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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée d'un document visuel. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / L'action interactive avec le numérique est quotidienne. Toutefois, peu de réflexions sur le sujet mettent en avant l'importance de la trace dans cette relation qui nous lie à la machine. Une expérience interactive engendre souvent une trace et c'est à partir de cet élément capital que nous réfléchissons, dans ce mémoire, sur la relation entretenue avec notre environnement numérique interactif. La trace est alors comprise comme une nouvelle approche épistémologique des arts numériques interactifs. Penser le numérique comme immatériel suppose une quasi-inexistence de la trace présente au sein d'une oeuvre numérique, impliquant une mystification. Tout au long de cette recherche, notre objectif est donc de redonner une matérialité à la trace, afin qu'elle puisse s'intégrer dans notre paysage que l'on dit matériel. C'est l’oeuvre Pulse Room (2006) de Rafael Lozano-Hemmer qui va nous permettre de constater les ambivalences et les convergences qui existent dans l'approche d'une société informatisée face à la machine numérique, et de saisir la manière dont nous évaluons la trace qui est laissée dernière chacune de nos prestations numériques. C'est uniquement au moment où la trace numérique intégrera une certaine matérialité que nous serons capables de nous considérer en tant qu'objet de réflexion, de distinguer la manière dont nous nous comportons face à cet environnement et d'apprendre à être critiques. / The interactive action with the digital is daily. However, few thoughts on the subject highlight the importance of the trace in this relationship which links us to the machine. Often, an interactive experience generates a trace and it is from this important element that we are thinking, in this master’s thesis, on the relationship with our interactive digital environment. The trace is then understood as a new epistemological approach to interactive digital arts. To think the digital as immaterial generates an almost non-existent of the trace within a digital work, involving a mystification. Throughout this research, our goal is to give back materiality to this trace, so that it can fit into our landscape called material. The work Pulse Room (2006) by Rafael Lozano-Hemmer will enable us to reflect on the ambivalences and convergences that exists in the approach of a computerized society in front of the digital machine, and understand how we evaluate the trace that is left behind each of our digital performances. It's only when the digital trace will incorporate a certain materiality, that we will be able to see ourselves as an object of reflection, to discern how we behave facing this environment and learn to be critical.

