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How can circus and the theater contribute to a social transformation towards peace founded on the promotion of rights? What lessons have we received from circus and theater practices in contexts that have historically been affected by the armed conflict? What do theater, circus and clown need in order to become means that facilitate the construction of protective environments for children and adolescents in these territories? This article addresses these questions from the experience of the program Circópolis, transformando espacios y creando sueños, implemented in territories affected by the armed conflict. We present an interpretation of the systematization of program experiences in the light of Balanzó’s knowledge stances perspective, in order to identify repertoires that take place when an artistic work is framed in institutional work processes linked to public policy discourses, Comment le cirque et le théâtre peuvent-ils contribuer à une transformation sociale vers une paix fondée sur la promotion des droits ? Quelles leçons avons-nous tirées des pratiques de cirque et de théâtre dans des contextes historiquement affectés par le conflit armé ? De quoi le théâtre, le cirque et le clown ont-ils besoin pour devenir des moyens facilitant la construction d’environnements protecteurs pour les enfants et les adolescents de ces territoires ? Cet article aborde ces questions à partir de l’expérience du programme Circópolis, transformando espacios y creando sueños, mis en œuvre dans des territoires touchés par le conflit armé. Nous présentons une interprétation de la systématisation des expériences du programme à la lumière de la perspective des postures de la connaissance de Balanzó, afin d’identifier les répertoires qui se produisent lorsqu’une œuvre artistique est encadrée dans des processus de travail institutionnels liés à des discours de politique publique, Como o circo e o teatro podem contribuir para uma transformação social rumo à uma paz fundada na promoção dos direitos? Que lições recebemos das práticas de circo e teatro em contextos historicamente afetados pelo conflito armado? O que teatro, circo e clown precisam para se tornarem meios que facilitem a construção de ambientes de proteção para crianças e adolescentes nesses territórios? Este artigo aborda essas questões a partir da experiência do programa Circópópolis, transformando espacios y creando sueños, implementado em territórios afetados pelo conflito armado. Apresentamos uma interpretação da sistematização de experiências programáticas à luz da perspectiva das posturas de conhecimento de Balanzó, a fim de identificar repertórios que ocorrem quando uma obra artística é enquadrada em processos de trabalho institucionais vinculados a discursos de políticas públicas, ¿Cómo pueden el circo y el teatro aportar a la transformación hacia una paz fundada en la promoción de los derechos? ¿Qué lecciones nos han dejado las prácticas circenses y teatrales en contextos que han sido históricamente afectados por el conflicto armado? ¿Qué necesitan el teatro, el circo y el clown para ser medios que faciliten la construcción de entornos protectores para la niñez y la adolescencia en estos territorios? Este artículo aborda estas preguntas desde la experiencia del programa Circópolis, transformado espacios y creando sueños, en territorios afectados por el conflicto armado. Presentamos una interpretación de la sistematización de experiencias del programa a la luz del enfoque posturas de conocimiento de Balanzó en aras de identificar repertorios que tienen lugar cuando el trabajo artístico se enmarca en procesos de trabajo institucional ligados a discursos de política pública

富山市の太郎兵衛平〜雲ノ平の高山・亜高山帯において，（1）地質・地形，（2）動物，（3）植物の調査を行った．（1）地質・地形では，板状節理が発達する安山岩や溶岩台地などの火山地形を雲ノ平で確認した．また，氷河地形として，薬師岳の南東に伸びる稜線の西斜面に発達するカールを確認した．（2）動物では，約30種の昆虫を観察した．このうちベニヒカゲ，オオルリボシヤンマ，ミヤマハンミョウ，カオジロトンボは高標高地帯を好む種であり，山岳地帯の調査ならではの結果であった．また，太郎山と祖父岳の登山道沿いでライチョウを発見した．（3）植物は，写真のEXIF情報から2300以上の植物分布データを抽出した．, The geology, topology, fauna, and flora of the alpine and subalpine zone between Tarobeidaira and Kumonotaira in Toyama city were researched. Volcanic landforms such as the lava plateau and andesite with platy joint at Kumonotaira were recognized. Cirques in the west slope of the southeast ridge of Yakushi-dake was recognized as glacial landforms.About 30 species of insects were observed during the research. In general, Erebia neriene (Böber), Aeshna crenata Hagen, Cicindela sachalinensis Morawitz, Leucorrhinia dubia (Van der Linden), Nicrophorus vespilloides (Herbst) are species observed at places with high altitudes, which were unique results of research of mountainous areas.Rock ptarmigans were observed on the trail of Taroyama and Jii-dake. And more than 2300 plant distribution data were extracted from Exif information of photographs.

