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1
Richardson, Rébecca A. S. "Gabrielle Roy dans l'univers de Jacques Poulin." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99746.
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This thesis offers a critical study of Gabrielle Roy's presence in Jacques Poulin's works. Roy is a character, a reference and an inspiration; her books and her brilliant green eyes enthral Poulin and his protagonists. She is present through intertextual references---the mention of her name, her books, her characters or her quotes---but also, in a more abstract sense, through influence. In order to study the relationship between the two authors, a set of themes common to their literary works are analysed: their North-American identity (americanite), and their ambiguous treatment of sexuality.
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Noubani, Tina. "Le Canada dans l'œuvre de Gabrielle Roy /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61965.
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Dolbec, Marie-Beatrice Nathalie. "Le descriptif dans l'oeuvre de Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/NQ45706.pdf.
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Marcotte, Sophie 1973. "Gabrielle Roy épistolière : la correspondance avec Marcel Carbotte." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36779.
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Gabrielle Roy kept up, throughout her literary life, a regular correspondence with relatives, friends, business relations and readers: to date, more than 2000 letters have been preserved in different archive collections. The 482 letters she wrote to her husband, Doctor Marcel Carbotte, between 1947 and 1979, form the largest subset of the correspondence; a critical edition of these hitherto unpublished letters is presented in the second part of the thesis.Surprisingly, the correspondence contains few reflexions of an aesthetic nature, and few explicit traces of the novelist's published work, apart from occasional references to the texts she is working on at the moment she is writing to Marcel. Instead, it is the details of her day-to-day life that Roy describes most abundantly. In the first part of the thesis, we study the letters to Marcel in the light of a possible connection with Roy's canonical work: we start by examining the link between the letter and autobiographical genre; we then show that the letters to Marcel can be read as a personal diary; finally, we suggest that the "autobiographical turn" taken by Roy in both her published work and her letters to Marcel indicates that the letters form part of the same system as the autobiographical works.
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Sumsion, Ann Elizabeth. "The Search for the Sacred in Gabrielle Roy." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3252.pdf.
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David, Eve-Marie Julia. "Rituel du retour dans l'oeuvre de Gabrielle Roy." BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/218.
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The work of Gabrielle Roy cannot be dissociated from the story of her life. Many have already tried to establish a definite connection between these two aspects of her life. Among the themes that are ever present in her texts and of particular interest to readers is her preoccupation with the past. The text of Mircea Eliade is important to the theoretical framework of the following thesis. His postulating that human beings constantly repeat their past to find meaning to their lives is capital to my analysis of Gabrielle Roy's texts. Indeed, her preoccupation with the past stems from a desire on her part to understand and live with her present. This thesis analyses how through returning constantly to her past, Gabrielle Roy, either directly or through her characters, engages in a ritual that gives to her life a « raison d’être ». The first chapter focuses on a return in time and the second chapter is devoted to studying a return in space, both of which belong to the past.
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Byrne, Kathleen L. "La Guérison par le Récit chez Gabrielle Roy." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/984.
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The therapeutic nature of Gabrielle Roy's works enables an Aristotelian catharsis to take place for her audience. As her readers plunge into their individual past, they can have an awakening. Upon realizing that the characters in Roy's literary creation hold to a specific definition of elusive happiness and after discovering that they also are plagued by a fixation to some type of Freudian trauma, the readers can recognize similar behavior in themselves. Though likely they were unconscious of their ongoing distress before, now it becomes clear that their tendency to displace themselves in pursuit of a utopian existence is perpetual and necessitates a cure. Given that humanity in general, whether consciously or unconsciously, is nostalgic for the past, how could a universal panacea be found? Gabrielle Roy also suffered from an unending proclivity to displace herself in search of ethereal bliss. Perhaps in writing her life story through the guise of her characters, she brought about her own catharsis. Not so. Any temporary relief ended with the ensuing agony of facing an ever-frightening world. Nevertheless, the key to discovering a remedy lies within the framework of her texts. Through the application of literary theory as well as anthropology and psychology, this thesis unveils the unique modus operandi needed to overcome fixation to a particular phase in the past. Gabrielle Roy's clarion call to the world to promote human tenderness can be answered through choosing to put into practice the principles implicit in her works. When we comprehend the relationship between the story and displacement, we as individuals can initiate our own healing and thereafter stimulate healing in others.
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Tanguay, Céline. "Maux et mots du corps dans Alexandre Chenevert de Gabrielle Roy." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30224.
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Since it was first published, Gabrielle Roy's third novel, Alexandre Chenevert (The Cashier), has regularly been studied from the so-called "psychological" perspective while the hero's bodily dimension, as revealed through the narrative, has been generally ignored. But figuratively, literally and properly, what can be said about Alexandre's body? The aim of this study is to answer this question in two parts. First, by focussing on the cashier's body illnesses, we establish that his physical suffering is the metaphor of the psychological harm which affects him too, the prostate cancer illustrating his difficulty with oral and written communication. Then, through a semiotic reading of the body seen as a vector of communicative signs, we define the protagonist's behavioural attitude in relationship to other characters in the novel, we isolate the conditions behind the existence of various behaviours and, concurrently, we establish the poetics of the non-verbal. Our analysis reveals that the hero is able to use body language to his advantage, that the narrator shows him under his best light in this regard and that it is by this way, the non-verbal, that Alexandre succeeds in transmitting a message. If spoken words still conceal secrets for the cashier, body language has none. In fact, the character's alienation is confirmed but, for Alexandre, body language is a way to escape it.
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Robinson, Christine 1962. "Edition critique de "La saga d'Eveline" de Gabrielle Roy." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35932.
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Although Gabrielle Roy worked sporadically on La Saga d'Eveline between 1945 and 1965, she never finished the novel and it remains unpublished to this day. All that remain of the novel are a few manuscripts totalling some thousand pages conserved in her personal archives at the National Library of Canada. The manuscripts contain several versions of a story based on an episode taken from the history of the maternal side of Roy's family: the family's migration from Quebec to Manitoba at the end of the XIXth century. It revolves around Eveline, a character who already appears in the published works and who was essentially inspired by the author's mother, Melina Landry. This novel not only adds a new episode to the fictionalized story of the family, it reveals lesser known aspects of Gabrielle Roy's writing and thinking, notably her thoughts on the feminine condition. This thesis consists of a critical edition of two of the six versions we have identified. A fairly complete story, which includes the latest and the most perfected texts, is thus obtained. The text is annotated and accompanied by a section entitled "Reecritures et notes critiques" [Rewritings and critical notes]. A three-part essay presenting the novel ("Presentation de La Saga d' Eveline") precedes it. In the first part, "Situation de La Saga d'Eveline", after giving a general outline of the projected work, we discuss problems in dating raised by the manuscripts, establish links between La Saga d' Eveline and the published works, and suggest a few possible areas of further research. The next part, "Les manuscrits de La Saga d'Eveline", includes a presentation of the material as well as the textual aspects of the manuscripts, some hypotheses regarding dates, a proposal on how the manuscripts should be classified and a discussion of the unfinished character of the work. Finally, in "Edition de La Saga d'Eveline", we examine the methodological issues involved in editing an unfinished and unpublished novel
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Fortier, Dominique 1972. "L'écriture comme paradoxe : étude de l'oeuvre de Gabrielle Roy." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82873.
