NCube/papyrus huggingface dataset:
Les débats internes des évangéliques à propos de l'oecuménisme

In evangelical circles, ecumenical dialogues involving evangelical and catholic theologians and leaders have often generated tensions and prompted questions; Evangelicals generally tend to condemn any openness to ecumenism. Their most common accusations against the ecumenical movement are "theological liberalism, the loss of evangelical belief, the substitution of social action for evangelization, and the search for unity at the expense of biblical truth.” But theologians and evangelical leaders have engaged in ecumenical consultations with the Roman Catholic Church, and at the same time have encouraged other Evangelicals to follow the path of dialogue with Catholics. As a result, this Master’s thesis aims to elucidate precisely the motivations of the evangelical theologians and pro-ecumenical leaders and then to examine the debates that their positions provoke among the Evangelicals. The analysis of the various positions of the Evangelicals finally makes it possible to determine and understand what could change their positions about the ecumenical movement. In order to understand the premises of the different evangelical points of view about ecumenism, we first discuss the historical framework and the founding doctrines of evangelical theology. Then we study the official catholic theology about involvement in ecumenism, first in general, then more specifically with Evangelicals. The different positions of the Evangelicals discussed in this Master’s thesis lead us first to clarify some barriers to overcome so that the rapprochement can reach a greater number of Evangelicals, then the conservative nature of the ecumenism of the pro-ecumenical evangelicals. Finally, we deem it necessary to conclude on prospective avenues as to the relevance and necessity of continuing the Catholic-Evangelical dialogues.

Keyphrases: Dialogue, Ecumenism, Evangelical, Unity, Protestantism
Shintō et altérité

It is commonly accepted, although probably too casually, that through its history Japan has remained detached from anything foreign; whether we think of the so-called hermetic closed views of the sakoku 鎖国 (the lockedown/closed state) of the Edo era (1603-1868), the resistance to the Mongolian invasions (1274; 1281) or the reluctance to be incorporated in the Chinese tributary system. Indeed, in regard to this national fall-back which could hardly be relativized to the sum of its “proto-modernism” (Edo-jidai), its modern and contemporary aspect (Meiji-jidai up to nowadays), many different historical explanations were put forward, from a Japanese essentialism to a particularism tied to their insular geography. From a diverse set of theories, one emerges, birthed out of the history of religions, advancing the idea that Japan has a mythology which, for obscure reasons, would compose itself from a national genesis instead of a cosmological genesis. Consequently, where comparative mythology has accustomed researchers to notice strong repetitions, short of calling it a “rule”, of a cosmogenesis to explain the creation of the world, the so-called Japanese mythological texts offer a genesis which seems, at first glance, to limit itself to the Japanese archipelagos and its immediate reality, effectively occulting the rest of the world as it seems. Succinctly, according to this idea, this mythological understanding of the world, enduring through time, could be seen as the founding and perpetuating factor of the Japanese ethnocentrism. According to this perception of its ethnocentric character, one might wonder how this mythology, or the Japanese religion in general, would negotiate the relationship between Japan and various forms of otherness. Henceforth, could we look through Japanese history and analyze this relationship? At this point the problem of the Shinto (way of the Gods) – a doctrine traditionally recognized as originating from Japan – emerges as to how it relates to this very concept of otherness. Through the conjuncture of three selected historical cases (the importation of the transcendental in Japan, the imperial ideologie of the Namboku-cho restauration (1333-1392) and the christian introduction in the archipelago), we can see that the authentic indigenous character of the Shinto is the fruit of a historical reinterpretation stemming from the Edo-jidai to the present more than an enduring reality throughout Japanese history.

