Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2008-2009 / Le silence prend une place importante dans la VIe réelle tout comme dans la littérature. Le texte de création intitulé Ce qui viendra montre comment le silence s'épanouit dans une oeuvre de fiction, alors que l'analyse portant sur La terre ferme et Après la nuit rouge de Christiane Frenette procède à l'inventaire des formes qu'il emprunte, des thèmes qui lui sont connexes et des éléments qui constituent sa typologie. L'analyse privilégie surtout la façon dont le silence recoupe la psychologie des personnages pour devenir un signe avant-coureur de la quête identitaire de ceux-ci.

Partie 1 : La corbeille d'Alice (roman) Alice rentre difficilement d'un long voyage. Pour faire le deuil de sa grande histoire d'amour, elle essaie d'écrire une lettre d'amour et d'adieu dont les différentes versions s'empilent dans sa corbeille. Le beau Simon, son meilleur ami et voisin, voudrait survivre à son enfance. Il achète une tour en ruines qu'il devra reconstruire pierre par pierre. Ces deux personnages partagent des moments tissés de silence où chacun prend soin de l'autre à sa manière, mais leur amitié comporte sa part d'ambiguïté, à laquelle ils n'échappent pas. La corbeille d'Alice est un court roman d'amour, d'amitié et de deuil, raconté du bout des lèvres. Partie 2 : Les éléphants à l'Université ; comment la création littéraire est entrée à l'Université et a modifié le paysage littéraire nord-américain (essai) Cet essai propose une réflexion sur la place de la création littéraire à l'Université. Il tente de comprendre et de raconter l'émergence des programmes de création littéraire dans les universités nord-américaines. Il permettra de saisir l'importance, pour le paysage littéraire nord-américain, des changements survenus au sein des universités et des choix sociétaux qui les sous-tendent. Il met en relation des réflexions d'auteurs étatsuniens et québécois. Enfin, il tente de montrer comment la création littéraire peut faire l'objet d'un enseignement au niveau universitaire, et en quoi elle constitue un domaine de recherche.

Cette thèse de doctorat en recherche-création se veut une rencontre avec Marie Guyart, autant dans la partie création que dans le segment recherche. La partie création de la thèse, D’errance et d’espace. Accompagnement de Marie Guyart, est constituée de textes poétiques versifiés (ayant comme thèmes l’errance et l’espace de la nature : mer – forêts – Nord – fleuve – froid – ciel – terres) accompagnés des écrits épistolaires de Marie Guyart traitant des mêmes thèmes. Cet accompagnement littéraire a comme double objectif d’employer les textes de l’Ursuline comme élément déclencheur de la création poétique, ainsi que de produire une oeuvre au caractère inédit réunissant deux femmes des XVIIe et XXIe siècles. Une oeuvre de création doctorale qui expose la mystérieuse fondation de la parole s’étant tissée au-delà du temps et de l’espace. L’essai D’errance et d’espace chez Marie Guyart a comme objectif, d’une part, de démontrer la pertinence du choix des textes de l’Ursuline au regard des thèmes abordés dans la partie création et, d’autre part, de montrer la vie de la Mère de la Nouvelle-France sous un angle neuf. La grande majorité des chercheurs reviennent souvent sur l’aspect d’une existence cloîtrée à l’intérieur de laquelle la religieuse ne recherche qu’à s’abîmer en Dieu. Si cette vision de Guyart s’avère pertinente, il m’apparaît important d’élargir celle-ci en approfondissant le lien de l’Ursuline à l’espace de la Nouvelle-France à partir principalement de ses textes épistolaires portant sur des terres lointaines. Nous découvrons alors comment la religieuse vit son désir d’errance dans sa relation singulière au territoire. Par ses mots, Marie Guyart se rend aux quatre coins de son pays d’adoption. Elle s’évade, elle parcourt, elle nourrit son besoin d’espace mystique. L’essai Poésie et mystique : au coeur d’une rencontre traite de la naissance du lien entre Guyart et la doctorante, lequel s’est poursuivi dans le segment création de la thèse. J’explique et interroge la manière dont s’est vécue cette rencontre littéraire entre une mystique écrivaine et une poète en quête d’absolu, et ouvre la discussion en abordant plus largement des questionnements sur tout acte créateur. / This research-creation doctoral thesis is a rendezvous with Marie Guyart, in both segments of its composition. The creation part, D’errance et d’espace. Accompagnement de Marie Guyart, is composed of versified poetic lyrics (with themes of wandering and nature: ocean – forest – North – river – cold – sky – land) accompanied by some of Marie Guyart’s written correspondence treating of the same themes. This literary accompaniment has the double objective of employing the Ursuline’s words as a trigger element of the poetic creation as well as producing a work of original character bringing together two women of the XVIIth et XXIst centuries. A doctoral creative work demonstrating the mysterious foundation of speech woven beyond time and space. The first research segment, D’errance et d’espace chez Marie Guyart, has as objective, on the one hand, to demonstrate the relevance of the Ursuline’s texts with regard to the themes treated in the creation part and, on the other hand, to show the life of the Mother of New France from a new angle. The vast majority of researchers often deal with the aspect of a cloistered life within which the nun seeks only to lose herself in God. Even if this vision of Guyart is relevant, I consider it important to broaden this view by looking at the connection between the Ursuline and space in New France as witnessed mainly in her letters treating of distant lands. This allows us to see how the nun lives out her desire for journeying through her unique relation to the territory. Through her words, Marie Guyart travels to the four corners of her adopted land. She breaks free, she journeys, she feeds her need for mystical space. The second research segment, Poésie et mystique : au coeur d’une rencontre, treats of the birth of a bond between Guyart and the doctoral student, which bond held fast throughout the creation segment of the thesis. I illustrate and question the manner in which this literary encounter occurred between a mystical writer and a poet in search of the absolute and thus open discussion to a broader approach to the creative act in general.