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This thesis studies the works of Gabrielle Roy in an attempt to bring to light both the continuity and the evolution that characterize the novelist's writing. To do so, her works have been divided into four groupings. The first, composed of Bonheur d'occasion, La Petite Poule d'Eau and Alexandre Chenevert, identifies the poles of a paradox around which all of Roy's subsequent novels are articulated: disenchanted realism and idyllic chronicle are bridged, in an ironic mode, through the story of the Montreal bank teller.The second grouping, also governed by this principle of alternation whereby each book seems to be the contrary of the one that precedes it, examines works of autobiographical inspiration (Rue Deschambault and La Route d'Altamont) and allegorical, almost didactic narratives (La Montagne secrete, La Riviere sans repos).
The novels that form the third grouping no longer oppose each other but rather bear the signs of a reconciliation that will only be realised fully in Roy's autobiography, La Detresse et l'Enchantement. Cet ete qui chantait, Un jardin au bout du monde, Ces enfants de ma vie and De quoi t'ennuies-tu, Eveline? combine work of autobiographical inspiration and third-person narratives, eliminating the barriers between the realistic, ironic and idyllic universes.
To each distinct form chosen by the author correpond a particular voice and a specific style of writing, which, although differing from book to book, nonetheless share common elements: doubt and hesitation, oppositions, questionings and interrogations. These are indicative of a new paradox, lodged in the writing itself, and which reveals itself through the co-presence of opposing perspectives. The different voices and the points of views they express reappear in La Detresse et l'Enchantement and Le temps qui m'a manque, which make up the fourth and final grouping. In her autobiography, Roy integrates these voices in order not to merge them into one, but to allow them to express themselves in a first-person plural narrative.
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Marcotte, Sophie 1973. "Le récit d'enfance dans l'écriture autobiographique de Gabrielle Roy /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26742.
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This thesis attempts to demonstrate the importance of the "autobiography of childhood" in Gabrielle Roy's first-person narratives through a narratological analysis of the most representative of these texts--the pseudo-autobiographical Rue Deschambault and La Route d'Altamont as well as the autobiographical texts La Detresse et l'Enchantement, "Ma petite rue qui m'a menee autour du monde", "Mes etudes a Saint-Boniface", "Souvenirs du Manitoba" and "Mon heritage du Manitoba". Our purpose is to identify recurrent structures and to interpret the similarities and differences in the light of contemporary theories on the autobiographical genre. This allows us in turn to examine the functioning and meaning of childhood writing in Gabrielle Roy's first-person narratives.
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Marcotte, Sophie. "La récit d'enfance dans l'écriture autobiographique de Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29552.pdf.
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Roy, Gabrielle. "Édition critique de La saga d'Éveline de Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/NQ50246.pdf.
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Savic, Marija. "Seuils et frontières dans les romans de Gabrielle Roy." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30008.
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Nous travaillons sur un corpus de quatre romans: Bonheur d’occasion, Alexandre Chenevert, La Montagne secrète, La Rivière sans repos. Dans une première partie, nous examinons les seuils et les frontières au niveau formel, en étudiant le péritexte et l’épitexte, pour analyser les incipit et les clausules, comme éléments liminaires du récit. Une étude plus approfondie des incipit et des clausules permet de voir qu’ils sont à la fois l’annonce et le reflet de ce que le récit développera ; on met en avant leur rôle stratégique dans la « consommation » et l’assimilation mentales des récits. Dans les deux parties suivantes, l’attention est tournée vers les seuils et les frontières thématiques. Ainsi, la deuxième partie est consacrée à l'étude des seuils et frontières spatiaux: éléments liminaires (seuil, porte, fenêtre), éléments du récit qui fonctionnent comme des frontières (rues, routes) ; on étudie également la nature des mouvements (enjeux de la dynamique des personnages, mouvement centre- périphérie, dynamique des moyens de transport, images du pont, distinction spatiale entre le Nord et le Sud). En revanche, la troisième partie s’oriente vers des seuils et des frontières relevant davantage du temporel : analyse des images se situant à la frontière des deux ou plusieurs notions irréconciliables (jour et nuit, vie et mort, passé/présent/futur, rêve et réalité). A la fin d’un tel examen, une certitude s’impose : l’œuvre de Gabrielle Roy se démarque par la présence constante d’une oscillation entre les notions contraires, difficilement conciliables, qui font d’elle « un être partagé »This study analyzes the images of thresholds and frontiers in the novels of Gabrielle Roy, pointing out their meanings. We begin by examining this matter on the formal level, studying the novels’ beginnings and endings. We continue by analyzing the liminal spaces, both on the static and the dynamic level (e. G. The reader comes across such dichotomies as North vs. South, but also finds images of travelling and relocations). Finally, we point out the importance of images pertaining to abstract boundaries, based on the concept of time. For example, such thresholds exist between day and night or life and death. This study shows the abundance and the force of the notion of margin, confirming the author’s penchant for ambiguity and her need to constantly redraw the line
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Desruisseaux-Talbot, Amélie. "Le dernier souffle autobiographique : J.-J. Rousseau et Gabrielle Roy." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79930.
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This thesis is a comparative analysis of Jean-Jacques Rousseau's Reveries du promeneur solitaire and Gabrielle Roy's autobiography (La Detresse et l'Enchantement and Le temps qui m'a manque) and establishes that these two works are testamentary autobiographies, that is, autobiographies written with the awareness of approaching death. We first show that both Rousseau and Roy link their ultimate autobiographical desire to the imminence of their own death. We then show that their autobiographical activity is not only motivated by death, but, moreover, that it allows them in a certain sense to live it already, since what this activity allows them to do is, for them, similar to what they long to do in the afterlife. We suggest, finally, that this activity, which allows them to bequeath an ideal picture of themselves that will survive them, gives them a hold on their immortality.
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Legal, Julie Janine Marie. "Les metaphores de l'écrivain et de l'écriture chez Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ51739.pdf.
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Legal, Julie Janine Marie. "Les métaphores de l'écrivain et de l'écriture chez Gabrielle Roy." Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/MQ51739.pdf.
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Guerin-Garnett, Dominique Carleton University Dissertation Canadian Studies. "La saga de Gabrielle Roy ou La fuite de Lina." Ottawa, 1990.
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Kourachia, Bacar Abdou. "Espace autobiographique et création romanesque dans l'oeuvre de Gabrielle Roy." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30067.
