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Barry, John Conor David. "The Seal of the Author: Paradigm, Logos and Myth in Plato's 'Sophist' and 'Statesman'." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31303.
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Recent trends in scholarship on Plato’s philosophy have shifted emphasis from an almost exclusive focus on inductive and deductive logical techniques, and even ethics, to the treatment of image, myth and the literary dimension, above all in the work of scholars such as Kahn, Rowe and Gonzalez. In keeping with this trend, recent scholars, like Gill, Notomi and Collobert, have postulated the need for a philosophical image on the basis of a reading of the Sophist and Statesman. This thesis examines the unique significance given to the term ‘paradigm’ in Plato’s Sophist and Statesman. Paradigm is Plato’s term for image. A close reading of these dialogues shows, however, that such an image is “philosophical” or dialectical only insofar as it leads to a proportionate grasp of higher, invisible, ethical realities. This is the connection the specialist work on image in the Sophist and Statesman bears to wider scholarship on the literary dimension of Plato.
Plato provides, in the Sophist and Statesman, three ways of making use of paradigms: (1) the use of an analogy, like the city and the soul and the weaving analogy, which is functionally equivalent to the analogy of the city and the soul, (2) an inductively defined universal essence, for example, the universal essence of a human being, like Socrates, and (3) an ethical character, like the Socrates Plato presents in his dramatic composition, or other characters presented in myth. The distancing effect Plato uses in the Sophist and Statesman suggests that Plato, himself, is the philosophical artist or image-maker.
This is an important topic for one unifying reason. The question of a philosophical image in Plato remains unanswered or inadequately answered. Although the Sophist and Statesman treat this question, the exceeding technicality of these dialogues has lead commentators, unanimously, to treat the exploration of image and essence in these Eleatic dialogues, as a kind of island, separated from Plato’s work. My study, by leading readers of Plato to a greater awareness of the importance of these works for Plato on image and Plato as artist, turns this island into a peninsula.
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Neubern, Fabiula. "A arquitetura da criação : um estudo de Mínimos, múltiplos, comuns, de João Gilberto Noll /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/91516.
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Orientador: Luiz Gonzaga Marchezan<br>Banca: Arnaldo Cortina<br>Banca: Sérgio Vicente Motta<br>Resumo: O presente trabalho de pesquisa tem como objetivo principal estudar os desdobramentos teóricos e críticos da singular composição de Mínimos, múltiplos, comuns (NOLL, 2003). O livro é constituído de 338 microcontos publicados originalmente no jornal Folha de S. Paulo. Para a publicação em livro, os textos foram agrupados em cinco conjuntos, divididos em subconjuntos pelo editor Wagner Carelli. Analisamos a situação da prosa brasileira contemporânea, do mercado editorial nacional e da produção de João Gilberto Noll e propomos formas de entender a estrutura do livro, considerando os aspectos editoriais e autorais. Faz-se também um breve histórico do conto e do microconto, dando ênfase à produção microcontística de Gilberto Noll. As reflexões deste trabalho se amplificam ao estudarmos a lógica organizacional cosmogônica da obra, tendo no mito da criação uma de suas linhas de força. Durante o trabalho, deparamo-nos com três microcontos que não foram inseridos em Mínimos, múltiplos, comuns (NOLL, 2003) e que são aqui analisados, permitindo reflexões a respeito da autoria<br>Abstract: The present research aims to study the major theoretical developments and critical of the unique composition of Mínimos, múltiplos, comuns (NOLL, 2003). The book consists of 338 short stories originally published in the newspaper Folha de S. Paulo. For book publication, the texts were grouped into five sets, divided into subsets by the publisher Wagner Carelli. We analyzed the situation of contemporary Brazilian prose, the publishing industry and national production of João Gilberto Noll and propose ways to understand the structure of the book, taking into consideration editorial and copyright. It also makes a brief history of the tale and short story, emphasizing the production of Gilberto Noll. The reflections of this work is amplified when studying the organizational logic of cosmogonic work, and the myth of creation as one of its lines of force. During the work, we find three short stories that were not included in Mínimos, múltiplos, comuns (NOLL, 2003) and are reviewed here, allowing reflections on authorship<br>Mestre
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Neubern, Fabiula [UNESP]. "A arquitetura da criação: um estudo de Mínimos, múltiplos, comuns, de João Gilberto Noll." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/91516.
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neubern_f_me_arafcl.pdf: 316696 bytes, checksum: 8b4ef41697fc70854b92482e6f7a75bc (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>O presente trabalho de pesquisa tem como objetivo principal estudar os desdobramentos teóricos e críticos da singular composição de Mínimos, múltiplos, comuns (NOLL, 2003). O livro é constituído de 338 microcontos publicados originalmente no jornal Folha de S. Paulo. Para a publicação em livro, os textos foram agrupados em cinco conjuntos, divididos em subconjuntos pelo editor Wagner Carelli. Analisamos a situação da prosa brasileira contemporânea, do mercado editorial nacional e da produção de João Gilberto Noll e propomos formas de entender a estrutura do livro, considerando os aspectos editoriais e autorais. Faz-se também um breve histórico do conto e do microconto, dando ênfase à produção microcontística de Gilberto Noll. As reflexões deste trabalho se amplificam ao estudarmos a lógica organizacional cosmogônica da obra, tendo no mito da criação uma de suas linhas de força. Durante o trabalho, deparamo-nos com três microcontos que não foram inseridos em Mínimos, múltiplos, comuns (NOLL, 2003) e que são aqui analisados, permitindo reflexões a respeito da autoria<br>The present research aims to study the major theoretical developments and critical of the unique composition of Mínimos, múltiplos, comuns (NOLL, 2003). The book consists of 338 short stories originally published in the newspaper Folha de S. Paulo. For book publication, the texts were grouped into five sets, divided into subsets by the publisher Wagner Carelli. We analyzed the situation of contemporary Brazilian prose, the publishing industry and national production of João Gilberto Noll and propose ways to understand the structure of the book, taking into consideration editorial and copyright. It also makes a brief history of the tale and short story, emphasizing the production of Gilberto Noll. The reflections of this work is amplified when studying the organizational logic of cosmogonic work, and the myth of creation as one of its lines of force. During the work, we find three short stories that were not included in Mínimos, múltiplos, comuns (NOLL, 2003) and are reviewed here, allowing reflections on authorship
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Dana, Dan. "Enjeux et controverses autour du mythe de Zalmoxis." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0071.
