VictorJuiz/thesis huggingface dataset:
Une race qui ne sait pas mourir: une analyse de la race dans plusieurs textes littéraires québécois

Cette thèse présente une étude de la représentation de la race et son rôle dans la formation des discours littéraires et identitaires au Québec. À partir de la phrase célèbre de Félix-Antoine Savard, « une race qui ne sait pas mourir », jusqu’au roman de l’écrivain haïtien Dany Laferrière, Je suis un écrivain japonais, en passant par L’appel de la race de Lionel Groulx, sans oublier les propos sanglants de Michèle Lalonde dans Speak White et ceux de Pierre Vallières dans Nègres blancs d’Amérique, la littérature canadienne-française et québécoise est hantée par la question de la race. C’est précisément à cause de la présence persistante, souvent angoissante, du concept que je me propose d’en analyser les modalités discursives et les significations dans des textes écrits à divers moments clés entre 1839 et 2008: le rapport de Lord Durham (1839); L’appel de la race (1922) de Lionel Groulx; Menaud, maître-draveur (1937) de Félix-Antoine Savard; Ashini (1960) d’Yves Thériault; Speak White (1974) de Michèle Lalonde; Nègres blancs d’Amérique (1972) de Pierre Vallières; Comment faire l’amour avec un Nègre sans se fatiguer (1985) et Je suis un écrivain japonais (2008) de Dany Laferrière; et Quatre mille marches (2004) de Ying Chen. Pour ce faire, cette thèse se situe dans un cadre théorique interdisciplinaire qui intègre la théorie critique de la race, le féminisme et la théorie queer.

Keywords: Quebec Literature
Women's Studies
Critical Race Theory
Queer Theory
Gender Studies
Masculinities
The Durham Report
L’appel de la race, Lionel Groulx
Menaud, maître-draveur, Félix-Antoine Savard
Ashini, Yves Thériault
Speak White, Michèle Lalonde
Nègres blancs d’Amérique, Pierre Vallières
Comment faire l’amour avec un Nègre sans se fatiguer, Je suis un écrivain japonais, Dany Laferrière
Quatre mille marches, Ying Chen
Advisor: Paterson, Janet
The History of International Food Safety Standards and the Codex alimentarius (1955-1995)

Following the Second World War, the Food and Agriculture Organization (FAO) and the World Health Organization (WHO) teamed up to construct an international Codex Alimentarius (or “food code”) in 1962. Inspired by the work of its European predecessor, the Codex Europaeus, these two UN agencies assembled teams of health professionals, government civil servants, medical and scientific experts to draft food standards. Once ratified, the standards were distributed to governments for voluntary adoption and implementation. By the mid-1990s, the World Trade Organization (WTO) identified the Codex as a key reference point for scientific food standards. The role of science within this highly political and economic organization poses interesting questions about the process of knowledge production and the scientific expertise underpinning the food standards. Standards were constructed and contested according to the Codex twin goals of: (1) protecting public health, and (2) facilitating trade. One recent criticism of Codex is that these two aims are opposed, or that one is given primacy over the other, which results in protectionism. Bearing these themes in mind, in this dissertation I examine the relationship between the scientific and the ‘social’ elements embodied by the Codex food standards since its inception after the Second World War. I argue that these attempts to reach scientific standards represent an example of coproduction– one in which the natural and social orders are produced alongside each other. What follows from this central claim is an attempt to characterize the pre-WTO years of the Codex through a case study approach. The narrative begins with a description of the predecessor regional group the Codex europaeus, and then proceeds to key areas affecting human health: 1) food additives, 2) food hygiene, and 3) pesticides residues.