Ce mémoire de création littéraire se divise en deux parties. La première contient quatre nouvelles liées qui composent un cycle intitulé « Fait d'hiver » ; la deuxième partie tente de retracer les étapes de la genèse du dernier récit du cycle, « Caribou ». Cette analyse prend la forme d'une fouille archéologique qui identifie les sources de la création en tant qu'artefacts. Le texte d'un fait divers paru dans Le Soleil le 7 janvier 1977 sert de point de départ à une série d'événements génétiques qui transforme le fait en fiction et la réalité en une possibilité de vérité. L'apport de la mémoire à l'écriture fait l'objet d'une attention particulière. Une volonté de faire de ce mémoire un tout plutôt que deux parties distinctes informe le choix du sujet traité, soit la génétique du texte proposé, ou, en d'autres termes, le making of de « Fait d'hiver ».

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012 / La partie création consiste en un recueil d'une trentaine de courts essais ayant paru d'octobre 2008 à avril 2011 sous forme de chroniques dans la rubrique Renauderies du journal Droit de Parole, journal mensuel communautaire des groupes populaires distribué au centre-ville de Québec en 15 000 exemplaires. La partie réflexion se penche sur une forme de chronique de facture intimiste entrevue par Vincent Charles Lambert et s'avérant particulièrement populaire au début du XXe siècle au Québec dans les grands journaux de masse, le « billet ». L'étude de ces billets vise à mieux évaluer, sur le plan littéraire, les possibilités qu'implique la diffusion d'une écriture autonome en regard de l'actualité, à l'intérieur d'un journal se voulant essentiellement informatif. La participation du poète « intimiste » Albert Lozeau au journal Le Devoir entre 1910 et 1924 offre un excellent exemple de la créativité que peut susciter l'écriture du « billet » et c'est pourquoi le présent mémoire lui consacre une place privilégiée. Un carnet de création vient clore le mémoire et permet de préciser en quoi l'étude des « billettistes » est venue alimenter la réflexion sur l'écriture des Renauderies. Il fait le lien entre les deux parties du mémoire et raconte l'expérience de l'auteur dans le contexte médiatique concret.

The goal of this study is to evaluate, in which manner the Non-Israelites turn to Yahweh. It works with a combination of narrative analysis and intertextuality. The book of Jonah contains two symmetrical parts (1-2 and 3-4), each part containing three scenes, each scene relating to a scene in the other part: 1.1-3 // 3.1-3a; 1.4-16 // 3.3b-10; 2.1-11 // 4.1-11. The structure of 1.4-16, including the inner development of the mariners, shows that a conversion of the Seamen to Yahweh is intended. In the same manner the structure of 3.3b-10 and the positive characterization of the Ninevites show that a conversion to the one true God is intended. These results are each confirmed by an intertextual analysis of 1.14 and 16 and of the faith, the repentance and the God who relents. Result: The book of Jonah teaches that Non-Israelites can have a relationship with Yahweh. This is possible through an Israelite, becoming reality by conversion of the Heathen. / Old Testament & Ancient Near Eastern Studies / M. Th. (Old Testament)

In March 2011, the European Commission submitted a proposal for a Council Directive on an optional common consolidated corporate tax base (CCCTB). If this proposed CCCTB system comes into force, taxes calculated under the currently existing system of separate accounting might be replaced by a system of group consolidation and formulary apportionment. Then, multinational groups (MNGs) would face the decision as to whether to opt for the CCCTB system. Prior research focuses mainly on the differences in economic behaviour under both systems in general. By con-trast, we study the conditions under which one or the other tax system is preferable from the per-spective of an MNG, with a particular focus on loss-offsets. We identify four effects that determine the decision of an MNG: the tax-utilization of losses, the allocation of the tax base, the dividend and intragroup interest taxation. We find mixed results, e.g., that the CCCTB system proves ad-vantageous for increasing loss/profit streams (e.g. from start-ups or R&D projects) of the individual group entities, whereas the system of separate accounting is beneficial for decreasing profit/loss streams (e.g. caused by a decrease in return from a mature product). The results of our analysis are helpful for MNGs facing the decision as to whether to opt for the CCCTB system and can also support legislators and politicians in the EU but also in other regions in their tax reform discussions. (authors' abstract) / Series: WU International Taxation Research Paper Series

