The contribution of the Church to the reconstruction of a nation is the primary reason for the present study. The paradox image that the Democratic Republic of Congo presents deserves particular attention. With more than 80% of DRC population being Christians, this study strives to examine the current Christian religious discourse in the DRC and to see in what way this discourse can be ameliorated in order to play properly the role of facilitating a positive transformation of this country. Notwithstanding I have been alienated from the country for some years now, the study analyzes the current situation on the ground on the basis of the data available, and makes some recommendations in order for the situation in the DRC to be ameliorated. This study thus urges a reconstructive Christian religious discourse in the hope of changing the nation’s mentality in order to reconstruct this beautiful Country. / New Testament / M. Div. (New Testament)

Le présent mémoire part du constat qu’une thématisation redondante des motifs de l’excès et de la saturation constitue l’un des traits caractéristiques de la dramaturgie québécoise contemporaine. Si ces motifs figurent dans de nombreux textes, ils se déploient de manière singulière et originale dans plusieurs d’entre eux. Notre étude le démontre en prenant pour corpus trois pièces phares issues du théâtre québécois des cinq dernières années, Faire des enfants d’Éric Noël, Ainsi parlait d’Étienne Lepage et Nous voir nous de Guillaume Corbeil. Notre analyse sociocritique permet de mettre en exergue le fait que ces œuvres mobilisent, intègrent et transforment des sociolectes, des fragments discursifs, des programmes idéologiques, des manières de parler ou de penser qui essaiment dans le discours social contemporain. Par le travail qu’elles exercent sur ce déjà-là, chacune d’elles propose un regard critique inédit sur le vivre-ensemble et sur la manière d’être au monde à l’ère actuelle. Quelque différentes qu’elles soient dans leur procès esthétique, une lecture comparative conduit néanmoins à dégager qu’elles élaborent toutes trois une représentation oxymorique de l’individu, qui balance sans cesse entre le trop plein et le manque. / This present master’s dissertation is based on the fact that excess and saturation are some of the recurring themes of Quebec’s contemporary drama. If these themes are present in a lot of plays, they extend uncannily in a unique way in some of them. This particularity is revealed by the analysis of three important and recent Quebec plays, which are Faire des enfants by Éric Noël, Ainsi parlait by Étienne Lepage and Nous voir nous by Guillaume Corbeil. Our sociocritic study of these plays allows to point out the fact that they mobilize, take over and transform different sociolects, discursive fragments, ideological programs, languages and ways of talking or thinking that are swarming in the contemporary social discourse. By the work they do on the “already there”, each of the plays offers a critical and original glance on the present living together. As different as their critical process may be, a comparative study of these texts however leads to show that they converge in an oxymoronic representation of the modern individual, always ambivalent between overfill and lack.

De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons qu’il existe une relation étroite entre la profonde ambivalence du mythe de Lilith et les représentations de la femme fatale et pour ce faire, procédons à une analyse comparative de l’œuvre de Rachilde et Octave Mirbeau qui, dans La Jongleuse et Le Jardin des supplices, réécrivent le mythe de Lilith. De la comparaison des deux Lilith, ressortent deux représentations extrêmement contrastées de la femme fatale : alors que Rachilde dresse toute droite son héroïne dans son désir ascensionnel, Mirbeau construit une Clara toute en mollesse et assoiffée de chair. Par l’analyse des rapports qui s’articulent entre deux écritures, nous démontrons que la dualité inhérente au mythe de Lilith répond à l’instabilité d’une société aux prises avec de multiples angoisses en matière d’identité sexuelle. Cette comparaison nous amène aussi à nous interroger quant aux traces d’une certaine sexuation dans la voix littéraire. / Over the course of the nineteenth century the legendary female figures of ancient myth had become emblematic of the female sex. This association grew stronger toward the end of the century and the “feminine imaginary” fed itself on a social discourse that contributed to the construction of femininity in terms of menace and depravity. The mythical figures that lent their faces to representations of the femme fatale became symbols of the degeneration of French society. With all of the vices of the century gathered into her body, this female figure appears to us as eminently revealing as to the understanding of an era. However, the figure of the femme fatale is fundamentally ambivalent, and the mythical figure of Lilith, which can embody love as well as destruction, represents the two opposing aspects of nineteenth century representations of femininity. This study shows that there is a direct relationship between the profound ambivalence that characterizes the myth of Lilith and representations of the femme fatale. To this end, we undertake a comparative analysis of the works of Rachilde and Octave Mirbeau, who rewrite the myth of Lilith in The Juggler and The Torture Garden. Two extremely contrasting representations emerge from the comparison between the two “Liliths”: as Rachilde portrays her upstanding heroine’s desire to transcend her body, Mirbeau constructs his Clara as soft and mired in the body, thirsty for carnal pleasure. By examining the relationships that become apparent between these works, we demonstrate that the duality inherent in the myth of Lilith responds to the instability of a society grappling with multiple anxieties regarding sexual identity. This comparison, therefore, allows us to interrogate the traces of a specific mode of sexuation in the literary voice.

