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

La philosophie de Descartes est-elle « une philosophie sans rhétorique »? L’on s’attendrait à ce que le principe de l’évidence qui requiert une transparence totale des idées refuse catégoriquement tout recours à l’art rhétorique fondé sur le vraisemblable et réputé faire obstacle à la vérité nue. Cependant, et malgré ses prises de position, Descartes, ancien élève des jésuites, ne renie pas l’héritage des litterae anciennes. Il s’agit de l’héritage rhétorique des humanistes de la Renaissance dans lequel les Pères jésuites ont considérablement puisé : la formation linguistique de Descartes est allée de pair avec un amour de l’éloquence dans son adolescence. Mais cette éloquence, originairement déployée dans un style d’apparat mu par l’enthousiasme, ne va pas chez le Descartes de l’âge mûr sans être guidée par le souci éthique de ne pas trahir la vérité. Derrière un voile transparent propre à transmettre cette vérité intacte, le philosophe tente à la fois de scruter son for intérieur et de s’insinuer discrètement dans l’esprit d’autrui. La rhétorique est ainsi un moyen indispensable pour donner corps au dialogue de la pensée et de l’écriture cartésiennes. / Is the philosophy of Descartes “a kind of philosophy without rhetoric”? We might expect that the principle of the evidence, which calls for a total transparency of the ideas, refuses categorically all recourses to the rhetorical art founded on the bounds of credibility and reputed to obstruct the bare truth. However, despite their captures of position, as an old student of the Jesuit, Descartes, doesn’t disown the heritage of the old litterae. It is important to point the rhetorical heritage of the Humanists from which the Jesuit Fathers have considerably drawn: the linguistic formation of Descartes has accompanied with a respect to the eloquence during his adolescence. But this eloquence, originally displayed in the sumptuous style driven by enthusiasm, doesn’t continue until his middle age without being guided by his ethical anxiety not to betray the truth. Behind a transparent veil proper to transmit this intact truth, the philosopher tries both to examine his deep mind and to creep into others’ spirits discreetly. The rhetoric is also an indispensable means in order to embody the dialogue of Cartesian thought and of writings.

Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l’académisme de l’école des Beaux-Arts et concilie sa spécificité de médailleur et d’artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d’architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l’art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives. / A first prize winner for sculpture in 1919, parisian-born Raymond Delamarre belongs to the neo-classical plastic order of the prize winners of the 20’s : painters Dupas, Roganeau, Billotey, Pougheon and Despujols, sculptors Foucault, Janniot, Martial et Vézien, engraver Decaris, architects Carlu, Roux-Spitz et Azéma. Attracted by colossal works, Delamarre gets free from the academic teachings of Beaux-Arts and reconciles his art as a medal-maker /decorator with a monumental one. Commissioned by architects, often Rome winners too, he is first and foremost a learned, elegant sculptor, with a liking for allegories, creating intricate works, half way between a decorative tradition, a high degree of realism and modern art. Volume plasticity and simplification of lines are derived from archaic Greek art and his technical and stylistic models from Roman toreutics. Influenced by Italian mannerists, he refers to French art in its various forms. The sinuous lines are borrowed from Ingres, Burne-Jones and Art nouveau, from Bourdelle’s synthetic art and Art Deco style. His agile mind’s eye is ensured by Rodin’s theory of profiles. The arrangement of his figures at various levels in his monumental reliefs are inspired by Janniot. His search for reliable references lend a historical, didactic and symbolical value to his work which, after the war, sometimes become too systematic. He is at his best when expressing very readable forms in original, poetic lines, akin to the daring attempts of cubists. However, he reasserts the continuity of a national identity of art, and shows that it can thus give birth to powerful, rythmic and greatly inventive plastic creations.

This thesis deals with the analysis of two opposing present-day life styles. The first one is so called reasonable consumption or voluntary simplicity, which is nowadays often realized in an environmental life style with the focus on its actual forms in a common life. The second one is a consumer life style. The work focuses on characteristics of influences which form these two contrasting attitudes and tries to reveal the biggest number of reasons why the consumer life style in rich and quickly developing societies wins while the environmental life style spreads very slowly and the voluntary simplicity is a marginal phenomenon regardless the well known warnings of experts about the critical state of the planet caused by the consumer life style. The thesis also outlines several possible solutions and changes in the whole society required to suppress the consumer life style with their supposed impacts. KEY WORDS: reasonable consumption, environmental life style, consumer life style