À partir d’une étude descriptive et comparative des pièces dramatiques Les Feluettes (1987) et Les Muses orphelines (1988) de Michel Marc Bouchard (Québec) ainsi que Feliz cumpleaños, señor ministro (1992) et Madre amantísima (2003) de Rafael Mendizábal (Espagne), le présent mémoire traite de la représentation des homosexualités à travers les relations amoureuses et familiales, les subversions du genre, l’homophobie, ainsi que la pandémie de sida et son impact au niveau théâtral et littéraire. L’approche méthodologique employée est la perspective des études du genre et des études queer. Comme conclusions, on constate que les relations amoureuses sont marquées par la valorisation paradoxale du cadre de l’amour romantique classique, entre libération et homonormativité, en plus d’une représentation de la sexualité articulée par des rôles polarisés. Les relations familiales, pour leur part, s’organisent autour de la figure paternelle associée avec d’importantes nuances au discours dominant hétérosexiste, et se décline parallèlement en la figure du père absent et désintéressé. De même, les figures maternelles sont majoritairement absentes ou effacées, bien que ce constat soit renversé par une figure maternelle traditionnelle particulièrement forte. Dans tous les cas, la figure maternelle reste idéalisée. Les identités de genres sont étudiées sous l’angle des identités dichotomiques lesbiennes et de l’effémination entant que subversions des normes dominantes du genre et l’articulation sexiste du phénomène de l’homophobie, motivé par le tabou de l’homoérotisme et son poids en scène. / Based on a descriptive and comparative study of Michel Marc Bouchard’s Les Feluettes (1987) and Les Muses orphelines (1988) from Quebec, along with Rafael Mendizábal’s Feliz cumpleaños, señor ministro (1922) and Madre amantísima (2003) from Spain, this study deals with the representation of homosexualities in theatre through love and family relationships, gender subversions, homophobia, as well as the AIDS pandemic and its literary and theatrical impact. The methodological framework borrows from queer and gender studies. This study concludes that homoerotic love relationships are defined by the paradoxical valorisation of the frames of classical romantic love, between liberation and homonormativity, and a representation of sexuality articulated on polarized roles. For their part, family relationships are organized around the father-figure linked in different shades to the dominant, heterosexist discourse, alongside the figure of the absent and uncompromised father. Likewise, the maternal figures are mainly absent or self-effacing, even though this statement is reversed by an especially strong maternal figure. In all cases, mother-figures remain idealized. Gender identities are studied from the angle of lesbian dichotomous identities and effemination as subversions of dominant norms of gender, and also considering the sexist articulation of homophobia, strengthened by the taboo of homoerotism and its weight in the theatrical discourse. / A partir de un estudio descriptivo y comparativo de las obras Les Feluettes (1987) y Les Muses orphelines (1988) del quebequense Michel Marc Bouchard y de Feliz cumpleaños, señor ministro (1992) y Madre amantísima (2003) del español Rafael Mendizábal, esta memoria trata de la representación de las homosexualidades a través las relaciones amorosas y familiares, las subversiones del género, la homofobia así como la pandemia de sida y su impacto a nivel teatral y literario. El marco teórico en el que se inscribe este estudio son los estudios de género y los estudios queer. Como conclusiones de este estudio, se constata que las relaciones amorosas son marcadas por la paradójica valorización del marco del amor romántico clásico, entre liberación y homonormatividad, además de una representación de la sexualidad articulada en roles polarizados. Por su parte, las relaciones familiares se enredan alrededor de la figura del padre asociada a diferentes grados al discurso dominante heterosexista, y que también se declina en la figura del padre ausente. Del mismo modo, las figuras maternas son mayoritariamente ausentes o borrosas, aunque una figura materna particularmente fuerte sea la excepción de la regla. En todos los casos, la figura materna permanece idealizada. Las identidades de género son estudiadas a partir de las identidades lesbianas dicotómicas y de la afeminación como subversio-nes de las normas dominantes del género y la articulación sexista del fenómeno de la homofobia, motivado por el tabú del homoerotismo y su peso en el escenario. / A partir de um estudo descritivo e comparativo das peças teatrais Les Feluettes (1987) e Les Muses orphelines (1988) do quebequense Michel Marc Bouchard e de Feliz cumpleaños, señor ministro (1992) e Madre amantísima (2003) do espanhol Rafael Mendizábal, esta tese discurre sobre a representação das homossexualidades no teatro a través das relações amorosas e familiares, das subversões do gênero, da homofóbia assim como da pandemia de sida e do seu impacto à altura do teatro e da literatura. O quadro teórico no que este estudo se encaixa são os estudos de gênero e os estudos queer. Nas conclusões, parece que as relações amorosas são marcadas pela valorização paradoxal do marco do amor romántico clássico, entre liberação e homonormatividade, além de uma representação da sexualidade articulada em funções polarizadas. Pela sua parte, as relações familiares enmaranham-se em torno à figura do pai-de-família, associada com maior o menor força ao discurso dominante heterossexista, que também fica presente sob a figura do pai ausente. Da mesma maneira, as figuras maternáis são ausentes u apagadas en maioria, mesmo se uma figura maternal notadamente forte seja a excepção da regla. Em todo caso, a figura da mãe fica sendo idealizada. As identidades de gênero são estudadas a partir das identidades lésbicas dicotómicas e da afeminação como subversões das normas dominantes do gênero e a articulação sexista do fenómeno da homofobia, motivada pelo tabu do homoerotismo e o seu peso no cenário. / Основываясь на описательно-сравнительном анализе пьес Мишеля Марка Бушара (Квебек) Les Feluettes 1987 году и Les Muses orphelines 1988 году, а также Рафаэля Мендисабаля (Испания) Feliz cumpleaños, señor ministro 1992 году и Madre amantísima 2003 году, данное эссе затрагивает тему гомосексуализма через любовь и семейные отношения, искажение половых ролей, гомофобию, распространение СПИДа, и его влияние в литературе и театре. Любовные отношения определены главным образом рамками классической романтической любви между освобождением и гомонормативностью, наряду с представлением о сексуальности, выраженном в противоположных ролях. Семейные отношения строятся вокруг фигуры отца, олицетворяющей доминирующие общественные нормы и табу гомосексуализма, или фигуры рассеянного и отвлеченного отца. Таким же образом, фигуры матери в основном незначительны или незаметны, однако это утверждение может быть опровержено присутствием особенно сильной материнской фигуры в других пьесах. В любом случае, фигуры матери остаются идеализированы. Гендерная пренадлежность изучаются с точки зрения двоякого понимания личности лесбиянок как искажения доминирующих половых ролей, а также учитывая сексистское выражение гомофобии, укрепленное табу гомоэротизма и его значения в рамках театра. / انطلاقا من دراسة وصفية و مقارنة لأعمال الزنابق والمصادر الروحية اليتيمة لميشال مارك بوشارد (كيبيك ) وكذلك عيد ميلاد سعيد والسيد الوزير و الأم المحبة لرفايل مونديزبال (إسبانيا ) ، تعالج هذه الأطروحة موضوع المثلية الجنسية عبر علاقات الحب و العلاقات العائلية، فتن الجنس، فوبيا المثلية، و كذلك وباء السيدا و تأثيرها على المستوى المسرحي و الأدبي . تتميز علاقات الحب بتعزيز متناقض لإطار الحب الرومانسي الكلاسيكي، بين حرية و رؤيا منفتحة و عادية للمثلية الجنسية، بالإضافة إلى تمثيل النشاط الجنسي بناء على أدوار الإستقطاب . فيما يخص العلاقات العائلية، فإنها تنظم حول شخص الأب المرتبط بفوارق دقيقة و هامة ضمن الخطاب المهيمن للمغايرة الجنسية، و يتمحور بشكل موازي في هيئة الأب الغائب و غير المهتم . من خلال الرؤيا ذاتها تبقى شخوص الأمهات غائبة أو محذوفة على الرغم من أن هذه النتيجة تم الإطاحة بها من طرف شخصية الأم التقليدية القوية . في جميع الأحوال تبقى شخصية الأم نموذجية . تمت دراسة الهويات الجنسية من . زاوية الهويات المثلية الإنقسامية و التخنث كتخريب للمعايير المهيمنة للجنس و التعبير الجنسي للمثلية بدافع تحريم الشهوة المثلية والتأثير الناجم عنه في المشهد المجتمعي