Le stéréotype, représentation caricaturale sur un groupe social, est dénoncé tout le temps mais présent partout. Les diverses productions culturelles auxquelles nous sommes quotidiennement confrontés, des émissions télévisées aux articles politiques, du discours quotidien aux films hollywoodiens, participent à reproduire ces représentations caricaturales. La persistance de certaines représentations, non perçues comme stéréotypées, participent à des processus de stéréotypification : par leur récurrence et leur évidence, elles sont posées comme allant de soi, comme le reflet objectif d’une réalité tangible. Sous cette catégorisation qui est parfois questionnée dans la sphère publique, ce n’est pas la validité d’existence de ce classement qui est remise en cause mais la volonté d’appréhender le caractère véritable des qualités essentialistes de ce que l’on regroupe sous une étiquette. Or, le stéréotype, malgré sa capacité à revendiquer une universalité, est le fruit d’un travail culturel, historiquement et politiquement construit. De fait, le stéréotype est un vecteur hégémonique qui peut traduire des tendances idéologiques dominantes sous-jacentes à son expression : il incarne la façon dont sont légitimées et naturalisées ces représentations à un moment donné et dans une conjoncture particulière. Je tenterai de définir théoriquement dans ce mémoire le stéréotype au sein du discours social et plus particulièrement au sein des mediacultures. J’investiguerai sa circulation, son caractère politique, son incidence normative et, par corrolaire, sa fonction hégémonique. Puis, à l’aide d’une analyse intertextuelle critique, je tenterai empiriquement de discerner les stéréotypes et les idéologies qui les sous-tendent au sein de trois comédies romantiques hollywoodiennes. A partir de l’observation de ces productions culturelles de divertissement, ce travail m’amènera à dégager deux idéologies prégnantes - l’idéologie capitaliste et l’idéologie patriarcale -; sous-tendues par un ensemble d’autres idéologies qui, d’une façon ou d’une autre, rejoignent les principales : idéologie de la masculinité, de l’hétérosexualité, d’un idéal socio-économique, etc. / Stereotypes, caricatural representions about social groups, are always denounced, still present everywhere. The diverse cultural productions surrounding us everyday, from tv shows to politic articles, from everyday life discourse to hollywood movies, contribute to reproduce these caricatural representations. This persistence of certain representations – unperceived as stereotypical – participate in stereotypical process : by their recurrence and supposedly evident nature, they seem taken-for-granted, as an objective mirror of a tangible reality. Even if this categorisation is sometimes questionned, it is not the nature of this classification that is called into question but which essentialist qualities, which true inherent characteristics, should be enumerate under this label. Yet, the characteristics presented by the stereotype are not universal : this is the work of an ongoing, historical, cultural and political construction. Thus, the stereotype is an hegemonic vehicule which translates ideological trends underlying its expression : it embodies the ways by which are legitimized and naturalized these representations in a specific context. In this paper, I shall define theoretically the stereotypes and probe how function their underlying ideologies within social discourse, and more precisely within mediacultures. I shall investigate their political nature, normative impacts and ideological functions. Then, using a critical intertextual approach, I will try to detect empirically which stereotypes and ideologies are pregnant in three hollywood romantic comedies. From the observation of this cultural prouctions of entertainment, I will extricate two main ideologies : one capitalistic and one patriarchal; which will lead to underline other underneath but linked ideologies of heterosexuality, masculinity, socio-economic ideal, etc.

