A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explore la naissance et le développement du roman de formation en Europe à l’époque romantique. Celle-ci est le témoin de nombreuses discussions sur les Droits de l’homme et de la montée du nationalisme en Europe. Au même moment, la littérature se transforme pour laisser plus de place à la subjectivité du personnage. Tout cela donne naissance à un nouveau genre littéraire : le Bildungsroman, ou roman de formation et d’éducation. Contrairement à la définition actuelle du genre, le Bildungsroman est transnational, c’est-à-dire qu’il ne provient pas exclusivement d’Allemagne, mais de partout en Europe. A Romantic Bildung se penche donc sur le sujet en analysant de façon thématique la trame narrative de Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), ainsi que d’Ormond, a Tale (1817) et sur leur appartenance au roman de l’époque romantique. En comparant les étapes d’éducation, d’indépendance, et de retour à la société des protagonistes, ces romans font ressortir les similitudes qui caractérisent le Bildungsroman. / A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explores the birth and development of the Bildungsroman during the Romantic period. The latter is characterized by the numerous discourses on the Rights of men as well as the rise of nationalism. At the same time, Romantic writers transform literature by increasing the protagonist’s subjectivity and in turns, create a new genre of narrative: the Bildungsroman, in which the protagonist’s development and growth is the main focus. Contrary to current definition of the genre, the Bildungsroman—or coming-of-age novel—is a transnational product: it is obviously found in Germany, but also in France, England, Ireland, and Scotland, to name a few, during the Romantic period. Through a thematic analysis of Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), and Ormond, A Tale (1815), A Romantic Bildung traces the narrative structure of the genre and it locates its essence in the Romantic novel. By comparing the narrative’s steps of education, independence, and return to society, the characteristics of the genre are revealed.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

This project is a discussion of the continuing need to address gender issues while teaching core curriculum in English classes at the secondary level.

This study examines the evolution of the improvisational vocabulary utilized by bassist Marc Johnson over the course of his career. Through interviews and musical analysis the study contextualizes Johnson’s musical influences, considers how they shaped his development, and examines his role in the legacy of the stylistic lineage established by Scott LaFaro with the Bill Evans Trio. A survey of literature concerning Johnson, Scott LaFaro and Eddie Gomez is included, as well as a discussion of the impact of apprenticeship on Johnson’s career. The study illuminates aspects of Johnson’s current vocabulary and how he has synthesized influences to create a distinctive vocabulary, not derivative of Scott LaFaro or Eddie Gomez, but incorporating elements of their style in the composition of his own voice.