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Espace autobiographique et création romanesque dans l’œuvre de Gabrielle Roy tel est l’intitulé de notre sujet divisé en deux grandes parties : l’espace autobiographique dans l’œuvre romanesque royenne et la création romanesque dans l’œuvre autobiographique et semi-autobiographique de Gabrielle Roy. Nous examinons en premier lieu, dans quelle mesure l’œuvre dite fictive de Gabrielle Roy composée essentiellement de Bonheur d’occasion, La Petite Poule d’Eau, Alexandre Chenevert, La Montagne secrète, La Rivière sans repos et Un Jardin au bout du monde s’engage dans un long parcours autobiographique, s’inscrivant dans le cadre de « l’espace autobiographique », tournure employée par Philippe Lejeune dans son Pacte autobiographique. Nous analysons, en second lieu, comment l’œuvre autobiographique et semi-autobiographique royenne constituée de La Détresse et l’enchantement, Le Temps qui m’a manqué, Rue Deschambault, La Route d’Altamont, Ces enfants de ma vie et De quoi t’ennuies-tu Eveline ? qui s’inspire de la vie réelle de l’auteur est le récit de cette vie remodelée par laquelle l’écrivain élabore son existence en une œuvre d’art en réunissant toutes les composantes du roman de formation, romantique et familialThe autobiographical space and the process of creative writing in the works of Gabrielle Roy is the title of our thesis which is organised in two parts : the autobiographical space in the works of Roy and the process of creative writing in the autobiographical as well as semi-autobiographical works of Gabrielle Roy. In the first instance, we examine to what extent, the works of Gabrielle Roy, said be “fictitious” and composed mainly of The Tin flute, Where Nests the Water Hen, The Cashier, The Hidden Mountain, Windflower, and Garden in the Wind, become involved in a long autobiographical process thus inscribing themselves into what Philippe Lejeune terms as “the autobiographical space” in his critical work Le pacte autobiographique. In the second part, we analyse how the autobiographical and semi-autobiographical works of Roy, Enchantement and Sorrow, Le temps qui m’a manqué, Streets of Riches, The road Past Altamont, Children of my heart, and De quoi t’ennuies-tu Eveline? inspired from the real life of the author, are the narrations of the remodelled life through which the writer elaborates her existence into a work of art by gathering all the components of the characteristics of the novel : formation, romantic novel and family
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Andron, Marie-Pierre. "Le thème du corps dans les romans de Gabrielle Roy." Bordeaux 3, 1998. http://www.theses.fr/1999BOR30002.
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L'oeuvre romanesque de gabrielle roy met en valeur l'omnipresence du corps. Sa representation est majeure par ses thematiques : porosite, maternite, sexualite, maladie etc. Or cette omnipresence est paradoxalement rendue par une ecriture tendant a evacuer sa realite, parfois gardee secrete lorsqu'elle n'est pas gommee. Des personnages masculins majeurs, comme alexandre chenevert ou pierre cadorai, ne reconnaissent leur corps que par la dependance a laquelle celui-ci les soumet : nourriture, desir. . . Ou bien par ses maux : maladie, souffrance. . . Ils le refusent d'autant plus. Quant aux personnages feminins, telles rose-anna et florentine lacasse, eugenie et irene chenevert, le corps n'est qu'une source supplementaire d'humiliation et de souffrance stigmatisant leur destin de femmes. Ainsi, les personnages de gabrielle roy subissent leur corps et ses contingences. Ils ressentent animosite et rejet pour cet ennemi. Notre recherche souhaite illustrer la presence irreductible du corps ainsi qu'une volonte de negation par les personnages et d'ellipse par l'ecriture. Car le corps revele une ambiguite de l'ecriture oscillant entre presence et absence. La presence du corps est d'autant mieux ecrite qu'il s'agit d'eviter son exaltation. L'ecriture du corps par gabrielle roy tend vers une particularite : l'evincer par la representation d'un corps malade, aux affections redondantes et incurables ou par une representation si pejorante qu'elle provoque le rejet de ce corps. L'ecriture royenne souhaiterait aboutir a la mort du corps ecrit. Ainsi les sources de frustration deviennent de facto inexistantes et seule perdure ce qui est valorisee : la puissance de l'esprit qui s'oppose a la faiblesse du corps. De la redondance du corps a son ellipse, l'ecriture serait devouee a l'indicible, au monde sensible et surtout a l'imagination creatriceThe novels of gabrielle roy emphasize the omnipresence of the body. The subject of the body is of major importance to these novels because of themes that surround it : porosity, maternity, sexuality, disease and so on. Nevertheless this omnipresence is paradoxically conveyed in a writing style that seemingly drains the body of all physical reality : the body is sometimes kept secret or indeed erased. Major male characters, like alexandre chenevert or pierre cadorai, recognize their body only by their own dependence to it : hungry, desire. . . Or by the body's illness : disease, pain. . . They all the more refuse it. And for the female characters like rose-anna and florentine lacasse, eugenie and irene chenevert, the body is only a one more source of humiliation and pain that stigmatize their woman destiny. So gabrielle roy's characters are submitted to their body and its contingencies. They deeply feel animosity and reject for this enemy. Our research would like to illustrate the unyielding presence of the body and a double will : negation by the characters and ellipsis from the style writing. For the body reveals an ambiguity from the style writing, oscillating between presence end absence. The presence of the body is all the better depicted because the author has to avoid its exaltation. The writing of the body by gabrielle roy tends to a characteristic : to supplant it by representing an ill body with redundant and incurable illnesses or with such a pejorative representation that it incites the reject of the body. Royen writing would like to bring to a successful conclusion : the death of the written body. Thus reasons of frustration become de facto non-existents and only persists what is valorized : the power of the mind against the weakness of the body. From the redundance of the body to its ellipsis, the writing would be devoted to the inexpressible, to the sensible world and above all to the creative imagination
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Dean, Camille G. "Bridging the Generation Gap in the Works of Gabrielle Roy." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4904.
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Gabrielle Roy's novels are filled with images of childhood and aging, of family, of rural and urban French-Canadian settings, and of Roy's experiences as a young, impressionable teacher. The generation gaps present themselves in many human relationships and thread themselves throughout Roy's works. For this thesis, the generation gaps will be studied in three important relationships. Part One presents largely the relationships within the microcosm of the family. It explores the gap between mothers and daughters. La Rue Deschambault, La Route d'Altamont, and Bonheur d'Occasion are included. The relationship between the father and child in La Rue Deschambault, Bonheur d'Occasion, and Alexandre Chenevert will then be explored. Important elements of these relationships are: the circle of life, the inevitable resemblances between parent and child, and their reversal of roles as the parent ages. Part Two focuses on bridging the gap between teacher and student in Gabrielle Roy's works. This relationship is studied extensively in both La Petite Poule d'Eau and Ces Enfants de Ma Vie. The teachers in Roy's works represent the link from the family to the outside world, as education empowers students to progress. Part Two also presents the elderly as teachers of the children in their lives. This special relationship is seen in La Route d'Altamont. Part Three studies the relationship between life and nature. Roy's urban novels, Bonheur d'Occasion and Alexandre Chenevert, in which the author draws contrasts between rural and urban life, are explored. The gap between the urban dweller and nature is focused on in Alexandre Chenevert. The bond that links humankind and animals is studied in La Montagne Secrete. There is an important contrast between the inherent need for solitude and humankind's communion. The artist's place within the universe is shown to be unique. In this macro setting of humankind and the universe, all human relation ships take their places within these interwoven, circular patterns.