Este trabalho tem por objetivo apresentar uma experiência didática, inspirada nas propostas de Dolz e Schneuwly (2006) e Anna Rachel Machado (2008), para o ensino de resenha crítica na 1ª. série do Ensino Médio de uma escola particular de São Paulo. Os professores de Artes, Língua Portuguesa e História, a fim de contextualizar a produção, criaram um Diário Cultural que seria apresentado à comunidade escolar (pais e alunos das outras séries) do próprio ensino médio ao término do ano letivo. Tal diário deveria conter resenhas críticas acerca de livros, espetáculos de teatros e filmes. Para que o projeto obtivesse êxito, os alunos deveriam conhecer o gênero e ter condições de escrever as próprias resenhas. Para alcançar tais objetivos, a área de Língua Portuguesa uniu a produção da resenha ao trabalho desenvolvido na área de Literatura, dado que o repertório para a análise das obras viria da análise literária. Esta dissertação visa relatar como as obras foram analisadas e como os reflexos dessas aulas foram observados na produção da resenha crítica. Na análise dos textos produzidos, serão levados em consideração elementos como plano global, mecanismos de conexão entre parágrafos (marcadores argumentativos), apropriação das análises das obras feitas em sala de aula, assim como a singularidade do autor revelada pelo emprego dos adjetivos, pela sequência de ideias, pelo tom valorativo de uma sinonímia, e também se os níveis de intertextualidade foram atendidos no momento da produção. Como o ensino de um gênero discursivo contempla, além das aulas de produção textual e Literatura, também as aulas de língua (gramática), foi destacado neste trabalho, o ponto de vista teórico adotado para as aulas de gramática nas escolas, já que os efeitos de sentido são obtidos a partir do uso que se faz da língua. Como o trabalho em sala de aula com gêneros discursivos tem sido destacado na área de Códigos e Linguagens, a experiência pode ser um ponto de partida para outros trabalhos. / The objective of this thesis is to present a didactic sequencing, inspired in Anna Rachel Machado (2008) and Dolz and Schneuwly (2006) models, in order to to teach critical review at High School Freshmen class in a private school in São Paulo. History, Arts and Portuguese Language teachers, with the objective of contextualizing class production, created a Cultural Diary that would be presented to the high school community (parents and children) by the end of the school year. The referred diary should have critical reviews about books, theater and films. In order to have a successful project, students should know the genre and be ready to write their own reviews. To reach these objectives, Portuguese Language Area joined Literature to This Review Production, since the repertoire to analyze these works would come from literary analysis. Therefore, during this work, it is going to be shown how literary works have been analyzed and how the reflects of these classes were observed on students critical review productions. In the produced text analysis, its going to be taken into account if elements as global planning, connection mechanisms between paragraphs (argumentative markers), classroom literary work analysis ownership, as well as author´s subjectivity (found in adjectives, sequencing, the evaluative tone of a synonymy and in paragraphs) and inter-textuality levels were accorded at production time. As teaching a discursive genre includes, beyond literature and text production classes, language (grammar) classes, it has also been highlighted in this work the theoretical point of view adopted for grammar classes in schools, since effect meanings are obtained from the use made of language.

De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons qu’il existe une relation étroite entre la profonde ambivalence du mythe de Lilith et les représentations de la femme fatale et pour ce faire, procédons à une analyse comparative de l’œuvre de Rachilde et Octave Mirbeau qui, dans La Jongleuse et Le Jardin des supplices, réécrivent le mythe de Lilith. De la comparaison des deux Lilith, ressortent deux représentations extrêmement contrastées de la femme fatale : alors que Rachilde dresse toute droite son héroïne dans son désir ascensionnel, Mirbeau construit une Clara toute en mollesse et assoiffée de chair. Par l’analyse des rapports qui s’articulent entre deux écritures, nous démontrons que la dualité inhérente au mythe de Lilith répond à l’instabilité d’une société aux prises avec de multiples angoisses en matière d’identité sexuelle. Cette comparaison nous amène aussi à nous interroger quant aux traces d’une certaine sexuation dans la voix littéraire. / Over the course of the nineteenth century the legendary female figures of ancient myth had become emblematic of the female sex. This association grew stronger toward the end of the century and the “feminine imaginary” fed itself on a social discourse that contributed to the construction of femininity in terms of menace and depravity. The mythical figures that lent their faces to representations of the femme fatale became symbols of the degeneration of French society. With all of the vices of the century gathered into her body, this female figure appears to us as eminently revealing as to the understanding of an era. However, the figure of the femme fatale is fundamentally ambivalent, and the mythical figure of Lilith, which can embody love as well as destruction, represents the two opposing aspects of nineteenth century representations of femininity. This study shows that there is a direct relationship between the profound ambivalence that characterizes the myth of Lilith and representations of the femme fatale. To this end, we undertake a comparative analysis of the works of Rachilde and Octave Mirbeau, who rewrite the myth of Lilith in The Juggler and The Torture Garden. Two extremely contrasting representations emerge from the comparison between the two “Liliths”: as Rachilde portrays her upstanding heroine’s desire to transcend her body, Mirbeau constructs his Clara as soft and mired in the body, thirsty for carnal pleasure. By examining the relationships that become apparent between these works, we demonstrate that the duality inherent in the myth of Lilith responds to the instability of a society grappling with multiple anxieties regarding sexual identity. This comparison, therefore, allows us to interrogate the traces of a specific mode of sexuation in the literary voice.

