The purpose of this study was to investigate the Quiet Time Programme as a technique to maintain learner discipline in primary schools in Chatsworth, Durban. Data regarding the impact of the Quiet Time Programme on positive discipline was collected. Questionnaires were used to collect the data. Data was collected from principals, educators and learners. Three primary schools in Chatsworth were used. A quantitative research approach was used in this study. The empirical investigation revealed that there are many learner discipline issues that educators are faced with on a daily basis. The investigation also demonstrated the ineffectiveness of the alternatives to Corporal Punishment that are used at schools currently. This study introduced the Quiet Time Model. Principals, educators and learners revealed their perceptions of the Quiet Time Programme. The study concluded with the discussion of the major findings emanating from the data analysis. Recommendations have been provided to schools for drawing up their discipline policies. The role of the principals, parents, educators and learners play in creating an environment conducive to teaching and learning must be considered. Some techniques to keep all stakeholders interested and inspired in the implementation of new discipline techniques are provided. / Educational Management and Leadership / M. Ed. (Education Management)

L’historiographie récente du catholicisme québécois a passé pratiquement sous silence la vie et l’épiscopat de Mgr Paul Grégoire, archevêque de Montréal de 1968 à 1990. Pourtant, son épiscopat s’est déployé pendant une période cruciale de l’histoire du Québec et de l’Église catholique. Lorsque Mgr Grégoire devient archevêque de Montréal en avril 1968, le Québec vit encore sa Révolution tranquille, une période qui a vu l’éclosion au Québec de mentalités et moeurs nouvelles à l’enseigne du rejet du passé, sous l’impulsion d’une sécularisation et d’une déchristianisation déferlantes. De son côté, l’Église catholique vit son propre renouveau identitaire, fruit des travaux du Concile Vatican II, terminé depuis décembre 1965. C’est au confluent de ces deux renouveaux identitaires que l’épiscopat de Mgr Grégoire va prendre forme. L’archevêque de Montréal devra faire face à de nombreux défis inédits sur les fronts externes et internes. Ad extra, il devra prendre acte des défis d’une nouvelle donne sociale extrêmement défavorable à son Église, notamment sur le flanc de la confessionnalité du système d’éducation. Ad intra, il devra implanter les réformes conciliaires dans son diocèse, non sans avoir à affronter plusieurs résistances et incompréhensions, dont certaines deviendront des crises remettant en question la qualité de son leadership comme archevêque de Montréal. Au moment de sa retraite en mars 1990, Monsieur le cardinal Grégoire aura vu l’Église catholique perdre la majeure partie de son influence morale et spirituelle sur la société montréalaise et québécoise. Même si sa personnalité ne l’avait pas desservi dans ses efforts pour imprimer à l’Église de Montréal son orientation doctrinale, sa discipline et son style, on voit mal comment il aurait pu contrer significativement une évolution toute-puissante dans sa globalité. C’est ce que révèle le bilan de son épiscopat. / The recent historiography on Catholicism in the Province of Québec has neglected the life and episcopate of Paul Grégoire, archbishop of Montréal from 1968 to 1990. Yet his episcopate covers a crucial period in the history of the Province and the Catholic Church. When he became archbishop of Montréal in April 1968, the Province of Québec was still in the midst of its Quiet Revolution, a period of growing change in mentalities and morals brought on by a rejection of the past and the rising tide of secularization and dechristianization. For its part, the Catholic Church was going through its own renewed identity process as a result of the Second Vatican Council which had ended December 1965. It is at the juncture of these two renewed identities that Archbishop Grégoire’s episcopate took shape. The prelate had to cope with many new challenges both on the external and internal fronts. Ad extra, he had to meet the challenges of a new social order extremely unfavorable towards his Church, particularly concerning the denominational school system. Ad intra, he had to implement the Council reforms throughout his diocese and in so doing encountered a great deal of resistance and much misunderstanding which sometimes led to crises casting doubt on his leadership. At the time of his retirement in March 1990, Cardinal Grégoire had seen the Catholic Church lose the greater part of its moral and spiritual influence on the Montréal and Québec societies. He had set out to mold the Church of Montréal according to his doctrinal orientation, his discipline and his style. Even while taking into consideration that his personality was not best suited for the task, we fail to see how he could have significantly countered the great opposing forces at work. The study of his episcopate clearly reveals this.