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La thèse analyse le destin et les interprétations autour de la figure de Zalmoxis, dieu des Gètes (population thrace du Danube inférieur), depuis les Histoires d'Hérodote jusqu'à nos jours. Reposant sur l'analyse du cadre historiographique et du contexte idéologique de chaque époque, dans une vision comparatiste, le réexamen critique des théories formulées à son propos présente une importance exceptionnelle. Analyser les traditions antiques, médiévales et modernes au sujet de Zalmoxis conduit à s'interroger sur les différents enjeux suscités par ce personnage, en Occident comme en Roumanie, pays dans lequel il joue un rôle majeur dans la définition du "spécifique national", et la construction d'un passé prestigieux. Une autre dimension du sujet est l'histoire du personnage de Zalmoxis dans la culture roumaine moderne ( son appropriation par le nationalisme historique), ainsi qu'une critique de la monographie de Mircea Eliade. L'histoire de Zalmoxis à travers les époques nous informe moins sur son culte réel, que sur les auteurs et les porteurs de son motif, sur les divers prétextes de son usage<br>The thesis examines the destiny and the interpretations around the figure of Zalmoxis, god of the Getae (Thracian population on the Lower Danube), since the Histories of Herodotus to our days. On the grounds of the analysis of the historiographical frame and the ideological context of every epoch, in a comparative vision, the critical reexamination of the theories about this subject presents an exceptional importance. The analysis of the ancient, medieval and modern traditions concerning Zalmoxis leads to questioning about the different stakes generated by this personage, in Occident as well as in Romania, country wheere he plays a major role in the definition of the "national specific" and in the construction of a prestigious past. Another dimension of the subject is the history of the personage of Zalmoxis in the modern Romanian culture (his appropriation by the historical nationalism), including a critique of Mircea Eliade's monograph. The history of Zalmoxis across the ages teach us nothing about his real cult, but a lot about the authors and the bearers of his motif, on the various pretexts of his use
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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.
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Conard, Nadine P. A. "De mythe in het verhalend werk van Gerard Walschap (1898-1989)." Doctoral thesis, Universite Libre de Bruxelles, 1999. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211863.
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Keita, Mohamed. "Approche psychocritique de l'œuvre romanesque de Tierno Monénembo." Phd thesis, Université Paris-Est, 2011. http://tel.archives-ouvertes.fr/tel-00691942.
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La présente thèse a pour but de ressortir l'implicite de l'œuvre de Tierno Monénembo. Elle se structure autour de trois axes principaux ; le premier étudie les instances narratives ; le deuxième porte sur les principaux actants du récit ; le troisième axe permet d'élaborer la genèse du mythe personnel de l'écrivain à travers l'exil. L'analyse psychocritique de l'œuvre de Monénembo se veut être aussi une étude portant sur la psychologie des personnages, elle tâche de mettre en exergue le malaise identitaire des personnages et celui de l'exilé en somme, face à des traumatismes sociopolitiques, les personnages éprouvent la nostalgie du royaume de l'enfance. Cette structure récurrente dans l'œuvre est la résultante d'un passé troublant. Celui-ci se traduit dans le discours des narrateurs. Ces derniers s'inspirent en général de l'univers familial ou de celui du pays natal " mal sorti " du joug colonial français
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Valls, de Gomis Estelle. "Le vampire au fil des siècles : enquête autour d'un mythe /." Coudray-Macouard : Cheminements, 2005. http://catalogue.bnf.fr/ark:/12148/cb400892612.
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Brissette, Pascal. "La malédiction littéraire : constitution et transformation d'un mythe." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84481.
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Long before the publishing of Verlaine's Poetes maudits , it has been written and thought, in various circles and contexts, that writers of genius were doomed to an unhappy life. Nevertheless, it was only about 1760--1770 that the conditions allowing for the emergence of a myth of the unhappy writer were gathered. This myth affirms the christlike vocation of the author and associates greatness to unhappiness. This thesis seeks to understand this mythical phenomenon within a historical perspective. The first part recounts the three principal families of topoi associated, before 1770, to authorial unhappiness. These three series are those of melancholy, poverty and persecution. In the chapters concerning these topoi, the objective is to bring to light their specificity and also the representations and the exempla that they call to mind. Moreover, the goal is to identify the connections that are at work, in discourses, between melancholy and genius on the one hand, poverty and truth on the other hand, and finally persecution and merit. Even if one can't already consider that these various discursive connections are sufficient to build a mysticism of the unhappy man of letters, they still can be studied, in their context, for what they are: a pool of topoi where the writers would soon draw some discursive materials, and from which this myth will get its historical acceptability, its obviousness. The second part of the thesis is devoted to the study of this obviousness. After Rousseau, some believe that unhappiness is inseparable from genius, and that literary vocation is a curse spelled on the poet. From then on, the object of study is not anymore to follow each topos as if it was a separate thread, but instead, to see how all this acquires the value of commonplace (lieu commun ) between 1770 and 1840, in addition to imposing itself as an horizon of meaning. The last chapter and the epilogue show that the myth lives on, during the second half
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Inoguchi, Yoshihiko. "Le mythe de la famille dans l'oeuvre de Georges Bernanos : autour de la paternité." Nancy 2, 1995. http://www.theses.fr/1995NAN21013.
