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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The El Rosario Quadrangle, situated 100 kilometers northwest of the capital, Tegucigalpa, on the Carretera del Norte, straddles the boundary between the Volcanic Ranges and Plateaus and the Central American Cordillera morphotectonic units, and includes pre-Mesozoic metamorphic rocks, Mesozoic and Tertiary sedimentary rocks, and Tertiary intrusive and volcanic rocks. The oldest rocks exposed are two facies of the pre-Mesozoic Cacaguapa Schist: the Humuya Member of sheared conglomerate, containing evidence of two metamorphic periods, and schist with interlayered, boudinaged meta-andesite; and the Las Marias Member of sericite-quartz schist with inter-layered marble and quartzite. Nonconformably overlying the metamorphic rock are interbedded conglomerate, sandstone, and shale, with intercalated volcanic rocks of the early Mesozoic Todos Santos Formation. The early Cretaceous Yojoa Group of carbonate rock overlies the Todos Santos Formation. Two formations comprise the Yojoa Group: Cantarranas Formation of thin-bedded, marly limestone and the overlying Atima Formation of massive limestone. The Late Cretaceous to early Tertiary (?) Valle de Angeles Group includes red sandstones and shale with minor conglomerate. Padre Miguel Group (Miocene?) siliceous ignimbrite and reworked pyroclastic rock are represented by the La Sabana and Cerro Le Cañada ignimbrite members. The La Sabana ignimbrite has an olivine basalt flow within its lower part. Intrusive igneous rocks include rhyolite with tuffaceous, devitrified-tuff, or granophyric textures, basalt and gabbro dikes, and intruded gabbro. These rocks record three major episodes of deformation: pre-Mesozoic folding and development of schistosity; the Montaña de Comayagua structural belt, a N. 60° W. structural high with high-angle reverse faults formed during the Laramide orogeny; and Tertiary faulting that formed north-trending grabens. The Opoteca silver mine may be the richest mineral deposit within the El Rosario Quadrangle. / text

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This thesis explores the international dimensions of Rosario Castellanos’ writings, which exhibit a constant—and evolving—preoccupation with feminist literature from across the world. The Mexican woman, public intellectual, professor, author, and ambassador dialogued with Simone de Beauvoir, Simone Weil, Betty Friedan, Emily Dickinson, Virginia Woolf, Gabriela Mistral, and Clarice Lispector, among others, while relating their ideas to Mexican women’s lives. Her journalistic production, essays, poetry, and narrative undergo an evolution as Castellanos articulates a unique Mexican feminist project that factors in race, class, and other intersections affecting Mexican women. I access Castellanos—who has been considered the “Simone de Beauvoir of Mexico”—through the lens of global feminism, which considers the varying layers of power and powerlessness when women of disparate regions and cultures seek solidarity. Through a global feminist perspective, we see how Castellanos, rather than blindly importing First World women’s agendas, carefully intervenes in global feminist discouses with what Mexican women need. In her evolution, Castellanos grows closer to a feminist project that, rather than buying into the myth of a global sisterhood, evokes instead a desire for a Latin American sisterhood and for Mexican women’s self-definition.

Las rocas intrusivas del depósito de Cu - Mo Rosario de Rengo corresponden a: monzogranito a granodiorita de anfíbol del Plutón Rosario, granodioritas de anfíbola y biotita de stocks y pórfidos cuarzomonzodioríticos mineralizados. En general la mayoría de las rocas intrusivas son gris claras y contienen principalmente cuarzo, feldespato y plagioclasas. El porcentaje de minerales máficos es <15% y corresponden a anfíbolas, magnetita y biotita. Los tipos de alteración hidrotermal existentes en Rosario de Rengo son: potásica, sericitica y silicificación. Los sulfuros presentes en los pórfidos cuarzomonzodiriticos y en una roca de contacto entre el Plutón Rosario y el stock son principalmente pirita, en menor cantidad calcopirita, calcosina, covelina, bornita y blenda, también existe presencia de escasa tenorita e hidróxidos de Fe. Las rocas intrusivas presentan entre un 56,97 a 72,48% de SiO2, son de carácter subalcalino de afinidad calcoalcalina, composicionalmente corresponden fundamentalmente a tonalitagranodiorita y las rocas tienen un carácter metaluminoso, representado por bajos valores de Na2O (<5%) y alto contenido de Al2O3. La variedad porfirica en particular tiene composición intermedia. Los altos contenidos de Al2O3 y Sr, indican que el fraccionamiento de la plagioclasa no fue importante, mientras que las bajas concentraciones de REE pesadas y una concavidad del patrón de tierras raras, indican el posible fraccionamiento de anfíbola. El patrón de distribución de tierras raras para las tres variedades de intrusivos es similar y comparable con los pórfidos Sewell (tonalítico y diorítico) en el yacimiento El