Keywords: food safety
standards
Codex alimentarius
World Health Organization
WHO
Food and Agriculture Organization
FAO
United Nations
European Economic Community
Codex europaeus
international public health
globalization
pesticide residues
food additives
microbial hygiene
International Commission for the Microbial Specifications for Foods
ICMSF
Advisor: Mazumdar, Pauline M. H.
Dacome, Lucia
Structural and Mechanistic Insights into RAF Kinase Regulation by the KSR/CNK/HYP Complex

The RAS/RAF/MEK/ERK pathway is the prototypical cellular signal transduction cascade and has been the focus of intense scrutiny over the last two decades. As a mitogenic pathway, its activation is a potent driver of cellular growth and survival, and its deregulation underlies many cancers. While RAS family GTPases have long been recognized as prolific human oncogenes, a landmark study in 2002 also established the RAF family kinase as a bona fide oncogene (Davies et al., 2002). Indeed, aberrant RAS-RAF signaling underlies nearly one-third of all human cancers (Wellbrock et al., 2004). Notably, mutations in RAF are found with astounding frequency in certain cancers (e.g. 70% of malignant melanomas) (Dhomen and Marais, 2007). These findings have identified intercepting aberrant RAF function as an ideal therapeutic target. RAF is a Ser/Thr protein kinase and its activity is strictly regulated by a core complex of at least three proteins, namely, KSR, CNK and HYP (Claperon and Therrien, 2007). The mechanism by which the KSR/CNK/HYP complex regulates RAF function remains enigmatic. In particular, the function of KSR in regulating RAF activity is highly controversial. The work described in this thesis was conducted with the aim of: i) understanding the interactions that underlie formation of the KSR/CNK/HYP complex, and ii) elucidating the mechanism by which the complex regulates RAF function. I have attempted to accomplish these aims using a combination of structural biology, biochemistry and cell biology approaches. I begin by presenting the structure of the SAM domain mediated interaction between CNK and HYP. I describe a model for how the CNK/HYP interaction in turn serves to recruit KSR to form the higher-order KSR/CNK/HYP complex. Subsequently, I describe the allosteric mechanism by which KSR controls RAF activation via the formation of specific side-to-side kinase domain heterodimers of KSR and RAF. Lastly, I describe a potential mechanism by which RAS directly mediates the attainment of the side-to-side dimer configuration of RAF through its own ability to form dimers. The acquisition of the side-to-side dimer configuration is essential for aberrant RAF signaling in cancers, suggesting future RAF inhibition strategies could be aimed at preventing dimer formation.

Keywords: Protein Kinase
Signalling
Cancer
MAP kinase
RAF
KSR
RAS
ERK
Advisor: Sicheri, Frank
Gap Junctions and Stomatins Dictate Directional Movement in Caenorhabditis elegans

How behaviors are generated by neural circuits is one of the central questions in neurobiology. Under standard culture conditions, Caenorhabditis elegans travel by propagating sinusoidal waves, moving primarily forward, punctuated by brief runs of backing. How these behaviors are generated and altered is not well understood. Using a combination of behavioral analyses and neuronal imaging, I reveal that an activity imbalance between cholinergic A- and B-motoneurons is the key determinant of directional locomotion. Furthermore, heterotypic gap junctions that couple command interneurons and motoneurons of the backward motor circuit, mediated by innexins UNC-7 in AVA and UNC-9 in A-motoneurons, respectively, establish the B>A activity pattern required for forward movement. Loss of this coupling results in both the hyperactivation of AVA backward interneurons revealing the unregulated, endogenous activity of A-motoneurons. With equal A-motoneuron activity levels as B-motoneurons, innexin mutant animals exhibit irregular body bending (kinking) instead of executing forward motion, as well as increased backing. Through a genetic screen, I identified two stomatin-like proteins as regulators of innexin UNC-9 activity that affect C. elegans’ directional movement. The loss of function of stomatin-like unc-1 leads to the same kinker phenotype as unc-7 or unc-9 mutants. Like UNC-9, UNC-1 functions primarily in the A-motoneurons to allow forward motion, suggesting that UNC-1 is required for effective UNC-7-UNC-9 coupling between AVA and A-motoneurons. Dominant mutations in UNC-1, and another stomatin-like protein STO-6, exhibit genetic interactions with these innexin mutants. These mutations partially restore the forward movement of unc-7 mutants, in an UNC-9-dependent manner, indicating that they regulate UNC-9 channel activity in motoneurons to re-establish the B>A-motoneuron activity pattern in the absence of heterotypic gap junctions between interneurons and motoneurons. These studies describe a role of gap junctions as regulators of circuit dynamics by establishing an imbalanced motoneuron activity pattern that favors forward motion, which can be modulated by upper layer inputs. This study also identifies stomatin-like regulators of innexin hemichannel and gap junction function. Future work will focus on understanding mechanisms through which these stomatins regulate the activity of specific innexin channels in C. elegans motoneurons, as well as their contribution to the dynamic output of the C. elegans motor circuit.