常願寺川源流域及び黒部川源流域の特徴的な地形や地質，生物分布等に関する知見を得ることを目的とし，黒部川上流域（太郎山～北ノ俣岳～黒部五郎岳～三俣蓮華岳〜新穂高）までの登山道周辺）の予察調査を行った．調査地の地質は，主にジュラ紀の花崗岩類，後期ジュラ紀～前期白亜紀の堆積岩類（手取層群），前期白亜紀の閃緑岩からなる．調査地域内の氷河地形として，黒部五郎カールとそのカール内の羊背岩を確認した．調査地の植生は，日本海からの冬期季節風に対して文字通り第一線に位置する地域であることから，植生の大要は，冬期季節風の風上側に当たる西向き斜面の稜線付近には雪が積もらず，一方の東向き斜面は吹きだまりとなることを基本とする，強風との関係性で捉えられる．相観により植物群落を区分し，風衝地植物群落，ハイマツ群落，雪田草原，亜高山帯針葉樹林，亜高山帯湿性草原，亜高山帯広葉樹林，高等植物を欠く岩礫地などの存在を確認し，これらを強風との関係性に注目して記録した．, We have researched the geology, topography and vegetations of the alpine and subalpine zone between Taroyama and Mitsumataregedake in Toyama City. The geology is mainly composed of Jurassic granitic rocks, Upper Jurassic to Lower Cretaceous sedimentary rocks (Tetori Group), and Early Cretaceous diorite. Glacial cirques and glaciated knobs are developed in the east side slope of Kurobegorodake. Plant fossils were found from the siltstone of the Tetori Group at the ridge between Taroyama and Kitanomatadake. Remarkable vegetations affected by strong wind were observed on the west slopes of Kitanomatadake. Vegetations in the Kurobegorodake cirque were described. Sibbaldia procumbens which were thought to grow on small gravel in the Tateyama mountains were growing on a sandy slope of Yumioridake.

Thematically omnipresent, the specular construction of identity plays a key role as a structural device in Michel Tournier’s works. The permanent dialogue between opposites, together with a multi-layered referential system, constantly obliges us to redefine the generic status of his texts. This paper analyses this issue in “Que ma joie demeure” (1978), published a few months later than Le Vent Paraclet, the only “autobiographical” text by the author. By taking as a reference the clown character and the dynamics of the circus show, and following Walter Benjamin’s concepts of Erlebnis and Erfahrung, we propose two possible and complementary readings of the tale. Both of them focus on the triple procedure of inversion, mythification and appropriation, used by Tournier to question the constitutive unit of the individual and to blur the limits between (auto)biography and fiction., La construcción especular de la identidad, omnipresente en el ámbito temático, desempeña un papel fundamental como mecanismo estructural en la obra de Michel Tournier. Tanto es así, que el diálogo permanente entre contrarios, así como la superposición de niveles referenciales que se produce en sus textos, nos obligan a reflexionar sobre la adscripción genérica de los mismos. El presente artículo estudia dicho fenómeno en Que ma joie demeure (1978) publicado unos meses más tarde que Le Vent Paraclet, único texto “autobiográfico” del autor. Tomando como punto de referencia la figura del payaso y la dinámica del espectáculo circense, y basándonos en los conceptos benjaminianos de Erlebnis y Erfahrung, proponemos dos lecturas posibles y complementarias del cuento. Ambas están centradas en el triple procedimiento de inversión, mitificación y apropiación, mediante el cual Tournier pone en duda la unidad constitutiva del individuo y difumina los límites entre (auto)biografía y ficción., Omniprésente au niveau thématique, la construction spéculaire de l’identité joue un rôle fondamental en tant que composante structurale de l’oeuvre de Michel Tournier. A tel point que le recours permanent au dialogue entre les contraires, ainsi qu’à la superposition de plusieurs niveaux de référence, nous obligent sans arrêt à nous interroger sur le statut générique des textes. Cet article analyse ce phénomène dans “Que ma joie demeure” (1978), publié quelques mois après Le Vent Paraclet, seul texte “autobiographique” de l’auteur. A partir de l’étude de la dynamique du spectacle clownesque, et en nous appuyant sur les concepts benjaminiens d’Erlebnis et Erfahrung, nous proposons deux lectures complémentaires du conte. Elles seront toutes deux centrées sur le triple procédé d’inversion, mythification et appropriation dont se sert Tournier pour mettre en cause l’unité constitutive de l’individu et estomper les limites entre (auto)biographie et fiction.