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Schonberger, Vincent Lawrence. "Les deux pôles de la création artistique chez Gabrielle Roy." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4982.
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Mays, Catherine C. "Gabrielle Roy et le Nord des exploits personnels dans un Nord imaginé /." Fairfax, VA : George Mason University, 2007. http://hdl.handle.net/1920/2960.
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Thesis (M.A.)--George Mason University, 2007.Title from PDF t.p. (viewed Jan. 21, 2008). Thesis director: Paula Ruth Gilbert. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Foreign Languages. Vita: p. 119. Includes bibliographical references (p.112-118). Also available in print.
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Thompson, Robert Mac. "Mirrors and witnesses: Gabrielle Roy, Margaret Atwood, and Le Deuxième Sexe." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2495.
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An intertexual, cross-cultural study of the Canadian woman's experience from
the Second War and Post-War era through examination of the existential crisis of the feminine
situation as addressed by the fiction of Mme. Gabrielle Roy (Bonheur d'occasion, 1945, and Rue
Deschambault, 1955), and Ms. Margaret Atwood (Cat's Eye, 1985), considered in relation to Le
Deuxième Sexe, (1949) by Mme. Simone de Beauvoir.Thesis (M.A.) -- Wichita State University, College of Liberal Arts and Sciences, Dept. of English
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Courchesne, Sarah Geneviève 1980. "Étude génétique de "Jeannot-la-Corneille" de Gabrielle Roy." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116129.
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Researchers currently are according a great deal of importance to the genetic analysis of Gabrielle Roy's writings. Indeed, the author's manuscripts reveal important details about her creative process. In this thesis, we study the changes the author made to both style and content at different stages of the writing of "Jeannot-la-Corneille", one of the recits making up Cet ete qui chantait. The latter is one of Roy's least studied books. Our analysis of the modifications the author made to the content and style of her texts allows us to understand the reasons behind these changes and gives us as well a sense of Gabrielle Roy's creative work. Admired for the apparent ease with which she writes, the author reworks her text tirelessly in order to achieve the desired effects: precision, accuracy and musicality. Adjectives, adverbs, nouns, all parts of speech are subject to change in this quest to improve descriptions and, in so doing, deliver more effectively a message of hope.
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Tanguay, Céline. "Maux et mots du corps dans Alexandre Chenevert de Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64200.pdf.
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Sandberg, Monica. "Étude thématique du livre Ces Enfants de ma vie de Gabrielle Roy." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1031.
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Dremeau, Jacques. "L'humanisme de Gabrielle Roy à travers les personnages de son oeuvre romanesque." Rennes 2, 1994. http://www.theses.fr/1994REN20032.
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Le but de cette thèse est de mettre en évidence, à travers une étude approfondie des personnages de son oeuvre romanesque, l'humanisme de Gabrielle Roy, tout en le caractérisant et en soulignant les articulations de cette pensée. Ce travail de recherche est introduit par une première partie intitulée : "évolution du monde intérieur et évolution de l'oeuvre litérative", s'efforçant d'éclairer, d'une part, le contexte dans lequel s'est formée la conscience littéraire de Gabrielle Roy et, d'autre part, la façon dont ce même contexte a contribué à l'évolution de sa pensée et de son humanisme, dans l'oeuvre. La seconde partie : "frères humains" explique les problèmes existentiels que rencontrent les personnages romanesques, le plus souvent de condition modeste mais esquissant toutefois un tableau de la société canadienne moderne avec ses différentes classes sociales et ses types raciaux. Ces nombreux personnages, en même temps qu'ils subissent leur vie, tentent d'en chercher le sens et surtout ils espèrent. Le plus souvent, ces porte-parole de la romancière nous informent sur sa vision du monde et sur les grands traits de son humanisme. La troisième et dernière partie intitulée : "quête d'idéal et recherche d'absolu", tente de dégager par l'étude de personnages particulièrement représentatifs et universels, la propre philosophie de Gabrielle Roy quant au sens de la destinée humaine et des rapports de l'homme avec Dieu dans sa nécessaire quête d'idéal et d'absolu, liée à sa recherche du bonheurThe aim of this thesis is to give prominence to G. Roy's humanism through a detailed study of her novels'characters, whi le giving its main features and underlining its cohesiveness. This study is introduced by a first part entitled "evolution of the inside world and evolution of the literary work". On one hand this part seeks to describe the atmosphere in which G. Roy's literary awareness has developed and on the other hand how it has helped to the evolution of her thought and her humanism in the work. The second part "human brothers" explains the existential problems that novels characters meet with these characters mostly from modest background draw a picture of the canadian modern society with its different social classes and racial groups. These numerous characters at the same time are subjected to their lives and try to discover its meaning. These novellist spokesmen most of the time explain her views and her thoughts concerning the world. The third and last part entitled "idealism quest and the absolute seek" wants in studying particularly representative and universal characters to define G. Roy's own philosophy concerning the meaning of human d estiny and of the relationship between god and man in his necessary quest of idealism an absolute, linked to his seek for happiness
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Renaud, Catherine Clotilde. "Les représentation de l'eau dans l'oeuvre autobiographique et romanesque de Gabrielle Roy." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30046.
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Qu'elle soit claire, sombre, fluide, rigide, vive ou stagnante, l'eau attire, inspire et interroge. Son apparente uniformité cache une pluralité complexe qui a séduit Gabrielle Roy Ce " décor mythique ", la romancière l'a fait sien, transformant à travers ses divers personnages ce paysage hydrique en reflet du paysage de leurs âmes. Même dans son écriture, la fluidité de l'eau se retrouve ; émotion et sensibilité colorent son œuvre. De comparaisons en métaphores, en passant par les hypallages, Gabrielle Roy use de toutes les combinaisons stylistiques possibles, pour faire de ce décor hydrique, un décor universel susceptible de toucher le lectorat. Même la plaine, paysage de son enfance, est soumise à une description souvent inspirée d'un vocabulaire maritime. Lac, rivière, neige, pluie, larmes, l'eau peuple toutes les œuvres royennes. À travers cet élément, Gabrielle Roy se révèle et matérialise ses pulsions qui sont parfois de l'ordre de l'indicible ou de l'inconscient, elle fusionne ainsi totalement avec un fragment du monde Partant d'un inventaire classique des diverses formes d'eau dans l'œuvre royenne, nous poursuivrons notre étude avec l'analyse des mythes et des symboles qu'elle engendre, pour terminer sur le rôle déterminant qu'elle tient dans la vie des personnages et de Gabrielle RoyClear, dark, fluid, solid, lively or stagnant, water attracts, inspires and questions Its ostensible uniformity hides a complex plurality which fascinated Gabrielle Roy. The author made its own adaptation of this "mythic scene" through her different characters, transforming this hydrous landscape into a reflexion of their souls Even in her writing, you can feel the water fluidity ; emotion and sensibility colour her works. From comparisons to metaphors, along with hypallage, Gabrielle ROY's book is a spectrum of every possible styles, in order to make of this hydrous picture, a universal scene able to touch reader's sensitiveness. Even the plain, scenery of her childwood, is often described with a vocabulary borrowed to seascapes. Lake, river, snow, rain, tears, water is present in all Royennes works. Through this element, Gabrielle Roy reveals herself and materializes her impulses which are sometimes either inexpressible or unconscious. She totally melts into a fragment of the world. From a classic inventory of the various forms of water in the Royennes works, we'll proceed with our study through this analysis of the myths and symbols it creates, before ending with the outstanding part water plays in the life of both Gabrielle Roy and her characters
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Bellemare, Sylvie. "La notion de Dieu dans "Alexandre Chenevert" /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61053.