Keywords: Locomotion
Gap Junctions
Neural Circuits
C. elegans
Advisor: Zhen, Mei
Le sublime dans les contes et nouvelles de Mérimée, Barbey d'Aurevilly et Villiers de l'Isle-Adam

Si le sublime occupe une place privilégiée au sein de la réflexion philosophique, esthétique et littéraire, rares sont les travaux qui y sont consacrés pour les œuvres de la deuxième moitié du XIXe siècle. C’est pour tenter de pallier ce manque que cette thèse analyse le sublime dans les contes et nouvelles de Mérimée, Barbey d’Aurevilly et Villiers de l’Isle-Adam. En nous appuyant sur la réflexion du sublime amorcée par Longin et prolongée notamment par Burke, Kant, Schiller ou encore Hugo, il s’agit de définir son évolution et surtout sa spécificité en cette période de crise profonde, où le sublime apparaît comme une réponse à la conquête d’autonomie de la Littérature par rapport à la science et à la question de sa finalité. Dans un premier temps, la thèse aborde la question du sublime d’un point de vue rhétorique. Nous examinons ainsi la capacité du langage à exprimer et à représenter le sublime en oscillant entre une rhétorique de l’effet, fondée sur l’expressivité du langage dans la mise en scène des conteurs et l’organisation rhétorique de la narration, un questionnement sur le tragique et enfin une rhétorique de l’ineffable, puisque le sublime ressort à bien des égards d’un imprésentable. Dans un deuxième temps, le sublime est analysé en tant que poétique fondée sur un dispositif paroxystique et oxymorique. Enfin il est envisagé en tant que véritable acte esthétique où il tend à rejoindre le concept de sublimation et à se faire, notamment par une expérience du mal, le lieu non seulement d’une connaissance, d’une croyance, mais surtout d’une métamorphose profonde aussi bien de l’homme que de la littérature elle-même, qui y trouve un moyen de lutter contre les valeurs de la modernité tout en fondant une écriture résolument moderne.

Keywords: Sublime
Littérature française
XIXe siècle
Rhétorique
Poétique
Esthétique
Advisor: Huenen, Roland Le
An Ear for an Eye: Greek Tragedy on Radio