This dissertation deals with the aesthetic opinions of conductor Rafael Kubelík as evidenced in the materials available in archives and cultural institutions in Munich as well as in the recollections of Bavarian Radio Symphony Orchestra members from the time of Kubelík's direction of that ensemble. The study includes an overview with commentary of the repertoire performed by Kubelík in subscription concerts by the Bavarian Radio Symphony Orchestra, which along with Kubelík's comments and in comparison with the programme of other guest conductors indicates Kubelík's programming activities and probably his musical preferences. This study also discusses Kubelík's interest in opera and his ideas on its staging and production. Other chapters deal with Kubelík's qualities as a conductor and the specific demands he made on his performers. It also includes a curriculum vitae of Rafael Kubelík and a number of recollections by people who knew him, all of which serve to fill out the overall picture of Kubelík's personality.

Volcanic activity, and the resultant deposits and structures at the Earth's surface, are the outcome of the inner workings of underground magmatic plumbing systems. These systems, essentially, consist of magma reservoirs which supply magma to the surface through volcanic conduits feeding volcanic eruptions. The mechanics and structure of plumbing systems remain largely unknown due to the obvious challenges involved in inferring volcanic processes occurring underground from observations at the surface. Nevertheless, volcanologists are beginning to gain a deeper understanding of the workings and architecture of magmatic plumbing systems from geophysical observations on active volcanoes, as well as from geological studies of the erosional remnants of ancient volcanic systems. In this work, I explore the relationship between the structure and mechanics of shallow plumbing systems and the volcanic eruptions these systems produce. I attempt to contribute to the understanding of this complex relationship by linking geological and geophysical observations of an eroded basaltic subvolcanic system, and the eruptive and tectonic activity of an active volcano, with mathematical models of magma ascent and stress transfer. The remarkable exposures of the Carmel outcrop intrusions, near the San Rafael swell, southeast Utah, U. S. A., allow detailed geological and geophysical observations of the roots of volcanic conduits that emerge from a subhorizontal magma feeder reservoir. These observations reveal a new mechanism for magma ascent and eruption triggering through gravitational instabilities created from an underlying feeding sill, and shed light on the mechanics of sill emplacement. Geophysical and geological observations of the 1999 and xii 1992 eruptions of the Cerro Negro volcano, Nicaragua, are used to explore the coupling between changes in the stress field and the triggering of volcanic eruptions, and magma ascent through the shallow crust. Modeling results of stress transfer and conduit flow highlight the importance of the surrounding stress field and geometry of the volcanic conduits that comprise shallow plumbing systems.

This document represents an initial endeavor in a long-lasting aspiration to pursue the study and collection of Latin American choral literature. This essay compiles the most complete and current catalogue possible of choral works written by nine Venezuelan composers born in the twentieth century and presents it in a simple and accessible format so it can be used by a variety of school teachers, choral conductors, church musicians, college directors, and professional musicians. Each composer entry presents a brief biographical note and a list of works organized in alphabetical order. The annotation for each composition includes information in eighteen categories. It also includes an extensive list of biographical resources. In addition, a list of terms and definitions of folkloric and traditional genres will help the reader understand the diversity of Venezuelan musical styles and dances; there is some additional information with regard to performance practice.