Le stéréotype, représentation caricaturale sur un groupe social, est dénoncé tout le temps mais présent partout. Les diverses productions culturelles auxquelles nous sommes quotidiennement confrontés, des émissions télévisées aux articles politiques, du discours quotidien aux films hollywoodiens, participent à reproduire ces représentations caricaturales. La persistance de certaines représentations, non perçues comme stéréotypées, participent à des processus de stéréotypification : par leur récurrence et leur évidence, elles sont posées comme allant de soi, comme le reflet objectif d’une réalité tangible. Sous cette catégorisation qui est parfois questionnée dans la sphère publique, ce n’est pas la validité d’existence de ce classement qui est remise en cause mais la volonté d’appréhender le caractère véritable des qualités essentialistes de ce que l’on regroupe sous une étiquette. Or, le stéréotype, malgré sa capacité à revendiquer une universalité, est le fruit d’un travail culturel, historiquement et politiquement construit. De fait, le stéréotype est un vecteur hégémonique qui peut traduire des tendances idéologiques dominantes sous-jacentes à son expression : il incarne la façon dont sont légitimées et naturalisées ces représentations à un moment donné et dans une conjoncture particulière. Je tenterai de définir théoriquement dans ce mémoire le stéréotype au sein du discours social et plus particulièrement au sein des mediacultures. J’investiguerai sa circulation, son caractère politique, son incidence normative et, par corrolaire, sa fonction hégémonique. Puis, à l’aide d’une analyse intertextuelle critique, je tenterai empiriquement de discerner les stéréotypes et les idéologies qui les sous-tendent au sein de trois comédies romantiques hollywoodiennes. A partir de l’observation de ces productions culturelles de divertissement, ce travail m’amènera à dégager deux idéologies prégnantes - l’idéologie capitaliste et l’idéologie patriarcale -; sous-tendues par un ensemble d’autres idéologies qui, d’une façon ou d’une autre, rejoignent les principales : idéologie de la masculinité, de l’hétérosexualité, d’un idéal socio-économique, etc. / Stereotypes, caricatural representions about social groups, are always denounced, still present everywhere. The diverse cultural productions surrounding us everyday, from tv shows to politic articles, from everyday life discourse to hollywood movies, contribute to reproduce these caricatural representations. This persistence of certain representations – unperceived as stereotypical – participate in stereotypical process : by their recurrence and supposedly evident nature, they seem taken-for-granted, as an objective mirror of a tangible reality. Even if this categorisation is sometimes questionned, it is not the nature of this classification that is called into question but which essentialist qualities, which true inherent characteristics, should be enumerate under this label. Yet, the characteristics presented by the stereotype are not universal : this is the work of an ongoing, historical, cultural and political construction. Thus, the stereotype is an hegemonic vehicule which translates ideological trends underlying its expression : it embodies the ways by which are legitimized and naturalized these representations in a specific context. In this paper, I shall define theoretically the stereotypes and probe how function their underlying ideologies within social discourse, and more precisely within mediacultures. I shall investigate their political nature, normative impacts and ideological functions. Then, using a critical intertextual approach, I will try to detect empirically which stereotypes and ideologies are pregnant in three hollywood romantic comedies. From the observation of this cultural prouctions of entertainment, I will extricate two main ideologies : one capitalistic and one patriarchal; which will lead to underline other underneath but linked ideologies of heterosexuality, masculinity, socio-economic ideal, etc.