Keyphrases: Kitabatake Chikafusa, Shintoism, Alterity, Japanese religions, Buddhism, Japan
Une perspective féministe islamique contemporaine dans un cadre théologique de libération

This study intends to explore ways of deconstructing gendered and racial inequities affecting Muslim women. It examines the possibility of a liberal reading of Islamic sources. The study begins with an analysis of gender in its relational dimension, in its relation to power, and by considering areas of overlap among various oppressions, the goal being to deconstruct essentialist social constructions at the core of these oppressions. Next, it draws on liberation theology to construct a position faithful to a Muslim perspective. The latter, like liberation theology, is a situated and committed approach. It is focusses on the experience of Muslim women, which it is able to capture in a critical manner. The feminist approach refers, in a systematic way, to commitment and practice that convey change.  One of the goals of this study is to show the dynamic character of interpretations that are possible within Islam. Drawing on the Quran, this theology expresses a dynamic spirituality which is deep and anchored in its sources. It proposes an hermeneutic open to creativity. Supported by verses (suras) from the Quran, it establishes a liberating perspective in the Muslim tradition, at once feasible and open to suggestion. This study articulates a feminist approach alongside liberation theology, which, from a practical point of view, frees Muslim women from a reductionist duality.

Keyphrases: Islam, Theology of liberation, Islamic feminism, Gender
Étude de la cargaison et du mobilier de l’épave Pointe de Pomègues 1 : un exemple de relation commerciale entre Rome et la Gaule

The shipwreck Pointe de Pomègues 1 was discovered in 1977 and was the subject of archaeological excavation until 1979, under the supervision of Jean-Claude Négrel of the Département de recherche en archéologie sous-marine (DRASM). The excavation revealed that the ancient ship carried around three thousand amphoras from central Italy to southern France in the second century B.C. For the purpose of this memoir, during the summer of 2017 and the winter of 2018, an update of the collection was carried out to identify one hundred and fourteen amphoras. The preliminary study of the collection allowed the construction of an archaeological catalog that had not been reviewed since 1983. The study of the wreck Pointe de Pomègues 1 did not result in any publication or article and has proved an example of a commercial relationship between Rome and Gaul. The reopening of the archaeological record was carried out at the level of archives, reports of excavations, dendrochronological analyses on the wood of the wreck, a consultation of experts in ceramology of the Centre Camille-Jullian at the Université Aix- Marseille, in the Ancient Greece and Rome Department of the British Museum and the collaboration of archeaologists from the Département de recherche en archéologie subaquatique et sous-marine of Marseille (DRASSM), for two research trips in France. By analyzing the collection of amphoras, the ship-board artefacts, as well as deepening of the historical knowledge of the subject, some elements advanced by the researchers of Negrel’s team in 1977 could be questioned as for the origin and datation of the ship.

Keyphrases: Archéologie, Rome, Vin, Archéologie sous-marine, Archeology, Antiquity, Gaul, Amphora, Ceramics, Trade, Wreck, Wine, Roman republic
La représentation des communautés culturelles dans les récits de Gabrielle Roy

This study focuses on the representation of cultural minorities in the work of Gabrielle Roy, particularly in two of her novels and one collection of short stories: Rue Deschambault (1955), Un jardin au bout du monde (1975), and Ces enfants de ma vie (1977). Composed of distinct narratives devoted to different figures of immigrants (or children of immigrants), these three works brush a vivid portrait of Western Canada in a country which was already « multicultural » before multiculturalism became Canada’s official policy. Through her memories as a young girl (Rue Deschambault), and as a teacher (Ces enfants de ma vie), or using the voice of an impersonal narrator (Un jardin au bout du monde), Gabrielle Roy sheds a critical yet empathic light on the condition of the immigrants from an economic and social perspective. Our study also embraces the situation of the French-Canadian minority in Western Canada, similar to that of the other immigrants represented in the work of the Franco-Manitoban writer.

Keyphrases: Gabrielle Roy, Immigration, French-Canadian Literature of the 20th Century, Western Canada, Multiculturalism
Bleu rouge bleu rouge bleu, suivi de Le monde dit du six; parole et narration dans Numéro six d’Hervé Bouchard

The creative section of this work is a short novel. Featuring four anecdotes from the fictional lives of young soldier-recruits during their basic training, the whole is carried by a narrative voice whose initial fragmentation resolves into a final, polyphonic, narrative flow. The research section focuses on the event-driven deployment of speech in Hervé Bouchard's Numéro six. The representative structure of the novel obeys to a « mise en abyme » pattern. The story of the main character’s involvement in the hockey world shows self-construction through speech. This story blends in the voice of the narrator, to show his own self-construction through the book. In turn, the narrator finally erases himself to show the book itself, built by words. From the time of the story to the time of the narration to the time of the word, the reading experience moves away from mimetic figuration to realize itself in the physical appreciation of a polyphonic word, freed from any mimetic injunction ahead of, or beyond, its event.