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Closely linked to the notion of God, spirituality dominates throughout Gabrielle Roy's writings. The characters speculate about the meaning of life and death, about good and evil. Of all Roy's writings, it is undoubtedly in Alexandre Chenevert that these searching questions are most expressly depicted.In this thesis, we will study the manner in which the romantic background of Alexandre Chenevert reflects the religious experience of post-war French Canadians. Under the guise of distorted images, the novel does, in fact, hide an abundant network of themes referring to the religious context of the 1940's-1950's. This period was marked by challenging the ecclesiastical authority. The study of Alexandre Chenevert, a genuine sociological document, will allow us to understand the role religion played in the evolution of the French Canadian society.
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Riel, Marie-Ève. "De Rita Hayworth à "l'être en détresse" le rôle de la photographie dans la construction de la figure de Gabrielle Roy." Mémoire, Université de Sherbrooke, 2008. http://savoirs.usherbrooke.ca/handle/11143/2552.
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Parmi les études portant sur les stratégies d'écrivains et la fabrication de l'auteur, il est un sujet encore peu exploité: celui du rôle attribué à la photographie d'écrivain. Bien que l'on se soit intéressé à quelques écrivains européens, les études de cas québécois sont inconnues, mis à part un chapitre du livre de Pascal Brissette portant sur Émile Nelligan dans son ouvrage Nelligan dans tous ses états. Un mythe national. L'objectif général de ce mémoire consiste à montrer quels peuvent être les rôles de la photographie d'écrivain dans la construction d'une figure d'auteur du champ littéraire québécois. Dans un premier temps, il est question de l'évolution du statut de l'auteur en regard de la représentation physique de l'écrivain. Nous voyons à quel moment la photographie apparaît, au Québec, sur les livres. Puis, nous nous intéressons aux diverses modalités de la représentation physique contemporaine de l'auteur: de l'écrivain immortalisé dans un univers de représentations connues à la photographie qui prépare ou confirme la lecture d'une oeuvre. Dans un second temps, nous effectuons une étude de cas, celle de la figure d'auteure de Gabrielle Roy. En identifiant les effets induits sur la figure de l'écrivaine, nous étudions à quels moments et pourquoi ses éditeurs principaux, Beauchemin, Stanké et Boréal, ont choisi telle photographie plutôt qu'une autre pour accompagner un texte donné. Par l'étude de diverses sources telles la correspondance, la biographie de l'auteure, les témoignages de ses éditeurs, nous voyons également quels rapports Gabrielle Roy entretient, tout au long de sa carrière, avec son image et avec ses éditeurs.
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Daviau, Pierrette T. "Étude sémiotique du personnage romanesque chez Gabrielle Roy, du point de vue indiciel." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4940.
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Roy-Sole, Monique 1965 Carleton University Dissertation French. "En ce pays d'ombre; analyse genetique de Baldur, un roman inedit de Gabrielle Roy." Ottawa.:, 1993.
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Roussel, Renaud. "La pastorale nordique dans «La Petite Poule d'Eau» et «Alexandre Chenevert» de Gabrielle Roy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119623.
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This thesis aims to show how the North in Gabrielle Roy's work is a liminal figurative space that, far from freeing individuals from society's constraints, allows them to reconnect with it in a simplified way. It argues that the characters' "northern" experiences and the mode of their actions, in La Petite Poule d'Eau (The Water Hen) and Alexandre Chenevert (The Cashier), are best defined as pastoral, because they result from an unresolved conflict – a contradiction – between their moral ideals and their passions. Torn between living a solitary life and a communal one, Roy's characters are unable to choose and forced to seek a form of compromise between these two desires. Their ontological uncertainty also sheds light on the tension between the idyllic and romance in Roy's novels, a tension that the liminal location of the northern space illustrates and allows to explore. By bringing together two seemingly antagonistic ideas – the North and the pastoral – and by examining how such an interaction unfolds in the writer's first two "northern" novels, this thesis wishes to underline the dual nature of Roy's characters, novels, and North.Le but de ce mémoire est de montrer que le Nord est un espace figuratif intermédiaire qui permet, non pas de rompre avec le monde, mais de refonder un lien, simplifié, avec la communauté. L'hypothèse qui sous-tend cette étude est que l'expérience nordique des personnages dans La Petite Poule d'Eau et Alexandre Chenevert de Gabrielle Roy renvoie au mode de la pastorale, car elle met en scène une tension irrésolue – une contradiction – entre leurs idéaux moraux et la réalité de leurs passions. Tiraillés entre le désir de vivre en solitaire et celui de vivre en communauté, les personnages royens ne peuvent choisir entre ces deux tentations et sont en quête d'une forme de compromis. Cette hésitation fondamentale des protagonistes de Gabrielle Roy met également en lumière la forte tension entre l'idylle et le romanesque dans les romans de l'auteure, tension que la position intermédiaire du Nord permet d'illustrer et d'explorer. À travers une problématisation des rapports entre le Nord et la pastorale et une étude des deux premiers romans « nordiques » de la romancière, ce mémoire se propose de souligner la nature duelle du Nord, des personnages et du roman royens.
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Biron, Charlotte. "D'Arthur Buies à Gabrielle Roy, une histoire littéraire du reportage au Québec (1870-1945)." Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/66332.
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"Thèse en cotutelle, doctorat en études littéraires, Université Laval, Québec, Canada, Philosophiæ doctor (Ph. D. )et Université Paul Valery Montpellier 3, Montpellier, France"À la fin du XIXe siècle, la naissance du journal d’information et du reportage au Canada français contribue à l’émergence d’une littérature de terrain. Au confluent d’échanges, de circulations et d’influences, l’écrivain journaliste canadien-français circule sur le territoire peu peuplé et vaste d’une population francophone éparpillée, un contexte à des kilomètres de la scénographie aventurière qui a nourri le genre et ses fictions les plus connues ailleurs en Occident. Cette thèse s’intéresse à cette forme en dehors des genres canoniques, une littérature qui s’étend des « Deux mille deux cents lieues en chemin de fer » d’Arthur Buies jusqu’aux « Peuples du Canada » de Gabrielle Roy, en passant par l’enquête sur les Franco-Américains de Jules Fournier et par l’incursion chez les draveurs d’Eva Senécal. En amont, c’est la densité introspective des voyages d’Arthur Buies dans les années 1870 qui incarne l’ancêtre du grand reportage au Québec, tandis qu’en aval, c’est la lucidité et l’intimisme de l’écriture de Gabrielle Roy à travers le Canada qui constituent l’aboutissement de ce corpus encore largement méconnu. De fait, la thèse interroge précisément l’absence du reportage dans l’histoire de la littérature québécoise à travers l’idée d’un décalage entre la pratique littéraire du reportage au Québec et les définitions les plus répandues du grand reportage français ou du journalisme littéraire américain. En analysant les spécificités d’un corpus en contrepoint d’une toile mondiale complexe, l’étude jette ainsi un éclairage sur les raisons qui ont contribué à l’oubli du reportage, suggérant du même mouvement qu’une telle fragilité recouvre aussi sans doute la singularité même d’un corpus à l’intersection de la culture littéraire et du désordre du monde.