An Ear for an Eye: Greek Tragedy on Radio examines the dramaturgical principles involved in the adaptation of Greek tragedies for production as radio dramas by considering the classical dramatic form’s representational ability through purely oral means and the effects of dramaturgical interventions. The inherent orality of these tragedies and Aristotle’s suggested limitation of spectacle (opsis) appears to make them eminently suitable for radio, a medium in which the visual dimension of plays is relegated entirely to the imagination through the agency of sound. Utilizing productions from Canadian and British national radio (where classical adaptations are both culturally mandated and technically practical) from the height of radio’s golden age to the present, this study demonstrates how producers adapted to the unique formal properties of radio. The appendices include annotated, chronological lists of 154 CBC and BBC productions that were identified in the course of research, providing a significant resource for future investigators. The dissertation first examines the proximate forces which shaped radio dramaturgy and radio listeners. Situating the emergence of radio in the context of modernity, Chapter One elucidates how audiences responded to radio’s return to orality within a visually-oriented culture. Chapter Two then analyses the specific perceptual and imaginative activity of individuals, considering how audiences experience acoustic space. I describe how the audience’s central position in the reception of radio drama is integral to the completion of the dramatic frame of radio. The second part of this dissertation addresses radiophonic dramaturgy and issues in representation. In Chapter Three, the didactic and nationalistic impetus for the adaptation of classics as radio plays is considered and the principles of radio adaptation are outlined. The final two chapters examine the formal properties of productions in adaptation through case studies to illustrate where the play’s inherent orality allows for ease in adaptation or where greater dramaturgical intervention is required. Chapter Four examines the construction of dramatic figures, music and song, the use of paratheatrical materials, and narrative strategies for the representation of action, space, and time. Chapter Five examines productions where greater dramaturgical intervention and innovation is in evidence, including the manipulation of perspective (in the CBC’s 2001 Medea), the use of music to modernize setting (in the 1998 CBC-BBC co-production of The Trojan Women), the use of experimental montage (in the BBC’s 1976 Ag), the introduction of flashback sequences (in the CBC’s 1987 Antigone), and solutions to the problem of what I term “dramaturgical erasure” (the inadvertent removal of silent figures from the perspectival field).

Keywords: radio
reception
form
drama
ancient
modern
audiences
adaptation
CBC
BBC
Advisor: Pietropaolo, Domenico
How Do We Know What is the Best Medicine? From Laughter to the Limits of Biomedical Knowledge

Medicine has been called a science, as well as an art or a craft, among other terms that express aspects of its practical nature. Medicine is not the abstract pursuit of knowledge. Medical researchers and clinical practitioners aim primarily to help people. As a first approximation then, given its practical focus on the person, the most important question in medicine is: what works? To answer that question, however, we need to understand how we know what works. What are the standards, methods and limits of medical knowledge? That is the central focus and subject of this inquiry: how we know what works in medicine. To explore medical knowledge and its limits, this thesis examines the common notion that laughter is the best medicine. Focusing on laughter provides a robust case study of how we know what works in medicine; it also, in part, reveals the thin, perhaps even non-existent, distinction in medicine between empirically-grounded knowledge and intuition. As there is no single academic discipline devoted to laughter in medicine, the first chapter situates and charts the course of this unusual project and explains why inquiry into laughter in medicine matters. In the following chapters, we encounter claims from distinguished sources that laughter and humor are the best medicine. These claims are examined from a variety of perspectives including not only the orthodox view of evidence-based medicine, but also from narrative, evolutionary and complexity views of medicine. The rarely explored serious negative side of laughter is also examined. No view provides a firm foundation for belief in laughter medicine. A general conclusion from this inquiry is that none of the approaches effectively tame the complexity of medical phenomena; indeed each starkly reveals a greater complexity than found at first glance. A narrower conclusion is that providing a basis for claims about laughter in medicine poses its own specific challenges. A third conclusion is that, as things stand, none of the existing approaches seems up to the task of determining whether something such as laughter is the best medicine.

Keywords: philosophy of medicine
medical knowledge
epistemology
evidence-based medicine
story-based medicine
unorthodox medicine
placebo
anecdote
complexity
laughter
Advisor: Thompson, Paul
The Synthetic Utility of Allylic Trifluoroborate Salts: Reactions of Ketones and Indoles using Montmorillonite, Indium and Lewis Acid