Cette étude s’intéresse aux écrits portant sur le cinéma québécois qui ont été publiés durant les décennies 1960-70 dans les quatre principales revues de cinéma du Québec, soient Séquences, Objectif, Cinéma/Québec et Champ libre. Cherchant à les comprendre historiquement, elle situe ces publications dans l’évolution de la critique cinématographique au Québec et dans le développement sociopolitique de l’époque. Abordant chacune des revues individuellement, ce texte présente les rédacteurs, le rôle que se donnent les comités de rédaction, ainsi que leur approche du cinéma. Il soulève également les principaux enjeux abordés par chacune d’entre elles et il révèle le discours sur le cinéma québécois qui y est publié. Par la suite, cherchant à établir des constatations sur la critique cinématographique, à partir du corpus étudié, cette étude expose les interactions existant entre ces revues : les raisons derrière leur fondation et les réactions des comités de rédaction lors de l’arrivée de nouvelles concurrentes. En définitive, soulignant les différences et les ressemblances entre les discours sur le cinéma québécois retrouvées dans ces publications, cette étude présente la perception générale de la critique envers la production cinématographique de cette époque. / This study explores the writings on Quebec cinema found in the four main Quebec film magazines of the 1960s and 70s: Séquences, Objectif, Cinéma/Québec et Champ libre. In order to understand them historically, the publications are situated in relation to the development of film criticism in Quebec and within the socio-political context of the time. Examining each of the publications individually, the study presents the editors, the roles of the board of editors, and their approach to cinema. It also identifies the key issues each of the journals addressed by outlining the discourses on Quebec cinema that were published. Based on an analysis of the corpus, and seeking to draw more definitive conclusions about film criticism, this study then examines the various levels of interaction existing between the journals : the reasons for their establishment, and the editorial boards’ reactions to the arrival of new competitors. Highlighting the differences and similarities between the discourses on Quebec cinema found in these publications, this study ultimately reveals film criticism’s general perception toward the film productions of the time.

Postmemory is an interpretive theory that describes the relationship between the children of Holocaust survivors (Second-generation witnesses) and the trauma suffered by their parents. This thesis extends postmemory in two ways: first, postmemory is extended to include refugees who escaped the Holocaust. Thus, refugee families are situated in the three familial paradigms of Holocaust memory. Second, postmemory is extended to Third-generation witnesses (grandchildren of Holocaust survivors and refugees). Manifestations and representations of postmemory in Third-generation refugee families is demonstrated by authorial narration of photographs in third-generation refugee writer Erika Dreifus's short story collection Quiet Americans. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

The purpose of this study was to investigate the Quiet Time Programme as a technique to maintain learner discipline in primary schools in Chatsworth, Durban. Data regarding the impact of the Quiet Time Programme on positive discipline was collected. Questionnaires were used to collect the data. Data was collected from principals, educators and learners. Three primary schools in Chatsworth were used. A quantitative research approach was used in this study. The empirical investigation revealed that there are many learner discipline issues that educators are faced with on a daily basis. The investigation also demonstrated the ineffectiveness of the alternatives to Corporal Punishment that are used at schools currently. This study introduced the Quiet Time Model. Principals, educators and learners revealed their perceptions of the Quiet Time Programme. The study concluded with the discussion of the major findings emanating from the data analysis. Recommendations have been provided to schools for drawing up their discipline policies. The role of the principals, parents, educators and learners play in creating an environment conducive to teaching and learning must be considered. Some techniques to keep all stakeholders interested and inspired in the implementation of new discipline techniques are provided. / Educational Leadership and Management / M. Ed. (Education Management)

L’historiographie récente du catholicisme québécois a passé pratiquement sous silence la vie et l’épiscopat de Mgr Paul Grégoire, archevêque de Montréal de 1968 à 1990. Pourtant, son épiscopat s’est déployé pendant une période cruciale de l’histoire du Québec et de l’Église catholique. Lorsque Mgr Grégoire devient archevêque de Montréal en avril 1968, le Québec vit encore sa Révolution tranquille, une période qui a vu l’éclosion au Québec de mentalités et moeurs nouvelles à l’enseigne du rejet du passé, sous l’impulsion d’une sécularisation et d’une déchristianisation déferlantes. De son côté, l’Église catholique vit son propre renouveau identitaire, fruit des travaux du Concile Vatican II, terminé depuis décembre 1965. C’est au confluent de ces deux renouveaux identitaires que l’épiscopat de Mgr Grégoire va prendre forme. L’archevêque de Montréal devra faire face à de nombreux défis inédits sur les fronts externes et internes. Ad extra, il devra prendre acte des défis d’une nouvelle donne sociale extrêmement défavorable à son Église, notamment sur le flanc de la confessionnalité du système d’éducation. Ad intra, il devra implanter les réformes conciliaires dans son diocèse, non sans avoir à affronter plusieurs résistances et incompréhensions, dont certaines deviendront des crises remettant en question la qualité de son leadership comme archevêque de Montréal. Au moment de sa retraite en mars 1990, Monsieur le cardinal Grégoire aura vu l’Église catholique perdre la majeure partie de son influence morale et spirituelle sur la société montréalaise et québécoise. Même si sa personnalité ne l’avait pas desservi dans ses efforts pour imprimer à l’Église de Montréal son orientation doctrinale, sa discipline et son style, on voit mal comment il aurait pu contrer significativement une évolution toute-puissante dans sa globalité. C’est ce que révèle le bilan de son épiscopat. / The recent historiography on Catholicism in the Province of Québec has neglected the life and episcopate of Paul Grégoire, archbishop of Montréal from 1968 to 1990. Yet his episcopate covers a crucial period in the history of the Province and the Catholic Church. When he became archbishop of Montréal in April 1968, the Province of Québec was still in the midst of its Quiet Revolution, a period of growing change in mentalities and morals brought on by a rejection of the past and the rising tide of secularization and dechristianization. For its part, the Catholic Church was going through its own renewed identity process as a result of the Second Vatican Council which had ended December 1965. It is at the juncture of these two renewed identities that Archbishop Grégoire’s episcopate took shape. The prelate had to cope with many new challenges both on the external and internal fronts. Ad extra, he had to meet the challenges of a new social order extremely unfavorable towards his Church, particularly concerning the denominational school system. Ad intra, he had to implement the Council reforms throughout his diocese and in so doing encountered a great deal of resistance and much misunderstanding which sometimes led to crises casting doubt on his leadership. At the time of his retirement in March 1990, Cardinal Grégoire had seen the Catholic Church lose the greater part of its moral and spiritual influence on the Montréal and Québec societies. He had set out to mold the Church of Montréal according to his doctrinal orientation, his discipline and his style. Even while taking into consideration that his personality was not best suited for the task, we fail to see how he could have significantly countered the great opposing forces at work. The study of his episcopate clearly reveals this.