Thematically omnipresent, the specular construction of identity plays a key role as a structural device in Michel Tournier’s works. The permanent dialogue between opposites, together with a multi-layered referential system, constantly obliges us to redefine the generic status of his texts. This paper analyses this issue in “Que ma joie demeure” (1978), published a few months later than Le Vent Paraclet, the only “autobiographical” text by the author. By taking as a reference the clown character and the dynamics of the circus show, and following Walter Benjamin’s concepts of Erlebnis and Erfahrung, we propose two possible and complementary readings of the tale. Both of them focus on the triple procedure of inversion, mythification and appropriation, used by Tournier to question the constitutive unit of the individual and to blur the limits between (auto)biography and fiction., La construcción especular de la identidad, omnipresente en el ámbito temático, desempeña un papel fundamental como mecanismo estructural en la obra de Michel Tournier. Tanto es así, que el diálogo permanente entre contrarios, así como la superposición de niveles referenciales que se produce en sus textos, nos obligan a reflexionar sobre la adscripción genérica de los mismos. El presente artículo estudia dicho fenómeno en Que ma joie demeure (1978) publicado unos meses más tarde que Le Vent Paraclet, único texto “autobiográfico” del autor. Tomando como punto de referencia la figura del payaso y la dinámica del espectáculo circense, y basándonos en los conceptos benjaminianos de Erlebnis y Erfahrung, proponemos dos lecturas posibles y complementarias del cuento. Ambas están centradas en el triple procedimiento de inversión, mitificación y apropiación, mediante el cual Tournier pone en duda la unidad constitutiva del individuo y difumina los límites entre (auto)biografía y ficción., Omniprésente au niveau thématique, la construction spéculaire de l’identité joue un rôle fondamental en tant que composante structurale de l’oeuvre de Michel Tournier. A tel point que le recours permanent au dialogue entre les contraires, ainsi qu’à la superposition de plusieurs niveaux de référence, nous obligent sans arrêt à nous interroger sur le statut générique des textes. Cet article analyse ce phénomène dans “Que ma joie demeure” (1978), publié quelques mois après Le Vent Paraclet, seul texte “autobiographique” de l’auteur. A partir de l’étude de la dynamique du spectacle clownesque, et en nous appuyant sur les concepts benjaminiens d’Erlebnis et Erfahrung, nous proposons deux lectures complémentaires du conte. Elles seront toutes deux centrées sur le triple procédé d’inversion, mythification et appropriation dont se sert Tournier pour mettre en cause l’unité constitutive de l’individu et estomper les limites entre (auto)biographie et fiction.