Teniente. Las razones LaN/YbN, varían entre 8 a 14, y son menores que las que presentan los pórfidos mineralizados de los Bronces y El Teniente, comparables a los de intrusivos estériles de Río Blanco-Los Bronces. Además, las rocas tienen una composición afín a adakítas. Se obtuvieron 4 edades U-Pb en circón para las rocas intrusivas de Rosario de Rengo: 8,02 ± 0,15 Ma y 8,43 ± 0,15 Ma para pórfidos relacionados espacialmente a brechas mineralizadas y una edad de 8,5 ± 0,1 Ma para una granodiorita de anfíbola inalterada de las cabeceras del Estero Manantial Negro. La edad más antigua de 9,89 ± 0,12 Ma se obtuvo para el plutón granodiorítico Rosario. Consecuentemente los procesos hidrotermales se asocian con las fases más jóvenes del complejo intrusivo presente en el depósito. Esto sugiere que la falla de sentido NNW que atraviesa el valle tendría un rol importante en la mineralización, ya que hacia el sur de ella se concentra la alteración y mineralización, mientras que al norte se encuentra un stock estéril y además a ambos lados de la falla hay rocas de edad similar. De acuerdo a la edad de los intrusivos (9,89 - 8,43 Ma) se pueden correlacionar con los intrusivos estériles de Río-Blanco-Los Bronces (Granodiorita Cascada, Diorita Los Bronces BSF). Posiblemente la estrecha relación espacial que presenta los cuerpos porfíricos que se encuentran en el Sector Los Cristales y al este de la Brecha Rosario, con la mineralización expuesta, sugieren que estos cuerpos podrían estar relacionados a un cuerpo intrusivo mayor y más profundo.

The purpose of this thesis is to examine in detail one eighteenth-century Venetian church, Sta. Maria del Rosario, or, as it is commonly known, the Gesuati. The church provides an ideal example in the study of Venetian art, not only because its architecture and decorations are entirely eighteenth century, but also because it represents the work of the finest artists of the time. The entire church was designed by Giorgio Massari and every figure and bas-relief scene in the interior was made by Gian Maria Morlaiter. The painted decorations, too, are examples of the work by the leading artists in Venice. Altarpieces here are the work of Giambattista Tiepolo, Giambattista Piazzetta, and Sebastiano Ricci. Four magnificent frescoes, the work of Tiepolo as well, adorn the ceiling. An examination of the Gesuati offers an insight into the nature of religious art in Venice. The traditional preconception of eighteenth-century Venice is that it was a completely decadent, vain world of gay carnivals, and that it was a tourist's paradise, where masks hid the identity of the people, and impressions of the city were to be captured in views painted by Canaletto. To a certain extent, the mood of this colourful world is found in religious art. The light, Palladian church of the Gesuati houses elegant bas-relief scenes depicting the life of Christ and sculptures of Old and New Testament figures. Many of the paintings "breathe'' with space and light. Bright colours and playful putti create the light mood of the Rococo. However, there is, in one altarpiece by Piazzetta, a completely different mood. In his painting, Piezzetta depicts his figures in a religious mystical experience. This mood is, to a certain extent, also conveyed in Tiepolo's altarpiece. In iconographical terms, the Gesuati decorations are serious. Religion does play an important role in eighteenth-century Venice. The Gesuati is a Dominican church, and the Dominicans in Venice had already, by the eighteenth century, been commissioning religious paintings and sculptures for many hundreds of years. The paintings in the Gesuati represent the glory of the Dominican Order and the figures that played an important part in its long history; the sculptures symbolize the victory of faith. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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Les objectifs de cette étude de cas consistaient à identifier les barrières et les facteurs encourageant le recours aux soins prénatals dans la ville de Rosario en Argentine, ainsi qu'à dégager des orientations permettant d'optimiser l'utilisation des services. Les deux échantillons sont composés de nouvelles mères (n=11) et de dispensateurs (n=8) des services publics de santé municipaux de la ville de Rosario. La collecte a été réalisée à partir d'entrevues individuelles, à l'aide d'un guide d'entretien semi-ouvert. Les résultats de l'étude démontrent qu'il n'existe pas de barrières importantes à l'utilisation des services publics de santé prénatale dans la ville de Rosario. Les retards des premières consultations médicales ou l'absence de suivi seraient davantage en lien avec l'acceptation de la grossesse. Alors qu'il y a 15 ans la moitié des grossesses n'étaient pas suivies adéquatement, le corps médical estime que les femmes sur-utiliseraient maintenant les services de santé prénatale. Le déterminant le plus significatif de l'utilisation des soins prénatals est la conviction des femmes que le suivi de la grossesse est nécessaire pour le bien-être de leur fœtus. Les femmes qui ont eu un suivi de moins de 1 visite par mois