XIX e início do século XX, mais especificamente nos campos da arte e da moda / The aim of this research is to study the period between mid-19th century and beginning of 20th century to identify which aesthetic and cultural values aspects and components would eventually have been integrated to European fashion design and art movements. The occidental interest towards the orient have always existed, although, it was intensified after the opening of Japanese ports on 1854, after more than two centuries of seclusion. The encounter of such different cultures triggered enthusiasm in Europe, and several authors suggest that this gathering led the way of art, design and many several fields, resulting in an aesthetic movement called Japonism. Therefore, this qualitative research, on history, generated from bibliographical and field study in museums and exhibits, intends to bring into thought the importance of cultural exchange between Japan and Europe on the end of 19th Century and beginning of 20th century, specifically on art and fashion

Le silence — ou plutôt la grande variété de ce que l’on appelle “silences” — est un phénomène complexe qui prend une part directe dans la dynamique du langage et la création du sens linguistique, mais aussi dans la production du sens symbolique et des effets poétiques. Le travail est organisé en deux parties: la première traite la question de l'acte de silence dans l'expérience linguistique du monde, tandis que la deuxième analyse l'expérience poétique des silences en appliquant les résultats précédemment obtenus au Coup de dés de Stéphane Mallarmé. Plus précisément, dans la partie linguistique, on passe en revue différentes théories pour dégager la place que le silence s’y voit reconnaître. On l’étudie successivement en tant que signe linguistique, en tant qu’acte linguistique, comme élément pertinent, comme procédé rhétorique, comme phénomène symbolique. La partie poétique se fonde sur la théorie de l'évocation pour aboutir, en passant par un chapitre consacré à la poésie moderne dans son ensemble, à l'œuvre de Stéphane Mallarmé, le premier poète qui ait créé une véritable poétique des silences, tant dans ses ouvrages poétiques (dont le Coup de dés est l'exemple le plus radical) que dans ses écrits théoriques.

The Velay oriental (Massif Central, France) is a basaltic plateau with abundant viscous phonolite extrusions. The plateau lavas grade from alkali basalt to mugearite, but intermediate compositions are volumetrically scarce. Pyroclastics are absent. The most complete plateau sections are in the south, while in the north intermediate lavas appear only as viscous, phenocryst-rich extrusions. The plateau lavas were erupted between 11.7Ma and 7.6Ma, the southern phonolites 8.5Ma- 6.5Ma and new data show that the northern phonolites were erupted between 13.3Ma and 10.5Ma. Basement uplift occurred during the plateau-building stage, due to the emplacement of magma chambers. Intermediate lavas are scarce because they remained in the magma chambers due to their density, whereas phonolite was able to rise hydrostatically. The magma chambers were within 5km of the surface. Phonolites are divided into miaskitic and agpaiitic types on the basis of their chemistry and petrography. They evolved from the basalt by crystal settling in the magma chambers, whereas the aphyric plateau lavas evolved by plating crystals onto their conduit walls as they flowed towards the surface. Sr-isotopes show that the basalt-phonolite series is uncontaminated, whereas the northern intermediate lavas evolved by assimilation-fractional-crystallisation. A suite of cumulate nodules was recovered from a pyroclastic unit, which is probably younger than the Velay Miocene lavas. They are related to the northern intermediate lavas, and belong to the "Group II" class of nodules. Geothermobarometry suggests that both the cumulates and the northern intermediate lavas crystallised at a depth of 15-20km and probably became contaminated due to the smaller temperature difference between the geotherm and granite solidus at that depth. The vast majority of the Velay lavas are identical to alkalic ocean-island lavas, geochemically unaffected by their passage through the lithosphere, but with their relative proportions at the surface controlled by the density contrast between the basalt and basement granite.

The assertion that the Mahābhārata (MBh) narrative is innately incapable of achieving a conclusion has attained the status of a disciplinary truism in the epic’s study. My thesis challenges this prevalent assumption by proposing an un-investigated path of inquiry into the philological, historical, literary and semantic aspects of the epic. The thesis discusses the ending of the MBh, the Svargārohaṇa parvan (SĀ) by exploring several trajectories: the study of the SĀ in epic scholarship; its reception in the later tradition in Sanskrit literature; and finally, the problematic aspects of the SĀ and its relation to the rest of the narrative. It first points out that in comparison to other MBh episodes, the SĀ has been received with significant disregard or suppression in the literature commenting on the epic. Second, it characterizes the nature of the suppression of the SĀ in each of the three literary strands commenting on the MBh (epic scholarship, Sanskrit adaptations and theoretical discourses). It argues that all of these considerations, which are external to the MBh, have tended, in various modes, to suppress, ignore or overlook the importance of the SĀ. The thesis then proceeds to argue that on the most significant and internal level of the text itself, the SĀ is intrinsically consistent with the rest of the MBh narrative, and that this makes it thematically integral to the text as a whole. This argument derives from the importance with which this study addresses the moment of the condemnation of dharma in the SĀ, and is furthered by a philological and semantic study, as well as textual analyses of the multiple occurrences of the Sanskrit verb garh throughout the MBh. The use of this verb by the epic protagonist, Yudhiṣṭhira, in condemning his father, Dharma, at the last scenes of the SĀ comprises a key moment that bears significant and myriad implications upon the understanding of this pivotal concept (dharma), to which the entire epic is devoted.

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