Dissertations / Theses on the topic 'Prose narrative'

La mère, plus que n'importe quel autre personnage, s'inscrit dans l'histoire, la micro histoire et l'histoire des mentalités. En ses évocations multiples, par sa récurrence même, c'est un personnage signifiant. En premier lieu, nous avons confronté l'image romanesque de la mère et sa représentation sociale, nous avons mis en regard la mère bourgeoise, la mère paysanne et la mère ouvrière, nous avons confronté la maternité légitime et la maternité illégitime, la libre maternité et la maternité obligatoire. Mais analyser le personnage de la mère, c'est étudier un cas romanesque, alchimie de représentations diverses qui participent du temporel et de l'intemporel, de l'inconscient collectif et de l'inconscient singulier. Nous avons étudié la déclinaison maternelle, de la mère en gloire à la vierge des sept douleurs, de la madone au bouc émissaire, jusqu'à ce que Colette nous conte l'histoire exemplaire de Sido jusqu’à ce que Cybèle, la déesse - mère, dispense la mort, jusqu'à ce que Mauriac enfante Genitrix, la mère mortifère qui condamne l'enfant roi. En second lieu, nous avons analysé plus spécialement le rapport mère écrivain avec quatre auteurs de la même génération : Charles-Louis Philippe (de condition populaire, aimé par sa mère), Paul Léautaud (né hors-mariage dans un ménage d'artistes et abandonné par sa mère), Marcel Proust et André Gide (tous deux de condition bourgeoise et choyés par leur mère). . .
The mother, more than any other character, is present in history, micro-history and the history of mentalities. Through its various evocations, in its very recurrence, she is a meaningful character. At first, we have confronted the romantic image of the mother with her social representation, we have focused on the middle class, the peasant and the working-class mothers, we have confronted legitimate and illegitimate motherhood, voluntary and compulsive motherhood. But analysing the mother character means concentrating on a romantic case, alchemy of numerous representations which participate in both the temporal and the timeless, the collective and the individual unconscious. We have studied the maternal declension from the glorious mother to the seven grieves blesses virgin, from the madonna to the scapegoat, until Colette tells us the story of Sido, until Cybele - the mother - goddess - dispenses death, until Mauriac gives birth to Genitrix, the mortiferous mother who condemns the king-child

La littérature moderniste est musicale par essence. Elle souhaite éveiller des sensations chez le lecteur : le recours à la musique, art suggestif par antonomase, crée l’allusion. Comment sertir la musique dans la littérature ? Stéphane Mallarmé propose de « précéder les effets de la musique en redéfinissant celle-ci ‘d’où elle point’ » . Si l’art musical est naturellement porté par le poème, qu’en est-il de la prose ? En Espagne, Ramón María del Valle-Inclán offre un exemple probant de prose musicale dans ses Sonatas. Est-ce là tout ? Le projet mallarméen n’a-t-il pas rencontré d’écho parmi d’autres prosateurs espagnols ? Certes, l’intention y est ; les histoires de la littérature le confirment mais ne s’y attardent pas. Notre travail est donc double : il s’agit d’abord de retrouver des œuvres en prose modernistes espagnoles puis de les analyser par le prisme musical pour voir comment est saisi ce projet de fusion des arts. L'étude révèle que la musique de la prose, parfois imperceptible, raffine les sensations et sensibilise le lecteur à l’élégance, au rythme ou au phrasé d’un syntagme. En somme, la musique intérieure devient une propédeutique à l’ineffable. En creux de ce projet se dessine le rôle du poète dans la société. Celui-ci se présente comme un prêtre des temps modernes. Pourtant, le mythe auquel il tente de souscrire semble désincarné : sensible aux réalités de son époque, en quête d’un public féru de naturalisme, l’écrivain espagnol ne s’engage pas pleinement. Sa prose, hésitante, est souvent mièvre : cela explique qu’elle soit passée inaperçue aux yeux de l’histoire
Modernist literature is by essence musical. It is meant to arouse the reader’s senses: the use of music, a suggestive art by excellence, creates the allusion. How can one insert music in literature? Stéphane Mallarmé suggests to precede the effects of music by redefining it from its origin. If the art of music is naturally expressed through a poem, how about through prose? In Spain, Ramón María del Valle-Inclán offers a prime example of musical prose in his Sonatas. Is this all that can be expected? Has there been no other echo of Mallarmé’s project in Spanish prose? Certainly the intention to do so exists; histories of literature confirm this intention but nothing more. Our work is going to be twofold: first we need to find Spanish modernist prose works, and then analyze these works through the prism of music in order to understand how the fusion of these arts (music and prose) is realized. The analysis reveals that the music of the prose, sometimes imperceptible, sharpens the senses and makes the reader more sensitive to the elegance, to the rhythm and the phrasing of a syntagm. In other words, the inner music paves the way to the ineffable. The poet’s role in society is described within this project. He presents himself as a modern times priest. Yet the myth to which he tries to subscribe lacks substance: sensitive to the realities of his time, in search of an audience keen on naturalism, the Spanish writer is not fully implicated. His prose is hesitant, often corny: this explains why it has passed unnoticed in history

Cette étude vise à mettre en valeur le renouvellement de la prose littéraire dans les romans et les nouvelles des années 1920, à partir d’un double questionnement : comment définir la prose ? Qu’est-ce qu’un style « moderne », en prose dans les années 1920 ? Le cheminement proposé part de l’imaginaire de la prose pour aboutir aux pratiques d’écriture. Mes recherches contribuent ainsi à l’élaboration d’une histoire de la prose littéraire intégrant les apports récents de la linguistique. La première partie analyse l’invention de la catégorie esthétique de la prose littéraire à partir de 1850, le rôle des revues et des maisons d’édition dans la structuration du champ, enfin la dimension institutionnelle de l’histoire de la prose. La seconde partie évoque les débats sur la notion de style en prose narrative, les deux principales tendances stylistiques et la définition d’un style moderne, fondée sur des critères syntaxiques. Enfin, la troisième partie étudie certains phénomènes caractéristiques (la tendance vers un style substantif, la discontinuité) et leur cristallisation à travers le renouvellement des techniques de restitution du discours intérieur
The aim oh this study is to put forward the renewal of literary prose in novels and short stories in the nineteen-twenties. The starting point is a double question : how to define prose? What is a “modern” style in prose during the nineteen-twenties? The proposed work starts from prose’s imaginary axis and then explores writing practices. Integrating recent linguistic findings, my research thus contributes hereby to the elaboration of a history of literary prose. The first part analyses the invention of the aesthetic category literary prose from eighteen-fifty, the role of periodicals and publishing houses in the structuring of the field, as well as the institutional aspect of the history of prose. The second part deals with the notion of style in literary prose as well as with the two principal stylistic tendencies and the definition of a modern style founded on syntactic criterions. Last but not least, the third part studies some typical phenomenas (tendency toward a nominal style, discontinuity) and their fixation throughout the renewal of restitution techniques of the internal discourse

Peuple d'analogies, de dissemblances et de ressemblances, le recit surrealiste suggere un ordre dont la cle se derobe sans cesse. Il fait beaucoup plus, en cela, qu'exploiter le pouvoir d'engendrement autotelique du langage sur le seul espace de la page, ou qu'exprimer l'arbitraire d'une subjectivite indifferente au "reel". Au lendemain de la guerre, l'espace qu'il ouvre, en une reaction violentecontre le systeme de representation du monde homologue par le roman du xixeme siecle, est un champ d'interference, peuple de tensions, de terreurs et de desirs, de "negociations", ou ne se joue rien moins qu'un autre mode d'articulation entre le moi et le monde. Entre la profondeur organique du corps et l'organisation de ses habitats, entre le lieu et son organisation narrative, l'etendue et sa reticulation au sein d'un reseau rhetorique, le monde en soi et son esthetisation par et pour un regard, sont ici redecouverts les << grands schemes imaginatifs moteurs >> qui sont a l'oeuvre dans toute representation spatiale. Avec une liberte de langage qui ne bouleverse les canons de la representation litteraire que pour raviver ses principes, le surrealisme restitue a ces derniers toute leur puissance creatrice, et les emploie dans une magie.