El modelo social chileno ha cedido tradicionalmente poco lugar formal a las diferencias. No obstante, encontramos, en ciertos espacios marginales, instancias en las cuales han podido prosperar curiosos rincones de libertad y de tolerancia. El objetivo del presente artículo es comprender cómo el rol marginal del circo fue clave para la popularización del transformismo. El caso del Circo Timoteo representa el resultado de un sincretismo cultural, de herencia europea y mesoamericana, en torno al humor y a los roles sexuales, que nos adentra a una aproximación mucho más compleja que una simple realidad social formal unívoca. La figura del género cruzado adopta, en el circo chileno, un espacio propio respecto a la ambigüedad de los roles sexuales y sociales desde un sincretismo cultural criollo. La diferencia adquiere su espacio desde el margen de la ambigüedad formal. En primer lugar, nos adentraremos en entender teóricamente el ambiguo rol del transformista en el circo criollo chileno, desde su estigmatización hasta su empoderamiento desde la burla. En segundo lugar, nos centraremos en el análisis histórico y etnográfico del caso del Circo Timoteo, en la ambivalencia de ser considerado tanto como elemento genuino del circo criollo chileno, como enfermedad de trascendencia social. En tercer y último lugar, nos detendremos en el análisis lingüístico de los discursos de los transformistas del Circo Timoteo, para demostrar su ambivalencia compleja, como espacio de la diferencia a la criolla., El model social xilè ha cedit tradicionalment poc lloc formal per a les diferències. Amb tot, trobem, en alguns espais marginals, institucions en les quals s’han pogut establir curiosos racons de llibertat i tolerància. L’objectiu del present article és entendre com el rol marginal del circ ha estat clau per a la popularització del transformisme. El cas del Circo Timoteo representa el resultat d’un sincretisme cultural, hereu de la tradició europea i mesoamericana, al voltant de l’humor i dels rols sexuals, que ens endinsa en una aproximació molt més complexa que la simple realitat social formal unívoca. La figura del transformisme adopta, al circ xilè, un espai propi respecte a l’ambigüitat dels rols sexuals i socials, des d’un sincretisme cultural propi. La diferència obté el seu lloc des del marge de l’ambigüitat formal. En primer lloc, ens endinsarem a entendre teòricament el rol ambigu del transformista dins del circ xilè, des de l’estigmatització que pateix, fins a l’apoderament que realitza des de la burla. En segon lloc, ens centrarem en l’anàlisi històrica i etnogràfica del cas del Circo Timoteo, des de l’ambivalència entre un gènere propi dins del circ xilè i com a malaltia de transcendència social. En tercer i darrer lloc, ens aturarem a l’anàlisi lingüística dels discursos dels transformistes del Circo Timoteo, per demostrar-ne l’ambivalència complexa, com un espai de la diferència a la xilena., Le modèle social chilien a laissé traditionnellement peu de place formelle pour les différences. Malgré tout, nous trouvons dans certains espaces marginaux, des situations dans lesquelles ont pu aboutir quelques espaces de liberté et de différence. L’objectif de cet article est de comprendre comment le rôle marginal du cirque a joué un rôle clé dans la popularisation du transformisme. Le cas du Circo Timoteo représente le résultat d’un syncrétisme culturel, d´héritage européen et mésoaméricain, autour de l’emploi de l’humour et des rôles sexuels, dans une approche beaucoup plus complexe que celle d’une réalité sociale simplifiée et univoque. La figure du transformiste acquiert dans le cirque chilien un espace propre, par rapport à l’ambigüité des rôles sexuels et sociaux, depuis un syncrétisme culturel propre. La différence gagne sa place depuis le regard de l’indéfinition de la marge. En premier lieu, nous allons comprendre théoriquement, le rôle ambigu du transformisme dans le cirque au Chili, depuis sa stigmatisation jusqu’au pouvoir obtenu par la satire. Deuxièmement, nous allons nous centrer sur l’analyse historique et ethnographique du cas du Circo Timoteo, depuis la dualité entre la considération du transformiste comme une particularité du cirque chilien ou son inclusion comme maladie contre les bonnes moeurs. Troisièmement, nous pointerons l’analyse linguistique des discours des transformistes du Circo Timoteo, pour démontrer l’ambivalence complexe des discours, dans la construction d’un espace de différence particulier., The Chilean social model has traditionally left little room for formal differences. In certain marginal spaces, however, there are instances in which some niches of freedom and tolerance have been able to flourish. This article aims to understand how the marginal role of the circus was instrumental in popularizing cross-gender roles. The Timoteo Circus is the result of a cultural syncretism between the European and Mesoamerican heritage around humor and sexual roles and is much more complex than a simple and unambiguous formal social reality. In this Chilean circus, the cross-gender figure adopts its own space based on the ambiguity of sexual and social roles through cultural syncretism. Difference occupies a place thanks to the margin of formal ambiguity. We first attempt to theoretically examine the ambiguous role of cross-gender in the Chilean circus from its stigmatization of gender to its empowerment through mockery. Secondly, we explore the ambivalence of the Timoteo Circus from both a historical and ethnographical viewpoint as both a genuine element of the Creole Chilean circus and as a social disease. Thirdly, we analyze the discourses of the Timoteo Circus cross-dressers to demonstrate their complex ambivalence as a way to build a specific space for difference.

Contains 25 papers describing various aspects of mineral deposits in British Columbia and the Yukon and Northwest Territories. Minerals discussed include lead and zinc, precious metals, molybdenum, tungsten and tin, and coal., Contains 25 papers describing various aspects of mineral deposits in British Columbia and the Yukon and Northwest Territories. Minerals discussed include lead and zinc, precious metals, molybdenum, tungsten and tin, and coal.