Notre thèse propose de réexaminer la question du style dans les improvisations de John Coltrane. De nombreux travaux mettent en lumière des changements stylistiques abrupts et certaines étrangetés, mais l’œuvre coltranienne est globalement considérée comme le résultat d’un seul style en constante évolution. N’y aurait-il pas, au contraire, plusieurs styles dans l’œuvre de John Coltrane ? Si le style est ce qui permet de « marquer la différence », comment interpréter cette labilité stylistique ? Dans le premier chapitre, nous nous interrogeons sur le style et l’analyse stylistique dans le jazz. Dans le deuxième chapitre, nous dressons un panorama des travaux analysant le style de John Coltrane, et de ceux nous permettant, par une mise-en-série, de réaliser une analyse stylistique. Dans le troisième chapitre, nous nous attachons à explorer la période précoce méconnue de l’œuvre coltranienne et à prouver qu’on y trouve également des mouvements stylistiques importants. Dans le quatrième chapitre, nous effectuons une synthèse de nos travaux et de ceux existant. Nous démontrons l’existence de plusieurs styles et discutons des antagonismes et des étrangetés stylistiques relevés. Pour finir nous formulons l’hypothèse d’un lien entre les phénomènes stylistiques observés et le vécu « d’enfant de remplacement » de John Coltrane. Nous faisons appel à la psychologie d’orientation analytique pour discuter ce dernier point. / Our Ph.D. ambitions to re-examine the question of style in John Coltrane’s improvisations. Numerous works on the subject put forth abrupt stylistic changes as well as some oddities, but Coltrane’s works are globally considered as the result of a single style, that would have evolved through time. Why not consider a collection of different styles, that, as a whole, would build up his art? If his style is what asserts an artist’s singularity, how could this lability be taken into account? In the first chapter, we question the notion of style and the very notion of stylistic analysis. In the second chapter, we present an overview of the various works analysing the style of John Coltrane and of those which have enabled us to propose a stylistic analysis through comparisons. In the third chapter, we cast a light on the – often neglected – early years of Coltrane’s career and demonstrate that even at that time, important stylistic changes can be traced. In the fourth chapter, we propose a synthesis of our study and the other existing works. We demonstrate the existence of a set of styles and discuss the antagonisms and oddities which were previously underlined. To finish, we suggest the possibility of a link between the stylistic phenomena we studied and the status of Coltrane as a “replacement child”. We carry out this discussion in a psychoanalytic perspective.

Ce travail de recherche examine le style en traduction à travers le prisme de la métaphore corporelle dans le roman censuré The Rainbow (1915) de D.H. Lawrence et ses deux traductions françaises par Albine Loisy (1939) et Jacqueline Gouirand-Rousselon (2002). Notre réflexion s’inscrit dans la traductologie de corpus et adopte une approche descriptive grâce à une analyse qualitative et quantitative. Nous avons articulé notre travail autour de trois parties : en parcourant différents cadres théoriques allant d’Aristote jusqu’aux études plus récentes, nous avons tenté d’explorer la question relative à la nature de la métaphore et à ses fonctions. Cette première étape a confirmé notre point de vue selon lequel la métaphore est un support qui agence la pensée pour traduire une représentation particulière du monde. La métaphore est en effet un outil de communication redoutable. Nous avons, par la suite, exploré la notion de style en traductologie afin de tisser un lien entre la métaphore et le style dans l’écriture lawrencienne. Métaphoriser et traduire sont deux processus sensiblement proches qui tournent autour d’un point commun, celui du mouvement. L’analyse détaillée des 35 exemples extraits de The Rainbow et de leurs traductions en français nous a permis de détecter les convergences et les divergences au niveau du style et des représentations métaphoriques du corps. L’emploi récurrent de la métaphore chez Lawrence n’est pas anodin. Il s’agit d’un moyen pour conceptualiser la philosophie de l’auteur. Les traductrices ont dû surmonter au moins deux défis : préserver la charge métaphorique et opter pour un style qui reflète la complexité de l’écriture lawrencienne, tout en respectant les normes stylistiques de la langue française. Les écarts constatés au niveau des traductions ouvrent la voie à des interprétations qui pourraient prendre forme grâce à de futures retraductions. / The aim of this research, which draws on a descriptive approach to translation and uses a corpus-based methodology, is to explore D.H. Lawrence’s style through his use of body-related metaphors. I will focus on their stylistic particularities in order to examine the manner in which body metaphors were translated into French. The main argument of my study is that Lawrence’s metaphors are a relevant tool to highlight his vision of human relationship. This thesis falls into three parts: first of all, I explore different theoretical frameworks from Aristotle to more recent studies, notably those carried out by Lakoff and Johnson. This step confirms that metaphors are a relevant tool of communication that organises one’s thought in order to create a specific representation in a given situation. Secondly, in order to weave a link between metaphors and Lawrence’s writing in The Rainbow, I examine style in Translation Studies and beyond. Metaphorising and translating are two closely related processes that revolve around a common aspect, movement. Thirdly, I conduct a qualitative and quantitative analysis of 35 excerpts from the censored and the unabridged edition of The Rainbow (1915) with their French translations by Albine Loisy (1939) and Jacqueline Gouirand-Rousselon (2002) in order to highlight convergences and divergences in the style and metaphorical representations of the body. The recurring use of metaphor in The Rainbow is a means of conceptualising Lawrence’s vision of the world. Both translators had to overcome at least two challenges: to preserve the metaphorical images and to opt for a style that reflects the complexity of the Lawrencian writing, while respecting the stylistic norms of the French language. Differences in translations pave the way for new interpretations that could take shape through future retranslations.

