Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This thesis examines the possibilities of the tattoo as a collectible. Specifically, three different modes of collecting and displaying tattoos; as a living museum on the body of the tattooed subject, as a skin specimen separated from the body and displayed in a variety of museum settings and, finally, as an image abstracted from the body in the form of photographs of tattooed sitters. Implicit in this journey from body art to artifact is a consideration of the changing meaning and significance of tattoos in the evolving discourse of visual culture. Once regarded as markers of social deviance - as symbols of exclusion or marginalization - tattoos have become a much more popular and widely accepted form of body art - signs of community, affinity and inclusion. The growing popularity of tattoos has also led to a reconsideration of their status as an art form, an elevation of what was once considered a 'low art' process to the realm of high art. This shift has only recently led to an increase in scholarship about tattoos within the discourses of both art history and visual culture. In this thesis I examine this new scholarship about tattoos in visual culture, and then go one step further by considering tattoos as visual objects within the culture of collecting. Specifically, I examine tattoos as collectible 'souvenirs', as specimens and, when reproduced as photographs, as socially resonant signs of identity and meaning. These case studies examine tattoo art from various perspectives. Primarily, as art collected on the body, but also as imagery existing separate from a physical form, just like the majority of collected artwork.

<p>De symboler som en gång upplevdes som autentiska har blivit globaliserade och den traditionella souvenirens autenticitet ifrågasätts därför i dagens samhälle. Det finns således skäl till att diskutera hur giltiga de existerande definitionerna av souveniren verkligen är bland dagens och morgondagens resenärer – åttiotalisterna.Syftet med denna uppsats var att undersöka souvenirens mening och innebörd bland åttiotalister.Med en kvalitativ metod genomfördes, med hjälp av snöbollstekniken, tio enskilda djupintervjuer med personer födda mellan 1982 och 1985. Dessa intervjuer tolkades från en hermeneutisk ansats. Åttiotalisters syn på souveniren överrensstämmer inte med de existerande definitionerna. Istället för att se en souvenir som ett föremål med uppenbar och synlig koppling till platsen har den emotionella aspekten blivit viktigare. Begreppet souvenir har gått från att vara konkret till abstrakt. Det visar sig att det inte är föremålet i sig som är viktigt utan vilken betydelse individen ger föremålet.  Därmed kan vilket föremål som helst bli en souvenir.<strong> </strong>Utifrån åttiotalisters syn på souveniren har en ny definition skapats.</p><p><strong> </strong></p>

La présente recherche vise à analyser l’essence de la fantaisie considérée comme un vécu intentionnel à partir de la phénoménologie de Husserl. En quel sens pouvons-nous affirmer que la fantaisie, généralement associée à la liberté et à la création, est en effet productrice ? Il nous faut remarquer que la question de la fantaisie s’inscrit parmi les problématiques qui ont contribué à la consolidation du répertoire thématique de la phénoménologie naissante. Cependant, la définition de la fantaisie à laquelle Husserl aboutit à partir de 1904/1905 ne tient pas compte de son aspect libre et productif, mais la considère comme fantaisie re-productrice. Pour arriver à une définition plus large et précise de l’essence morphologique de la fantaisie, sans abandonner la phénoménologie de Husserl, cette recherche propose les objectifs suivants. En premier lieu, montrer les explications que Husserl met à l'épreuve et pourquoi il les rejette. Parmi celles-ci, en plus des explications propres, il faut souligner celles de Brentano et de Twardowski. Deuxièmement, expliciter comment les analyses de la conscience interne du temps et du souvenir ont conduit à la définition canonique de la fantaisie en tant que modification de neutralité appliquée au souvenir. Ensuite, une critique de cette définition est effectuée. Enfin, il est proposé de surmonter les difficultés soulignées à partir d’éléments de la phénoménologie de Husserl, tels que les fonctions que la fantaisie remplit, entre autres dans l’intuition des essences, l’expérience d’autrui et l’expérience esthétique, où la fantaisie opère par la production d’analogues qui ont un effet « harmonisant » sur l’expérience. / The present research is framed in the Phenomenology of Edmund Husserl, and aims to analyse the essence of phantasy considered as an intentional experience. In what sense can it be sustained that phantasy, generally associated with freedom and creation, is indeed productive? It should be noted that the question of phantasy appears among the issues that contributed to the consolidation of the thematic agenda of nascent phenomenology. However, Husserl’s definition of phantasy, which is attained in1904/05, does not take into account its free and productive aspect, but rather regards it in a re-productive way. To arrive at a broader, yet precise, definition of the morphological essence of phantasy, without leaving Husserl’s phenomenology, the following objectives are pursued. Firs, I present the possible explanations of phantasy that Husserl puts to the test (among which those of Brentano and Twardowski must be highlighted) as well as the reasons why he rejects them. Second, I explain how the analyses of the internal time consciousness and memory led to the canonical definition of phantasy as a neutrality modification applied to memory. A critique of this definition is subsequently established. Finally, I propose that those difficulties may be overcome by considering other elements of Husserl’s phenomenology, such as the functions that phantasy fulfills, for instance in the intuition of essences, in the experience of others and in the aesthetic experience i.a., where phantasy operates by the producing of analogues which have a “harmonizing” effect on experience.