Cette thèse porte sur le fonctionnement du discours urbanistique à Montréal durant les Trente Glorieuses. Contre l’interprétation dominante selon laquelle l’urbanisme des Trente Glorieuses serait démesurément technophile et confisquerait le pouvoir de parler de la ville, nous montrons qu’en dramatisant la décomposition de l’objet urbain et en faisant de la définition même de la ville un problème, l’urbanisme crée un espace discursif ouvert dans lequel la technique se présente à la fois comme un problème et une solution. Dans un premier temps, nous analysons la prégnance de la critique de l’urbanisme technocratique (dont l’expression typique se trouve chez Jane Jacobs) dans la théorie politique contemporaine, au moyen d’une analyse du livre à succès Seeing Like a State de James C. Scott. Nous montrons que cette critique repose sur une hypothèse du surplomb dont le fonctionnement est analogue à ce que Michel Foucault appelle « l’hypothèse répressive ». Nous expliquons son succès en montrant qu’elle correspond à la vision dominante de la critique comme procès de la raison. Rejetant la réception qui en a été faite par les anti-planificateurs, nous montrons enfin que l’on retrouve dans la méthode archéologique de Foucault des éléments pour une analyse de l’urbanisme qui ne soit pas uniquement centrée sur les tares de l’idéologie moderniste et la croissance démesurée du pouvoir technocratique. Dans un deuxième temps, nous forgeons une hypothèse quant à la structure du discours urbanistique au moyen d’une relecture d’Emmanuel Kant, Reinhart Koselleck et Hans Jonas. Plutôt que d’assimiler l’urbanisme à une forme démesurée (hubris) du rationalisme, il s’agit d’y trouver une réflexion particulièrement sophistiquée sur les limites du pouvoir de connaître, dont l’analytique de la finitude kantienne est la forme paradigmatique. Nous utilisons ensuite l’histoire des concepts de Koselleck pour éclairer le fonctionnement et les effets intradiscursifs de la remise en question du concept traditionnel de ville à laquelle procède l’urbanisme. Enfin, l’éthique de la technique de Jonas nous permet de montrer que la planification moderne s’appuie sur (et se justifie par) les dangers que pose un développement techno-industriel incontrôlé. Dans un troisième temps, nous testons cette hypothèse au moyen d’une étude du discours urbanistique montréalais de 1941 à 1967. Analysant comment les premiers professionnels du Service d’urbanisme de la Ville se représentent Montréal, nous traitons de l’idée de « ville en mouvement », des modalités de représentation de l’espace urbain et de l’injonction à réinventer la ville que l’on retrouve dans le discours urbanistique. À partir de trois figures transversales, soit Hans Blumenfeld, Claude Robillard et Jean-Claude La Haye, nous montrons que le discours urbanistique montréalais des Trente Glorieuses est polyphonique, c’est-à-dire qu’on y retrouve différentes tactiques de légitimation qui forment toutes des variations d’une même grande stratégie discursive de décomposition et recomposition de l’objet urbain. Nous verrons ces tactiques à l’œuvre dans la rénovation urbaine (le plan Dozois et le projet pour le quartier de la Petite-Bourgogne), l’organisation de l’expertise urbanistique (l’Institut d’urbanisme et la Commission provinciale d’urbanisme), et les velléités de planification métropolitaine (Horizon 2000). / This dissertation focuses on the structure of the urban discourse in Montreal during the Trente Glorieuses (Glorious Thirty). Against the dominant interpretation, according to which the urban planning of the Glorious Thirties was disproportionately technophile and had confiscated the power to speak of the city, we show that by dramatizing the decomposition of the urban object and by making the very definition of the city a problem, urban planning creates a discursive space in which technique presents itself as both a problem and a solution. First, we analyze the significance of the critique of technocratic urban planning (the typical expression of which is found in Jane Jacobs) in contemporary political theory, by means of an analysis of the best-selling book Seeing Like a State by James C. Scott. We show that this critique is based on an “overhang hypothesis”, the operation of which is analogous to what Michel Foucault calls “the repressive hypothesis”. We explain its success by showing that it corresponds to the dominant view of criticism as the trial of reason. Rejecting the reception given to it by the anti-planners, we then show that one can find in Foucault's archaeological method elements for an analysis of urban planning that is not only centered on the flaws of modernist ideology and the disproportionate growth of technocratic power. Secondly, we forge a hypothesis about the structure of the urbanistic discourse by means of a rereading of Immanuel Kant, Reinhart Koselleck and Hans Jonas. Rather than assimilating urban planning with a disproportionate form (hubris) of rationalism, it is a question of finding in it a particularly sophisticated reflection on the limits of the power to know, of which the analytic of Kantian finitude is the paradigmatic form. We then use the history of Koselleck's concepts to shed light on the functioning and the intradiscursive effects of the questioning of the traditional concept of city that is carried out by urban planners Finally, Jonas’s ethics of technology allows us to show that modern planning relies on (and is justified by) the dangers of uncontrolled techno-industrial development. Thirdly, we test this hypothesis by means of a study of Montreal's urban planning discourse from 1941 to 1967. Analyzing how the first professionals of the City's Planning Department represented Montreal, we deal with the idea of a city in motion, the methods of representing urban space and the injunction to reinvent the city that we find in urban discourse. Based on three transversal figures—namely Hans Blumenfeld, Claude Robillard and Jean-Claude La Haye—we show that the urban planning discourse of the Glorious Thirties in Montreal is polyphonic, which is to say, we find different legitimization tactics that all form variations of the same great discursive strategy of decomposing and recomposing the urban object. We will see these tactics at work in urban renewal (the Dozois plan and the project for the Little Burgundy district (Petite-Bourgogne)), the organization of urban planning expertise (l’Institut d’urbanisme et la Commission provinciale d’urbanisme), and metropolitan planning ideas (Horizon 2000).

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This thesis is a development of the theories presented by Carl Jung, Joseph Campbell, and Bruno Bettelheim concerning archetypes, the anima/animus concept, the Hero Cycle, and identity development through fairy tales. I argue that there are vital rites of passage missing in Anglo-Saxon culture, and while bibliotherapy cannot replace them, it can help adolescents synthesize their experiences. The theories of Jung, Campbell, and Bettelheim demonstrate this concept by defining segments of the story and how they apply to the reader. Because of the applicability, readers, despite their age, can use the examples in the book to help reconcile their own experiences and understand life as it relates to them. The works I examine include J.K. Rowling's Harry Potter series, Orson Scott Card's Alvin Maker series, J.R.R. Tolkien's The Lord of the Rings, Ursula K. Le Guin's Earthsea trilogy, and David Eddings' Belgariad. Though it is impossible to test the effects of reading such works on readers, the possibility of those effects exists. Bettelheim's work, The Uses of Enchantment, discusses similar themes and he provides scientific support through his use of anecdotal evidence. Following his example, I have tried to include evidence from my own life that exemplifies the effect reading epic fantasy has had on me. The aspects of epic fantasy in relation to going through adolescence I examine include the concept of responsibility and its relation to progress and maturity; gaining a social identity; and reconciling oneself to the dark side within and without, in society. These aspects are found within the superstructure of the Hero Cycle and the actions and motivations of the characters—archetypes—within the cycle. They are also present in real life and necessary concepts to understand to be accepted into society as a mature contributor.