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Notre thèse a pour le but de repérer les complexes d'idées liées à la famille à travers les œuvres de Bernanos, et à en déduire l'existence de certains des archétypes qui structurent et organisent cet amalgame de l'imaginaire. En particulier, nous avons mis l'accent sur la notion de la paternité par rapport aux notions corrélatives, à savoir la maternité et la fraternité. Notre démarche est basée sur deux conceptions: "le mythe personnel" élaboré par Charles Mauron et "le roman familial", théorie dont Sigmund Freud a été l'inventeur. Avec ces deux conceptions, nous avons examiné l'évolution des figures paternelles d'un roman à l'autre<br>The aim of this thesis is to pinpoint the complex ideas related to the family throughout Bernanos’ works and from such analysis to deduce the existence of a certain number of archetypes which structure and organize this mixture of the imaginary. In particular, the accent has been placed upon notions of paternity in comparison with correlative notions such as maternity and fraternity. The method of analysis is based on two concepts: "le mythe personnel" (personal myth) elaborated by Charles Mauron and "le roman familial" (the family novel), theory invented by Sigmund Freud. Based on these two concepts, we have examined the evolution of paternal figures from one story to another
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Jeon, Hye-Jeong. "L'imaginaire d'Emile Zola autour du mythe du Paradis : à la recherche des étoiles du bourbier." Grenoble 3, 1994. http://www.theses.fr/1994GRE39034.
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Le mythe et le mythique sont les premiers modes de representation et d'apprehension du reel, de maitrise des dilemmes que se pose l'homme. Malgre la volonte mmetique, documentaire et scientiste du chef de fil du naturalisme qui est emile zola, l'oeuvre narrative de celui-ci se soumet a l'exigence du mythe et du mythique dont la presence permet d'emouvoir un lecteur de culture differente et d'historicite autre que le moment de la creation poetique. Le soubassement mythique chez zola qui a professe l'"effet de reel" se remarque d'abord par le recours au mythe du paradis agence d'une facon patente dans la faute de l'abbe mouret. En nous appuyant sur la methodologie de l'imaginaire fondee par gilbert durand, nous avons pu constater que la figure mythique du paradis est inseree non seulement dans le roman cite plus haut mais aussi qu'elle constitue d'une maniere latente une geographie imaginaire dans l'oeuvre de zola. A travers la confrontation des textes ecrits dans des periodes differentes, s'est revelee donc la thematique paradisiaque qui se rapporte au regime mystique, lequel met l'accent sur l'unite et la cohesion des elements, en accumulant des schemes d'integration, de concentration, et de compatibilite. Mais le pathos paradisiaque provient de la prise de conscience de la situation dechue de l'homme. En contraste avec la thematique paradisiaque sedresse donc chez zola l'univers catamorphe dont l'expression mythique transforme la scientificite du determinisme hereditaire en fatum des anciens et promeut le cadre historique des rougon-macquart au rang de cosmogonie. Mais la poetique paradisiaque dedramatise les relations dichotomisantes des reseaux de l'image qui regissent l'univers de la chute et en meme temps prepare le regime d'images mixtes par les materiaux symboliques que la topologie meme du paradis valorise : le vegetal, la terre, l'arbre. Ainsi, l'maginaire d'emile zola autour du mythe du paradis agence l'affrontement tantot conflictuel, tantot mystique, tantot encore disseminatoire avec le reel<br>The myth and the mythical are the first means of representing and perceiving the real, of overcoming the dilemmas which man postulates. In spite of the mimetics, documentative and scientistic will which permeates emile zola's naturalism, his narrative work is suject to the demands of the myth and the mythical, the existence of which can facilitate the emotional involvement of readers whose culture and historicity removed the time of the work's poetic genesis. The fundamental mythical underpinning by zola, who professed the "effect of the real", is apparent first of all through his recourse to the myth of heaven which is manifestly set out in "la faute de l'abbe mouret". Using the methodology of the imaginary estabished by gilbert durand, as a basis, we have been able to note how the mythical figure of heaven is incorporated not only into the novel mentioned above, but also how it constitutes, latently, an imaginary geography in zola's work as a whole. It is through a comparison of texts written at different times that the recurrent theme of heaven has emerged, relating to the mystical regime which itself emphasizes unity and cohesion of the elements, amassing schemata of integration, of concentration and of compatibility. But heavenly pathos stems from the realization of man's fallen state. With zola, therefore, in contrast to the themes of heaven, there looms the catamorphic universe whose expression through myth transforms the scientific nature of hereditary determinism into the fatum of the ancients, and raises the historical framework of the rougon-macquart to the rank of cosmogony. But the poetics of heaven plays down the dichotomic relations of the networks of the image that governs the world of the fallen and at the same time prepares the regime of combined images, by way of symbols which the very topology of heaven suggests : flora, the earth, the tree. Thus zola's imaginative world of the myth of heaven depicts the sometimes confrontational, sometimes mystical, sometimes even disseminative clash with real
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Sedore, Timothy Stephen. "Assimilation through alienation : four Mexican American writers and the myth of the American Adam = Asimilación por medio de enjación /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/13027785.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.<br>Typescript; issued also on microfilm. Sponsor: Ruth Vinz. Dissertation Committee: Olga Rubio. Includes bibliographical references (leaves 226-241).
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Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
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Dumont, Stéphanie. "Du graphématique dans l'œuvre de Vicente Huidobro : autour d' "Altazor" et du mythe personnel, figures et fondations." Paris 8, 2009. http://www.theses.fr/2009PA083123.