At the end of the 19th century, the birth of the commercial newspaper contributed to the emergence of a new genre, the reportage, and the development of literary journalism in the Western World. Yet, newspapers in French Canada evolved in a particular context, very different from the more adventurous settings that contributed to reportage’s impressive reputation in North American and French culture. In Quebec, journalists traveled and worked on a vast territory sparsely populated by the French-speaking population. This thesis shed lights on this context and presents the history of literary journalism in the province, from Arthur Buies’s “Deux mille deux cents lieues en chemin de fer” to Gabrielle Roy’s “People of Canada”, including lesser-known works such as Jules Fournier’s pieces on the Franco-Americans and Eva Senécal’s incursion into the lives of log drivers. From the 1870s to the 1940s, the study of reportage reveals a great number of articles, most of them unknown, published in different newspapers. The absence of reportage from the history of literature is at the heart of this thesis. By examining literary journalism in French Canada alongside the most widely used definitions of the “grand reportage” and American literary journalism, this study highlights some of the reasons that account for this absence, suggesting at the same time that the fragility of the corpus also encompasses the uniqueness of this body of work located at the intersection of literary culture and field journalism.
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Houde, Isabelle. "Clair-obscur : suivi de «Cette vie mystérieuse des mots» : la grammaire de la création chez Gabrielle Roy." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30551/30551.pdf.
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Ce mémoire présente un recueil de nouvelles traversé par une succession de moments de clarté et d’ombre caractéristiques de la notion de deuil. La réflexion subséquente à ce recueil s’inspire de la vision de la création littéraire de Gabrielle Roy. L’essence de cette «grammaire» de la création est vue comme un ensemble de quatre conditions nécessaires à l’émergence d’une œuvre littéraire. Au moment d'entreprendre l'écriture, il ne faut pas prendre conscience des intentions qui nous habitent, demeurer disponible pour que la grâce de l’inspiration nous permette d’accéder au trésor d’images logé dans notre inconscient, prêt à rejaillir et à être ordonné par le fruit du travail en une œuvre de «vivante vérité» où, à la suite de Gabrielle Roy, il est possible d’atteindre «cette vie mystérieuse que des mots pourtant pareils à ceux de tous les jours parviennent parfois à capter à cause de leur assemblage comme tout neuf».
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Van, Dun Aïcha. "Chocs culturels et générationnels chez G. Roy ; Jamais tu ne m'avais dit." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20184.
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The following work is divided in two sections. In the review section, we analyse "La riviere sans repos", a collection of stories by Gabrielle Roy, published in 1970. This analysis explains the impact of the break-up of the social fabric of esquimo traditions on intergenerational interactions among families.For quite some time, the arrival of white culture within the traditional esquimo civilization did not include the brutal and accelerated rhythm, as it has since World War II. Nevertheless, at the time where Roy sets the events in her book, between 1945 and 1968, one can definitely speak of culture shock. Hence, we would like to understand how the esquimo characters in the book react to this brutal culture change, as they are forced to question their identity along with their traditional values. In addition, we explain how these excessively rapid changes influence the interactions between four different generations.
The second section of this work, the creative section, is linked to the first by the coming together of members of a single family. " Jamais tu ne m'avais dit", a collection of short stories, includes individuals of different generations (for example, a parent and his child, a grandmother and her granddaughter), who are forced to truly communicate with one another, following an event or a recent discovery.
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Huet, Carmen. "De la fiction autobiographique à l'autobiographie et sa fiction : deux aspects du "je" chez Gabrielle Roy." Thèse, Université du Québec à Trois-Rivières, 1994. http://depot-e.uqtr.ca/5017/1/000616411.pdf.
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Houde-Sauvé, Renée. "Femme de Crète, et, Souvenirs et filiation dans Le temps-- de G. Roy." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30177.
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The initial part of this M.A. thesis is a fiction describing a travel to Greece; it deals with separation, memories and identity.The following part is an essay on memories and filiation in Le temps qui m'a manque, by Gabrielle Roy. Four reminiscences will be scrutinized: her mother's house, the satin collar, the medals and the seagulls. The first one is about continuity and identification (the mother's house); the second and the third ones, the satin collar masking the unfinished hem, the medals relating to owing, illustrate a filiation based on want. Lastly, the memory of the seagulls synthesizes the light and the dark sides of the mother-daughter filiation, the daughter leaving her mother (rupture) to fulfill her mother's as well as her own dream of freedom (continuity).
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Vachon, Jean-Olivier. "L'artiste-passeur chez J. A. Loranger et G. Roy, et, La grange traversee." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32949.
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A thematic and formal analysis of Jean-Aubert Loranger's poetic tale "Le Passeur" [1920], and of Gabrielle Roy's novel La Montagne secrete [1962], shows that the construction of the two heroes' respective identity is directly related to the representation of small and large rivers in the two stories. Considering the generic difference between the two texts, these similarities---which are shaped up in a four steps "organizing scheme"---suggest the existence of a real structure in the construction of the modern identity (quebecoise). La Grande traversee, an historical novel about the massive Irish emigration of 1847, narrates the quest of identity of Seamus Doyle, while following the same four steps of this particular movement.
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Wiktorowicz, Cécilia. "Des passions au discours et à son sujet, étude sémiotique des tensions paradoxales dans l'écriture autobiographique de Gabrielle Roy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq36337.pdf.
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Hétu, Dominique. "Luttes et espaces habités du quotidien dans quatre récits de fiction par Gabrielle Roy, Helen Potrebenko, Isabel Vaillancourt et Heater O'Neill." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5637.