The deposits discussed are Mount Isa, Sullivan (Kimberley, British Columbia), Tom (Yukon) and Cirque (British Columbia). All of these exist in low grade metamorphic rocks, and therefore exhibit features resulting from deformation and metamorphism while still retaining primary depositional/diagenetic characteristics. Detailed structural analysis of a particular deposit aims to evaluate its structural morphology; determine its structural evolution; investigate the effects of deformation on ore and grade distribution; determine structural control of ore distribution both within the deposit and in the host sediments; understand sulphide/host rock lithologies; understand the development of ore textures and fabrics; and remove the effects of deformation and metamorphism in order to erect and evaluate genetic models for synsedimentary/diagenetic features. The analysis of each deposit concludes with a list of further references., The deposits discussed are Mount Isa, Sullivan (Kimberley, British Columbia), Tom (Yukon) and Cirque (British Columbia). All of these exist in low grade metamorphic rocks, and therefore exhibit features resulting from deformation and metamorphism while still retaining primary depositional/diagenetic characteristics. Detailed structural analysis of a particular deposit aims to evaluate its structural morphology; determine its structural evolution; investigate the effects of deformation on ore and grade distribution; determine structural control of ore distribution both within the deposit and in the host sediments; understand sulphide/host rock lithologies; understand the development of ore textures and fabrics; and remove the effects of deformation and metamorphism in order to erect and evaluate genetic models for synsedimentary/diagenetic features. The analysis of each deposit concludes with a list of further references.

Collection : L'Encyclopédie du cirque ; 3, Appartient à l’ensemble documentaire : UnivJeun0, Contient une table des matières, Avec mode texte

Collection : Faire ensemble ; 3, Collection : Faire ensemble ; 3, Appartient à l’ensemble documentaire : UnivJeun0, Contient une table des matières, Avec mode texte

Avec mode texte, Ouvrages pour la jeunesse, Albums à colorier

Collection : Les manifestations de l'esprit contemporain ; [4], Collection : Les manifestations de l'esprit contemporain ; [4], Contient une table des matières, Avec mode texte

Avec mode texte, Ouvrages illustrés

Includes chapters on: Sediment-hosted massive sulphide lead-zinc deposits: an empirical model, by Large D.E.; Geology of the Sullivan deposit, Kimberley, British Columbia, Canada, by Hamilton J.M., Delaney G.D., Hauser R.L. and Ransom P.W.; Geology and stratiform barite-sulphide deposits of the Gataga district, northeast British Columbia, by MacIntyre D.G.; The Cirque barite-lead-zinc deposits, northeastern British Columbia, by Jefferson C.W., Kilby D.B., Pigage L.C. and Roberts W.J.; Depositional environments of host rocks to Northern Australian lead-zinc deposits, with special reference to McArthur River, by Muir M.D.; Chemical parameters controlling the origin and deposition of sediment hosted stratiform lead-zinc deposits, by Lydon J.W. Major sediment-hosted exhalative zinc and lead deposits: formation from hydrothyermal convection cells that deepen during crustal extension, by Russell M.J.; Deformation of stratiform lead-zinc deposits, by McClay K.R., Includes chapters on: Sediment-hosted massive sulphide lead-zinc deposits: an empirical model, by Large D.E.; Geology of the Sullivan deposit, Kimberley, British Columbia, Canada, by Hamilton J.M., Delaney G.D., Hauser R.L. and Ransom P.W.; Geology and stratiform barite-sulphide deposits of the Gataga district, northeast British Columbia, by MacIntyre D.G.; The Cirque barite-lead-zinc deposits, northeastern British Columbia, by Jefferson C.W., Kilby D.B., Pigage L.C. and Roberts W.J.; Depositional environments of host rocks to Northern Australian lead-zinc deposits, with special reference to McArthur River, by Muir M.D.; Chemical parameters controlling the origin and deposition of sediment hosted stratiform lead-zinc deposits, by Lydon J.W. Major sediment-hosted exhalative zinc and lead deposits: formation from hydrothyermal convection cells that deepen during crustal extension, by Russell M.J.; Deformation of stratiform lead-zinc deposits, by McClay K.R.