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"Partie d'une hypothèse sur le graphème comme inscription porteuse d'un sens, hypothèse envisageant le recueil principal de Vicente Huidobro, "Altazor", comme lieu central et mythique d'une problématique rêvée de l'identité, la thèse interroge le texte et sa signifiance, l'œuvre comme système unique, langage actif diégétisant et dramatisant le "mythe personnel" du poète. L'enjeu de la thèse est double: d'une part, approcher au plus près l'autre histoire véhiculée par la lettre et son sémantisme propre ne valant que dans une œuvre et pour un auteur donnés ; et d'autre part, étudier le processus complexe d'élaboration de la "figure-texte" en tant qu'identité, condition et définition d'un moi textuel, dans la fiction duquel se projette à tous moments le moi auctorial: là donc où se joue la démarche auto-fondatrice du poète dans et par son œuvre. Penser le moi poétique comme rénovation et reconstruction en mouvement permanent, c'est aussi s'ouvrir à une dialectique de l'identité où l'équilibre et l'appartenance, paramètres essentiels à toute fondation, surgissent dans le même acte simultané de la fracture et de l'échec-déstructuration. Logique-dialectique susceptible de donner à l'œuvre et à l'histoire personnelle du poète qui s'y trouve "mise en intrigue", leur forme-sens spécifique. "<br>Proceeding from the concept of the grapheme as an inscription which in itself bears meaning, the thesis envisages Vicente Huidobro's principal collection, "Altazor", as the focus of a problematic of identity. The thesis questions the text and its meaning, and the work as a specific system where language dramatizes and narrativizes the poet's "personal myth". The thesis has a dual objective. On the one hand, to look closely at the alternate story, so to speak, expressed by the grapheme as such, and its own semantics within a individual work by a individual author ; and on the other hand, to study the complex process of development of the 'text-figure' as the identity, condition and definition of a textual self in fiction, in which the author's self is present at all times. The arena in which the poet establishes himself in and by his work. Elaborating a poetic self as a perpetual movement of renovation and reconstruction, is also to open oneself to a dialectic of identity where balance and belonging, essential parametres in establishing such presence, arise in the same act of simultaneous fracture and fragmentation-failure. A dialectic-logic capable of lending a specific form-meaning to the work, and to the author's personal experience which is woven into it
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Souza, Eli Fernandes de. "Auto dos anfitriões e O homem duplicado: diferentemente iguais." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2273.
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Previous issue date: 2009-02-06<br>Fundo Mackenzie de Pesquisa<br>This work consists of the analysis of Auto dos Anfitriões, by Luís Vaz de Camões, which was written in 1587, and The Double, by José Saramago, published in 2002. These works approach the theme of the double a recurrent subject in literature since primordial times and they present different manners of constituting duplicity. In the analyzed corpus, the dialogue is established firstly with the myth of Amphitryon, and, though less intensely, with other western culture myths. The analyses have as theoretical support Bakhtin studies on dialogism which is seen as a constitutive principle of language and Sigmund Freud researches on the double in his article The uncanny . Sustained by these seminal studies and contributions by other experts on the subject, we aim at investigating how the theme of the double is treated in each work and to which directions the identity crisis point; analyzing the characters discourse, so as to observe how the I acts before the other; and, at last,
examining the mechanisms to which the narrative resorts in the confrontation of these discursive subjects. The study of these works shows that in ancient literature the loss of individuality, which is an intrinsic factor to the theme of the double, does not predominantly assume dramatic dimensions, as it happens in modern literature,
which frequently reach tragic outcomes. Trough the work of Olympian gods the conflict is both established and ended in the text by Camões, therefore the identity crisis is not aggravated, but attenuated before the jest, the humorous tone, while, due to human solitude, individualism and modern man s lack of references, the ontological crisis in The Double occurs within the hero s existence, undermining his defenses to, eventually, destroy him.<br>Este trabalho consiste na análise de o Auto dos Anfitriões, de Luís Vaz de Camões, escrito em 1587, e de O homem duplicado, de José Saramago, romance editado em 2002. As referidas obras abordam a temática do duplo, assunto recorrente na literatura desde tempos primordiais, e nelas se encontram diferentes formas de constituição da duplicidade. No corpus sob análise, o diálogo estabelece-se, em primeira instância, com o mito de Anfitrião, e com menor intensidade, com outros mitos da cultura ocidental. A análise das referidas obras tem, como apoio teórico, os estudos concebidos por Bakhtin sobre o dialogismo, visto como princípio constitutivo
da linguagem, e as pesquisas de Sigmund Freud a respeito do duplo em seu artigo O estranho . Amparados por esses estudos seminais e por contribuições de outros especialistas nesses assuntos, perseguem-se, nesta dissertação, os escopos de: investigar como o tema do duplo é tratado em cada obra e para que direcionamentos a crise identitária aponta; analisar o discurso dos personagens, para observar como o eu atua face ao outro; e, por fim, examinar de que mecanismos a narrativa dispõe na confrontação desses sujeitos discursivos. Do estudo das obras, será possível apreender que, na literatura antiga, o conflito da perda da individualidade, fator intrínseco ao tema do duplo, não assume, em sua predominância, dimensões dramáticas, como ocorre na literatura moderna que, com freqüência, atinge
desfechos trágicos. Por obra dos deuses do Olimpo, o conflito instala-se e finda-se no auto camoniano e a crise identitária não se agrava, por diluir-se diante do chiste, do tom jocoso, enquanto que, por força da solidão humana, do individualismo e da desreferencialização do homem moderno, a crise ontológica em O homem duplicado abriga-se na existência do protagonista, minando suas defesas, a ponto de destruí-lo.
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Garza-González, Cristóbal. "Foundation and contradiction in José Vasconcelos' Ulises criollo." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1214606328.
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Desbois-Ientile, Adeline. "L’histoire écoutée aux portes de la mythologie : l’écriture du mythe troyen autour des Illustrations de Lemaire de Belges." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040144.