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In Bonheur d'occasion (1945), Hey Waitress and Other Stories (1989), Les enfants Beaudet (2001) and Lullabies for Little Criminals (2006), the characters struggle with exclusion, confinement and lack of social recognition in precarious environments. Moving in and out of home, they resist power structures that define and delineate their living spaces and they use strategies of transgression that allow them to make sense of their existence in relation to other people who share similar struggles. One aspect of the transgressive function of the texts is to represent alternative spaces in the lives of women and children that result from their experiences of struggle. The texts dramatize a desire for alternatives to dealing with spatial distress, economic crisis and sex-gendered boundaries. This desire is represented by the female and child characters' survival strategies, which show their capacity to surmount the socio-spatial difficulties. As Barbara Godard remarked, one of the aims of recent feminist research"coincides with the efforts of women writers to open new dimensions of space, to allow women freedom of movement, without hesitancy, or fear, or obstacle, through geographic and political spaces, but, more fundamentally, through cultural, conceptual and imaginary spaces" (Godard 2). Looking closely at how authors Gabrielle Roy, Helen Potrebenko, Isabel Vaillancourt and Heather O'Neill dramatize female and child characters' movement through and experience of daily living spaces, I suggest that, indeed, the texts open and question the geographical, material, sex-gendered, and imaginary spaces in which fictionalized subjects struggle to exist. By exploring the characters' experience of spatial, economic and psychosocial distress, I argue that the fictionalized subjects are able to build localized spaces of comfort both in the public and in the private sphere and thus to find a certain"freedom of movement" (Godard 2). Their survival strategies used for coping with social, spatial, economic, and physical boundaries show that they are agents of change and capable of finding and preserving minimum comfort in living spaces. For instance, the characters show ambivalence towards their sense of home, and, accordingly, they seek to rebuild and/or negotiate this living space through alternative sites such as embodied, fantasized or shared spatiality. I will read the texts according to the experiences of struggle of the characters, the represented survival strategies, and textual elements such as narrative point of view and discourses on space, gender and poverty. Bonheur d'occasion concentrates on the ways of using and creating space to get out of poverty and represents women's active, but subjugated, roles. The collection of short stories Hey Waitress and Other Stories gathers fictional voices of working-class, elderly, and poor subjects who experience sex-gendered, spatial, and economic struggle. These struggles create a space for alternatives and for resistance in living spaces that are open to change. Les enfants Beaudet fictionalizes the lives of children who, as a closed group, try to appropriate private and public spaces and use violence and revenge to cope with feelings of abandonment and injustice. Finally, Lullabies for Little Criminals , a first-person narrative, dramatizes the daily struggles of a pre-teenager who goes from one place to another, searching for recognition and a sense of home in Montreal. Each text represents particular living spaces and lived spatiality that situate and inscribe the agency of the female and child protagonists. Despite spatial crises, these stories dramatize how oppressed subjects are able to take action. Drawing on theories of space (Henri Lefebvre, Elizabeth Grosz, Kristinne Miranne and Alma H. Young), home (Catherine Wiley, Thomas Foster, Janet Zandy) and the fictional representation of poverty (Roxanne Rimstead), this thesis analyses home, the workplace, the body, and the shared space of solidarity as fragile, limited and conflicting sites. The four books dramatize the socio-spatial distress of characters that arise when precarious living conditions limit their opportunities for survival and subjecthood. I suggest, more particularly, that the negotiation of space is an important part of the process of identity formation through which the characters find a sense of home between the material and the psychological, the public and the private, and individuality and solidarity.
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Markovic, Marie. "Un chapitre retrouvé des mémoires de l'abbé de Choisy l'écriture autobiographique : étude stylistique des trois manuscrits du «Temps qui m'a manqué» de Gabrielle Roy." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86628.
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The creative writing portion of this thesis is a pastiche of the writings of 17th century memorialist and historian François Timoléon de Choisy. The cross-dressing adventures he lived as a young man were published as the Mémoires de l'abbé de Choisy habillé en femme and the pastiche presented here constitutes a "lost" chapter that recounts an episode referred to in the Mémoires.The critical aspect of this thesis concerns the three versions of Gabrielle Roy's last manuscript: Le temps qui m'a manqué. The Canadian novelist's last autobiographic text is analysed from both a stylistic and a genetic perspective and considers the variations from one manuscript to the next as well as those passages left unchanged.
In both cases, the exploration of the authors' individual styles is an attempt to answer a question integral to our own writing practice: how does one create credible fiction from realities that are not always believable?
Le texte de création présenté ici propose un pastiche de François Timoléon de Choisy, mémorialiste et historien de l'Église du XVIIe siècle, qui a laissé le récit de ses intrigues en travesti, sous le titre de Mémoires de l'abbé de Choisy habillé en femme. Notre pastiche constitue un épisode «retrouvé» de ses aventures, auquel il se réfère dans ses Mémoires.
La réflexion critique porte sur les trois versions du manuscrit du Temps qui m'a manqué de Gabrielle Roy. Cet ultime fragment autobiographique de la romancière canadienne fait l'objet d'une étude stylistique et génétique à partir de l'analyse des variations et des passages restés intacts d'un manuscrit à l'autre.
Dans un cas comme dans l'autre, l'exploration des styles de ces deux auteurs constitue une tentative de répondre à une question que nous pose notre propre pratique d'écrivain : comment convertir en fiction vraisemblable une réalité qui ne l'est pas toujours ?
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Bourgeois, Marie-Élaine. "Poétique du récit de voyage fictif québécois au XXe siècle de l'initiation du sujet à sa fragmentation (Marie Le Franc, Gabrielle Roy, Louis Gauthier, Lili Gulliver) /." [S.l. : s.n.], 2006.
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Bourgeois, Marie-Élaine. "Poétique du récit de voyage fictif québécois au XXe siècle de l'initiation du sujet à sa fragmentation (Marie Le Franc, Gabrielle Roy, Louis Gauthier, Lili Gulliver)." Mémoire, Université de Sherbrooke, 2006. http://savoirs.usherbrooke.ca/handle/11143/2440.
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La problématique de l'étude ici présentée pose la question, au moyen de l'analyse du voyage chez quatre auteurs québécois du XX e siècle, de la pertinence d'appliquer la structure initiatique de Joseph Campbell à un corpus contemporain. Campbell a montré avec précision dans son oeuvre scientifique que les mythes sous-tendent l'imaginaire de l'individu humain. Comment sa structure de la quête du héros, commune aux récits proposant un déplacement, un voyage, s'adapte-t-elle aux récits modernes? L'éclatement des genres et le refus du sacré modifient-ils la représentation du voyage et, par le fait même, son analyse? Je me propose ici de faire ressortir les nuances, les divergences et les transformations de l'écriture du voyage dans les récits fictifs produits par quatre auteurs québécois ayant choisi de faire du voyage le thème principal de leurs oeuvres: Marie Le Franc, Gabrielle Roy, Louis Gauthier et Lili Gulliver. À la fin du parcours, il apparaîtra possible, selon les résultats obtenus, de considérer sous un jour nouveau la structure initiatique de Joseph Campbell de même que l'écriture du voyage dans la fiction. Quelques questions connexes mériteront alors d'être soulevées: comment palier la transformation de l'écriture, son renouvellement constant? De même, faut-il tenter de moderniser les approches analytiques ou chercher à en renouveler l'usage à mesure que le matériau littéraire se transforme?
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Gagnon, Émilie. "Nuka ; : suivi de Le motif du voyage dans le nord imaginaire dans la littéraure québécoise du XXe siècle, en particulier dans La rivière sans repos de Gabrielle Roy." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27594/27594.pdf.