Keyphrases: narration, dialogisme, Hervé Bouchard, Numéro six, Speach, Dialogism
Les représentations de la mémoire de la Shoah dans Le ciel de Bay City de Catherine Mavrikakis, Jonas de mémoire d’Anne Élaine Cliche et le cycle Soifs de Marie-Claire Blais

This Master’s thesis focuses on the representations of the Shoah’s memory in three contemporary Quebec novels: Catherine Mavrikakis’ Le Ciel Bay City, Anne Élaine Cliche’s Jonas de mémoire and Marie-Claire Blais’ Soifs cycle. Published in the last twenty years, that is to say in a time marked by the disappearance of the Shoah’s last witnesses, the chosen texts take note of the progressive lifting of the implicit rules overseeing the Shoah’s representation and address the Jewish genocide in a way that suggests a paradigm shift. This research project, therefore, tries to define the relation to the event that each of the works under study negotiates; above all, it shows that the memory of the Shoah does not only resonate in the places from which it emanates, but transcends borders to impose its obsession much more widely.

Keyphrases: Shoah, Trauma, Holocaust, Memory, Contemporary Quebec Novel, Spectrality
Pour une poétique du silence : transmédialité théâtrale et passage à la plateforme cinématographique dans le Québec contemporain : le cas de Bashir Lazhar

Quebec’s cinema is more and more acclaimed in international festivals while presenting quality works.  It is very interesting to notice that certain movies which collected the best comments and numerous prices worldwide have, as a source text, the theatrical work of a contemporary playwright.  In the digital age, artistic contents move more easily from a platform to another, which eases adaptation works of all kinds.  However, if the transfer of theatrical work towards cinema is not recent, the transposition of contemporary theatre and the current scene work, known as intermedial, brings new issues who are worth to be looked at.   The purpose of this master’s thesis is to question the return of the natural illusion and transparency in cinema via the disappearance of theatrical dialogue.  My hypothesis is that double language levels, emblematic of contemporary theatre, clashes with cinematic media resistance.  They are transformed in a realism leading to the aesthetization of silence and built what I call a « secret poetics ».  This poetic flows directly from transmedia storytelling executed by cinematographic media.   This masters’s thesis works from a contemporary play and its cinematic adaptation, which is Evelyne de la Chenelière’s Bashir Lazhar (written in 2002 and staged in 2007 by Daniel Brière at Théâtre d’Aujoud’hui) changed in Monsieur Lazhar (2011) by movie director Philippe Falardeau.    This master’s thesis aims to participate to the definition of a new adaptation form that stands out from old designs and works to enlighten intermedial relations in the digital age.

Keyphrases: Théâtre, Adaptation, Theater, Cinema, Contemporary, Intermediality
La malédiction du génie chez l’artiste balzacien, suivi de Comme les autres

This essay is about the curse of the genius of Balzac in La Comédie humaine from Honoré de Balzac, which manifests in the characters he portrays, among other things. I’ll focus on four of them, namely Lucien de Rubempré, Frenhofer, Sarrasine and Gambara. My corpus is made of the following novels: Illusions perdues, Le chef-d’œuvre inconnu, Sarrasine, and Gambara. These artists all meet a tragic fate attributable to four noxious factors on which I will expand in this essay.   The novel Comme les autres tells the story of Antoine Lavoie, a fifteen years-old teenager who lives in the Matapedia valley. Lonely and introvert, he never had a single friend and spent his life reading dusty books from the municipal library while dreaming of writing his own one day. A social misfit, he completely avoids other teenagers. At home, the picture is not rosy. His father is a cripple with an unshakable optimism that is almost ridiculous and his mother an abuser of medical pills. The family lives in extreme poverty and feeds from nearby convenience stores’ garbage bins. But Antoine doesn’t care: he’s merely the spectator of other people’s existence. However, a fortuitous incident brings him close to Francis Pigeon, a young delinquent that finds Antoine funny and decides to involve him in his turbulent life. For the first time of his existence, Antoine has a friend and thinks he can become “like the others”. Instead, he will find himself entangled in tragical-comical events whose conclusion will undoubtedly be disastrous. In short, this novel is about the counter-learning of life through human cruelty.

