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Le 「ma」 est, depuis quelques décennies, un concept dont il est assez souvent question dans les textes portant sur le Japon. Tel le kanji qui le représente, soit un pictogramme qui montre le soleil qui perce entre les deux battants d’une porte, le 「ma」 exprime un entre-deux dynamique et porteur de sens. Après un premier chapitre qui explore les liens entre langue et culture au Japon, quatre chapitres sont consacrés au 「ma」, un premier qui présente un état des lieux, un second qui explore ses précurseurs ainsi que ses formes disciplinaires, sauf en musique et en architecture, traités au chapitre suivant, alors que le dernier chapitre tente de cerner et de définir le 「ma」, et qu’une annexe survole ce qu’il en est en Occident. Le sixième chapitre de la thèse présente la dichotomie 「内・外 uchi-soto」, marqueur premier de l’appartenance à tout groupe au Japon, incluant la nation. Suit un chapitre portant sur la frontière entre le uchi et le soto de la nation japonaise, puis un autre qui explore les formes que prend l’identité nationale japonaise. Le dernier chapitre offre une synthèse. Il en ressort que : - le 「ma」 est un concept associé à un terme importé au début de l’âge classique, mais ce n’est qu’à la transition entre le 戦国 sengoku (mi 15e à fin 16e) et l’ère 江戸時代 Edo (1600-1868) que les conditions seront réunies pour permettre la naissance du concept. Celui-ci restera toutefois presque purement disciplinaire jusqu’à 昭和 Shōwa (1926-1989), après quoi il prendra des formes qu’on peut qualifier d’identitaires, d’abord en opposition à l’Occident au début Shōwa, puis comme ambassadeur d’une identité japonaise consolidée à partir des années 1960.
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George Sand, born Aurore Dupin (1804-1876), was one of the most prolific writers of the July Monarchy (1830-1848). Her monumental work focuses on a myriad of subjects, which are often studied from the perspective of the ideal. Among other things, Sand was interested in the notion of the poet-artist, which refers to an ideal artist. This notion, specific to this period, is distinguished from the other poet, which is a writer. While the meaning of the notion of poet-writer is well determined, that of poet-artist is subject to a vague and subjective definition. For her part, Sand considers that the poet-artist designates both an artist and a philosopher. This proposition, which is clearly stated, constitutes a central axis to all the artistic thought that she develops. This is what is explored in the present work, through three themes of George Sand's artistic thought. Each chapter is devoted to one of these themes, with an attempt to organize the artistic thought of Sand. The theme of the brotherhood of the arts will be studied first. This typically romantic theme, omnipresent in Sand's writings, perceives the different disciplines as forming a whole. Then, the hierarchy of arts will be reviewed: George Sand considers that music is the superior discipline, compared to some of her contemporaries who believe that poetry is the superior discipline. Finally, George Sand perceives a figure of genius in her writings, which comes close to the ideal artist. All these themes are studied in close relation to the usual visions found under the July Monarchy.
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This master's thesis analyses the institutional transformations of the Institut d'études médiévales of the Université de Montréal between 1942 and 1968. To do so, we focus on the effects of the Quiet Revolution on the Institut d'études médiévales, an institution of higher learning founded by the Dominican Order in 1930. Inspired by the Nouvelle Théologie outlined by Marie-Dominique Chenu, the Institute embraces a doctrinal raison d'être and uses scientific know-how to achieve it. By adapting the historical-critical method to infer the teaching of Thomism, the Institute represents an interesting religious-scientific amalgam to understand the effects of the secularization of the Université de Montreal on its structures, its culture, and its institutions. We describe the journey of this institution through La Grande Noirceur, the Quiet Revolution, and the secularization of the university’s Charter. Through the analysis of the archives of the Université de Montreal and the Canadian Province of the Dominican Order, we describe the institutional history of the Institut d'études médiévales according to the evolution of its hopes and of its functions at the university. Through the analysis of its mission statements, we describe how the Institute adapts to keep pace with the structural and cultural evolution within Quebec’s Quiet Revolution.