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En 1685, sous le règne de Louis XIV, au moment où la monarchie française voulut extirper l'altérité protestante en révoquant l'édit de Nantes (1598), trois contemporains, Jacques-Bénigne Bossuet (1627-1704), Pierre Jurieu (1637-1713) et Pierre Bayle (1647-1706) élaborèrent des utopies dans lesquelles ils nous font connaître leur vision d'une France idéale. Ces trois utopies, nous voulons les restituer au cours de ce mémoire de maîtrise et souligner quelles sont leurs propositions respectives en matière de gouvernement et de relations interreligieuses. Nous aborderons leurs positions quant aux conséquences politico-religieuses de la Révocation. Et enfin nous dirons quel est le traitement que ces trois auteurs réservent dans leurs textes à la question de la tolérance étatique. / In 1685, during the reign of Louis XIV, the French monarchy tried to extirpate the Calvinist alterity from the kingdom by revoking the Edict of Nantes (1598). At that time three contemporaries, Jacques-Bénigne Bossuet (1627-1704), Pierre Jurieu (1637-1713) and Pierre Bayle (1647-1706), the first Catholic, the others Protestants, conceived utopias in which they introduce us to their vision of an ideal France. The general aim of this master's thesis is to analyze these three utopias and show their proposals in matters of government and interfaith relationship. More precisely, we will study the authors' positions about the politico-religious consequences of the Revocation. We will also see in their writings how they understand the tolerance issue.

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

My dissertation explores the narrative of Aurora Bertrana (1892-1974), an unknown writer today, but a successful and recognized female author in Catalonia and Spain during the mid 20th century. The written work of Aurora Bertrana is almost never mentioned in manuals of literature. Relegated almost to absolute oblivion, her rich, intellectual writting has not received the attention it deserves. I have studied seventeen of Bertrana’s novels –practically her entire oeuvre– written in Catalan and Spanish, including the following excellent books that have escaped critical attention: Ariatea (1960), “El pomell de les violes” (mn.), L’inefable Philip (mn.), La aldea sin hombres (mn.), La madrecita de los cerdos (mn.), Entre dos silencis (1958), La ninfa d’argila (1959), Fracàs (1966) and La ciutat dels joves: reportatge fantasia (1971). I have analyzed her writing, published and unpublished, from a feminist approach, taking into account the intellectual history of Spain and Catalonia. Bertrana’s strong commitment to controversial, social issues reveals her association with the modern and noucentists Catalan trends of her time. Her novels also reveal a unique interest in Europe at war and in non-Western cultures and lifestyles that draws attention to the situation of women in different circumstances and cultural geographies. My research is therefore anchored on interpretive and theoretical parameters that intersect, with a consideration of gender, such as class-and-gender, war-and-gender and travel-and-gender. I have used the work of feminists such as Simone De Beauvoir, Shulamith Firestone, Jelke Boesten, Margaret and Patrice Higonnet, Michelle Zimbalist Rosaldo, and Julia Kristeva to help assess Bertrana’s engagement with gender and socio-political issues. This approach is particularly well suited for a writer like Aurora Bertrana, a Catalan and Republican intellectual woman forced into exiled during the Spanish Civil War and the dictatorship of Francisco Franco.

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For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P’s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s. Lövin was as much a dystopian observer as a utopian thinker, where art must, according to him, engage the whole of society, and in essence change reality rather than act upon aesthetic experience. The personal is always contemporary, this essay argues. It concerns a question about the now, what Michel Foucault called »the ontology of actuality«, which means that, for Lövin, art must engage in the historical and critical questioning on how the present is configured, in its blind spots and hidden potentialities. Here, another element in the exhibition foregrounds the ontological questioning of the now: the fact that the two environments were designed as archaeological excavations in the future, representing an era before a catastrophic event. Lövin challenged us to look upon our times as if struck with amnesia. This remarkable displacement of perspective makes it possible for Lövin to not only reveal the inherent contradictions in the social conditions of the 1970s, through the harsh conditions that Mr. P represents, but to regard potentially everything, the consumer culture and all ephemeral expressions of our society – through the eyes of the future scientists – as art. Challenging the problematic notions of persona, socially determined beings or citizens, we are guided by Lövin, in a way that is not unusual of his time, to look upon »the art of the people« as synonymous with »the life of the people«. In this essay, which is one of the first in-depth analysis of Lövin, who Lars Nittve has called »the creator of some of the most important Swedish exhibitions in the last decades«, the allegorical meaning of »the art of the people« is seen as the nexus where the personal is pushed through its boundaries, to its ostensibly opposite meaning, the impersonal, in which a social utopia of the now emerges.