Keyphrases: Honoré de Balzac, Intimidation, Violence, Identity, Literary curse, Artist, Learning novel
Les chants du retour de Harambat : les enjeux de la réécriture de l'Odyssée en bande dessinée

This thesis focuses on Jean Harambat’s album Ulysse, les chants du retour, published by Actes Sud in 2014. This comic book, which adapts the last chapters of Homer’s Odyssey, distinguishes itself by its inclusion of metanarratives inside the main story which put into question the original text, notably by its use of historian figures, like Jean-Pierre Vernant and Jacqueline de Romilly, by expliciting the difficulties linked to its adaptation.  We present, all along this thesis, a thorough analysis of Harambat’s album while offering a reflection on ancient texts’ place in today’s world and of the new forms they can take as they persist in our collective imagination. We focus specifically on the metanarratives of Harambat’s book that distinguishes that work from other adaptations. We also study closely the specific characteristics of comics’ medium as to explicit how they can use pictures and text in a complementary relationship, as to show the complexities of Homer’s text and its relationship to identity.  A secondary corpus has been formed with books published in the same years as Les chants du retour to consider the diversity of representations of the Odyssey we entertain in our contemporaneity’s comic book world. This thesis communicates the relevance of the themes of transmission and legacy which are explored and developed by Harambat in a new and imaginative way while still being respectful of the original text.

Keyphrases: Ulysse, Harambat, Odyssey, Comic book, adaptation
De l’étranger à l’étrangeté : cosmopolitisme et altérité dans « Alexandre Chenevert » de Gabrielle Roy, « Rue Saint-Urbain » de Mordecai Richler et « L’Hiver de force » de Réjean Ducharme

The novels Alexandre Chenevert by Gabrielle Roy, The Street by Mordecai Richler and Réjean Ducharme's L'Hiver de force have Montreal as a space for common reference. In their own way, each creates singular cartographies of the city. In Roy’s instance, the city is labyrinthic. The protagonist reveals a profusion of languages, signs and symbols that participate in a ritual of passage in the practice of space. In Richler’s case, the construction of Montreal involves an anamnesis through the implementation of a collective memory of a disappeared neighborhood whose story attempts to revive the now-scattered traces. As for the protagonists of Ducharme, their approach to the city is part of a relation of interiorization that introduces an imaginary topography with a strong introspective dimension. Taking a comparative perspective, the analysis of this corpus of bilingual novels aims to study the ways in which the characters construct city-specific relationships, which testifies to a particular means of managing space and otherness. At the confluence of sociocriticism, literature and geography, but relying first and foremost on a detailed study of the texts, this master's thesis participates in the call by Sheila Hones to develop a "dialogue and opening up new geographical ways of working with fiction” (2008 : 1314) by focusing on the interdisciplinary work that allows for the “[recognition of] the ways in which [our] own work is conditioned by context, to accept the validity of other contextually conditioned approaches, and to write as well as read across borders" (Hones, 2008 :1311). The study of the representations of the city in this memoir does not aim to compare the validity of the latter with the real, but rather to understand the means in which space and location are invested with meaning. More than a simple aspect of reality or a background, space inseparably binds itself with the narrative and reveals its diegetic and symbolic function.

Keyphrases: Quebec literature, cosmopolitism, alterity, spatiality, geocriticism, theories of narratology, Montreal
Poésie directe : la représentation de l’ordinaire dans la poésie d’Erika Soucy

This thesis examines Erika Soucy’s first two publications, Cochonner le plancher quand la terre est rouge (2010) and L’épiphanie dans le front (2012). It studies how Soucy uses poetry to depict the ordinary in its mediocrity and vagueness. In the first chapter, the thesis takes stock of the works of authors who have studied the ordinary in their respective fields (Michel de Certeau, Bruce Bégout, and Ben Highmore). The first chapter further explores the way in which Soucy’s poetry translates the ordinary, through both the unvarnished spoken language and the damaged characters portrayed. The second chapter examines more closely the author’s poetics, referred to as “poétique du direct”, and how Soucy gives shape to the ordinary in her poems. Finally, the last chapter compares Soucy’s poetic approach to that put forward by Quebec’s direct cinema – following Mathieu Arsenault’s intuition as outlined in his poem-essay Le guide des bars et pubs du Saguenay (2016) – in order to illustrate key issues with the illusion of direct access to reality through language upon which Soucy’s poetry is built.