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Ce travail étudie l’écriture de l’histoire et de la fiction mythologique à la Renaissance, à partir du mythe des origines troyennes des Français. Notre corpus est centré sur les Illustrations de Gaule et singularitez de Troye (1511-1513) de Lemaire de Belges, fresque généalogique qui comprend en son cœur le récit mythologique des amours de Pâris et de la guerre de Troie, que nous avons replacé dans un vaste réseau intertextuel comprenant notamment les œuvres de Bouchet, Thenaud, Helisenne de Crenne et Ronsard. La singularité des Illustrations en fait un observatoire privilégié des relations entre l’histoire et la fiction poétique à la Renaissance, permettant d’analyser les différents degrés d’intégration de la fable dans un discours de nature historiographique, sur les plans poétique, rhétorique et stylistique. Nous avons d’une part retracé l’histoire du mythe troyen entre la fin du Moyen Âge et la fin de la Renaissance, de façon à mesurer le renouvellement auquel a procédé Lemaire et l’influence que son œuvre a exercée au XVIe siècle ; nous avons d’autre part analysé le traitement différencié qu’il réserve à la mythologie à l’intérieur de l’œuvre, montrant que le mythe y est à la fois l’objet d’une quête des origines et un récit vraisemblable qui tend vers la fable ; enfin, étudiant les évolutions rhétoriques et stylistiques entre les différentes parties, nous avons mis en évidence la tension entre l’exigence de propriété du discours historiographique et l’élaboration d’une prose « poétique » nouvelle, haute en « couleurs de rhétorique » et en partie artificielle. L’œuvre nous donne ainsi accès à l’imaginaire historique et poétique de la Renaissance<br>This dissertation studies historical writing and mythological fiction in the Renaissance, taking its starting point in the myth of the Trojan origins of the Franks. Although centered upon Lemaire de Belges’s Illustrations de Gaule et singularitez de Troye (1511-1513), a grand genealogical fresco containing the legendary narratives of the loves of Pâris and of the Trojan War, the corpus extends to a vast intertextual network that includes the works of Bouchet, Thenaud, Helisenne de Crenne, and Ronsard. The uniqueness of the Illustrations is such that it allows us to observe and analyze with conspicuous acuity the interactions, at the time of the Renaissance, between history and poetic fiction. In particular, it enables us to measure the extent to which fiction may be merged with historical narrative, and to articulate the distinctive features of the two writing styles from poetic, rhetorical, and stylistic points of view. On the one hand, we consider the history of the Trojan myth from the Middle Ages to the end of the Renaissance. On the other, we analyze the special treatment reserved for mythology within the work, showing that the Trojan myth is both a quest in search of the true origins of a people and a plausible narrative embellished in highly imaginative prose. Finally, observing the differences among the various parts of the work, we shed light on the tension between a neutral and matter-of-fact style of the sort required by historical writing and a newly invented “poetic prose” enriched with rhetorical devices and freshly crafted expressions. The Illustrations is thus seen to open an exceptional window upon the historical and poetic worlds of the Renaissance
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Barón, Jaime. "Le sujet poétique chez Apollinaire et Huidobro : recherches autour du mythe du poète dans le contexte avant-gardiste." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30047.
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Les éclatements successifs du sujet-oxymore chez Apollinaire à partir de 1907-1908 donnent lieu à une définition sémiotique stable du Je-Poète. La crise de la poésie est assumée par cette définition, passible de retours allotopiques (scissions) ou projetée vers son ouverture spatiale et calligrammatique. À cette crise le sujet-tmèse, chez Huidobro, répond par une stratégie de disjonction (1917-1918) progressivement euphémisée. Dans la structure de la tmèse on repère un passage annoncé par plusieurs symptômes (réfraction, ostranenie, thématique des horloges) qui relisent la crise apollinarienne à travers le constat de l'absence du présent poétique. De là la nécessité de déployer une narration implicite du mythe du poète, dynamisée par un emploi citationnel apollinarien massif. Dans Altazor se redéfinit cette narration nourrie par une culture post-biblique ou altazorienne, par le dialogue avec les avant-gardes et par des résurgences oxymoriques apollinariennes. Le parallélisme Huidobro / Reverdy (1915-1918) permet de dégager la spécificité et la continuité avec le passé littéraire de ce mythe huidobrien, et la comparaison avec le dadaïsme et le surréalisme (années 20) le replace autour de la problématique de sa légitimité diversement orientée sur des axes pragmatiques conflictuels. La représentation du sujet comme signe double révèle ses zones d'oscillation -historiques, esthétiques, culturelles - et confirme dans l'écriture poétique de la guerre la visée unitaire et médiatrice du système oxymorique en opposition à un sujet-tmèse obligé à rééquilibrer la crise de la poésie d'un point de vue figural et culturel<br>Summary : Successive breaking-ups of the oxymoron-subject in Apollinaire from 1907-1908 onwards lead to a stable semiotic definition of the I-as-Poet. The crisis of poetry is taken charge of by this definition that may undergo allotopic returns (scissions) or be projected towards its spatial and calligrammatic opening up. In Huidobro's work, the tmesis-subject responds with a progressively euphemised strategy of disjunction in 1917-1918. In the structure of tmesis, we spot a passage announced by several symptoms (refraction, ostranenie, the theme of clocks) which reread the Apollinarian crisis by acknowledging the absence of a poetic present. Hence the need to deploy an implicit narration of the myth of the poet, dynamised by massive use of quotations from Apollinaire. Altazor redefines this narrative nourished by a post-biblical or “Altazorian” culture, a dialogue with the avant-gardes and oxymoric resurgences from Apollinaire. A parallel between Huidobro and Reverdy from 1915 to 1918 allows us to detect both the specificity of this Huidobrian myth and its continuity with the literary past, while a comparison with Dada and Surrealism (in the 20s) situates it on the background of questions of legitimacy diversely oriented on conflictive pragmatic axes. The representation of the subject as a dual sign reveals its several areas of oscillation (historical, aesthetic and cultural) and confirms in the poetic scripture of the war the wholistic and mediating goal of the oxymoric system, as opposed to the tmesis-subject obliged to re-balance the crisis from a figural and cultural point of view
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Brun, Estelle. "Du mythe à la rencontre en territoire Pueblo et Navajo : autour des patrimoines mondiaux de Chaco culture, Mesa Verde et Taos Pueblo." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010617.