Cette étude s’intéresse aux écrits portant sur le cinéma québécois qui ont été publiés durant les décennies 1960-70 dans les quatre principales revues de cinéma du Québec, soient Séquences, Objectif, Cinéma/Québec et Champ libre. Cherchant à les comprendre historiquement, elle situe ces publications dans l’évolution de la critique cinématographique au Québec et dans le développement sociopolitique de l’époque. Abordant chacune des revues individuellement, ce texte présente les rédacteurs, le rôle que se donnent les comités de rédaction, ainsi que leur approche du cinéma. Il soulève également les principaux enjeux abordés par chacune d’entre elles et il révèle le discours sur le cinéma québécois qui y est publié. Par la suite, cherchant à établir des constatations sur la critique cinématographique, à partir du corpus étudié, cette étude expose les interactions existant entre ces revues : les raisons derrière leur fondation et les réactions des comités de rédaction lors de l’arrivée de nouvelles concurrentes. En définitive, soulignant les différences et les ressemblances entre les discours sur le cinéma québécois retrouvées dans ces publications, cette étude présente la perception générale de la critique envers la production cinématographique de cette époque. / This study explores the writings on Quebec cinema found in the four main Quebec film magazines of the 1960s and 70s: Séquences, Objectif, Cinéma/Québec et Champ libre. In order to understand them historically, the publications are situated in relation to the development of film criticism in Quebec and within the socio-political context of the time. Examining each of the publications individually, the study presents the editors, the roles of the board of editors, and their approach to cinema. It also identifies the key issues each of the journals addressed by outlining the discourses on Quebec cinema that were published. Based on an analysis of the corpus, and seeking to draw more definitive conclusions about film criticism, this study then examines the various levels of interaction existing between the journals : the reasons for their establishment, and the editorial boards’ reactions to the arrival of new competitors. Highlighting the differences and similarities between the discourses on Quebec cinema found in these publications, this study ultimately reveals film criticism’s general perception toward the film productions of the time.