This thesis is a linguistic/ontological inquiry into narrative dynamics. Particular attention is drawn to elucidating the mechanism for recognising story events as one reads narrative discourse. The overall discussion is a criticism of formal approaches to narrative dynamics which tend to make observations on the assumption that there is a fixed relation between language form and meaning (e.g. the distinction between events and non-events in narrative circumstances). As two possible factors responsible for preventing formal analysts from taking an elastic view of story-event structure in narrative, I point out overly metalinguistic and metatemporal attitudes held by many narrative poeiticians, grammarians and formal semanticists. The recognition of narrative dynamics is primarily concerned with our concept of time, so that this thesis focuses a good deal of attention on explicating how time can be conceptualised in narrative. The basic component of the argument, therefore, is made up of ontological observations concerning time, event, and change, which are mainly made in Chapters 3 and 5. This thesis concludes that overly metalinguistic and metatemporal approaches to narrative dynamics tend to be fallacious, and that it is the commonsensical view that counts in the recognition of the event structure in narrative discourse. A hypothetical stance I adopt in constructing a narrative theory is the viewpoint of the ordinary reader of narrative fiction who is not formally trained, and therefore, does not necessarily respond to narrative texts in a highly metalinguistic or metatemporal way. The importance of assuming the ordinary reader's viewpoint for the proper recognition of the story-event structure of narrative is referred to in many different respects throughout the thesis.

La "logique d'amour" - l'homme comme bien-aime, amant, chevalier, dieu -, et la "logique de mort" - l'homme comme sadique, assassin, meurtrier collectif. Puis : l'entrecroisement de ces deux logiques : la question du "masochisme", et la perspective de la metamorphose
The "logic of love"; - the man as a beloved, lover, knight, god -, and the "logic of death", - the man as a sadist, murderer, collective murderer. Then the combination of these two logics : the question of "masochism", and the perspective of metamorphosis

L'objet de cette thèse est de cerner, à travers un parcours libre qui appréhende les œuvres de Robert Louis Stevenson, de Marcel Schwob, de Pierre Mac Orlan et de Blaise Cendrars, le lieu commun, par excellence, de la littérature, à savoir l'aventure. Définissant cette dernière a priori, les études génériques ne peuvent rendre compte de la construction performative de ce lieu en fonction du contexte historico-littéraire, ni de l'urgence à le reconstruire, en cette fin de dix-neuvième siècle, et de manière encore plus pressante au cœur de la Première guerre mondiale, et passent à côté des enjeux épistémologiques et ontologiques d'une réflexion sur l'imagination qui se profile derrière l'aventure. A l’âge du rationalisme et du positivisme historique, le rapport à la représentation, négocié par la raison, s'attache avant tout aux contenus et la littérature d'imagination, assimilée à l'affabulation, tend à être exclue de la course à la territorialisation des savoirs. Les écrivains d'aventure démontrent que l'imagination n'est pas un contenu mais un outil cognitif indispensable sans lequel il est, par ailleurs, impossible de représenter la réalité. Cet outil, également partagé entre tous, permet un rapport de principe, et non de contenu, à la représentation, au savoir comme à la subjectivité sur lequel repose les fonctions sociales et politiques de la littérature
Through adventure, literature's topos, par excellence, Robert Louis Stevenson, Marcel Schwob, Pierre Mac Orlan and Blaise Cendrars, demonstrate the urgency, in an age of rationalism and historical positivism, to restore imagination as a cognitive tool in its essential social and political functions in the making of any human community. Apologist of the romance, Stevenson excavates the common ground between novel and romance, as well as history and literature, namely the art of narrative that is the point of view from which to consider the representation of reality. Whereas the novel and history tend to approach reality as content, the romance points to its principle of creation. The shifting of point of view from reality to representation, from content to principle, allows for the emergence of another conception of subjectivity as well as another relation to knowledge. Following Stevenson, French authors, especially in the context of World War One, extend Stevenson's epistemological and ontological questions at stake in his adventurous reflection on imagination beyond the literary debate to society at large

Thesis (PhD)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: Final sentences are a neglected area of research in Biblical Hebrew. Apart from an investigation by Mitchell (1879) in the previous century, and a more recent article by Muraoka (1997), this is certainly an area of Biblical Hebrew grammar in need of research. Biblical Hebrew grammars propound a variety of ways final constructions can supposedly be expressed. The main thesis of this study is that the diversity of final constructions in Biblical Hebrew is not merely different syntactic realizations of the same semantic meaning, but that each syntactic construction carries definite semantic nuances. Traditional grammars, because they are sentence-based, present some shortcomings in the description of final sentences. I will briefly expose some of the linguistic presuppositions of traditional grammars, and their inherent limitations with respect to the study of final constructions. Recent developments in general linguistics, especially the variety of approaches subsumed under the broad classification textlinguistics, create new opportunities to address Biblical Hebrew grammar. I will explore this relatively recent developments to the study of language, in order to determine whether insights from studies conducted in terms of this paradigm can be used to describe final constructions more adequately. A number of theses are presented in Chapters 2 and 3, which are evaluated in Chapters 4 to 6. The findings are presented in a summary of at the end of each chapter. The final results of this investigation are summarized in Chapter 7.
AFRIKAANSE OPSOMMING: Finaalsinne het tot dusver min aandag geniet in Bybelse Hebreeuse navorsing. Afgesien van 'n ondersoek deur Mitchell (1879) in die vorige eeu, en 'n onlangse artikel deur Muraoka (1997), is hierdie 'n navorsingsgebied wat vra om nadere ondersoek. Volgens Bybelse Hebreeuse grammatikas kan finaalsinne op verskeie wyses uitgedruk word. Die hooftese van hierdie studie is dat die verskeidenheid van finaalkonstruksies in Bybelse Hebreeus nie bloot verskillende sintaktiese opsies is om dieselfde semantiese betekenis te realiseer nie, maar dat elke onderskeie sintaktiese konstruksie 'n besondere semantiese nuanse weergee. Omdat hulle eng op die beskrywing van die sin gebaseer is, hou traditionele grammatikas tekortkominge in vir die beskrywing van finaalsinne. In hierdie studie wys ek kortliks op die linguistiese voorveronderstellings van die tradisionele benadering, en op die inherente tekortkominge van so 'n benadering ten opsigte van die ondersoek van finaalsinne. Onlangse ontwikkelinge in die algemene linguistiek, veral die verskeidenheid benaderings saamgevat onder die begrip tekslinguistiek, bied nuwe moontlikhede vir die beskrywing van Bybelse Hebreeus. Ek sal hierdie nuwe benadering tot taalstudie ondersoek om vas te stel of dit aangewend kan word om finaalsinne beter te beskryf. Verskeie tesisse word in Hoofstukke 2 en 3 geformuleer en dan in Hoofstukke 4 tot 6 geëvalueer. Die resultate word aan die einde van elke hoofstuk saamgevat. Die uiteindelike konklusies van hierdie studie word in Hoofstuk 7 saamgevat.

Cette thèse consacrée à l’oeuvre narrative de l’écrivain suisse contemporain Adolf Muschg a pour ambition de faire apparaître la spécificité de son style, tout en démontrant la cohérence de sa démarche. Abordant un corpus encore peu connu, elle donne la priorité au texte dans sa singularité, sans renoncer aux outils d’analyse fournis par la narratologie, la stylistique et la narratologie énonciative. Les travaux de M. Bakhtine constituent un fil directeur de l’étude qui s’appuie en particulier sur la notion de « polyphonie » pour analyser les différents modes de combinaison des « voix » qui assument la narration, à l’échelle du texte comme de la phrase. Ces analyses permettent de montrer que l’oeuvre de Muschg, en plaidant pour une nouvelle conception de la réalité, devient une réflexion en acte sur le rôle de la littérature dans la société contemporaine. Une deuxième partie s’attache à l’aspect « anthropologique » de l’oeuvre qui présente l’homme comme un « être dialogique », tourné vers l’échange avec autrui. L’étude des récits que les personnages se font les uns aux autres montre que l’acte de narration est présenté comme la forme de communication humaine par excellence, tandis que la littérature est conçue comme un espace de dialogue : avec le lecteur d’une part, invité à participer à la création de l’oeuvre ; avec les auteurs d’autre part, qui sont cités, parodiés ou simplement évoqués. La présence de nombreuses références à des poètes justifie le choix du dernier axe de la thèse, qui montre que Muschg cherche à renouveler les règles de la narration en y laissant entrer les procédés de la poésie
This thesis deals with the work of the contemporary Swiss writer Adolf Muschg and focuses on his writing technique. Since this corpus has never been studied in France yet, we have paid particular attention to the text, using the methods of narratology, stylistic and statement linguistics. Mikhail Bakhtine’s theory, especially the notion of “polyphony” has guided the study of the different “voices” contributing to the narration. The result of these analyses leads us to conclude that Muschg wants to underline the crucial role of literature in a world dominated by technical concerns and material cares. By showing reality under an original point of view and enhancing the ambivalence of all phenomenons, literature becomes a way of resisting. The second part of this study sets out to investigate the “anthropological” aspect of Muschg’s work. The author shows that man is in first place a “dialogical being”, thus giving high significance to the act of narration, which he presents as the best medium for communicating. Consequently, he tries to leave much space for the reader in his works, inciting him to take part in the creation of the novels. His texts are also opened to the influences of other writers and can be studied under the aspect of intertextuality: not only does Muschg evocate and quote many writers, he also tries to subvert the rules of narration by inserting poetry into it

