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<p>The purpose of this study is to explore intersectionality of Religion/Spirituality and immigration in the experience of Romanian evangelicals in Canada from a Critical Realist perspective. In the first two chapters I provide background information outlining the interconnection between spirituality/religion, social work and immigration and examine the existing body of knowledge of present literature on ways of utilizing relevant concepts, methods, emerging themes and I address some of the implications and critiques pertaining to the literature perused. In the following two chapters I present the theoretical framework of Critical Realism, the methodological approach utilized -Interpretative Phenomenological Analysis, and the dual gathering methods employed, semi-structured interviews and poetic inquiry. In the main part of the theses I review the findings and discuss them from a theoretical and practical perspective, concluding with a number of recommendations and observations which, if implemented, would in my opinion effect a more spiritually sensitive practice in working with specific ethno-religious groups.</p> / Master of Social Work (MSW)

À commencer avec les premiers contacts présentés dans le Chapitre 1, jusqu'à l'essor des relations franco-roumaines, nous avons restitué par cette thèse une image sur la manière dans laquelle a été bâtie et développée l'histoire commune des deux peuples, de sorte que nous pouvons parler finalement du franco - roumanisme en tant que phénomène d'ampleur. Le document sur lequel se basent nos études est la première édition du Règlement Organique, rédigé en alphabet cyrillique, mais la variante qui nous a été très utile est la variante bilingue, roumaine - française, préservée dans les Annales Parlementaires de la Roumanie, 1890. Elle a été une source très riche d'exploitation lexicale, stylistique, morphosyntaxique et de la traduction, aspects abordés dans le Chapitre 3. Celui-ci, nous l'avons structuré en deux parties : théorique, comprenant les principes de deux grands noms de la stylistique, Charles Bally, représentant suisse et Tudor Vianu, représentant roumain et des théoriciens de la traduction parmi lesquels : Georges Mounin, Marianne Lederer, John Catford, Henri Meschonnic, Algirdas-Julien Greimas, Eugene Nida, etc. et pratique, avec des analyses contrastives franco-roumaines, sur des exemples de la variante roumaine – le texte source et la variante française – le texte cible. A la fin de notre thèse, dans le Chapitre 4., nous avons exposé quelques aspects du franco - roumanisme actuel et de la variante actuelle de la Constitution roumaine, variante bilingue qui reflète très bien le saut considérable du XIXe siècle à l'époque actuelle. / Starting with the first contacts mentioned in Chapter 1., to the flourishing of French-Romanian relationships, we have offered through this thesis an image of how has been built and developed the common history of two peoples, so that we can speak afterward of the significant French-Romanian phenomenon. The document that constitutes the basis of our studies is the first edition of the Romanian Constitutional Texts, written in Cyrillic Alphabet, but the version that has been very useful to us is the bilingual French-Romanian version preserved in the 1890 Romanian Parliamentary Annuaries. This has been a very rich source for our lexical, stylistic, morphological, syntactical and translation analysis, aspects presented in Chapter 3. We have structured it into two sections: a theoretical one, having in center two important names in stylistics, Swiss and Romanian representatives, Charles Bally and Tudor Vianu and different translation theoreticians such as: Georges Mounin, Marianne Lederer, John Catford, Henri Meschonnic, Algirdas-Julien Greimas, Eugene Nida, etc.; the second part is a practical one, with contrastive French-Romanian analysis of the two texts: the Romanian text (the source-text) and the French text (the target-text). At the end of our thesis, in Chapter 4, we have detailed some aspects of the nowadays version of the Romanian Constitutional Texts, bilingual version reflecting very well the significant progressive steps taken from the 19th century until now.

Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.

L’objectif principal de cette thèse était de mettre en évidence l’évolution et l’orientation de la motivation intrinsèque et extrinsèque des élèves roumains tout au long du second cycle d’enseignement secondaire général. Depuis plusieurs années la théorie de l’autodétermination (Deci et Ryan, 1985b, 2000) a été utilisée afin de mieux comprendre le comportement des élèves en milieux scolaire. Ryan et Deci distinguent la motivation intrinsèque et la motivation extrinsèque qui diffèrent selon le type de récompense rattachée à l’activité. La théorie de l’autodétermination repose sur trois besoins psychologiques fondamentaux : l’autonomie, la compétence et la relation à autrui. Les déterminants psychologiques familiaux (parents), institutionnels (professeurs) et écologiques (système scolaire compétitif et évaluatif) sont aussi susceptibles d’influencer l’orientation motivationnelle de l’élève. Une première étude s’est attachée à analyser l’orientation et l’évolution de la motivation intrinsèque et extrinsèque. Les résultats présentent les élèves comme plus motivés extrinsèquement plutôt qu’intrinsèquement. De plus les deux formes de motivation diminuent tout au long de leur cursus scolaire. Une seconde étude s’est employée à mesurer le degré d’influence des trois besoins psychologiques sur la motivation intrinsèque des élèves. Les résultats ont montré que le besoin d’affiliation était le plus fortement corrélé positivement à la motivation intrinsèque. Les deux dernières études ont visé à mettre en évidence la relation entre le sentiment d’autonomie des élèves exercé par les parents et les professeurs et leur motivation intrinsèque. Les résultats confirment l’influence positive de ces deux déterminants sur la motivation intrinsèque des élèves. Enfin ces résultats seront discutés notamment sur le rôle des déterminants psychologiques dans cette recherche et dans le cadre des travaux sur la normativité de la motivation intrinsèque. / The main objective of this thesis was to highlight the evolution and direction of the intrinsic and extrinsic motivation of Romanian pupils throughout the second cycle of general secondary education. For several years the self-determination theory (Deci and Ryan, 1985b, 2000) was used to better understand the behavior of students in the school. Ryan and Deci distinguish intrinsic motivation and extrinsic motivation that vary by type of reward attached to the activity. Self-determination theory is based on three basic psychological needs: autonomy, competence and relatedness. The psychological determinants family (parents), institutional (college), and environmental (school system competitive and evaluative) are also likely to influence motivational orientation of students. A first study has sought to analyze the direction and evolution of the intrinsic and extrinsic motivation. The results show the students as more extrinsically motivated rather than intrinsically. In addition, both forms of motivation decrease throughout their school career. A second study aimed to measure the influence of the three basic psychological needs on the intrinsic motivation of students. The results showed that the need for affiliation was most strongly correlated positively to intrinsic motivation. Two recent studies have sought to highlight the relationship between perceived autonomy of students by parents and teachers and their intrinsic motivation. The results confirm the positive influence of these two determinants on the intrinsic motivation of students. Finally, these results will be discussed including the role of psychological determinants in this research and the work on the normativity of intrinsic motivation.