Este trabalho tem por objetivo apresentar uma experiência didática, inspirada nas propostas de Dolz e Schneuwly (2006) e Anna Rachel Machado (2008), para o ensino de resenha crítica na 1ª. série do Ensino Médio de uma escola particular de São Paulo. Os professores de Artes, Língua Portuguesa e História, a fim de contextualizar a produção, criaram um Diário Cultural que seria apresentado à comunidade escolar (pais e alunos das outras séries) do próprio ensino médio ao término do ano letivo. Tal diário deveria conter resenhas críticas acerca de livros, espetáculos de teatros e filmes. Para que o projeto obtivesse êxito, os alunos deveriam conhecer o gênero e ter condições de escrever as próprias resenhas. Para alcançar tais objetivos, a área de Língua Portuguesa uniu a produção da resenha ao trabalho desenvolvido na área de Literatura, dado que o repertório para a análise das obras viria da análise literária. Esta dissertação visa relatar como as obras foram analisadas e como os reflexos dessas aulas foram observados na produção da resenha crítica. Na análise dos textos produzidos, serão levados em consideração elementos como plano global, mecanismos de conexão entre parágrafos (marcadores argumentativos), apropriação das análises das obras feitas em sala de aula, assim como a singularidade do autor revelada pelo emprego dos adjetivos, pela sequência de ideias, pelo tom valorativo de uma sinonímia, e também se os níveis de intertextualidade foram atendidos no momento da produção. Como o ensino de um gênero discursivo contempla, além das aulas de produção textual e Literatura, também as aulas de língua (gramática), foi destacado neste trabalho, o ponto de vista teórico adotado para as aulas de gramática nas escolas, já que os efeitos de sentido são obtidos a partir do uso que se faz da língua. Como o trabalho em sala de aula com gêneros discursivos tem sido destacado na área de Códigos e Linguagens, a experiência pode ser um ponto de partida para outros trabalhos. / The objective of this thesis is to present a didactic sequencing, inspired in Anna Rachel Machado (2008) and Dolz and Schneuwly (2006) models, in order to to teach critical review at High School Freshmen class in a private school in São Paulo. History, Arts and Portuguese Language teachers, with the objective of contextualizing class production, created a Cultural Diary that would be presented to the high school community (parents and children) by the end of the school year. The referred diary should have critical reviews about books, theater and films. In order to have a successful project, students should know the genre and be ready to write their own reviews. To reach these objectives, Portuguese Language Area joined Literature to This Review Production, since the repertoire to analyze these works would come from literary analysis. Therefore, during this work, it is going to be shown how literary works have been analyzed and how the reflects of these classes were observed on students critical review productions. In the produced text analysis, its going to be taken into account if elements as global planning, connection mechanisms between paragraphs (argumentative markers), classroom literary work analysis ownership, as well as author´s subjectivity (found in adjectives, sequencing, the evaluative tone of a synonymy and in paragraphs) and inter-textuality levels were accorded at production time. As teaching a discursive genre includes, beyond literature and text production classes, language (grammar) classes, it has also been highlighted in this work the theoretical point of view adopted for grammar classes in schools, since effect meanings are obtained from the use made of language.

Diversos autores han determinado conceptos referidos a la inclusión de problemáticas sociales en la publicidad, siendo uno de ellos el brand-cause fit, referido a la condición en la que una marca y un problema social –con el cual el público objetivo se sienta identificado–, se unen conceptualmente en una sola propuesta de comunicación. El propósito de este estudio fue analizar cómo perciben los universitarios el brand-cause fit como estrategia de comunicación en la campaña ‘No estás solo’ de Sprite. Se adoptó una metodología cualitativa y se realizaron entrevistas semiestructuradas a 24 universitarios de los cuales 12 pertenecían a la comunidad LGTB y 12 eran heterosexuales. Los participantes perciben positivamente el brand-cause fit utilizado como estrategia publicitaria en la campaña de Sprite. No solo valoran que las marcas incluyan temáticas y problemáticas sociales en su forma de comunicación, sino que alegan que es responsabilidad de las marcas el hacerlo. / Several authors have determined concepts related to the inclusion of social problems in advertising. One of them is brand-cause fit, which refers to the condition in which a brand and a social problem —with which the target audience feels identified— are conceptually united in a single communication proposal. The purpose of this study was to analyze how university students perceive the brand-cause fit as a communication strategy in Sprite's ‘You Are Not Alone’ campaign. A qualitative methodology was adopted and semi-structured interviews were conducted with 24 university students of which 12 belonged to the LGBT community and 12 were heterosexual. The participants positively perceived the brand-cause fit used as an advertising strategy in Sprite's campaign. Not only do they value the fact that brands include social issues and problems in their communication, but they also claim that it is the brands' responsibility to do so. / Tesis

The contribution of the Church to the reconstruction of a nation is the primary reason for the present study. The paradox image that the Democratic Republic of Congo presents deserves particular attention. With more than 80% of DRC population being Christians, this study strives to examine the current Christian religious discourse in the DRC and to see in what way this discourse can be ameliorated in order to play properly the role of facilitating a positive transformation of this country. Notwithstanding I have been alienated from the country for some years now, the study analyzes the current situation on the ground on the basis of the data available, and makes some recommendations in order for the situation in the DRC to be ameliorated. This study thus urges a reconstructive Christian religious discourse in the hope of changing the nation’s mentality in order to reconstruct this beautiful Country. / New Testament / M. Div. (New Testament)