Une réflexion sur la définition de la peinture narrative chinoise en rouleau horizontal, comme représentation séquentielle continue d'une histoire a permis de former un corpus cohérent : les oeuvres furent peintes entre 1526 (date de réalisation de la première) et la fin de la dynastie , par des peintres de l'Ecole de Wu (Suzhou) quasi-exclusivement. Les peintures sont inscrites dans la continuité d'une tradition picturale ancienne, ce qui nous a conduit à étudier leur système de citation stylistique (notamment l'utilisation du "bleu-vert" ) et dde référence aux grands noms de la peinture ancienne. Les peintures narratives sont des illustrations de textes en prose. Ces textes, bien antérieurs aux peintures de notre corpus, sont constitutifs d'une tradition appelée guwen. L'aspect littéraire des peintures est un axe prédominant de l'étude. Les textes de référence ont été traduits et mis en rapport étroit avec les peintures afin d'en mieux comprendre le mode de représentation. Les peintures narratives sont conçues comme des commentaires aux textes de référence dans lesquels les peintures emploient nombre de poncifs pour alimenter un imaginaire et apporter des références littéraires, autant de motifs qui enrichissent la lecture des textes illustrés. L'étude du contexte culturel, principalement autour de la figure de Wen Zhengming (1470-1559) a mis en évidence l'intérêt que les intellectuels de Suzhou portaient au guwen. La référenciation littéraire étant l'enjeu principal, l'idée de "peinture littéraire" semble être une notion essentielle à une époque où la "peinture lettrée" ne se définissait pas encore par un style déterminé
Chinese narrative painting in hand scroll format is defined as a sequential representation of a story in a continuous landscape. The paintings that constitute the corpus had been realized between 1526 and the end of the dynasty, essentially by people of the region of quotation (use of 'blue-and-green' landscape, for example), and their references to the great masters. But the Chinese pictorial narration in early modern China is primarily an illustration of classical prose texts, and those texts are also devoted to a literary tradition, that comes from earlier period than the Ming dynasty. The literary aspect of the painting has been considered as the central direction for this study. The textual references has been translated and presented in order to be compared to the iconography of the paintings. This narrative paintings were made as commentary for their literary reference, in which pictorial clichés are used to enrich imaginary and to bring new literary references. The study of the cultural cortex, around Wen Zhengming (1470-1559) character has brought to light the importance of the guwen (old-style-prose) for Suzhou's intelligentsia. Much more than a 'literati style in ink and brush', what was understood until now as a 'literati painting' in the Wu school can therefore be observed with a new point of view, introducing the importance of the literary reference, as a 'literary painting'

Made available in DSpace on 2014-06-11T19:32:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-08-26Bitstream added on 2014-06-13T20:43:27Z : No. of bitstreams: 1 souza_va_dr_assis.pdf: 1221364 bytes, checksum: e6a44798bb2a4d15a9e7d730bd140ffc (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa analisa a construção da memória por meio das representações contidas nos textos da narrativa histórica e da literatura poética do Estado de Rondônia. Para tal empreitada foram selecionadas as obras mais expressivas dos autores situados entre o período de vigência do antigo Território Federal do Guaporé (1943-56), depois Território Federal de Rondônia (1956-81) até a consolidação do atual Estado de Rondônia. A análise está focada no discurso destes autores e revela suas filiações e os seus pareceres. Tal memória fica aqui compreendida enquanto uma construção produzida por uma elite letrada, constituindo assim aspectos de representação enquanto projetos, de diferentes matizes, e que disputam entre si a hegemonia do discurso. Nesse sentido, as imagens das populações tradicionais aparecem delineadas a partir de conceitos estereotipados e marcados por um viés ideológico: a noção de vazio demográfico, as populações indígenas igualadas à natureza e o bandeirante como herói civilizador. Assim, as reflexões apresentadas neste trabalho, tiveram como base a eleição de um conjunto de narrativas em prosa e poesia, como também as imagens representativas dos símbolos de poder. Finalmente esta trajetória procura atravessar o interior dos enunciados, dialogando internamente com suas contradições e apontando para suas continuidades e recorrências.
This research analyses the construction of the State of Rondônia memory by means of the representations portrayed in the some texts of historical narrative and poetry of local writers. To reach that aim, the most representative works were selected from authors who wrote between the periods: 1943-56 (Guaporé Federal Territory), 1956-81 (Rondônia Federal Territory) up to the consolidation of the Rondônia State, after 1981. The analysis focuses these authors’ speeches and reveals their political affiliation and places from where they spoke their feelings - such memory is understood as product of highly educated elite which builds up projects of representation aspects, of different kinds, which fight each other the speech control. In this sense, the local images of the traditional populations appear designed from stereotyped misconceptions and ideologically biased: the notion of demographic emptiness, the rainforest populations leveled to nature and the “bandeirante” as a civilizing hero. Thus, the reflections presented in this work, had had as base the election of a set of narratives in prose and poetry, as well as the representative images of the symbols of being able. Finally, this trajectory seeks to go through the inside of enunciation, dialoguing internally with its contradictions and pointing with respect to its continuities and recurrences.

Le cycle Lancelot-Graal, et le Perlesvaus, écrits dans la première moitié du XIIIe siècle, sont construits autour d’un temps horizontal, organisé autour de la figure du roi Arthur, ce qui rend toute idée de succession problématique. Mais dans le même temps, la société a subi de profonds bouleversements. Qu’il s’agisse de l’institution du mariage, des règles de transmission de l’héritage, ou encore de l’ancrage du lignage dans des lieux géographiques très précis, les relations entre les individus se sont lentement modifiées. Les auteurs doivent donc faire coexister des éléments disparates, voire même contradictoires. La généalogie entre dans le roman arthurien par le biais du cycle de la Vulgate. Ce temps vertical influe sur le roman, et les relations de parenté sont déterminantes dans les constructions narratives des personnages
The cycle Lancelot-Graal, and the Perlesvaus, written in the first half of the thirteenth century, are built around a horizontal time, organized around the figure of King Arthur, which makes any idea of succession problematic. But at the same time, society has undergone profound changes. Whether it is about the institution of marriage, rules of transmission of the inheritance, or the anchoring of the lineage in very specific geographic locations, relationships between individuals have slowly changed. Authors should therefore ensure the coexistence of disparate elements, even contradictory. Genealogy get in Arthurian romance through the Vulgate Cycle. The vertical time affect the novel, and relationships are crucial in narrative constructions of characters

This dissertation offers both a theoretical investigation into the relationships between narrative, knowledge and personhood and a literary critical analysis of a group of Samuel Beckett's works in which narrative, knowledge and personhood are the central themes.
I present an account of the notion of narrative and explore the nature of justified narrative assertions. I then turn to skeptical and anti-realist arguments about the ability of narratives to represent truthfully the world. Such arguments are widespread in postmodernist and poststructuralist circles, and in order to evaluate them, I consider particular arguments of Jean-Francois Lyotard, Christopher Norris and Hayden White, all of whom question the ability of narratives to be true. The positions of these theorists rely upon deep conceptual confusion, and, after sorting out their claims, I conclude that they offer no compelling reasons to doubt that narratives can accurately and truthfully represent the world.
Next, I offer an analysis of the relationship between the notion of personhood and narrative. I argue against postmodernist and poststructuralist critiques of subjectivity, and, drawing on the work of various contemporary philosophers, I defend notions of subjectivity and selfhood while acknowledging and examining the essentially narrative nature of such phenomena. The concept of a "personal history" receives detailed analysis, as does the notion of a "situated self." While agreeing with particular criticisms of what is often called the "modern self," I argue that there are specific normative projects of modernity, namely autonomy and self-realization, that are worth preserving.
Finally, I explore the themes of narrative, knowledge and personhood in the nouvelles of Samuel Beckett. These works represent crises of narrative and personhood, and they depict the epistemic and ethical difficulties encountered by persons under conditions of modernity, conditions in which individual lives often lack narrative unity and meaning. I read Beckett as a critic of culture whose work, while deeply critical of certain trends in modern culture, points to the need for individual subjects to find true and meaningful narratives in which they can participate as co-authors.