Chapter 1 briefly covers the development and utility of allylboron reagents in organic synthesis. Transition models proposed for addition to carbonyl groups and imines are discussed and selected examples of the utility of these reagents to the synthesis of complex molecule covered. In chapter 2 the allylation and crotylation of ketones using allyl- and crotyltrifluoroborates and montmorillonite K-10 are described. The method is scalable and utilizes a reliable catalyst with high functional group tolerance. A conventional work-up is not required for further purification, since the boric acid by-product of the reagent remains trapped in the cavity of the K-10. The method is quite robust and provides an operationally straightforward procedure for the allylation of a range of ketones using the air and moisture stable potassium allyltrifluoroborate. In Chapter 3, the first indium-mediated highly chemo- and diastereoselective allylation of α,β- epoxyketones using allyltrifluoroborate was developed. It was shown in the case of simple ketone substrates, the loading of indium can be reduced to catalytic quantities without a diminishment in yield. The stereochemical nature of the epoxy homoallylic alcohols was ii unequivocally established through Payne rearrangement. Mechanistic studies indicate that the reaction proceeds through an allylindium species; although the nature of the indium species was not fully elucidated. Finally, in chapter 4 regioselective allylation and diastereoselective crotylation of various indoles are discussed using BF3·Et2O as a promoter. It was shown that the electronic effects of the substituents on the indole ring had little effect on the outcome of the reaction. However, steric factors were more influential on the yields and reactivity of the substrates. Stereospecific addition of the E- and Z-crotyltrifluoroborates could also be achieved under the reaction conditions, providing the corresponding anti and syn products, respectively.

Keywords: Trifluroborates
Indium
Advisor: Batey, Robert A.
Sovereignty, the State of Exception and Counter-culture: Toward a Transnational Critique of State Power in 20th and 21st Century Anglophone Fiction

This dissertation examines the way in which contemporary fiction is highly concerned with sovereign power and the state of exception, as described by Giorgio Agamben in State of Exception. While in the last decade Agamben’s work has provided a new locus for the study of state power, I argue that disquiet over the reach of state power into everyday life has existed in fiction since at least the 1980s. Reading James Joyce, Margaret Atwood, Salman Rushdie, Kazuo Ishiguro, Don DeLillo and William Gibson alongside Agamben’s theories of state power and the state of exception sheds light on fictional representations of modern developments in power, the state and the corporate world. Through close analysis of philosophical and fictional texts, I draw out the complex politics of contemporary novelists and underscore the importance of both fictional and theoretical representations of contemporary political power. The dissertation consists of four chapters. Chapter One examines what I contend is new about Agamben’s work on power which is that, unlike Foucault, he accounts for the kind of power that may produce a concentration camp, and examines the place of this power at the heart of contemporary politics. Through analyses of James Joyce’s Ulysses and Margaret Atwood’s The Handmaid’s Tale¬ I examine the ways in which Agamben’s theories move us towards a clearer understanding of representations of state power in contemporary fiction. In Chapter Two I discuss sovereign power in Rushdie’s postcolonial India and England, and I describe how the national identities of citizens of, or migrants to, those countries take shape in a society whose very fabric is affected by power that is frequently unrestricted by the law or by democracy. In Chapter Three I consider the “aftermath” of sovereign power in the work of Kazuo Ishiguro. In particular, I argue that he represents the extent to which sovereign power conditions culture and society, and how contemporary art and intellectual thought have failed as effective countermeasures to the power that may produce the state of exception. In the final Chapter, I consider the ways in which violence constitutes a form of resistance to sovereign power in the novels of William Gibson and Don DeLillo’s White Noise; further, I assess Gibson’s new narratives of space as potential counters to the state of exception. While Agamben’s work provides an opportunity to highlight the extent to which sovereign power and the state of exception are at work in contemporary novels, I contend that fiction represents these phenomena and their significance more completely than Agamben is able to. The use of figurative and experimental language and narrative techniques is highly effective in conveying the nuances and the experiential realities of state power, thereby moving the reader’s understanding beyond the abstract and the conceptual.

Keywords: Contemporary Fiction
State Power
Advisor: Salih, Sara
The Chisel and the Lens: Picasso, Brassaï, and the Photography of Sculptures: 1933–1948

While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso’s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassaï, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso’s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions – a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso’s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassaï assembled as he was photographing Picasso’s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art’s meaning, as well as the artist’s public image, reputation, and legacy.

Keywords: Pablo Picasso
Brassaï
Photography of Sculptures
Advisor: Legge, Elizabeth