Keyphrases: Erika Soucy, Quebec contemporary poetry, Representation of the ordinary
Lire la défaite dans le récit de prison québécois : l'enfermement chez Joseph-Guillaume Barthe, Pierre Vallières et Gérald Godin

This thesis examines the poetics of the prison narratives of Joseph-Guillaume Barthe (1818- 1893), Pierre Vallières (1938-1998) and Gérald Godin (1938-1994). More precisely, it proposes a study of the intellectual filiations between these stories and an abundant essayistic production based on the idea of confinement. Since the 1830s, several writers have tried to identify a feeling of defeat that hangs over Quebec society and at the same time shames them. In this, the prison narratives are positioned in relation to this intellectual tradition of the great defeatist narrative that goes from François-Xavier Garneau to Michel Biron, through Pierre Vadeboncœur, Hubert Aquin and Fernand Dumont. Quebec literature includes several works that reflect this despondency at once political, social, intellectual and psychic, so much so that the fatigue of the writer, as a symptom inherent to his status in society, seems impossible to reverse. Based on literary history, we show that this fatigue, which should be even more apparent in prison narratives, is primarily due to the construction of a literary imagination. The impression of permanence that accompanies the repetition of this theme of fatigue appears in texts that play with time and space as well as with History. The fictionalization of this space and the prisoner himself as well as the literature become within the narrative the mirror of the writer's solitude.

Keyphrases: prison, fatigue, Joseph-Guillaume Barthe, histoire culturelle, Prison, Fatigue, Defeat, Quebec nationalism, Romanticism, Joseph-Guillaume Barthe, Cultural history, Discourse analysis, October 1970
La science dans l’œuvre d'Ernest Hello, source d’une poétique symbolique : anéantissement et correspondance

Whenever  the  critique  studies  the  work  of  Ernest  Hello,  it  is  generally  in  order  to consider him an obscure mystic, isolated by and from his century. Adopting the épistémocritique approach, this essay proposes to upend this perspective by drawing particular attention to the different issues, debates and polemics that abound in an atmosphere  of  scientific  and  technological  upheaval  without  precedent  characterizing  the  Second Empire, in order to explain certain esthetical extravagances found in Hello’s work. Based  primarily  on  the  intuition  that  Hello  was  profoundly  convinced  that  his apologetics could find in the science of his century an important ally, the analysis of this essay focuses  on  the  adaptation  of  scientific  knowledge  in  his  writing.  This  adaptation,  which  is, moreover,  a  dynamic  one,  can  only  seem  surprising,  not  only  because  in  that  period  science becomes, according to numerous doctrines, an argument against metaphysics, but also because Hello is considered, at first glance, as a spiritual author. Yet,  scientific  knowledge  imparts  the  semantical  richness  of  his  writing  and  offers additional arguments in favor of his eccentricity, his axiomatic yielding to a mystical form of deixis that borrows from a myriad of scientific knowledge, the frontiers of which are shattered  by the crisis of the 19th century, and which often participates in the creation of the elements of mystical cognition and symbolical illustration particular to Hello. The  analysis  considers  several  articles,  where  it is  possible  to  grasp  through  which particular  prisms  Hello  anticipates  the  symbolic  scope  of  the  inventions  of  his  century,  and several fragments, where it is possible to perceive the mechanisms of a cognition of mystical  annihilation that ties theoretical assertions with a deixis based upon heteroclite knowledge and that create impressive poetical structures serving a discourse on the ineffable.

Keyphrases: épistémocritique, correspondance, science, technique, Symbolism, Mystical Annihilation, Correspondence, Ether, Infinitesimal Calculus, Technology, Catholicism, Philosophy, Theology, 19th Century Crisis