L'etude que nous avons entreprise couvre un volet narratif et un autre semantique. Le premier consiste a organiser le materiau choisi selon les quatre parametres du schema narratif : la manipulation, la competence, la performance et la sanction, dans l'esquisse de chacune de ces phases, nous avons essaye de mettre en evidence l'originalite de notre recit. Pour enrichir la signification degagee par l'examen narratif, nous avons entame l'analyse de quelques elements de la composante semantique. Notre attention etait retenue par les parcours figuratifs, les configurations discursives qu'ils realisent et enfin la composition thematique des acteurs. Pour mieux mettre en lumiere l'originalite de notre texte, qui fait du desir individuel une voix devine par opposition au code ethico-religieux. Nous avons aussi articule notre recit selon les trois niveaux de l'analyse semantique : le figuratif, le thematique et l'axiologique (nous en avons conclu le principal theme autour duquel se constitue la signification de notre recit : respect transgression). Enfin, nous avons entrepris une approche de la dimension spatiale dans son rapport avec la quete de l'independance sollicitee par le sujet. Cette analyse nous a permis de degager l'ideologie de l'enonciateur qui survalorise le systeme de valeurs hedonistiques et esthetiques a celui de l'ethique
This piece of work is a practical semiotic approach to oscar wilde's tale "the fisherman and his soul. I have restricted my analysis to the enonce. This application is essentially divided into two parts : the first one is a narrative approach devoted to the investigation of the four phases which constitute the narrative schema. Manipulation, competence, performance and sanction. The second part, on the other hand, is centered around the semantic level withafocus on the figurative paths, the discursive configurations and finally the thematic composition of the major actors. I have also articulated the tale according to the three dimensions of the semantic analysis : figurative, thematic and axiologic levels in order to shed light upon the major semantic oppositions in the text. The semantic part is concluded by an approach to the dimensions of space in its relations with the quest for independence. All these levels of analysis are meant to consider the enonciator's ideology in the chosen text. In such a way we grasp the elementary signification of our tale : the very aim of semiotics

Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

Elementary teachers' spontaneous (unaided) and cued identifications of key concepts in narrative prose were examined. Measures of the influences of exposure to research and attitudes toward the importance of prior knowledge on their cued identifications were investigated. Data were analyzed to determine the degree to which elementary teachers identified cued key concepts and primary teachers' identifications were compared to those of intermediate teachers. Separate and combined measures of teachers' exposure to reading research and attitudes were compared to their cued key concept identifications. A post hoc exploratory content analysis of the spontaneous key concept identifications was undertaken to discover possible patterns or phenomena in the data. Results of the analyses of cued concept identifications indicated: a) teachers were unable to successfully identify key concepts in narrative prose; b) there were no significant differences between primary and intermediate teachers' identifications; and c) exposure to reading research and attitudes towards the importance and use of prior knowledge and concept development influenced teachers' ability to identify key concepts. An examination of spontaneous key concept identifications showed that: a) there was a lack of teacher consensus as to definition of a key concept; and b) teachers were unable to identify passage-relevant key concepts when left to their own resources.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate

Le règne de François 1er voit s'affirmer la volonté d'« illustrer » la langue française et de lui donner des modèles littéraires dignes de rivaliser avec l'Italie. Dans le domaine de la prose narrative, les traductions de fictions sentimentales publiées à partir de 1525 viennent nourrir et renforcer des tendances stylistiques déjà perceptibles en France au début du siècle. C'est l'apport de la langue de traduction, ou « langue translative », à l'élaboration d'une prose littéraire que l'on se propose d'étudier. La première partie montre que le succès indéniable rencontré par ces fictions sentimentales est d'abord à mettre au compte des stratégies éditoriales qui les associent et valorisent leur modernité. Le péritexte verbal (titres, préfaces, annotations marginales) y est envisagé comme un dispositif original, support de la recontextualisation. La seconde partie analyse les pratiques de récriture à travers les différentes versions de la Prison d'amour, la révision du Peregrin et la confrontation entre le Jugement d'amour et l'Histoire d'Aurelio et d'Isabelle. Le dernier chapitre est consacré à l'étude de l'emprunt dans les Angoysses douloureuses : par la récriture concertée de ses textes sources, cette œuvre singulière représente l'aboutissement de deux décennies durant lesquelles auteurs et traducteurs ont travaillé au renouvellement de la prose narrative, et donné naissance à la notion de « style poétique »
During the reign of Francis the First, the French language was given literary models in order to challenge the famous Italian ones. As of 1525, French translations of sentimental fictions in narrative prose succeeded in strengthening the stylistic trends that had already emerged in the first decades of the century. In this dissertation, I study how the ‘language of translation' or ‘langue translative' helped develop a genuine French literary prose. In the first part, I show that the editorial strategies can account for the thorough success of these sentimental fictions. The system of the verbal paratext (titles, prefaces, marginal notes) is considered as a meaningful medium of recontextualization. In the second part, practices of rewriting are analysed through the different versions of the Prison d'amour, the revision of the Peregrin and the comparison between the Jugement d'amour and the Histoire d'Aurelio et d'Isabelle. My last chapter studies the elaborate rewriting of the sources in the Angoysses douloureuses qui procedent d'amours. My point is that this text can be taken as the achievement of two decades during which authors and translators worked at renewing French narrative prose, giving birth to the concept of a ‘poetic style'

Este estudo propõe-se a analisar aspectos da obra do escritor mineiro Murilo Rubião (1916 - 1991), composta de 33 contos e de alguns textos esparsos. Após uma revisão bibliográfica da crítica sobre a trajetória de sua produção, pretende-se aprofundar e dar novas perspectivas à investigação da ocorrência da metamorfose, figura presente em quase todas as suas narrativas e essencial para entender a particularidade da \"literatura fantástica\", tal como aparece no trabalho do escritor. Como a metamorfose é recorrente nesse gênero e em suas variantes, este trabalho buscará mostrar suas singularidades na literatura de Murilo Rubião e rastrear as características que a definem. Além disso, também será feito um exercício comparativo entre a obra do escritor brasileiro e de outros escritores. Por fim, ao longo de todo o estudo, será analisada a discrepância que existe entre as duas linhas de força mais marcantes da metamorfose nos contos de Rubião - sua potência simbolizadora e sua tendência ao mero artifício.
The present material aims to analyze some aspects about the work of the writer Murilo Rubião (Minas Gerais, 1916 - 1991), which is comprised by 33 short stories and some scattered pieces. After providing a bibliographic review of the critics on the trajectory of his production, it is intended to deepen and to give new perspectives on investigating the occurrence of metamorphosis, a frequent feature in almost all his narratives and essential to understand the particularity of the \"fantastic literature\", such as it appears in his creations. Since the metamorphosis is recurrent in that genre and its variants, this study seeks to exhibit its singularities in Murilo Rubião\'s writing and to track its defining characteristics. Furthermore, a comparative exercise is to be done between the most remarkable power lines of the metamorphosis in Rubião\'s works - its symbolizing strength and its tendency to be mere artifice.