Laboratory and pilot studies were carried out to design a grinding circuit for 3 500 t/d of hard massive sulphide ores (up to 20% barite) and soft ore (20-60% barite) from the Stronsay (formerly Cirque) lead-zinc deposit. MacPherson autogenous work indices and Bond work indices for rod and ball mills were determined and a preliminary flowsheet produced. The results were used to design the pilot plant programme for testing the effectiveness of fully-autogenous primary and secondary grinding and determining the feasibility of controlling feed rate using a variable-speed mill drive and/or varying the mill load. For secondary grinding pebble milling proved efficient, with pebble consumption averaging 6% of primary feed rate and ample pebbles of the correct size available; removal of pebbles improved primary throughput by 30%. Adjustment of mill speed and charge allowed up to 50% soft ore to be accommodated successfully. After the pilot study, the previously determined mill size of 22 x 7 ft was confirmed and the mill motor was increased from 1 500 to 1 700 HP to allow for an occasional ball charge or increased tonnage. The secondary mill motor was increased from 1 000 to 1 200 HP for a pebble mill size of 12 x 20 ft., Laboratory and pilot studies were carried out to design a grinding circuit for 3 500 t/d of hard massive sulphide ores (up to 20% barite) and soft ore (20-60% barite) from the Stronsay (formerly Cirque) lead-zinc deposit. MacPherson autogenous work indices and Bond work indices for rod and ball mills were determined and a preliminary flowsheet produced. The results were used to design the pilot plant programme for testing the effectiveness of fully-autogenous primary and secondary grinding and determining the feasibility of controlling feed rate using a variable-speed mill drive and/or varying the mill load. For secondary grinding pebble milling proved efficient, with pebble consumption averaging 6% of primary feed rate and ample pebbles of the correct size available; removal of pebbles improved primary throughput by 30%. Adjustment of mill speed and charge allowed up to 50% soft ore to be accommodated successfully. After the pilot study, the previously determined mill size of 22 x 7 ft was confirmed and the mill motor was increased from 1 500 to 1 700 HP to allow for an occasional ball charge or increased tonnage. The secondary mill motor was increased from 1 000 to 1 200 HP for a pebble mill size of 12 x 20 ft.

The Faro and Tom deposits in the Selwyn Basin and the Cirque and Driftpile deposits in the Kechika Trough are massive sulphides hosted by Cambrian phyllites and Devonian marine clastics, black shales and carbonate rocks. Both sulphide minerals and gangue have suffered intense pressure solution and the sulphides have undergone multi-stage overgrowth. It is concluded that pressure solution of gangue has raised ore grades, resulting in appreciably greater quantities of metal in mylonites than in surrounding massive ores in some deposits. Pressure solution of sulphide minerals has induced remobilisation and precipitation of new orebodies. Overgrowth could have facilitated the unloading of ore minerals from fluids, while the overgrowth of sulphide crystal seeds may have provided a mechanism for sulphide-bearing strata to act as geochemical barriers which were preferentially overprinted by late-stage fluids to produce stratabound deposits., The Faro and Tom deposits in the Selwyn Basin and the Cirque and Driftpile deposits in the Kechika Trough are massive sulphides hosted by Cambrian phyllites and Devonian marine clastics, black shales and carbonate rocks. Both sulphide minerals and gangue have suffered intense pressure solution and the sulphides have undergone multi-stage overgrowth. It is concluded that pressure solution of gangue has raised ore grades, resulting in appreciably greater quantities of metal in mylonites than in surrounding massive ores in some deposits. Pressure solution of sulphide minerals has induced remobilisation and precipitation of new orebodies. Overgrowth could have facilitated the unloading of ore minerals from fluids, while the overgrowth of sulphide crystal seeds may have provided a mechanism for sulphide-bearing strata to act as geochemical barriers which were preferentially overprinted by late-stage fluids to produce stratabound deposits.