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Cette thèse aborde les perceptions culturelles portées sur des cultures minoritaires, celles des tribus pueblos et navajos, à travers le patrimoine auquel elles sont culturellement affiliées. Les sites amérindiens inscrits au Patrimoine Mondial, Chaco Culture (Chaco Canyon et Aztec Ruins), Mesa Verde et Taos Pueblos (Ve -XIVe s.) ont ainsi la particularité d’être rattachés à des cultures vivantes, dont les représentants ont gardé la mémoire des lieux animés par la présence de leurs ancêtres, à travers leurs traditions orales. À ce titre, par l’application de la loi NAGPRA, ces patrimoines, classés aussi en tant que Parcs Nationaux, à l’exception de Taos Pueblo, ont par conséquent été officiellement affiliés à des tribus actuelles vivant dans la région des Four-Corners (Utah, Colorado, Nouveau-Mexique et Arizona). Dans une première partie, les dynamiques autour des reconnaissances fédérales sont exposées afin de comprendre l’avantage d’une présence de patrimoines culturels dans les processus de légitimité de ces « Premiers Américains ». Par ailleurs, l’évolution des programmes éducationnels en histoire permet aussi de souligner les dynamiques culturelles qui existent entre ces cultures aux États-Unis ; ces deux exemples mettent en relief la façon dont les définitions culturelles, sociales et historiques de chacune peuvent affecter les perceptions qu’a une culture sur une autre ou même sur sa propre culture. En deuxième partie, nous abordons plus en détail ce phénomène dans un contexte patrimonial afin d’observer la manière dont il se reflète sur la scène touristique locale, à travers la patrimonialisation des Parcs Nationaux, et plus largement des sites historiques pueblos. Par la mise en perspective de la patrimonialisation des territoires fédéraux et tribaux, il s’agit de définir qui produit aujourd’hui ce patrimoine et quels en sont les processus de construction. La patrimonialisation aux États-Unis, dont le Gouvernement Fédéral en est l’initiateur avec l’instauration de Parcs Nationaux comme paysages culturels, résulte ainsi d’une démarche intégralement euro-américaine ; à 3 l’aube du XXIe s., elle fait pourtant le choix, au fil des consultations tribales, d’entrer dans une nouvelle ère par l’intégration de notions issues d’autres cultures. En parallèle, cette démarche contribue à la mise en place de nouvelles perceptions patrimoniales en terres tribales ; ainsi, ces populations natives font de plus en plus le choix d’adopter le processus de patrimonialisation à « l’Occidentale », et ceci en franchissant les limites de leurs propres perceptions patrimoniales, afin d’adopter un modèle touristique basé sur la gouvernance des parcs et musées nationaux. Elles affichent cependant une forte prise de contrôle sur la « commercialisation » de leurs cultures ; par là même, il s’agit de renverser les tendances du siècle dernier au cours duquel elles perdirent tout contrôle sur ces imaginaires géographiques de l’ « Indien en voie de disparition » qui se développèrent à leur insu. Cette production patrimoniale, à double sens, s’étend donc au-delà de la scène patrimoniale des Parcs Nationaux et est affectée par de nombreux autres facteurs, idéologiques, historiques, politiques, économiques, mémoriels, mais surtout identitaires. Ainsi, chaque promoteur concerné par cette mise en patrimoine, acteur ou « supposé » actant (indigène), contribue à un changement de regard porté sur les descendants de ces sites, à travers ce processus de patrimonialisation. Enfin, l’étude prolonge cette hypothèse par le regard porté par les touristes eux-mêmes sur ces cultures et patrimoines, afin d’observer ce phénomène à l’échelle touristique ; ainsi, nous pouvons découvrir si ces modifications culturelles récentes, qui semblent affecter le patrimoine amérindien du Nouveau-Mexique et du Colorado et par conséquence la culture transmise par les diverses équipes du National Park Service, se dénotent aussi dans la démarche de ces visiteurs « d’un jour »<br>Native American sites inscribed on the World heritage list ; Chaco culture, Mesa Verde and Taos Pueblo have the uniqueness to be linked with living cultures from which their descendants have kept memory of these places. Thanks to NAGPRA law, these heritage (except Taos) have been officially culturally affiliated to tribes from the Four-Corners region (UT, CO, NM, AZ). In the first chapter, dynamics around federal federal recognition are exposed to tribes from the Four-Corners region (UT, CO, NM, AZ). In the first chapter, dynamics around federal recognition are exposed, in order to understand the advantages of the presence oc cultural heritage sites in the process of legitimacy of these “First Americans”. These phenomena are then exposed in a heritage context in order to observe the way they reflect on the local touristic scene, through the patrimonialization of the National Parks. By putting patrimonialization of federal and tribal territories in perspective, the goal is to define who produces today this heritage and what their process of constrcutions are. In the National Parks, the heritage scene, doubly influenced by American and native American cultures, has evolved in response to historical, political, economic, but mostly identity. Finally, the study continues on the gaze tourists have upon those heritage and cultures in order to observe the phenomenon at a touristic scale. As a result, we can discover if these recent cultural modifications that affect Native American heritage can be seen in the approach of these “one-day” visitors
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Forman, Mindra. "L'image de l'homme noir dans "La rue Cases-Nègres" de Joseph Zobel." Thesis, Högskolan Dalarna, Franska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5314.
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Uhde, Bernhard. "En el principio era el logos” –¿o más bien el mythos? En torno al principio de la re-presentación en el judaísmo y el cristianismo." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113155.