Cette thèse propose une lecture critique de trois tendances majeures de la littérature contemporaine : l'écriture d'inspiration biographique, l'épuisement de la fiction et l'éclatement du récit. Sont examinées les prémisses historiques et théoriques d'une nouvelle esthétique définie par le refus du manifeste collectif et par l'émergence des poétiques individuelles, et d'une éthique du ressaisissement mondain manifeste dans les poétiques de la mémoire, l'écriture de l'authenticité et l'ancrage des textes dans la légitimité du vécu. À travers l'analyse comparée des œuvres de Pierre Michon, de Jean Echenoz et de Patrick Chamoiseau et de leurs contemporains, l'auteur procède à une lecture exhaustive des structures de la représentation, des cadres thématiques et des formes stylistiques qui caractérisent la prose narrative française et francophone depuis 1980
This dissertation presents a critical examination of three major trends in contemporary literature: the biographical imagination, the exhaustion of fiction and the dismantling of narratives. The analysis focuses on the historical and theoretical framework of a new esthetics whose main characteristics are the refusal of the collective manifesto and the emergence of individual poetics as well as an ethics of worldliness manifested in the poetics of memory, the writing of authenticity and the existential foundation of the literary text. Through the comparative reading of works by Pierre Michon, Jean Echenoz and Patrick Chamoiseau, the author scrutinizes the structures of representation, the thematic and stylistic forms which have come to define French and Francophone narrative prose after 1980

La production litteraire en langue catalane (en prose) publiee entre 1968 et 1975 par des romanciers nes apres la guerre civile fait l'objet de la presente etude. Apres un bref panorama de la culture d'opposition sous le franquisme en espagne et en catalogne ou le catalan etait frappe d'interdiction - et la presentation du corpus (une vingtaine d'ouvrages) ce travail aborde l'etude des differentes themes recurrents qui se degagent de l'ensemble de ces ouvrages afin d'en deceler l'unite. Le passage de l'enfance a l'age adulte 'enseignement, milieu familial, sexualite, quete de soi etc. ) apparait comme une constante dans les romans et dans les contes etudies et met en scene des personnages tourmentes qui souvent trouvent seulement dans la fuite une reponse a leurs interrogations. Chez ces personnages la lecture joue un role primordial et les references livresques emaillent romans et contes (l'etude de l'intertextualite permet alors de connaitre l'univers romanesque interieur des personnages et par la-meme des romanciers). De plus, les protagonistes sont tres portes sur l'ecriture (autre moyen de fuite). La plupart du temps, le heros devenu adulte se tourne vers son passe et devient personnage-narrateur. En outre, le souci de creation est souvent accompagne d'une reflexion et d'une interrogation sur l'acte meme de l'ecriture
The present study deals with the catalan prose literature published between 1968 and 1975 by novelists born after the civil war. It opens with a brief panorama of the cultural opposition at the time of franco in spain as well as in catalonia where catalan was then forbidden. After corpus (about twenty books) has been presented, we come to the study of the different recurring themes which can be isolated and try ti find what those works have in common. The passage from childhood to manhood - teaching, family life, sexuality, quest of self, etc. - always seems stories which we studied. Through this theme are staged tormented characters who, most of the time, find and answer to their questions only in flight. Reading plays a prominent part in the lives of the characters and references to books are many in novels as well as in short stories. Intertextuality is a way of entering the inside world of the characters as well as of the novelists'. The protagonists appear also prone to writing - another way of escaping -. Most of the time, the adult hero looks back on his past and becomes a narrator-character. Often, too, the desire for creation goes with a reflexion and a questioning on the very act of writing

Les aspects fantastiques de la litterature narrative medievale (Dubost 1991) et Renaissante (Closson 2000) ont fait l'objet d'analyses recentes. L'age classique francais n'a encore donne lieu a aucune etude d'ensemble sur le sujet, alors que bien des textes qu'il a produits ont ete mentionnes comme des «precurseurs» de la litterature fantastique moderne. Mon projet se propose d'analyser quelques-uns des ouvrages les plus importants de la litterature consideree comme «pre-fantastique» en les reinserant dans leur temps pour considerer les problematiques ou discours qui les construisent, avant d'evaluer les rapports que ces ouvrages pourraient entretenir avec ceux de la periode qui suit.Le premier chapitre examine Le Comte de Gabalis (1670) de Montfaucon de Villars, ouvrage esoterique qui demystifie par le rire les croyances bibliques et la religion etablie, pour leur substituer "Nouveau Merveilleux" (Laufer) depouille d'un surnaturel sombre et demoniaque. Cet ouvrage a fait l'objet de nombreuses parodies en Europe, alimentant ainsi un debat toujours d'actualite trois siecles apres sa parution.Le deuxieme chapitre analyse L'Histoire des Imaginations Extravagantes de Monsieur Oufle (1710) de l'abbe Laurent Bordelon. Entre roman a  cle et allegorie, cet ouvrage est une critique virulente des superstitions, instruisant le lecteur par des discours philosophiques demystificateurs, tout en le divertissant par les extravagances du personnage principal, qui contiennent, en germe, bien des ingredients des mystifications du XVIIIe siecle.Le troisieme chapitre est une etude des Mystifications du sieur P, appendice au Supplement au Roman Comique de Scarron (1772) par Jean Monnet. Ces mystifications dont le dramaturge Poinsinet (1735-1769) a ete la victime denoncent de maniere burlesque la religion chretienne tout autant que les croyances au surnaturel. Ancrees dans le monde des theatres de la Foire, ces aventures offrent une reflexion sur les liens existant entre realite et illusion en cette fin de siecle.Les mystifications des XVIIe et XVIIIe siecles font, cette these le propose, le lien entre le fantastique medieval et celui du XIXe siecle. Le Diable Amoureux (1772) de Jacques Cazotte l'illustre en conclusion, en donnant naissance a  un genre dans lequel les angoisses et les doutes sont desormais interiorises.

Thesis (PhD)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: Herman Melville (1819-1891) remains a recalcitrant and enigmatic presence in the Western canon. This dissertation explores the radical narrative strategies engaged by Melville in the composition of his prose fictions. It is my contention that Melville's writings to an important degree constitute a subversive response to the privileged apocalyptic and teleological narratives of the day-national, ontological, metaphysical, and literary, or aesthetic-and that he primarily engages these narratives in terms of the archetypal symbolism of the romantic quest. Against this linear and goal-oriented, or plotted, progress, Melville's own narratives assert the nonredemptive forces of time, change, and natural flux, which the quest is symbolically meant to conquer and subject to a redemptive pattern. Melville's critique of the quest takes the shape of a radical fragmentation of its agonistic, evolutionary force-its progress-which is always directed towards a resolvent end. In this sense, most of his protagonists may be defined as questers, characters who seek, by some (individuating) action, to achieve a monumental point of closure. But the Melvillean narrative (even when narrated by the protagonist) always resists this intention. His rhetoric is digressive and improvisational, his style heterogeneous and parodic, and his endings always indeterminate and equivocal. Significantly, this same quality renders his prose fictions highly resistant to an apocalyptic hermeneutics that strives to redeem the monumental "meaning" of the work from the narrative itself. The destabilising questions raised in Melville's work with regard to redemptive plot and progress ultimately centre on the idea of Providence, in other words, the authorising telos that informs, governs and justifies the quest. By fragmenting this quest, Melville undermines the effective presence of Providence, clearing away what he perceives to be an illusion of control harboured in a dual but related image of the providential God and the providential author as external, "metaphysical" authorities directing their worlds in terms of a master plan toward final and meaningful closure. Melville's fiction, then, imaginatively (and philosophically) engages a world in which such stable authorising centres are absent. It is in terms of this absence that I intend to examine the nature of Melville's prose fictions. The focus in this dissertation is specifically on Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter and The Confidence-Man. Throughout, however, the canonical Moby-Dick and the unfinished and posthumous Billy Budd, are also drawn into the discussion in order to clarify and extend the points raised.
AFRIKAANSE OPSOMMING: Herman Melville (1819-1891) bly 'n weerspannige en enigmatiese aanwesigheid in die Westerse kanon. Hierdie verhandeling ondersoek die radikale narratiewe strategiëe wat deur Melville ingespan is tydens die komposisie van sy fiksie in prosa. Ek gaan van die standpunt uit dat Melville se werk tot 'n groot mate gedefinieer word deur 'n ondermynende reaksie teen die bevoorregte apokaliptiese en teleologiese narratiewe diskoerse van sy tyd-nasionaal, ontologies, metafisies, en literêr, of esteties-en dat hy hoofsaaklik hierdie diskoerse ondersoek in terme van die argetipiese simboliek van die romantiese soektog of "quest." Teenoor hierdie lineêre en doelgerigte, of beraamde ("plotted"), vooruitgang, beklemtoon Melville se eie verhale die nie-verlossende kragte van tyd, verandering, en natuurlike stroming, dit wat die "quest" simbolies beoog om te oorwin en onderwerp aan 'n verlossings-patroon. Melville se kritiese beoordeling van die "quest" neem die vorm aan van 'n radikale fragmentering van die opposisionele, evolusionêre krag---die progressie-wat altyd op 'n beslissende slot gerig is. In hierdie sin kan ons die meerderheid van sy protagoniste as soekers ("questers") definieer, karakters wat poog, deur middel van die een of ander (individuerende) handeling, om 'n monumentale slot te behaal. Maar die Melvilliese verhaal (selfs wanneer deur die protagonis vertel) werk altyd dié voorneme teë. Sy retorika is uitwydend en improvisatories, sy styl heterogeen en parodies, en sy slotte altyd onbeslis en dubbelsinnig. Dit is aanmerklik dat hierdie einste eienskap sy fiksie hoogs weerstandig maak teen 'n apokaliptiese hermeneutiek wat poog om die monumentale "betekenis" van die werk uit die narratief self te herwin of "verlos." Die ondergrawende vrae wat in Melville se werk ten opsigte van die beslissende verloop ("plot") en progressie geopper word word uiteindelik grotendeels gekoppel aan die idee van die Voorsienigheid, met ander woorde, die outoriserende telos wat die "quest" beïnvloed, regeer en regverdig. Deur die "quest" te fragmenteer, ondermyn Melville die effektiewe teenwoordigheid van die Voorsienigheid, en verwyder daarmee dit wat hy ervaar as 'n illusie van beheer wat behoue bly in die dubbele beeld van die bestierende God en die bestierende outeur as eksterne, "metafisiese" outoriteite wat hulle wêrelde in terme van 'n uitgewerkte plan na 'n finale en betekenisvolle einde lei. Melville se fiksie, dus, op verbeeldingsryke (en filosofiese) wyse, stel 'n wêreld daar waarin sulke outoriserende sentra afwesig is. Dit is in terme van hierdie afwesigheid wat ek beoog om die aard van Melville se fiksies te ondersoek. Hierdie verhandeling fokus op Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter en The Confidence-Man. Die kanonieke Moby-Dick en die onvoltooide en postume Billy Budd word egter deurgaans in die bespreking opgeneem ter wille van die duidelikheid en uitbreiding van die argument.