L’idée de « représentation du monde sans jugement », double visée du réel et du neutre, rassemble des œuvres qui aspirent à donner à voir le monde sans en orienter le commentaire et en débusquant le jugement dans nos représentations. En faisant l’hypothèse d’un « réalisme neutre », nous étudions les stratégies dramaturgiques de suspension du sens qui répondent à cette intention. Nous interrogeons l’existence d’une lignée de dramaturges qui, depuis le théâtre clinique de Tchekhov et à l’opposé du théâtre critique brechtien, conduit le spectateur à « l’étonnement d’un monde sans procès » (Barthes). En confrontant ces représentations du monde sans jugement au théâtre documentaire et au réalisme critique brechtien, nous analysons un changement de paradigme dans la représentation du réel, sa modélisation clarifiante et engagée laissant place à une expérience ouverte à l’interprétation. De Horváth aux auteurs quotidiennistes, en passant par Fleisser, Adamov, Kroetz et jusqu’à des réinventions contemporaines d’un théâtre « presque documentaire », comment ces esthétiques de la monstration échappent-elles à une simple symptomatologie superficielle du monde ainsi qu’aux malentendus induits par la délégation du jugement au spectateur ? Cette question oriente notre étude des décentrements dramaturgiques du réalisme, à travers lesquels s’affirment une autre pensée de la responsabilité critique du dramaturge et une dimension politique du neutre. Les œuvres et démarches de M. Vinaver, O. Hirata, J. Pommerat et L. Norén illustrent quatre modalités de ce « réalisme neutre », de l’exemption à la pluralisation du sens, en passant par le trouble, l’errance ou le saisissement du spectateur. / Prejudice-free depictions of the world are the aim both of reality and of any neutral approach. They bring together works of art that show the world without inducing any commentary while exposing our opinions in all representations. We will hypothesise the concept of “neutral realism” to analyse the strategies used by dramatic arts to produce suspension of meaning. We question the existence of a tradition of dramatic authors – ranging from Tchekhov’s “clinical theater” to Brecht’s “critical theater” – that lead spectators to what Barthes termed the “astonishment upon discovering a trial-free world”. We will weigh such prejudice-free representations of the world against documentary drama and against Brecht’s critical realism. Such a comparison will evidence a paradigm shift where an explicit, committed type of modelling seems to give way to a more open interpretative experience. From Horváth to daily-life authors and to Fleisser, Adamov, Kroetz and other contemporary re-inventors of “quasi- documentary-style” drama, the question can be thus articulated: how do such illustrative aesthetics succeed in circumventing both merely superficial symptomatology of the world and the misunderstandings that might arise from the decision of leaving the viewer to judge the work on their own? The answer to the question guides our analysis of the dramatic arts’ decentering of realism, through which another vision of the responsibility of the dramatic author emerges, as well as a new take on the political nature of a neutral approach. The works and reflections of M.Vinaver, O. Hirata, J. Pommerat and L. Norén evidence four aspects of this “neutral realism”, ranging from the cancellation of meaning to multifaceted meaning and to troubled, disconnected or awed spectators.

En 1960, Fernand Cadieux et Pierre Juneau créent le premier Festival international du film de Montréal. Chaque année le Festival a lieu au mois d’août jusqu’à l’Expo 67, événement qui marque à la fois le point culminant et final de cette aventure culturelle. L’histoire de cette institution touche à la culture, au personnalisme, au nationalisme, à la cinéphilie ainsi qu’à l’institutionnalisation et à l’industrialisation du cinéma au Canada et au Québec pendant les années cinquante et soixante. Conçu sous le régime politique de Duplessis par d’anciens membres de la Jeunesse étudiante catholique qui deviendraient presque tous fédéralistes, le Festival constitue un objet idéal d’histoire culturelle propice à étendre la compréhension des origines catholiques de la Révolution tranquille. Au plan culturel, il permet aussi de comprendre plus finement la resynchronisation du Québec dans la trajectoire de la modernité, ainsi que les répercussions du choc entre nationalistes et gauchistes québécois contre libéraux fédéralistes. Ce mémoire permet aussi de découvrir le FIFM comme institution cinématographique québécoise, le réseau d’acteurs et d’établissements qui le soutiennent et l’objet de leur passion : les films. La présente analyse explore la manifestation dans ses dimensions à la fois cinématographique et politique, artistique et historique. / In 1960, Fernand Cadieux and Pierre Juneau founded the first Montreal International Film Festival. This great cultural adventure was held each August, up until what became its culminating and final year: that of Expo ’67. The history of the festival is intrinsically linked to culture, personalism, nationalism, and cinephillia, as well as the institutionalization and industrialization of cinema in Canada and Quebec during the 1950s and 60s. Created under the political regime of Duplessis by former members of the Jeunesse étudiante catholique (Young Christian Students), who would almost all become federalists, it became apparent to me that the festival constituted a cultural-historic event conductive to expanding our understanding of the Catholic origins of the Quiet Revolution. It also allowed for a finer understanding of the resynchronization of Quebec with modernity and the shock waves that emanated from this change, in particular, between leftists Quebec nationalists against federal Liberals. Moreover, this paper allows us to discover the FIFM in its role as a Quebec cinemagraphic institution, as well as the community of actors and establishments that supported it and the object of their passion: film. The wager is therefore, to analyze in one hundred or so pages, the multiple facets of these issues: the cinemagraphic, political, artistic and historic.

The theme of this work is the building design, brand new mountain hotel with wellness services in Spindleruv Mlyn. The plot is located in a quiet part of town, near a wooded area and form a river Labe.V designed hotel is located three floors above ground level of the building is solved attic space. Roofed by a wooden roof false hip roof. Ground unsophisticated form a geometric shape, which layout is divided into sections. On the ground floor wellness facilities, a portion of the input dopňkovými with hotel services, floor is done mainly for accommodation, as well as the attic. Hotel is equipped with a slightly sloping plot in the construction of houses and other hotels. All living spaces are naturally ventilated and illuminated. The supporting structure consists Liapor system. The appearance of the hotel is in line with the surroundings.