[Truncated introduction] This thesis will introduce Petra Karin Kelly, former Green politician and campaigner for social justice and environmental issues to an English-speaking audience as an important figure in the development of ideas relating to ecofeminism, nonviolence, and Green politics and utopias. Kelly, born in 1947 in Germany, spent the latter half of her childhood in the United States, and attended university there before returning to Europe. While working with the European Community in Brussels, Kelly became involved in grassroots politics in Germany and was one of the co-founders of the German green party, Die Grunen, (literally: the Greens) in 1979. She was to become a formidable politician through her passion for grassroots politics, nonviolence and feminism and her excellent leadership skills. Later ostracised by the party, due in part to her inability and unwillingness to conform to party rules, Kelly worked independently, giving speeches and promoting peace and the importance of human rights. However, at the age of 44, she was murdered by her partner, Gert Bastian, who then shot himself. It should be noted that texts so far written on Petra Kelly have been essentially biographies, which, while encompassing much of her academic and political life, focus heavily upon her personal life, in particular her relationships with married men, and her long term relationship with former NATO General Gert Bastian ... Therefore, the aim of the dissertation is not to ignore the importance of personal matters, rather to ensure a professional approach towards them. For this reason, the focus of this sociopolitical and sociohistorical thesis is upon the elements of ecofeminism, nonviolence and utopia as they relate to Petra Kelly’s politics, both within her role with Die Grunen and in her political life outside of German parliament.

Suite à l’indépendance de l’Inde en 1947, le Premier Ministre, Jawaharlal Nehru, lance un plan de villes nouvelles sur tout le territoire. Le nouvel État du Punjab devait être doté d’une Capitale dont Nehru demandait qu’elle soit : « …le symbole de l’Inde, désentravée des traditions du passé…une expression de la confiance de la Nation dans le futur… ».À soixante-trois ans, Le Corbusier réalisera enfin une de ses ambitions : concevoir l’urbanisme d’une ville de plus de 500 000 habitants. Il mobilisera des idéaux théoriques en tenant compte du particularisme local. Soixante ans après cette conception, il devient pertinent de revisiter cette « utopie urbaine » par la pratique de ses résidants. Les hiérarchies traditionnelles indiennes structuraient les espaces urbains. À Chandigarh, pour répondre aux vœux du Premier Ministre, de nouvelles dispositions devaient permettre « l’émergence une société nouvelle ». Le Master Plan de Le Corbusier et sa réalisation répondront à cette exigence. Ensuite, nous avons voulu comprendre les liens entre urbanisme et urbanité et comment des rapports sociaux « nouveaux » pouvaient encore s’exprimer six décennies après les premiers coups de crayon. Enfin, nous avons considéré que l’urbanisme d’une ville répond aux attentes de ses résidants dès lors que ceux-ci s’approprient « leur ville ». Chandigarh prévue pour 500 000 habitants, en accueille plus d’un million et devient le centre d’une grande agglomération.Pour comprendre la ville, nous avons mobilisé l’analyse paysagère et réalisé des entretiens qualitatifs auprès de plus de cent personnes pour apprécier les liens sociaux et le niveau d’appropriation. Nous en concluons que cette ville est appréciée et que ces concepteurs ont eu une vision prospective importante. / Subsequent to the independency of India in 1947, its Prime Minister, Jawaharlal Nehru, developed a plan of new cities over the whole territory. The new state of Penjab should get a metropole that Nerhu asked it to be : « …the symbol of India, detached of past traditions …an expression of the Nation trust in the future… ».When sixty-three years old, Le Corbusier could achieve one of his ambitions : Conceive the urban planning for a town of more than 500 000 inhabitants. He put forward theoretical ideals while taking into account the local particularism. Sixty years after this inception, it becomes pertinent to revisit such an « urban utopia » by investigating the practice of its residents. The traditional indian hierarchies used to be reflected in urban space management. In the town of Chandigarh, in order to observe the Prime Minister wishes, new regulations were necessary for achieving the « emergence of a new society ». Le Corbusier’s Master Plan and its implementation fulfilled this requirement. Then, we wanted to understand the relationships between ‘urbanism’ and ‘urbanity’ and to which extent « new » social relations could still develop six decades after the original design. At last we have considered that the urbanism of a town meets the expectations of its residents if they take in hand the ownership of « their city ». Chandigarh, initially planned for 500 000 inhabitants, has now more than a million of residents, and it has become the center of a large metropole. In order to get an understanding of the town, we have performed a landscape analysis and conducted qualitative interviews with more than hundred people, the objective being to appreciate their social links and level of appropriation. Our conclusion is that this town is appreciated and that its designers have had a major forward-looking perspective.

Using postmodern, feminist and queer notions of utopia/dystopia and narrative theory, this thesis contains an analysis of The Handmaid’s Tale (novel 1985; film 1990; TV series S01 2017) based on theoretical and methodological understandings of utopia/dystopia and narrative as deeply connected with notions of temporality and relationality, and of violence and resistance as the modes of expression of utopia and dystopia in the source texts. The analysis is carried out in an explorative manner (Czarniawska 2004) and utilises the notion of “disidentification” (Butler 1993; Muñoz 1999) and the concepts of “diffraction” (Haraway 1992, 1997; Barad 2007, 2010), and “entanglement” (Barad 2007). The conclusion becomes that utopia and dystopia in The Handmaid’s Tale are, to a great extent, imagined within the same system of understanding, but that utopian hope can be found in the relationality and temporality of resistance, and that the radically different utopian place is the queer horizon.

No description available.