Cette étude s’attache à analyser neuf œuvres (romans et contes) de la littérature hispano-américaine, écrites dans la seconde moitié du XXème siècle. Nous avons retenu quatre images fondamentales qui correspondent aux quatre chapitres de ce travail : 1. Le voyage. Il comprend : La isla de Robinsón (A. Uslar Pietri), El hablador (M. Varges Llosa), El naranjo (C. Fuentes) et Vigilia del Almirante (A. Roa Bastos). 2. Le sacrifice. On y trouve « La noche boca arriba » de Final del juego (J. Cortazar), « El hombre », « No oyes ladrar los perros » et « Luvina » de El Llano en Llamas (J. Rulfo), Del amor y otros demonios (G. Garcia Marquez) et « El immortal » de El Aleph (Jorge Luis Borges). 3. Le châtiment et la purification. Il porte sur « Los advertidos » et « Viaje a la semilla » de Guerra del tiempo y otros relatos (A. Carpentier), « Es que somos muy pobres » et « El Llano en llamas » de El Lano en llamas. 4. Le monde imaginaire comme objectif du voyage. On y accède à travers le jeu, la musique, le rêve/la rêverie et la parole/l’écriture. Y sont analysés « Final del juego » et « Las Ménades » de Final del juego, « La casa de Asterion » et « La Escritura del Dios » de El Aleph. Le repérage puis la classification des images fondamentales nous conduira à interpréter la littérature hispano-américaine à travers son Imaginaire, nous révélant ainsi l’expression profonde de ses mythes
This thesis analyzes nine works of Spanish American literature (novels and short stories) written during the second half of the 20th century (1949-1994) by nine major author. We divided our research in four chapters. Each chapter is devoted to the study of a distinct fundamental image : 1. The journey. We study La isla de Robinsón (A. Uslar Pietri), El hablador (M. Varges Llosa), El naranjo (C. Fuentes) and Vigilia del Almirante (A. Roa Bastos). 2. Sacrifice. We study « La noche boca arriba » from Final del juego (J. Cortazar), « El hombre », « No oyes ladrar los perros » and « Luvina » from El Llano en Llamas (J. Rulfo), Del amor y otros demonios (G. Garcia Marquez) and « El immortal » from El Aleph (Jorge Luis Borges). 3. Punishment and purification. These are experienced through three of the four primordial elements : water, earth, mud – a mixture of the two previous one – and fire. We study « Los advertidos » and « Viaje a la semilla » from Guerra del tiempo y otros relatos (A. Carpentier), « Es que somos muy pobres » and « El Llano en llamas » from El Lano en llamas. 4. The imaginary world as the final detsination, of the journey. It can be reaches trhough games, music, dreams/daydreaming and through the act of writing/telling. We study « Final del juego » and « Las Ménades » de Final del juego, « La casa de Asterion » and « La Escritura del Dios » from El Aleph. The identification and classification of these fundamental images will finally lead us to an interpretation of Spanish-American literature trough its imaginary,thus revealing the deeper meaning of its myths

Este trabalho propõe uma leitura da obra ficcional de José Veríssimo (1857-1916) e Inglês de Sousa (1853-1918), especificamente, dos livros Cenas da Vida Amazônica (1886) e Contos Amazônicos (1893), que têm em comum a tomada ficcional do baixo Amazonas. Entendemos que o relato de viagem composto por expedicionários estrangeiros acarretou empréstimo estético e discursivo à narrativa amazônica, como os relatos produzidos por cientistas, por meio dos quais se vinculou o embate civilização e barbárie, o redescobrimento da paisagem amazônica e suas lendas. Além de uma análise mais geral dessas narrativas, traçando pontos de correlação com o relato de viagem, para Cenas da Vida Amazônica foi determinante o estudo da Revista Amazônica (1883-1884), no qual se pode verificar a correlação entre ficção e não-ficção, literatura e história, mito e ciência caminhando lado a lado, resultando nas características formais de O crime do tapuio, para Contos Amazônicos foi esclarecedor alguns texto de sua recepção, na medida em que se verificou uma crítica mais favorável às narrativas declaradas históricas, deixando em segundo plano as narrativas atreladas ao imaginário popular, como ficou renegado O gado do Valha-me-Deus, ainda que, alcançasse como outros textos em Contos Amazônicos uma forma mais refinada do gênero conto.
This work proposes a reading of the fictional work of José Veríssimo (1857-1916) and the Inglês de Sousa (1853-1918), specifically from the books Scenes of Amazonian Life (1886) and Amazonian Tales (1893) fiction of the Lower Amazon. We understand that the travel account made up of foreign expeditionary brought an aesthetic and discursive loan to the Amazonian narrative, such as the reports produced by scientists, through which civilization and barbarism was linked, the rediscovery of the Amazonian landscape and its legends. In addition to a more general analysis of these narratives, tracing correlation points with the travel account, for the Amazonian Life Scenes was determinant the study of the Amazon Magazine (1883-1884), in which the correlation between fiction and non-fiction can be verified , literature and history, myth and science walking side by side, resulting in the formal characteristics of \"The crime of tapuio\", for Amazonian Tales was illuminating some text of its reception, in the measure that a criticism was verified more favorable to the narratives declared historical , leaving in the background the narratives linked to the popular imagination, as was denied \"The cattle of Good damn it\", although, as other texts in Amazonian Tales reached a more refined form of the genre.