La littérature moderne ne cesse de puiser dans l’Histoire, notamment du XXe siècle, avec toutes les mutations qui l’ont traversée. Certes, le retour du récit après la rupture causée par le Nouveau Roman, s’impose avec la publication de la somme philosophique de Ricoeur, Temps et récit (1983-1984), « qui montre les limites d’une analyse structurale et rappelle la fonction anthropologique majeure de l’activité narrative ». En effet, les écrivains contemporains en quête d’identité, reconnaissent la nécessité de revoir le contexte historique de chaque période de leur vie ou de la vie des autres. Il est intéressant, dans cette perspective, de remarquer les récits retraçant l’Histoire du Liban, à partir du début de la Première Guerre Mondiale, date où des voix libanaises s’élèvent pour demander que le Liban soit éventuellement placé sous la protection française. Le cas de la chronique libanaise est un cas particulier parce qu’on attend depuis 2001 la mise en œuvre d’un livre d’Histoire agréé au Liban. Cette étude insiste avant tout sur la convivialité, l’unité du pays, et la meilleure compréhension de l’autre et cherche à travers la littérature, à trouver un terrain d’entente. Les textes d’écrivains libanais, de Salah Stétié, d’Amin Maalouf, d’Alexandre Najjar, de Jacqueline Massabki, et d’écrivains français comme Sorj Chalandon et Richard Millet, permettent de cerner l’Histoire libanaise de différents angles de vue. Loin de prétendre redresser tel quel le passé du Liban, ces écrivains en font la base de leur narration. / Modern literature continues to get inspiration from History, especially from the history of the twentieth century, with all the changes that marked it. Certainly, the return of the narrative after the rupture caused by the New Roman (Nouveau Roman), is highlighted with the publication of the philosophical sum of Paul Ricoeur, Time and Narrative (1983-1984), "which draws the limits of a structural analysis and recalls the major anthropological function of narrative activity ". Indeed, contemporary writers in search of identity recognize the need to review the historical context of each period of their lives or the lives of others. Thus, autobiography, as well as biography of others, is inseparable from history. The case of the Lebanese chronicle is exceptional, especially in the shadow of the controversy over the implementation of a unified book of History in Lebanon. This has been the case since 2001 and each party privileges his own version of history. This study emphasizes first of all the value of conviviality, the unity of the country, and the better understanding of the other and seeks, through literature, to find common ground. And to understand and live lucidly, one must face, according to Nietzsche, the tragic, even fate, this "dose of coldness, lucidity, hardness". Lebanese French-speaking writers and readers share the will to understand the past that haunts their destiny and to grasp the evolution of time. It is therefore remarkable to see the Lebanese history rising through a bouquet of observations, testimonies, comments and questions.The texts of Lebanese writers Salah Stétié, Amin Maalouf, Alexandre Najjar, Jacqueline Massabki, and French writers like Sorj Chalandon and Richard Millet, help to identify the Lebanese history of different angles of view. Far from pretending to correct Lebanon's past as such, these writers make it the platform of their narrative.

This thesis examines he areas of consciousness and language that are implemented within the oral teaching tradition of the spiritual lineage of Ramana Maharshi. It examines how language is used by the teacher's consciousness to assist their student's development towards their own enlightened state of consciousness.