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Royer, Anne-Julie. ""Sur la montagne nue" (texte de création) : suivi de L’écriture de l’autofiction à la troisième personne chez Gabrielle Roy, Marguerite Duras et Annie Ernaux et ses échos dans "Sur la montagne nue" (essai réflexif)." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25867.
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Sur la montagne nue est un recueil de huit nouvelles à la forme particulière: les textes sont divisés en paragraphes qui présentent, en alternance, deux voix, deux femmes distinctes. Ces femmes parlent d’elles-mêmes à la troisième personne du singulier. Il n’y a pas de dialogues, seulement des voix qui se donnent l’une après l’autre et qui se rejoignent par le biais de la mémoire. Il s’agit de nouvelles certes, mais elles ont été écrites pour la scène, pour des comédiennes, pour être entendues. De surcroît, les propos de ces textes sont généralement autofictionnels. Dans la partie théorique, je questionne le choix d’une narration à la troisième personne pour l’écriture de l’autofiction. Pour ce faire, je compare mon travail avec la pratique de Gabrielle Roy, Marguerite Duras et Annie Ernaux qui ont elles aussi, dans certains moments de leurs oeuvres, choisi ce type de narration pour l’écriture de soi.
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Michaud, Alexandre. "Le vent dans les voiles, suivi de, Le voyage comme archéologie de la mémoire /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33305.
Full textAbstract:
This Master's thesis consists of two separate parts: Le vent dans les voiles, a travel fiction, is followed by a short essay, Le voyage comme archeologie de la memoire.Le vent dans les voiles is both a travel fiction and a short apprenticeship novel. Julien Legare, an idealistic young man, is fond of Jim Morrison and Zarathoustra . As he is travelling in Europe, his dreams of intellectual and emotional liberation are breaking down to pieces. Disillusion eventually leads him to a new vision, beyond childhood nostalgia.
The essay is a mythocritical analysis of three Twentieth Century novels by Le Clezio, Proust and Gabrielle Roy: Le chercheur d'or, A la recherche du temps perdu and La Route d'Altamont . These books have in common the themes of travel, memory and creation. The three protagonists all long for the lost paradise of their childhood, thus they search for their origins. Travelling in space and time, on the outside and inside themselves, they become archaeologists of their own memory, digging for forgotten treasures. Is remembrance a topos of travel literature?
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Garneau, Émilie. "La quête d'universel dans le roman québécois des années 1950 : les cas de La fin des songes, d'Alexandre Chenevert et de La Patience des justes." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/28312.
Full textAbstract:
Datant du XIXe siècle et popularisé aux lendemains de la crise de 1929, le discours social sur l'universel occupe une place importante au sein de la production littéraire des années 1950 et semble être suggéré de façon récurrente par les romanciers comme remède aux maux humains de leurs personnages. Partant du constat du caractère aliénant du mode de vie associé à la modernité, il prône un retour à des valeurs proprement humaines, détachées de toute forme d'individualisme et de matérialisme. Or, très peu de chercheurs s'y sont, jusqu'à maintenant, intéressés. Ce mémoire tentera donc de rendre compte de ce discours pourtant omniprésent dans les romans de l'après-guerre, mais écarté de la plupart des recherches déjà effectuées. Il démontrera, par le fait même, que le roman n'est pas uniquement une voie d'expression du discours social sur l'universel, mais qu'il suggère également une sorte de condition à son avènement, soit la mort d'un personnage, comme si seule la perte d'un proche, dans toute sa violence, était indispensable à la prise de conscience des autres personnages et à la réconciliation qui peuvent seules rendre l'universel possible. Pour explorer cette hypothèse, cette recherche se fondera sur l'étude de trois romans, soit La fin des songes de Robert Élie (1950), Alexandre Chenevert de Gabrielle Roy (1954) et La Patience des justes de Pierre de Grandpré (1966). Ces trois œuvres, par des schémas narratifs bien différents, abordent tous l'universel comme unique solution aux maux humains de leurs personnages. Or, bien qu'elles laissent présager que cette promesse de salut est à portée de main, elles démontrent également que la route qui y mène est ardue.
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Salama, Benjamin. "Gabriel François Doyen (1726-1806), peintre du roi." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL007.
Full textAbstract:
Acteur pionnier au sein du mouvement de régénération de la peinture d’histoire dans la seconde moitié du XVIIIe siècle, Gabriel François Doyen (1726-1806) doit sans aucun doute être considéré comme l’un des artistes les plus importants de sa génération. Elève de Carle Vanloo puis à l’École royale des élèves protégés, il s’illustre avec un premier grand chef d’œuvre présenté au Salon de 1759, La Mort de Virginie, qui le fit considérer par la critique comme l’un des espoirs du renouveau de la peinture française. Sa gloire culmine avec une grande commande religieuse, Le Miracle des ardents, exposé au Salon de 1767 et resté célèbre grâce à une longue critique que lui consacra Diderot, dans laquelle il opposera le style puissamment lyrique de l’artiste à la manière de Vien, annonçant de l’esthétique néoclassique. Chargé d’importantes commandes royales au cours des années 1770, apprécié pour ses œuvres puissamment poétiques inspirées par l’Iliade, Doyen finit néanmoins par perdre la faveur du public dans les années 1780, au moment même où s’impose la génération de David. Sous la Révolution, l’artiste sera chargé d’importantes fonctions au sein de la Commission des monuments et œuvrera pour la préservation du patrimoine français aux côtés d’Alexandre Lenoir, son ancien élève. En 1792, il choisira finalement de partir en Russie pour achever sa carrière ; il y occupera la charge de professeur à l’Académie impériale des Beaux-arts de Saint-Pétersbourg, mais aussi la place de peintre de l’impératrice Catherine II et de son fils Paul IerAs one of main pioneer in the regeneration movement of history painting in the second half of the eighteenth century, Gabriel François Doyen (1726-1806) must undoubtedly be considered one of the most important artists of his generation. Student of Carle Vanloo and then at the École royale des élèves protégés, he is illustrated with a first great masterpiece presented at the Salon of 1759, La mort de Virginie, which made him consider by critics as one of the new hopes of the renewal of French painting. His glory culminates with a great religious command, Le Miracle des Ardents exposed to the Salon of 1767 and remained famous thanks to a long criticism that Diderot dedicated to him, in which he contrasted the powerful lyric style of the artist like Vien, announcer of neoclassical aesthetics. He was in charged with important royal commands in the 1770s, appreciated for his powerful poetic works inspired by the Iliad, Doyen eventually lost the public 's favor in the 1780s, at the very same moment when the generation of David is needed . Under the French Revolution, the artist will be in charged with important functions within the Comission des monuements and will work for the preservation of French heritage alongside Alexandre Lenoir, his former student. In 1792, he finally chose to go to Russia to complete his career ; he held the position of professor at the Imperial Academy of Fine Arts in St. Petersburg, but also the rank of painter of the Empress Catherine II and his son Paul I