O objetivo geral desta pesquisa é verificar a existência de um estilo de aprendizagem e de um estilo de liderança predominantes na gestão de mulheres empreendedoras de pequenas empresas do setor de comércio varejista da cidade de São Carlos. Nas duas últimas décadas, foi observado um aumento significativo no número de empreendedoras mulheres tanto no Brasil como em diversos países do globo. A criação e gestão de negócios, tarefas antes tipicamente masculinas, agora são exercidas cada vez mais por mulheres. Esse crescimento no número de mulheres a frente de seus negócios tem sido alvo de atenção dos pesquisadores de empreendedorismo ao redor do mundo. Este trabalho abordará o tema sob a ótica dos estilos de aprendizagem e de liderança da empreendedora, suas inter-relações e suas influências ems pequenas empresas. As mulheres possuem maneiras diferentes de empreender, traçar as estratégias e liderar seus seguidores. Elas dão ênfase maior aos relacionamentos com os empregados, os fornecedores e os clientes. As prioridades, na maioria das vezes, não se expressam em cifras monetárias ou no crescimento da empresa. Elas prezam qualidade de vida, ou seja, para elas é importante saber administrar o tempo tornando possível conciliar os compromissos profissionais com os familiares. A partir destas características, assume-se a premissa de que a identificação do estilo de aprendizagem e do estilo de liderança das mulheres, venha ajudar a compreender o desenvolvimento de habilidades gerenciais que as auxiliem em suas empresas. A pesquisa foi uma survey e identificou os estilos de aprendizagem e o estilo de liderança das mulheres empreendedoras, no contexto das pequenas empresas estudadas. Para identificar esses estilos e as principais habilidades gerenciais das mulheres, foram utilizados os questionários Learning Style Inventory LSI e Multifactor Leadership Questionnaire MLQ. Os resultados da pesquisa mostram: quais os estilos de aprendizagem e estilos de liderança são predominantes entre as mulheres estudadas, as relações encontradas entre o estilo de aprendizagem e o estilo de liderança das mulheres, e quais as suas principais habilidades gerenciais / This research objective is to study learning style and leadership style of women entrepreneurs of small businesses in the retail sector in the city of São Carlos. In last two decades, there was a significant increase in women entrepreneurs in Brazil and worldwide. Several researchers have paid attention on women. This work investigates learning and leadership styles, their interrelationships and their influence on small businesses. Women have particular ways of entrepreneurship, to outline strategies and to lead their followers. Generally, their emphasis is to relationships with employees, suppliers and customers. Their priorities, frequently, are not expressed in terms of monetary or of company\'s growth. For them, life quality is important. They manage their time and to reconcile work commitments with family tasks. To understand women learning and leadership styles helps to realize what kind of management skills could help them in their business. This research was a survey. It identified learning and leadership style of women entrepreneurs in small business context. To identify these styles and the key managerial skills of women, we used The Learning Style Inventory (LSI) and the Leadership Multifactor Questionnaire (MLQ) were used to identify learning styles, managements skills and leadership style. The survey results show: what learning styles and leadership styles are prevalent among the women studied, the relationships between learning style and leadership style of these women, and what are their main management skills

With the economic and technology development, International Corporation amongcountries becomes increasingly popular. All countries become an entire unit, thereforeunderstanding among different cultures is important. Different cultural backgroundleads to different management style. The cultural diversity is needed to cooperateglobally. Chinese management style and Swedish management style has its owncharacteristics. Study the differences between these two different management stylescan offer an opportunity for understanding each other.The purpose of this thesis is to compare and analyze the differences between Chinesemanagement style and Swedish management style. Empirical data is collected fromindividual interviews with five Chinese employees who work in Sweden and underSwedish manager.The result of the study reveals that Swedish management style is people-oriented,empowerment and small hierarchy. Swedish manager achieve their goal by “loose”management while Chinese manager is more in control and focus on relationshipbuilding between manager and employees.