The therapeutic nature of Gabrielle Roy's works enables an Aristotelian catharsis to take place for her audience. As her readers plunge into their individual past, they can have an awakening. Upon realizing that the characters in Roy's literary creation hold to a specific definition of elusive happiness and after discovering that they also are plagued by a fixation to some type of Freudian trauma, the readers can recognize similar behavior in themselves. Though likely they were unconscious of their ongoing distress before, now it becomes clear that their tendency to displace themselves in pursuit of a utopian existence is perpetual and necessitates a cure. Given that humanity in general, whether consciously or unconsciously, is nostalgic for the past, how could a universal panacea be found? Gabrielle Roy also suffered from an unending proclivity to displace herself in search of ethereal bliss. Perhaps in writing her life story through the guise of her characters, she brought about her own catharsis. Not so. Any temporary relief ended with the ensuing agony of facing an ever-frightening world. Nevertheless, the key to discovering a remedy lies within the framework of her texts. Through the application of literary theory as well as anthropology and psychology, this thesis unveils the unique modus operandi needed to overcome fixation to a particular phase in the past. Gabrielle Roy's clarion call to the world to promote human tenderness can be answered through choosing to put into practice the principles implicit in her works. When we comprehend the relationship between the story and displacement, we as individuals can initiate our own healing and thereafter stimulate healing in others.

Cette thèse analyse l’oubli et les verbes de même famille sur les plans physique et psychologique au sein du corpus aristotélicien, analyse qui à notre connaissance n’a encore jamais été menée. Cette étude apporte aussi un commentaire du De memoria et reminiscentia en examinant les conceptions de la mémoire et de la réminiscence d’Aristote. À travers l’analyse des occurrences de l’oubli et de ses verbes, elle émet l’hypothèse d’un sens cohérent de l’oubli. L’oubli serait une destruction partielle d’un état particulier de science et de réminiscence. Il serait provoqué par la présence du contraire de la science, l’ignorance. Son genre serait intellectuel. Il serait permanent, quoique rare et exceptionnel, ne faisant pas partie du processus normal d’apprentissage de la connaissance. Bien que l’oubli n’apparaisse pas dans le De memoria, sa définition est utile afin de faire rejaillir la nature sensitive de la mémoire et la particularité de la conception aristotélicienne de la réminiscence. En ce qui a trait à la mémoire, cette thèse suggère qu’elle est une sorte particulière d’affection et de possession de choses perçues ou conçues par le passé après un écoulement de temps. La mémoire permet une unification des multiples souvenirs que l’on acquiert au cours de son vécu, unification qui a lieu non seulement par rapport à différents souvenirs, mais aussi en ce qui concerne les diverses facettes d’un seul souvenir. En localisant la mémoire dans la sensation première, Aristote fournirait une description de l’âme sensitive nécessaire pour qu’un animal possède la mémoire. En considérant que la mémoire applique la notion du temps aux objets sensibles comme intellectuels, Aristote montrerait sa conception synergétique des fonctions psychiques interagissant entre elles. Le fait de se dire en son âme que l’on a auparavant perçu ou appris ne serait pas une affirmation excluant les animaux, le processus décrit étant entièrement sensitif, et l’expression « se dire en son âme » décrivant un fonctionnement de l’âme sensitive. La mémoire, selon Aristote, aurait besoin de l’image. Mais cette thèse suggère de lire les lignes I 450a24-25 et I 451a14-17 en insistant sur la spécificité de l’objet de mémoire. Ces lignes insisteraient sur le fait que bien qu’accidentellement une image, le souvenir ne serait pas imaginaire, mais serait au contraire une copie des choses perçues et apprises par le passé. Les défaillances mnémoniques seraient des phénomènes physiologiques et sensitifs qui ne seraient pas des oublis. La réminiscence serait une délibération donnant les moyens de remonter vers des souvenirs et connaissances que l’intellect aurait établis en tant que fin. Elle permettrait de soigner le souvenir en contemplant à répétition l’objet de mémoire. Elle apporterait une capacité de synthétisation des souvenirs et permettrait de se remémorer une connaissance que l’intellect souhaiterait contempler. Elle emploierait des mouvements nécessaires ou habituels et un point de départ. Les problèmes de réminiscence seraient de nature physiologique, la réminiscence étant un exercice de l’intellect interagissant avec le composé corps-âme. Ces problèmes ne seraient pas non plus des oublis. / This thesis examines forgetfulness in Aristotle on a physical as well as psychological level. It also offers a commentary of De memoria et reminiscentia, studying memory and reminiscence in this treatise. It examines the various occurrences of forgetfulness and verbs of the same family and deduces its definition from these excerpts. It thus appears that forgetfulness is a destruction of science which does not destroy the whole living being, but only the state of knowledge which is affected by its contrary, ignorance. Forgetting is therefore permanent, but it is exceptional and it does not destroy the intellect. While forgetfulness does not appear in the De memoria, its definition is useful in order to insist on the fact that memory belongs to the sensitive part of the soul and in order to show how Aristotle’s conception of reminiscence is particular. With respect to memory, this thesis mainly suggests that, as a special sort of possession and affection of perception and science, it is able to unify multiple memories that are acquired throughout life. It unifies not only different memories, but also different aspects of a single memory. The De memoria actually describes to us how an animal’s sensitive soul must be in order for it to have memory. Located in the primary perception, memory would be an example of Aristotle’ synergetic conception of the soul, since it would apply the sense of time both to intellectual and perceptual objects. The expression “saying in one’s soul’’ that one has perceived or learned is not one which excludes animals, because it describes a sensitive process. While memory requires an image, it is not a product of our imagination. This thesis thus reads the lines I 450a24-25 and I 451a14-17 as meaning that objects of memory are not objects of imagination. Of course, Aristotle does state that memory needs images. But he nevertheless stresses that objects of memory are copies and are not phantasies. Memory problems are physiological or related to the sensitive part of the soul. They are not a destruction of science like forgetfulness is. Reminiscence is a deliberation which finds the means to attain a specific memory or knowledge determined as an end by the intellect. Reminiscence can preserve memory through the repetitive contemplation of its object as a copy. It can synthesize memories and can recollect a knowledge which the intellect wishes to contemplate. Starting from a principle, it uses necessary or habitual movements. Since recollecting is an intellectual exercise which interacts with the sensitive part of the soul, difficulties in recollecting are caused by physiological problems. These problems are not destructions of science and they are not equivalent to forgetting.