The thesis shows how the novel The Apothecary's Tales manipulates narrative frames to create a 'simulachron', an unreliable virtual world, which problematises the reader's conceptions of the past. The novel transgresses the generic rules of 'historical fiction' to create a quality of 'historicity' located in the affect of alterity. This is argued to be a somatic response to peril deferred. The novel seeks to evoke alterity by defamiliarising linguistic norms. It does this principally through the use of 'diachronic polysemia' (lexical 'false friends') and intertexts to syncopate the reader continually between the disparate sensibilities of the 1ih and 21 st centuries. These sensibilities are simulated in the novel by the imbedment of sociolects and 'hypomemes', the tacit thoughtways supposed peculiar to a given milieu. To self-authenticate its fictions, the novel employs the 'parafictive' devices of a testamentary found artifact, an unreliable narrator and editor, plausible sociologuemes (social conventions) and ideologuemes (ideologies that inform behaviour), along with a density of period minutiae putatively grounded in the record. Any truth effects achieved are then ludically subverted by a process of critique in which structural units of the novel systematically parody the other. The novel is patterned in the structure of a nested diptych, of expositions contra posed in a mutual commentary, which extends from the defining templates of plot and episode to the micro levels of morphemes in polysemic wordplay. The tropes of nested framing and repetition of form and syntagm are defined in the thesis, respectively, as encubi/atio and 'emblematic resonance'. It is argued that these tropes, encoded in a fictive discourse that defies closure, provide a simulation of hermetic form that -when mapped upon the aleatory life world -can be productive of aesthetic affect. The agonistic elements of plot and incident in the novel are figured within the tapas of theatre, foregrounded by the duplicitous self-fashioning of the characters, and by the continual metaleptic shifts or 'frame syncopation' of narrative viewpoint, both intra and extra-diegetic. Frame syncopation is used advisedly to dilemmatise significations at both the structural and syntagmatic levels. The thesis contends that such contrived collisions of narrative interpretation may be the dynamic of affectivity in all aesthetic discourse.

Orientador: Antonio Celso Ferreira
Banca: Zélia Lopes da Silva
Banca: Célia Regina Silveira
Banca: Edinaldo Bezerra de Freitas
Banca: Marcelo Lapuente Mahl
Resumo: Esta pesquisa analisa a construção da memória por meio das representações contidas nos textos da narrativa histórica e da literatura poética do Estado de Rondônia. Para tal empreitada foram selecionadas as obras mais expressivas dos autores situados entre o período de vigência do antigo Território Federal do Guaporé (1943-56), depois Território Federal de Rondônia (1956-81) até a consolidação do atual Estado de Rondônia. A análise está focada no discurso destes autores e revela suas filiações e os seus pareceres. Tal memória fica aqui compreendida enquanto uma construção produzida por uma elite letrada, constituindo assim aspectos de representação enquanto projetos, de diferentes matizes, e que disputam entre si a hegemonia do discurso. Nesse sentido, as imagens das populações tradicionais aparecem delineadas a partir de conceitos estereotipados e marcados por um viés ideológico: a noção de vazio demográfico, as populações indígenas igualadas à natureza e o bandeirante como herói civilizador. Assim, as reflexões apresentadas neste trabalho, tiveram como base a eleição de um conjunto de narrativas em prosa e poesia, como também as imagens representativas dos símbolos de poder. Finalmente esta trajetória procura atravessar o interior dos enunciados, dialogando internamente com suas contradições e apontando para suas continuidades e recorrências.
Abstract: This research analyses the construction of the State of Rondônia memory by means of the representations portrayed in the some texts of historical narrative and poetry of local writers. To reach that aim, the most representative works were selected from authors who wrote between the periods: 1943-56 (Guaporé Federal Territory), 1956-81 (Rondônia Federal Territory) up to the consolidation of the Rondônia State, after 1981. The analysis focuses these authors' speeches and reveals their political affiliation and places from where they spoke their feelings - such memory is understood as product of highly educated elite which builds up projects of representation aspects, of different kinds, which fight each other the speech control. In this sense, the local images of the traditional populations appear designed from stereotyped misconceptions and ideologically biased: the notion of demographic emptiness, the rainforest populations leveled to nature and the "bandeirante" as a civilizing hero. Thus, the reflections presented in this work, had had as base the election of a set of narratives in prose and poetry, as well as the representative images of the symbols of being able. Finally, this trajectory seeks to go through the inside of enunciation, dialoguing internally with its contradictions and pointing with respect to its continuities and recurrences.
Doutor

This thesis looks at the functions and effects of the ‘second-person’ pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the ‘you’ is a character, the narrator, a reader/narratee, or no-one in particular—or a combination of these—so that readers find ‘second-person’ utterances at once familiar and deeply strange. I regard the ‘second person’ as a special case of narrative ‘person’ that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional ‘first-‘ and ‘third-person’ narrative. Essentially, this unique experience comes about because Protean-‘you’ neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianism’s hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of ‘first-‘ and ‘third-person’ narrative. The Protean-‘you’ form of ‘second-person’ narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought. Rather than founding a notion of ‘second-person’ narrative and narrative ‘person’ generally on Cartesianism's ‘self-ish’ logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-‘you’ arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subject—the subject as dispersed and contingent rather than unified and authoritative. Most discussions of ‘second-person’ narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the analysis of ‘second-person’ narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the ‘second-person’ pronoun. Two principal functions of ‘second-person’ textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much ‘second-person’ fiction. The second principal function is that of address, that is, the allocutionary function. Clearly, although stories that continually refer to a ‘you’ can seem quite baffling and unnatural, not all ‘second-person’ narratives unsettle the reader. In order to make the ‘second person's’ outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and ‘natural’ discourse that employ the ‘second-person’ pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of ‘second-person’ discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the ‘system of conventions and expectations which rests on/reinforces that more general system of ‘mutual knowledge’ produced within a community for the realisation and maintenance of a whole social world’. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of ‘person’ is preserved in traditional and pre-critical modes of analysis. Indeed, the critic’s recourse to ‘person’ is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority. Some of the most interesting and insightful arguments about ‘second-person’ narrative propose that the ‘second person’s’ most striking effects derive from the constitution of an ‘intersubjective’ experience of reading in which the subject positions of the ‘you’-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed, authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel ‘Almost You’, at length in this context, illustrating the constant overdetermination of the ‘you’ and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-‘you’ in ‘Almost You’ is discussed in terms of ‘second-person’ intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of ‘person’. I then turn to a discussion of what might be a more ‘old fashioned’ if perhaps ultimately more far-reaching approach to the ‘second person’s’ often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person ‘is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.’ I suggest that Protean-‘you’ texts will license all of the readings of ambiguity and fluidity proposed in my discussion of ‘Almost You’, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-‘you’ discourse. This has particular implications for how we are to consider readers’ experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of ‘second-person’ narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinism’s experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-‘you’ discourse anises because its utterances explicitly gesture towards Cretinism’s notion of self. Protean-‘you’ involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-‘you’ leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them. I go on to propose that Protean-‘you’ narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative ‘person,’ I argue that narrative ‘person’ is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is, Within our habits of reading, and so is never finally unified. I propose that this is the case for ‘first-‘ and ‘third-person’ modes no less than for the ‘second.’ Where ‘second-person’ narrative at its most radical and Protean differs from conventional ‘first-‘ and ‘third-person’ narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinism’s hegemony of ‘person.’ It may be that the most significant insights ‘second-person’ narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative ‘person,’ the self is glimpsed as thoroughly dispersed and contingent.