Sedimentary exhalative barite and barite sulphide deposits occur in Upper Devonian basinal clastic sedimentary rocks of the Earn Group. The deposits form a stratigraphic sequence from which conodont species and assemblages have a time span of no more than 7 m.y. At the Driftpile deposit, the best-constrained example, conodonts bracket at least two distinct mineralisation events during the middle Famennian. The other deposits, although less well defined, are roughly of these ages or somewhat younger: the youngest so far recognised, a barite-pyrite unit at Cirque, is late Famennian. Exhalation of metalliferous brines into the Gataga basin was of relatively short duration and episodic, the sites of active venting having probably migrated along extensional faults through time. The data allow temporal correlation of these deposits with other Devonian-Mississippian events on the North American margin., Sedimentary exhalative barite and barite sulphide deposits occur in Upper Devonian basinal clastic sedimentary rocks of the Earn Group. The deposits form a stratigraphic sequence from which conodont species and assemblages have a time span of no more than 7 m.y. At the Driftpile deposit, the best-constrained example, conodonts bracket at least two distinct mineralisation events during the middle Famennian. The other deposits, although less well defined, are roughly of these ages or somewhat younger: the youngest so far recognised, a barite-pyrite unit at Cirque, is late Famennian. Exhalation of metalliferous brines into the Gataga basin was of relatively short duration and episodic, the sites of active venting having probably migrated along extensional faults through time. The data allow temporal correlation of these deposits with other Devonian-Mississippian events on the North American margin.

Pyrite textures in five stratiform Pb-Zn deposits from the lower to upper greenschist facies environment of the Canadian Cordillera are described and discussed in terms of deposition/early diagenesis, deformation, metamorphism and hydrothermal alteration processes. Overgrowth is an important process during diagenesis and deformation. Diagenetic and deformational overgrowths can be distinguished. Diffusive mass transfer involving pressure solution and oriented overgrowth of pyrite is the main deformation mechanism in pyrite deposits at low metamorphic grades. Although diffusive mass transfer favours fine grained mineral aggregates its effect on coarse pyrite grains has also been identified. Ore minerals dissolved by pressure solution may be transported, with the assistance of pore fluids within fractures and grain boundaries, over distances significantly greater than the scale of individual grains to give a range of pressure solution/overgrowth textures. The textural modification of pyritic ores from the early stages of diagenesis, through metamorphism and deformation, to post deformation thermal annealing has important implications for the distribution of trace elements and isotopic compositions in pyritic ores., Pyrite textures in five stratiform Pb-Zn deposits from the lower to upper greenschist facies environment of the Canadian Cordillera are described and discussed in terms of deposition/early diagenesis, deformation, metamorphism and hydrothermal alteration processes. Overgrowth is an important process during diagenesis and deformation. Diagenetic and deformational overgrowths can be distinguished. Diffusive mass transfer involving pressure solution and oriented overgrowth of pyrite is the main deformation mechanism in pyrite deposits at low metamorphic grades. Although diffusive mass transfer favours fine grained mineral aggregates its effect on coarse pyrite grains has also been identified. Ore minerals dissolved by pressure solution may be transported, with the assistance of pore fluids within fractures and grain boundaries, over distances significantly greater than the scale of individual grains to give a range of pressure solution/overgrowth textures. The textural modification of pyritic ores from the early stages of diagenesis, through metamorphism and deformation, to post deformation thermal annealing has important implications for the distribution of trace elements and isotopic compositions in pyritic ores.

The geology and mineral deposits of the Gataga district suggest that exhalative activity occurred during the Middle Ordovician, Early Silurian and Late Devonian periods. The barite-sulphide deposits formed in anoxic, starved sub-basins within a subsiding trough. Exhalative centres were localised along rifts that were later reactivated as thrust faults. The sedimentary exhalative deposits formed by repeated exhalation of relatively buoyant, metal-bearing basinal fluids into a stratified brine pool occupying a fault-bounded seafloor depression (modified Red Sea model). The metals were probably derived from Hadrynian arkosic grits that acted as reservoirs and aquifers for expelled pore fluids. These fluids migrated to the seafloor along growth faults., The geology and mineral deposits of the Gataga district suggest that exhalative activity occurred during the Middle Ordovician, Early Silurian and Late Devonian periods. The barite-sulphide deposits formed in anoxic, starved sub-basins within a subsiding trough. Exhalative centres were localised along rifts that were later reactivated as thrust faults. The sedimentary exhalative deposits formed by repeated exhalation of relatively buoyant, metal-bearing basinal fluids into a stratified brine pool occupying a fault-bounded seafloor depression (modified Red Sea model). The metals were probably derived from Hadrynian arkosic grits that acted as reservoirs and aquifers for expelled pore fluids. These fluids migrated to the seafloor along growth faults.