ont manifesté de l'insatisfaction quant aux aspects médicaux et émotionnels des soins. Les femmes apprécient particulièrement la disponibilité de spécialités médicales et d'analyses (échographies), mais sont avant tout reconnaissantes d'avoir accès gratuitement aux soins. / The objectives of this case study were to identify factors that encourage women to consult healthcare services during pregnancy, as well as the barriers that prevent them from doing so. We also identify trends that could aid in formulating strategies to optimize prenatal care utilization in the city of Rosario in Argentina. We recruited 11 new-mothers and 8 healthcare workers in the public health sector of the municipality of Rosario. Data was collected based on partially open ended interviews. Results of the study show that there are no considerable barriers to public prenatal care utilization in Rosario. However, we did find a strong association between those women who delayed consultation regarding their pregnancy and those who had trouble accepting the fact that they were pregnant. The incidence of prenatal care utilization has increased dramatically from just fifteen years ago when only half of all pregnant women sought adequate prenatal care. As such, the medical community believes that women are now overusing the services. The most significant determinant of prenatal care utilization is the women's conviction that medical care during pregnancy is necessary for the well-being of their child. The women we studied are expecting at least one consultation per month during their pregnancy. Those who felt they did not have enough visits also expressed dissatisfaction with the medical and emotional aspects of their care. Although the women we talked to appreciated access to specialized medical care services and technologies, they were above all grateful for access to free healthcare.

[pt] A invenção de Bispo do Rosario, potencializando as faces possíveis de sentido da palavra invenção, evoca o ato criador e a descoberta, como operações do autor e do leitor (receptor), simultaneamente. Trata- se, portanto, de Bispo do Rosario como inventor e objeto de invenção. Na instância do objeto de invenção, projeta-se a aventura da descoberta e da tradução de seu mundo, engendrado pelo filtro da leitura, não apenas como um outro texto, mas como uma outra realidade, dando ênfase à visão da escritura como superfície de alteração. Três tomos organizam o trabalho: O Primeiro Tomo cumpre a invenção de um espaço ficcional, no qual se dá o encontro de Arthur Bispo do Rosario, Antonin Artaud - o qual é visitado para o assentamento teórico de algumas importantes questões - e Cecilia, a Cega. O encontro destes três personagens, tendo em vista a encenação, colocará em jogo temas como o da representação, da autoridade da linguagem e da potência criativa. O Segundo Tomo conta a história da invenção de Arthur Bispo do Rosario como artista, introduzido no circuito das artes plásticas, pelo crítico e historiador de arte Frederico Morais. A trajetória de legitimação de Bispo como artista é considerada por meio da análise de publicações da mídia impressa, encorpadas com entrevistas realizadas, especificamente, para focar os pontos estratégicos despertados pela leitura dos materiais selecionados. Arthur Bispo do Rosario é, no último e Terceiro Tomo, apreendido como inventor de um universo expressivo, sob a forja de minha análise, marcando, deste modo, o caráter irremediável da escrita como invenção. / [en] A invenção de Bispo do Rosario, by potentializing possible senses of the word invention, evokes the creative act and the discovery, as operations of the author and the reader (receiver), simultaneously. By this way, Bispo do Rosario is seen as an inventor and as an object of invention. In the scope of the object of invention, are projected the adventure of the discovery and of the translation of his world, engendered by the filter of the reading, not only as an other text, but as an other reality, emphasizing the conception of the deed as surface of alteration. This work is organized in three tomes: the first one relates to the invention of a fictional place, in which occurs the encounter of Arthur Bispo do Rosario, Antonin Artaud - who is visited by the theoretical approach of some important questions - and Cecilia, the blind. The encounter of these three characters, considering the theatrical performance, will put into play subjects like representation, authority of language and creative potence. The second one tells the history of the invention of Arthur Bispo do Rosario as an artist, introduced in the sphere of the Fine Arts by the critic and art historian Frederico Morais. The trajectory to legitimate Bispo as an artist is considered through the analysis of press publications together with some interviews, which were realized specifically to focus the strategic points awoken by the reading of the selected materials. In the last tome, Arthur Bispo do Rosario is apprehended as an inventor of a expressive universe, in the perspective of my analysis, stressing, in this way, the irrevocable mark of the writing as an invention.