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Mito y logos se unen en la descripción del mito que admite una representación (Vergegenwärtigung) y es comprensible para el entendimiento: muqologei=n”. De este modo, aquel logos que era en el principio” es él mismo un mito, si no se hiciera presente (vergegenwärtigt) a sí mismo como logos. El principio de la religión, el Eterno mismo, deja narrar en el judaísmo un mito que culmina en un logos y puede ser interpretado como tal. En el cristianismo, la auto-re-presentación del principio de la religión como autorreflexión, esto es, la encarnación, pone al logos antes que al mito: El que me ve a mí, ve al Padre” (Jn. 14, 9). Esto es lo que distingue al cristianismo de aquello que ha de permanecer ajeno al judaísmo, pues: No puedes ver mi rostro y seguir viviendo” (Ex. 33, 11ss). --- ‘In the beginning was the logos’ –or was it rather the mythos? On the Re-presentation Principle in Judaism and Christianity”. Myth and logos are united in the description of myth which allows for a re-presentation (Vergegenwärtigung) and is comprehensible for the understanding: muqologei=n”. Thus, that logos which was in the beginning” would be itself a myth, if it does not present (vergegenwärtigt) itself as logos. The principle of religion, the Eternal itself, allows in Judaism the narration of a myth that ends in a logos and can be interpreted as such. In Christianity, the self-representation of the principle of religion as self-reflection, that is, incarnation, puts the logos before the myth: He who has seen me has seen the Father” (Jn., 14,9). This is what distinguishes Christianity from that which will remain foreign to Judaism, since: you cannot see my face; for no one shall see me and continue to live” (Ex. 33, 11ff).
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Wane, Abdoulaye. "Risque, danger de sinistre et sinistre dans un programme international pour le développement : enjeux stratégiques et intérêts spécifiques autour d'un projet de réforme institutionnelle au Sénégal." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0098.
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Nous voulons, dans cette thèse, mettre en exergue le processus de construction sociale du risque dans la coopération internationale pour le développement. Notre démarche consiste, en allant de l'analyse de la Banque Mondiale en tant qu'institution (catégorie sociale, culture, discours, démarche, gestion de l'interculturel) vers l'opération (le projet « Trade reform and competitiveness » sur le terrain), à dresser au fur et à mesure une cartographie des « lieux » de production du danger de sinistre qui influent dans le projet. Le sinistre, c'est le mécanisme par lequel le projet tend vers une déconnexion de ses objectifs performatifs face à la réalité du terrain. La cartographie du risque s'appuie sur deux aspects de la production du danger de sinistre. D'abord, il y a deux « départs de feux » qui combinés mènent au sinistre. D'un côté il y a le problème de la gestion de l'interculturel au sein d'une équipe mixte et de l'autre il y a les réactions au risque perçu, au sentiment de danger<br>We want, in this Ph. D dissertation, to give rise to the process of social construction of the risk in the international co-operation for development. Our approach consists, while going from the analysis of the World Bank as an institution (social category, culture, speech, approach, management of intercultural) towards the operation (the project "Trade reform and competitiveness" on the ground), progressively to draw up a cartography of the "locations" of production of the danger of loss which influence in the project. The loss, it is the mechanism by which the project tends towards a disconnection of its objectives in relation to the field reality. The cartography of the risk is based on two aspects of the production of the danger of loss. Initially, there are two "departures of fires" which combined lead to the loss. On a side there is the problem of the management of intercultural within a mixed team and other there are the reactions to the perceived risk/with the feeling of danger
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Sheikh, Farah Naz. "Apprentissage à distance d'un langue étrangère, mythe ou réalité ? : autonomie et prise de repsonsabilité dans un environnement d'autoapprentissage, enjeux et défis pour les acteurs du processus de l'autoformation." Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1030.
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Les nouvelles technologies ont beaucoup modifié l’apprentissage en général et l’apprentissage des langues en particulier. Cela, à son tour, a changé les représentations et les rôles traditionnels des acteurs impliqués dans l’acte d’apprentissage : apprenants et enseignants. Cette recherche décrit l’apprentissage à distance du français mettant au point l’apprentissage du FLE au Pakistan via Internet et les problèmes liés à cette nouvelle approche d’apprentissage en autonomie qui requiert la modification des rôles des apprenants ainsi que des enseignants en suggérant des stratégies à utiliser afin d’autonomiser et responsabiliser les apprenants habitués à une méthode d’apprentissage traditionnel qui est différente de celle utilisée dans l’apprentissage de la langue française en ligne<br>The technology of information and communication has revolutionized the teaching in general and teaching of language in particular. This in its turn has altered the traditional concepts of roles attributed to the actors involved in the act of learning and teaching. This research work describes the distance learning especially online learning of French language in Pakistan using Internet and the problems related to this new approach of autonomous learning that requires the modification of roles and duties of both the learner and the teacher focusing on strategies to be used in order to make the learners get used to a method of learning that is totally different from traditional learning and to make them take responsibility of their learning
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Ellinger, Pierre. "Recherches sur les "situations extrêmes" dans la mythologie d'Artemis et la pensée religieuse grecque : autour de la légende nationale phocidienne et des récits de g uerre d'anéantissement." Paris, EHESS, 1988. http://www.theses.fr/1988EHES0014.