A journey begins with an act.  To move one's body/mind from one place to another. The planning of where, when and how to get there.  Expectations of what to come, before, during and after. In my thesis I turn to the notions we encounter when experiencing space. Through the bodies movement we shift our perspectives, leaning our eyes on surroundings of change, we mediate what is perceived. Telling us the story of where we have been and where we are heading to.  The fragile surface of the lace cloth covering the sunlight shine in my grandmothers kitchen window had to me an unfamiliar texture and its yellowing white colour brought a time from another generation. Drinking weak silver tea and sitting next to this curtain formed a tactile memory of constant. I don´t remember any other details from those days, other than the taste of the tea and the atmosphere created by the lace. When, during a journey in unknown lands several years after, I again saw this lace covering a window I remembered not the situation nor the tea but a sort of comfort. A memory of carrying both my past and present.  The memory of space is created both in the past and the present but also when we leave, as we remember and recall it. How do we interpret what is a part of our past, present and future? And where is the real/unreal memory of space created?  To investigate these notions I placed my self in a sort of somewhere! On the border between reality? and utopia. In an constant journey of bodies from familiar to unknown. In a place where perception of space pass through movement and time. In an journey of memory and imagination. In a cruise boat.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2016-2017. / En 1919, la France sort d’une guerre au cours de laquelle elle a subi des pertes humaines jusque-là inimaginables. L’État est alors amené à inventer de nouveaux outils pour faire face au deuil et au traumatisme. C’est l’un d’entre eux, le 11 Novembre, que cette thèse a interrogé dans sa dimension parisienne de 1919 à 2012. Les archives administratives, les comptes rendus des débats parlementaire et la presse quotidienne ont d’abord permis de se pencher sur l’invention d’une commémoration qui, si elle prend forme au cours d’un débat politique intense, se caractérise surtout par la mise en scène d’éléments intégrés dans le patrimoine matériel et immatériel de la Nation lors de la sortie de guerre autour desquels les organisateurs déploient un rituel de circonstance : la minute de silence. Filmée de sa création à 2012, la commémoration du 11 Novembre a aussi été étudiée, pour chaque époque, à travers le prisme des images animées. Mots clefs : commémoration, politiques publiques du passé, 11 Novembre, rituels, actualités cinématographiques, télévision / In 1919, France is emerging from a war in which she suffered a number of casualties previously unimaginable. The State is then brought to invent new tools to deal with the trauma of war and grief that affects society. Among them, the commemoration of the Armistice of November 11, 1918 has crossed the century and persists as a major event despite the disappearance of the last veterans of the Great War. This thesis focuses on the national ceremony on November 11, held annually since 1922 in Paris. It aims first to look at the genesis of a commemoration, which was established after an intense political debate. The commemoration was organized around specific old and new rituals : the flags of the regiments disbanded and the unknown Soldier, or the minute of silence). This elements that became permanent emphasized the mournig dimension of the commemoration. Filmed from 1923 to 2012, the commemoration of November 11 has also been studied through the prism of the images broadcasted in the medias. Keywords: commemoration, publics policies of the past, Novembre 11th, rituals, newreels, television