This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.

This thesis addresses aspects of Romanian society and cinema, by analyzing post-communist films through the perspective of marginality. The central hypothesis of this study refers to the ways in which films illustrate conditions of post-communist Romanian society, as they consider representations of the periphery through the angle of allegories of marginality. Following a long tradition, especially in literary studies, where it refers to the overt insertion of symbolic meanings, allegory refers in this study to a less noticeable delivery, by using a postmodern interpretation of the concept. This translates to detecting a latent meaning in films, by interpreting them in a broader context pertaining both to the film's circumstances (production, distribution and reception), and to the broader framework of the film's content. What connects post-communist Romanian films is a concern for matters of marginality, as they focus on dissensions in society, intergenerational conflicts, youth and limited opportunities of social movement, and the use of satire as a way of handling the bleak conditions of life. Aiming to provide a realistic representation of post-communist life, new wave Romanian films focus on the mundane reality of everyday life. The films discussed in this thesis expand beyond the scope of the new wave, and present a diversity of aesthetic approaches and relating perspectives on allegory—from distinct to obscure—defined by the contextual conditions of post-communism.

1 Summary The thesis entitled Diminutives and Augmentatives in Contemporary Romanian Language and their Stylistic Use is focused on determining a classification which could describe every stylistic function of expressive words. The method I chose was to analyze three stylistic areas, create lists of expressive words with context and evaluate the results. From the beginning, it was evident that there were many connections between diminutives, augmentatives on one part and pejoratives on the other. That is a reason why I extended this thesis to cover also pejorative words. Firstly, I would like to describe the structure of this study. I decided to divide it into two parts. The first one is theoretical (1.0), and its aim is to synthesize information about suffix derivation and about diminutives, augmentatives and pejoratives in the Romanian language. In different linguistic studies, we find different classifications of observed suffixes and also their different quantities. Having reviewed these linguistic studies, I chose one which I found the best organized and, based on my own analysis, I also added some observations regarding the theory (2.4.5). Basically, there are two more suffixes which should be classified as diminutive (-ež, -uşă) and two as augmentative (-ime, - andru). Next theoretical topic to...

La présente thèse se propose de répertorier et d’analyser les références au classicisme français et le rôle qu’il a joué dans la critique littéraire roumaine, depuis la Révolution de Tudor Vladimirescu (1821) jusqu’à la chute du régime communiste (1989). Après avoir replacé la réception du modèle dans le cadre de l’histoire de la Roumanie et de ses relations politiques et intellectuelles avec la France (notamment par une étude de la traduction des classiques français en langue roumaine) et après une analyse généalogique et esthétique du concept de « classicisme français », on s’est efforcé de restituer, dans le contexte de chaque grande époque de la modernité roumaine, puis, pour chacune de ces périodes, à travers l’étude plus spécifique de quelques écrivains et critiques choisis comme les plus représentatifs en cette matière, la persistance et le renouvellement de l’image du classicisme français, lui-même fréquemment perçu et analysé comme l’expression nationale d’un classicisme « universel ». Ce cheminement chronologique a permis de dégager les trois usages majeurs que la critique roumaine a faits de la référence à cette notion : celui de modèle pour une création littéraire qui se cherchait, celui de critère pour son évaluation et celui d’enjeu dans le cadre des débats suscités par les courants nouveaux qui auront animé la vie littéraire roumaine depuis son émergence jusqu’à la presque fin du XXe siècle. / The present thesis proposes to catalogue and analyze references to French classicism and the role it has played in the Romanian literary criticism, from the Wallachian Uprising of 1821, led by Tudor Vladimirescu, to the fall of the communist regime (1989). After placing the reception of the model in the context of the history of Romania and its political and intellectual relations with France (including a study of the translation of French classics in Romanian) and after a genealogical and aesthetic analysis of the "French classicism" concept, we tried to reconstruct, in the context of each period of Romanian modernity, and, for each of these periods, through the more specific study of certain writers and critics considered the most representative in this matter, the persistence and renewal of the image of French classicism, itself frequently perceived and analyzed as the national expression of a "universal" classicism. This chronological process made it possible to identify the three manners in which the Romanian criticism used the reference to this notion: that of a model for a literary creation that sought itself, that of criterion for its evaluation and that of subject within the framework of debates aroused by the new currents that have animated the Romanian literary life since its emergence until the end of the twentieth century.