Dans nos sociétés occidentales contemporaines, esthétiques et spectaculaires, le corps est un objet de fétichisme social de même qu'un écran sur lequel il est possible de projeter une identité maniable et changeante. Considéré comme le support de l’individualité, il est l'objet de toutes les métamorphoses. De simple parti pris vestimentaire, le style peut parfois se faire l’expression d’un véritable mode de vie, d’une existence qui s'établit à l'encontre des normes imposées par une société. L’apparence devenant la manifestation ostentatoire (parfois caricaturale) d’une prise de position politique, philosophique ou sexuelle.Quels liens unissent la pratique du cabaret New-Burlesque, du Cosplay, de la Sape ou du Voguing ?En apparence dissemblables, voire peut-être antagonistes ; regroupant des membres d'âges, de sexes, d'origines différentes et s'ignorant la plupart du temps l'une l'autre ; ces communautés sous-culturelles partagent néanmoins des symboles, une idéologie, une organisation structurelle et sociale comparables. Dans une forme maîtrisée de l’artifice et du théâtre, tous utilisent leur apparence comme dispositif de résistance et interrogent la validité et les limites des impératifs sociétaux. C'est du moins ce que cette thèse tente de mettre en lumière, par la photographie et sur le terrain de la sociologie. / In our contemporary societies, the body has become not only an object of social fetishism but also a screen where we can take on any kind of identity. Apperance can be transformed in a playground and used as a tool to resist society's standards. From a simple choice of clothing, a look can in fact express a global lifestyle. Even if seemingly light, style can show the choice of a certain way of life and be an exit from social constraints. It can reveal existential choices, whether political, philosophical or sexual.This researches are involving different groups of people and communities. What could possibly link Congolese Sapers, Voguers, Cosplayers, Roller derby and New-Burlesque performers? A priori different, most likely antagonistic and gathering a large range of people from various ages, social classes or origins, these subcultures still share a lot of similarities. From a comparable ideology to the use of similar symbols and compatible social organizations, they all seek to re-enchant our world in a critique of cast societies and question the limits of their social imperatives.In both photography and sociology, this PhD aims at forming a kaleidoscope of various facets of self-presentation in our contemporary society, with all its hopes and disappointments.

Notre travail concerne le cinéma d'Ingmar Bergman et son esthétique. en effet, si ses œuvres dont nous en analyserons que trois (des fraises sauvage, à travers le miroir et persona) parce que nous les considérons comme représentatives, sont données comme narratives, il n'en demeure pas moins qu'elles sont mises en scène de façon très particulière.c'est pourquoi nous avons formulé l'hypothèse suivante que le cadrage choisi par bergman renvoie à sa pensée intime, pensée qui a été fortement surdéterminée voire formatée par la religion protestante. nous nous attacherons tout au long de notre thèse à démontrer sa spécificité et comment l'image de dieu et la pensée religieuse font partie intégrante de ses œuvres. / The aesthetic analysis of Ingmar Bergman’s movies requires a study of the theological and iconographic signifiers. The paradoxical effects of framing and the mobility of the filmic image tell a story of the soul and make it possible to map out an intuitive route for the individuals implied in the story. The unfolding of different points of view involve the soul and give some spiritual scope to this idiosyncratic cinema. In Bergman’s style, spirituality cannot be found within a fiction, but within a form. Style comes out from thought and from the exposure of a wandering search for “the self”. This process is enriched through the shift from dramatic narration to anti dramatic pictures and from linear plot to non figurative forms. In accordance with our active existence, Bergman prefers the figures that are shut in by the edge of the frame, the dissolved images, the empty compositions and disconnected looks: man didn’t come to the world intentionally, but was thrown into it and later forsaken on earth. The framing is a space where the characters can meet with sacred things and have a spiritual experience. A contradiction between earthly matters and heavenly ones remains the main subject within the frame.The study of the relationship between the image and the film script introduces Bergman’s cosmology: it is not the script which builds up the image but the image itself which generates an idea to be developed further.The faces are transformed in portraits, in their search for human truth and, on a wider scale, for man's commitment in Creation. In this sense, nature neither embodies material reality nor serves as a mere filmic object, but it stands out as a form of the sacred.