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A partir de l'etude de la legende nationale phocidienne, cycle de recits racontant les guerres d'independance du peuple phocidien contre les thessaliens a l'epoque archaique, celebrees au sanctuaire federal phocidien d'artemis elaphebolos d'hyampolis, il est montre que les grecs de l'epoque archaique et classique ont developpe une pensee complexe et systematique des exceptions a leurs propres regles de la guerre hoplitique. Contre les guerres d'aneantissement qui menacent l'existence meme des peuples et des cites, il est fait appel a artemis, pour qu'elle insuffle l'audace et le courage de faire face au risque le plus grand, qu'elle inspire les parades qui permettront de l'emporter dans ces guerres qui transgressent toutes les limites admises, et de faire triompher la civilisation la-meme ou elle paraissait devoir s'abimer dans la sauvagerie. Cette reflexion grecque sur les formes extremes de la guerre est a replacer dans le cadre plus vaste d'une pensee des "situations extremes", par laquelle, en s'opposant au radicalisme extremiste de courants mystiques comme l'orphisme, qui la denonce comme le mal absolu, la cite s'efforce d'explorer et de tracer les limites de la condition humaine a distance gardee aussi bien du pire que d'un impossible meilleur. Ainsi concu, ce travail tout entier se veut une contribution a l'etude des rapports du mythe et de l'histoire<br>Starting from the phokian national legend which consists in a cycle of tales reporting the wars of independence of the phokians against the thessalians in the archaic age, celebrated at the phokian federal sanctuary of artemis elaphebolos in hyampolis, it is shown that the greeks of the archaic and classical periods developped a complex and systematic thinking about exceptions to their own rules of hoplitic war. When wars of annihilation threatened the very existence of peoples and cities, artemis was called to instil the boldness and the courage to face the greatest risks, to inspire the devices to win these wars which transgress every admitted limit and to make civilization triumph where it seemed doomed to sink into wildness. The pondering of the greeks about the extreme forms of war is to be placed in the larger frame of a consideration on "extreme situations" by which the city, opposing the extreme radicalism of mystic trends like orphism which branded her as the absolute evil, endeavoured to explore and draw the limits of human condition at a distance of both the worst and the impossible best. Thus conceived, this whole work is intended as a contribution to the study of the relations between myth and history
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Zaor, Olga. "V hlíně snů a skutečnosti. Autobiografické postupy v próze Pavla Růžka a Jerzyho Pilcha." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-332021.
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The present thesis explores works of Pavel Růžek and Jerzy Pilch, its central focus being the analysis and interpretation of their approach towards one's own biography and one's identity as a writer. Although both authors come from the same generation, they address different literary traditions and construct different poetics. What they have in common, however, are literary motifs rooted in their biographies, such as alcoholism, the mythology of childhood, [the existence of] "fateful places," even particular types of women or other characters (including animals). Additionally, the thesis scrutinises the position of both writers in the consciousness of Polish and Czech readership along with their place on the two literary markets.
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Pyanzina, Vera. "Autorský mýtus v postmoderním románu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352543.
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The diploma thesis Author's Myth in the Postmodern Novel concerns the issue of myth and mythologization in modern literature. The theoretical portion of the thesis focuses on the concept of "author's myth". The conception of primitive myth is interpreted with regard to its features and functions in archaic societies. The first chapter discusses the relation of myth to literature and the characteristics of mythological aspects in contemporary literature. In terms of literary theory, it examines the issues of memory and history and its influence on the author's myth. The second, analytical part of the work, follows the application of the concept of author's myth. It specifically examines this concept in the novels "I Served the King of England" by Bohumil Hrabal, "The Erl-King" by Michel Tournier and "The Tin Drum" by Günter Grass and as well as a comparative analysis of mythological elements of these novels. Considerable attention is paid to the character of the narrator; the space, time and language of the texts; the process of remembering and the meaning of history in the selected novels.
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Herrera, Olga Lydia. "City of myth, muscle, and Mexicans : work, race, and space in twentieth-century Chicago literature." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3157.
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Chicago occupies a place in the American imagination as a city of industry and opportunity for those who are willing to hustle. Writers have in no small part contributed to the creation of this mythology; this canon includes Frank Norris, Theodore Dreiser, Upton Sinclair, Carl Sandburg, and Richard Wright. What is it about these authors that make them the classics of Chicago literature? The “essential” books of Chicago enshrine a period during which the city still held a prominent position in the national economy and culture, and embodied for Americans something of their own identity—the value of individualism, and the Protestant work ethic. Notably absent are the narratives from immigrants, particularly those of color: for a city that was a primary destination for the Great Migration of African Americans from the South and the concurrent immigration of Mexicans in the early part of the 20th century, it is remarkable that these stories have not gained significant attention, with the exception of Richard Wright’s.
This dissertation interrogates the discourse of ambition and labor in the Chicago literary tradition from the perspective of three Mexican American authors from Chicago—Carlos Cortez, Ana Castillo, and Sandra Cisneros. These authors, faced with late 20th century deindustrialization and the enduring legacy of segregation, engage with the canonical narratives of Chicago by addressing the intersections of race and citizenship as they affect urban space and labor opportunities. Rather than simply offering a critique, however, the Mexican American authors engage in a re-visioning of the city that incorporates the complexities of a fluid, transnational experience, and in doing so suggest the future of urban life in a post-industrial America.<br>text
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Nelson, Patricia Elise. "Rewriting myth : new interpretations of La Malinche, La Llorona, and La Virgen de Guadalupe in Chicana feminist literature /." 2008. http://hdl.handle.net/10288/474.
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Glisson, Silas Nease. "Cultural nationalism and colonialism in nineteenth-century Irish horror fiction." Thesis, 2000. http://hdl.handle.net/10500/16852.
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This thesis will explore how writers of nineteenth-century Irish horror fiction,
namely short stories and novels, used their works to express the social, cultural, and political
events of the period. My thesis will employ a New Historicist approach to discuss the effects
of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of
the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the
notion of the works' appeal as supernatural or possibly realistic works. The theory of
Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses
on how language can lead to conflicts amongst social groups.
The introduction is followed by Chapter One, "Ireland as England's Fantasy." This
chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an
overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of
fiction and the bleak social conditions of much of nineteenth-century Ireland.
Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror
stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the
early Irish belief in evil spirits in myths that eventually inspired horror literature.
Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses
how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish
Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue
that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish
and Catholic writers use the genre as political propaganda. Yet the authors tend to display
Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories.
The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and
Literary Forms," deals with the use of language and national literary styles in Irish literature
of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish
novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised,
with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by
a conclusion.<br>English<br>M. Lit. et Phil. (English)
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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.
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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism.
In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.<br>May 2016