The total mineralisation is about 50 000 000 tonnes of 9.5% combined lead-zinc and 42 grammes silver per tonne in the Cirque and South Cirque deposits. A higher grade portion above an 8% lead-zinc cutoff grade is estimated to average 12% lead-zinc and 57 grammes silver per tonne. The Curragh Resources development proposed the mining of the higher grade ore. This development is outlined., The total mineralisation is about 50 000 000 tonnes of 9.5% combined lead-zinc and 42 grammes silver per tonne in the Cirque and South Cirque deposits. A higher grade portion above an 8% lead-zinc cutoff grade is estimated to average 12% lead-zinc and 57 grammes silver per tonne. The Curragh Resources development proposed the mining of the higher grade ore. This development is outlined.

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Cette thèse-création présente l'analyse critique d'un processus de création afin de comprendre une pratique interartistique du corps scénique appelé corps-acrobate. Le but principal de ce travail doctoral est de réfléchir et d'analyser le mode d'opération de composition poétique du corps-acrobate au cœur d'une expérience créative. La notion de corps scénique s'expérimente au cœur du processus de création de Mythe-jeux de refus inspirée des cultures des peuples autochtones du Québec et du Brésil. Le désir de nommer, de comprendre et d'analyser l'expérience créative de l'interprète, qui joue aussi le rôle du chercheur, est spécifique aux démarches présentées dans cette recherche-création. On observe ainsi que théorie et pratique s'entrecroisent et confrontent les idées de/dans le corps. L'un des enjeux importants de cette thèse tourne en effet autour de l'articulation d'une expérience créative et de la méthodologie académique. Le défi ici est de construire le concept de corps-acrobate issu de la pratique artistique elle-même. Cette recherche est abordée par une démarche post-positiviste inspirée de la pensée phénoménologique/herméneutique qui a pour objectif de comprendre et de décrire un phénomène. De plus, les approches heuristique et autopoïétique empruntées dans le cadre de cette recherche-création ont permis à l'artiste-chercheur d'étudier l'expérience personnelle. Deux types de données alimentent cette recherche doctorale. Tout d'abord, les données (ou matériaux poétiques) en lien avec la création Mythe-jeux de refus qui révèlent les champs poétiques ayant inspiré la recherche corporelle et le travail dramaturgique, soit des photographies, des vidéos et des articles de journaux témoignant de la culture autochtone; des expériences vécues tel un séjour dans une communauté autochtone au Brésil visant à créer un lieu d'échange et de partage avec les autochtones de la communauté; des échanges avec des danseurs Pow-wow du Québec; des rencontres avec trois anthropologu

Les populations de l'Inuit Nunangat font face à une véritable crise de santé publique quant au suicide, qui touche particulièrement les jeunes inuit. Or, les services de santé mentale sont quasi inexistants dans ces régions et leur capacité à répondre aux besoins locaux est critiquée. La santé mentale, déterminée comme priorité de la santé par Inuit Tapiriit Kanatami, se définit dans une vision holistique pour les Inuit : elle inclut la fierté culturelle, la famille et la collectivité, ainsi que des déterminants sociaux qui sont touchés par des inégalités importantes avec le reste du Canada. En effet, les Inuit ont connu des transformations extrêmement rapides sur le plan culturel et social avec la colonisation, ce qui crée un contexte social ébranlé dans lequel les jeunes doivent naviguer dans un « entre-deux » de mondes difficiles à concilier. On répertorie plusieurs initiatives communautaires qui incorporent les traditions locales afin de favoriser une « reconnexion » culturelle pour les jeunes inuit d'aujourd'hui. Toutefois, on en sait peu sur les effets de tels projets, et encore moins sur l'expérience subjective des jeunes inuit qui y naviguent. Sont-ils attirés par de telles programmations? Comment arrivent-ils à « vivre une vie vibrante en tant que jeune inuit aujourd'hui » (Annahatak, 2014)? Partant de ces questionnements, nous nous sommes intéressée à un collectif de cirque (Artcirq) situé à Igloolik, Nunavut. Le collectif se définit par la rencontre entre traditions inuit et modernité et est né pour offrir un espace d'expression attirant pour les jeunes, comme alternative à « broyer du noir chez eux ». Ainsi, l'objectif central de cette thèse est de mieux comprendre l'expérience subjective de jeunes inuit impliqués dans Artcirq. Plus particulièrement, nous désirons explorer en quoi cet espace participe à leur mieux-être, ainsi que la façon dont ces jeunes donnent sens à l'intégration de traditions dans cet espace. Le processus de thèse allie donc deux ang