Framed within a discussion of populism, this thesis provides a critical analysis of the campaign and short tenure in office of Ecuadorian President Lucio Gutiérrez Borbúa. It outlines a multi-dimensional approach to populism that is characterized by five components: (1) personalistic leadership, (2) a heterogeneous coalition of support, (3) top-down political mobilization, (4) an ambiguous ideological discourse, and (5) a redistributive and clientelistic economic approach. Applied to the Gutiérrez case, the multi-dimensional approach highlights the viability and volatility of populism.<p> This thesis argues that Gutiérrez ascended to the presidency through the successful application of a populist strategy, which generated significant expectations among the public and his political allies. Yet, once in office, Gutiérrez populist strategy was unable to sustain the support he enjoyed during the campaign. The expectations he generated went unmet as he engaged in clear reversals of the populist imaginary created by his candidacy. His twenty-eight months in office were characterized by neoliberalism, corruption, and status quo political machinations that had sunk his predecessors. Tracking Gutiérrez transition from populist champion to political pariah using the multi-dimensional approach indicates that although populism can be an effective electoral strategy, it can also impose significant limitations on a government. Ultimately, the Gutiérrez case reinforces the important role played by the populist imaginary in determining the success or failure of populist leaders.

Framed within a discussion of populism, this thesis provides a critical analysis of the campaign and short tenure in office of Ecuadorian President Lucio Gutiérrez Borbúa. It outlines a multi-dimensional approach to populism that is characterized by five components: (1) personalistic leadership, (2) a heterogeneous coalition of support, (3) top-down political mobilization, (4) an ambiguous ideological discourse, and (5) a redistributive and clientelistic economic approach. Applied to the Gutiérrez case, the multi-dimensional approach highlights the viability and volatility of populism.<p> This thesis argues that Gutiérrez ascended to the presidency through the successful application of a populist strategy, which generated significant expectations among the public and his political allies. Yet, once in office, Gutiérrez populist strategy was unable to sustain the support he enjoyed during the campaign. The expectations he generated went unmet as he engaged in clear reversals of the populist imaginary created by his candidacy. His twenty-eight months in office were characterized by neoliberalism, corruption, and status quo political machinations that had sunk his predecessors. Tracking Gutiérrez transition from populist champion to political pariah using the multi-dimensional approach indicates that although populism can be an effective electoral strategy, it can also impose significant limitations on a government. Ultimately, the Gutiérrez case reinforces the important role played by the populist imaginary in determining the success or failure of populist leaders.

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LA TESIS INVESTIGA Y ANALIZA EL PROCESO DE CREACION Y DE RECEPCION DEL FILME DOCUMENTAL DE LUIS BUÑEL SOBRE LAS HURDES, REALIZADO EN 1933. LA INVESTIGACION ARRANCA CON LOS PROCEDENTES HISTORICOS, METAFORICOS Y VISUALES DE LA OBRA, QUE SE ENCUENTRAN EN LOS VIAJES ANTERIORES DE MIGUEL DE UNAMUNO Y, EN PARTICULAR, DE ALFONSO XIII Y EN EL FOTOPERIODISMO QUE LA VISITA REAL PROVOCO, ASI COMO EN EL ESTUDIO DE GEOGRAFIA HUMANA DE MAURICE LEGENDRE, EN EL QUE BUÑUEL SE INSPIRO ABIERTAMENTE. LA INVESTIGACION PODE DE RELIEVE EL CARACTER ANARCO-SURREALISTA DEL FILME, TANTO EN VIRTUD DEL EQUIPO DE PRODUCCION Y FILMACION QUE LO REALIZO, COMO DE SU PUESTA EN ESCENA. SE ANALIZAN LAS TRAYECTORIAS INTELECTUALES, ARTISTICAS Y POLITICAS DE CADA MIEMBRO DEL EQUIPO, QUE DIERON COMO RESULTADO UN FILME PLURIDISCIPLINARIO DE ESPECTRO CULTURAL AMPLIO: CINEMA, FOTOGRAFIA, POESIA, PERIODISMO, ETNOGRAFIA, HISTORIA DEL ARTE. ASIMISMO, LA TESIS SE DETIENE EN LA DESCRIPCION Y ANALISIS DE LA PUESTA EN ESCENA, EN PARTICULAR DE LAS ESCENAS FABRICADAS. EL ANALISIS DE LA RECEPCION DEL FILME EN LAS DIVERSAS ETAPAS DE LA II REPUBLICA Y DE LA GUERRA CIVIL, ASI COMO DESDE ENTONCES HASTA HOY, CIERRA LA TESIS.