Cette étude a pour objet d'analyser les liens entre conte et science-fiction. Nous analyserons un corpus de trois ensembles narratifs particulièrement représentatifs d'un imaginaire contemporain en pleine mutation, en Allemagne (avec les contes des frères Grimm), en Nouvelle-Angleterre (avec les nouvelles de Lovecraft) et en France (avec les récits de Gustave Le Rouge). Nos recherches valoriseront les approches littéraires et les héritages esthétiques qui s’opèrent entre la fin du XVIIIe siècle et le début du XXe siècle, accompagnant la transformation complète du statut de merveilleux dans une civilisation européenne en train de s’industrialiser. Dans cette optique, nous retournerons aux origines des contes et nous nous interrogerons sur la théorie littéraire, plus précisément sur la théorie des genres de la fiction narrative en prose, en diachronie historique. En les prenant pour hypothèses en vue d'analyser les liens entre littérature, influences et aspirations, voilà qui nous amènera à mettre l'accent sur les dispositifs de la mise en forme littéraire du texte de science-fiction, de ses thèmes et de son processus de légitimité littéraire
This study analyzes the links between storytelling and science fiction. We will analyze a corpus of three narrative sets that are particularly representative of a contemporary imagination undergoing radical change: in Germany with the Grimm brothers' tales, in New England with Lovecraft's tales, and in France with Le Rouge Gustave's stories. Our research focuses on the aesthetic legacies and the transformation of the wonder that take place between the end of the 18th century and the beginning of the 20th century

L’objet de cette thèse est d’étudier les changements qui s’opèrent au cours du XVIIe siècle dans la manière dont les passions sont exprimées et représentées dans la fiction narrative en prose. Avec le passage des longs romans aux nouvelles galantes, la date de 1660 est souvent considérée comme une date charnière pour le genre romanesque. Ce renouveau formel intéresse tout particulièrement la question de l’affectivité – aussi bien sur les plans stylistique, énonciatif que pragmatique. Alors que l’expression pathétique se voit redéfinie par la critique de l’ornement et la promotion du naturel, les vicissitudes du roman semblent en partie corrélées à celles de l’art de parler. Travaillant sur le siècle en son entier, à partir d’un vaste choix de textes fictionnels, de rhétoriques et de poétiques, nous avons voulu décrire une à une les étapes de ce bouleversement. Cette mise en perspective invite à nuancer le caractère novateur de la nouvelle historique et galante. Si le roman baroque se présente comme une anthologie de discours passionnés, on assiste, dès les années 1620, à l’effacement de la voix narrative et, par conséquent, des marques d’une narration émue. De même, le psycho-récit qui est associé dans l’histoire littéraire à La Princesse de Clèves est déjà une technique narrative bien attestée dans le premier XVIIe siècle. Nous inscrivant dans la lignée d’une histoire des formes littéraires, nous souhaiterions proposer une nouvelle périodisation du genre romanesque, à partir de l’examen de la sémiotisation des passions
This PhD dissertation aims at studying the changes that took place during the XVIIth century in the way passions are expressed and represented in narrative fiction in prose. With the transition from long novels (« longs romans ») to the « nouvelles galantes », the year 1660 is often considered a landmark date for the novelistic genre. This formal renewal has a particular bearing on the question of affectivity, from a stylistic, enunciative and pragmatic point of view. Whereas pathetic expression is redefined by the critique of ornament and the promotion of the natural, the vissicitudes of the novel seem to be partly correlated to those of the art of speaking. By taking the whole century as our object of study, through a vast choice of fictional, rhetoric and poetic texts, we have tried to describe one by one the stages of this evolution. This perspective leads us to qualify the innovative character of the « nouvelle historique et galante ». The baroque novel presents itself as an anthology of passionate discourses. However, from the 1620s on, a fading away of the narrative voice, and consequently of the marks of an emotional narration, take place. Equally, the psycho-narration associated in literary history with the Princesse de Clèves is already a well attested narrative technique in the first XVIIth century. Following the tradition of the history of literary forms, we wish to offer a new periodisation of the novelistic genre, through the analysis of the semiotisation of passions

Cette thèse propose une approche globale des Déserts de l’Amour de Rimbaud. Étant donné les nombreuses incertitudes véhiculées par l’œuvre, une étude de son manuscrit autographe s’impose tout d’abord, étude visant à établir l’ordre des feuillets, l’établissement du texte, la date de transcription par une expertise en écritures, mais encore à évaluer son degré d’achèvement, l’éventualité de détenir en l’état un manuscrit complet et déterminer enfin l’auteur de la numérotation atypique des feuillets. L’approche générique, après être revenue sur la notion même de genre et ses implications, s’appliquera à définir le caractère générique du récit de rêve puis problématisera le genre formel des Déserts de l’Amour à partir d’une réflexion sur le poème en prose. Dans le souci d’une approche générique contextuelle seront abordés plusieurs auteurs représentatifs de nos deux genres (Nodier, Bertrand, Nerval) et plus particulièrement le Baudelaire des Petits Poëmes en prose. Nous proposerons enfin une lecture, un commentaire littéraire détaillé des Déserts de l’Amour
This thesis proposes a global approach to The Deserts of Love. Given the many uncertainties surrounding this text, the prerequisite for its analysis is the exploration of Rimbaud’s manuscript, to prove the order of the folios, to provide an accurate text, to establish its date of transcription by a diachronic study of the poet’s handwriting ; the ambition is also to judge the extent to which this is a finished work, whether the known text is complete and, lastly, to determine the source of the untypical numbering of the folios. After examining the concept of genre and its implications, the generic approach will seek to define the generic status of the dream narrative and then problematise the formal genre of The Deserts of Love on the basis of a reflexion on the subject of the prose poem. The need to contextualise this generic approach requires the analysis of several representative authors in the two generic fields involved (Nodier, Bertrand, Nerval) and in particular of the Baudelaire of the Petits Poëmes en prose. The thesis concludes with a detailed literary commentary of The Deserts of Love

Le but du travail est de decouvrir des regularites statistiques dans la repartition des structures du syntagme nominal francais, et, par-dela, de poser quelques jalons en vue de cerner les zones de pertinence des faits statistiques en syntaxe. Le syntagme nominal a ete defini de la maniere la plus extensive, comme tout mot ou tout syntagme apparaissant en fonction de sujet ou de complement d'un verbe ou apres une preposition. Le corpus se compose d'echantillons representatifs de 1 vin de champagne de p. Hamp, 2e les deux premiers tomes de gaspard des montagnes d'h. Pourrat, et 3e la jument verte de m. Ayme. Les syntagmes nominaux ont ete delimites a la main. Un analyseur syntaxique rassemble l'information grammaticale livree par le syntagme ; ses deux fichiers de sortie, relies par un systeme d'identifieurs, conservent cette information et les textes des syntagmes. L'analyse statistique passe en revue successivement l'aspect directement quantitatif (longueur des syntagmes et de leurs parties constitutives), les differentes classes de syntagmes, les categories du genre, du nombre et de la personne grammaticale, les determinants du nom, les epithetes, le role des prepositions en tete des syntagmes et en leur sein, le role des "subordonnees". La comparaison des echantillons revele des facteurs "stylistiques" dans les structures syntaxiques; leur origine semantique est souvent aisee a trouver, et en tout cas la coherence logique des indications quantitatives est totale. Il en est de meme a propos des points de syntaxe independants du texte analyse, comme les liens entre les determinants et les epithetes, ou entre les differentes classes de syntagmes nominaux, le role de determinant joue par de ainsi que d'autres points de taxinomie. Les resultats statistiques sont souvent fortement dependants de l'ensemble de reference a l'interieur duquel les totalisations sont faites. Mais, paradoxalement, ceux qu'on obtient a partir d'ensembles de reference distincts sont generalement complementaires, et risquent rarement de conduire a des conclusions contradictoires
The purpose of the work was to discover regularities in the statistical distribution of french noun phrase structures. Furthermore, i sought to point out some landmarks within the field of relevance of syntactic statistics. The noun phrase has been defined most extensively, as any word or phrase occurring in a verb subject or object function, or after a preposition. The corpus consists of samples of the following three novels : 1. Vin de champagne, by pierre hamp, 2. Parts 1& 2 of gaspard des montagnes, by henri pourrat, and 3. La jument verte, by marcel ayme. Noun phrases were manually delimited and coded, with special coding of nouns and proper nouns. A syntactic analyzer, using a grammatical lexicon, collects information and stores it in mass memory, thus constituting the corpus for statistical analysis; another output file receives the np texts, with identifiers permitting the switch from one file to the other. The statistical analysis goes through all aspects of the corpus : np length and length of np parts, types of nps (pronouns, nouns, proper nouns, etc. ), the categories of gender, number, and person, the noun determiners, attributives, prepositions before and within nps, embedded sentences functioning as nps or members of nps. Comparisons between the samples show the effect of "style" factors, whose semantic source is often easy to find; in any case, the logical consistency of the quantitative results obtained is without contradiction. The same can be observed about syntax questions that are independent of the sample, such as correlations between determiners and attributives, or between np types, or as de used as a determiner, as well as about other taxonomic questions. The statistical results are often very dependent upon the particular reference set to which the calculus has been applied. Paradoxically, nevertheless, similar tests made using different reference sets usually lead to complementary conclusions, and rarely seem contradictory