This project explores the nature and extent of the relationship between Blake and Whitman. I examine their works to find affinities in tone, style and themes and seek to understand the origin of these affinities. The resultant discoveries, however, lead to the conclusion that, because of Whitman’s lack of exposure to Blake’s work, these affinities must be accounted for through a coterie of indirect influences on Whitman. Over the course of the introductory chapter, I establish the critical proclivity of connecting William Blake and Walt Whitman, providing examples of such critical interpretation; in addition, I provide an introduction to the key figures, terms, and works with which this thesis engages. The work of the second chapter of this project is to uncover in Whitman’s work, before he could have read Blake, those elements that are read as points of contact between them. Through close readings, I show that those aspects of Whitman’s work which are read as points of contact between Blake and Whitman predate Whitman’s exposure to Blake’s work, and so necessitate an engagement with influences shared by Blake and Whitman. The third chapter articulates the notion that a variety of influences affected Whitman’s composition of Leaves of Grass, and these various influences serve as an explanation for those apparent similarities between Blake and Whitman discussed in chapter two. The final element this chapter engages with is that of nineteenth-century periodical culture; this aspect of the influences articulated in this chapter provides a secondary explanation for the similarities discussed in the second chapter. The fourth and fifth chapters focus on the 1860 and 1867 iterations of Leaves of Grass and the 1867 and 1871–72 versions of Leaves of Grass, respectively, both with special emphasis on the poem that would become “Song of Myself.” The changes seen throughout these iterations will be used to understand Whitman’s evolving prosody as well as his changing public persona. These chapters also engage with the work of Swinburne, in chapter five, and of Gilchrist, in chapter four, as integral elements of this mediated influence of Blake on Whitman. In the final chapter of this work, I summarize my findings, suggest possible avenues for further inquiry, and discuss the implications of this research. There is a trend in Anglo-American literary criticism to see the relationship between America and England as adversarial rather than generative. The concluding chapter of this work will explore the idea of the Anglo-American literary tradition as a continuum—a complex of acceptance, extension, transformation, and refusal—and place the relationship of Whitman to Blake accurately on this continuum.

In 1989 the American Surrealist associated painter, sculptor, and writer Dorothea Tanning (1910-2012) suggested an intermedial dimension to her multifaceted œuvre in her essay ‘Some Parallels in Word and Pictures.’ Taking this essay as a critical point of departure, this thesis offers an intertextual theorisation of Tanning’s practice. It concerns the role of narrative in her work, and the way in which she borrows from the histories of art and literature as source materials. The thesis presented here is that Tanning’s work from the context of Surrealism and beyond makes reference to the fairy tales and other, more extensive works of literature which she read in her youth whilst at work in her public library in Galesburg, Illinois, whether implicitly in visual references or explicitly in her works’ titles. Throughout, the library is read as a key source of inspiration. This is true too of the impact which Tanning’s belated visit to the Louvre had on her post-Surrealist stylistic development. Broadly, this thesis aims to rethink the methodologies used to interpret Surrealism, and reunite the literary and visual aspects upon which the Surrealist movement was initially founded. This interdisciplinary approach contributes fresh perspectives by marrying the history of Surrealism with that of the fairy tale, including that of Lewis Carroll, Hans Christian Andersen, and the fairy tale illustrations of Gustave Doré, Maxfield Parrish, Arthur Rackham, and John Tenniel. The anti-fairy tale emerges as useful critical tool in defining the intertext which appears when Surrealism and the fairy tale are paired. The ‘demythologising’ project of Angela Carter is useful to call upon in the articulation of the anti-fairy tale, and her work is easily placed in dialogue with that of Tanning, especially in terms of its feminist leanings. The dialogic, intertextual theories of Mikhail Bakhtin, further developed by Julia Kristeva and Roland Barthes, support this reading of Tanning’s visual narratives. More recently such theories of intertextuality have manifested themselves in the work of Dutch narratologist Mieke Bal who proposes a model of ‘preposterous history’ in order to creatively re-read the relationship between source (or pre-text) and intertext. This research is primarily text-based and devotes long-awaited attention to Tanning’s literary works which are read visually, including her short story ‘Blind Date’ (1943), and her novel 'Abyss' (1977), later reworked and republished as 'Chasm: A Weekend' (2004). I argue that her novel provides textual continuity with her Surrealist visual narratives of the 1940s creating a more cyclical, ‘preposterous’ shape to her career than has previously been acknowledged.

This thesis considers images of the falling body after the terrorist attacks of 11 September 2001, starting with Associated Press photographer Richard Drew’s photograph of a person falling to their death from the north tower of the World Trade Center. From this specific photograph, this thesis follows various intersecting lines in what I am calling a meshwork of falling-body images. Consequently, each chapter encounters a wide range of examples of falling: from literature to films, personal websites to digital content, and immersive technologies to artworks. Rather than connecting these instances like nodes, this thesis is more concerned with exploring lines of relation and the way the image moves along these lines. This thesis will argue that the falling-body image offers an alternative topology of the attacks: as enmeshed in the unfolding lines of life of web users, artists, directors and writers alike. In this way, this thesis outlines the ways we have lived with the image of falling, and the event itself, and how we continue to experience its unfolding consequences.