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1
Montera, Paola Boisson Claude. "Articulation et implicite étude contrastive des connecteurs logiques /." Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/montera_p.
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Pillière, Linda. "Etude linguistique de quelques propriétés du style de Virginia Woolf." Paris 4, 1997. http://www.theses.fr/1997PA040329.
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Le but de cette thèse est d'étudier le style de Virginia Woolf d'un point de vue linguistique et d'expliquer comment divers effets de style peuvent coexister chez le même auteur. A partir d'une sélection de citations trouvées chez les critiques littéraires et de ce que dit l'auteur, deux termes se dégagent : la fluidité et la fragmentation. Après avoir analysé ces deux termes, nous procédons à une étude approfondie de trois extraits des romans de Virginia Woolf : un extrait de "Jacob's room" où l'effet semble plutôt "fragmenté", un extrait de "Mrs Dalloway" (exemple du style "fluide") et un extrait de "The years" où les deux effets coexistent. Il ressort de nos analyses que certains procédés langagiers sont communs aux trois textes que nous regroupons en conclusion de cette partie. Ensuite, nous entreprenons une analyse plus fine des marqueurs grammaticaux et élargissons notre étude en comparant nos résultats avec la technique romanesque de Virginia Woolf dans d'autres romans. Nous examinons la notion de récit et comment Woolf brise la linéarité du récit par l'absence de séquence, la rupture et l'inversion, dans son désir de rendre compte de la complexité du réel. Les annexes offrent d'autres exemples de ces procédés. En conclusion, nous constatons que la remise en question de la linéarité, loin de détruire tous les liens, permet à l'auteur de tisser d'autres relations et notamment des relations paradigmatiques. De même, si les termes de fluidité et de fragmentation s'appliquent bien à des passages isoles, ils n'offrent qu'une vision partielle du style woolfien, l'effet global étant une interaction des divers éléments qui se modifient au fur et à mesure que le texte avanceThis thesis aims to present a lexicogrammatical study of Virginia Woolf’s style, and to explain how apparently contradictory stylistic effects can coexist in an author's work. A survey of Woolf’s critics, and comments made by the author herself, reveal that two terms are often applied to her style : fluidity and fragmentation. After analysing these two concepts we undertake a detailed analysis of three extracts from her novels. The extract from "Jacob's room" offers an illustration of her fragmented style, the passage from "Mrs Dalloway" is an example of her fluid style and the one from "The years" illustrates the coexistence of both effects. The stylistic traits common to all three texts are studied in the third chapter, as is the predominant role of repetition. The final chapter offers a closer study of certain lexicogrammatical items present in the three extracts and other novels by Virginia Woolf. The concept of narrative and the methods used by Woolf to break the linear sequence of narrative are examined. The absence of sequence, both temporal and causal, the rupture of sequence and the inversion of sequence are each studied in turn, and the various lexicogrammatical elements pertaining to them. Other examples feature in a table at the end of the thesis. From this analysis we realise that breaking textual linearity does not necessarily lead to all cohesive ties disappearing. On the contrary, other ties and links appear within the text, notably paradigmatic relations. We conclude that an overall stylistic effect is a combination of different elements interacting and modifying each other and, while fragmentation or fluidity may exist within a passage studied in isolation, within the larger framework of Woolf's works the effect may be very different
3
Negash, Tekeste. "Italian colonialism in Eritrea, 1882-1941 : policies, praxis and impact /." Stockholm : Almqvist och Wiksell, 1987. http://catalogue.bnf.fr/ark:/12148/cb35512836t.
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MOSTFA, MOHAMED ALI. "Temps et personne dans les vagues de virginia woolf." Lyon 2, 1994. http://www.theses.fr/1994LYO20019.
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Le but de cette these, intitulee temps et personne dans les vagues de virginia woolf, est de proposer une lecture a ce texte a partir de quelques reflexions linguistiques. Ainsi comme le titre le suggere la premiere partie de ce travail se donne comme champ d'analyse les temps verbaux et leur repartitions dans le texte. Les analyses dans cette partie nous ont conduit a degager l'ensemble des relations qu'entretiennent ce que j'ai appele interludes at chapitres dans les vagues sur le plan temporel. La deuxieme partie traite les pronoms personnels "je" et "tu" dans les "chapitres". Cette etude nous a permis de reflechir sur les differents rapport qui existent entre les acteurs d'une part et les acteurs et leurs enoncesThe aim of this thesis intitled tense and person in the waves of virginia woolf, is to propose an other way of reading to the text in the light of linguistics reflextions. The first part studies the use of the tenses and their distribution in the text. The analysis in this part helped us to distangle the differents relations that exist between what i called interludes and chapters on temporal level. The second part focuses on the use of personal pronouns i and you in the "chapters". This study leads us to think about the differents relations that take place between the characters on the one hand, and the characters and their statements on the other
5
Rainville-Duech, Lorie-Anne. "James joyce : ecritures du corps dans dubliners." Paris 3, 2000. http://www.theses.fr/2000PA030152.
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Le corps en tant qu'objet litteraire offre un champ d'application riche et divers, particulierement chez joyce. Si ulysses est explicitement designe comme une epopee du corps humain, dubliners contient deja les signes d'un interet profond pour le corps, ce corps que joyce considerait comme << a new province of material >>. C'est a l'exploration de cette terra incognito, que nous convie cette etude qui fournit des clefs de lecture permettant de mettre a jour la reelle complexite de la premiere uvre en prose de joyce. L'etude du corps dans dubliners pose la question de la constitution de l'identite a partir du visage, du fonctionnement du corps lorsque l'organique se confond avec la mecanique ainsi que la question des dereglements du corps qui sont les symptomes de conflits psychiques. Ainsi, comme l'ecriture, le corps est a la fois surface et profondeur, sorte de point de rencontre ou s'exerce le jeu du langage. Ecriture avant tout insidieuse ou l'uvre dissimule une complexite derriere une facade de simplicite. Ecriture parodique ou l'uvre renvoie a sa propre ecriture : certains moments paraissent etre des reecritures d'autres moments du recueil. Ecriture minutieuse ou fourmillentles details, l'uvre cree tout un systeme de reflets et d'echos. A l'image du corps, dubliners pose donc la question des rapports entre le tout et ses parties - question fondamentale dans cette ~uvre dont l'elucidation passe par la reconnaissance de son systeme de symetrie et d'entrecroisements, meticuleusement voulu par joyce.
6
Chyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce." Paris 3, 2005. http://www.theses.fr/2005PA030049.
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Ce travail compare les traductions françaises et chinoises d'Ulysses de James Joyce, ayant essentiellement des démarches éthiques et poétiques d'Antoine Berman pour la critique de traductions, associées à des thèses exposées dans l'article " La tâche du traducteur " de Walter Benjamin. L'étude, à partir d'une synthèse des éléments étrangers et étranges relevés dans une grille de lecture des textes original et traduits, suppose que la dynamique de l'écriture joycienne vise la pluralité, une ouverture progressive à l'altérité qui est l'enjeu de sa survie, que le désir de communication ne soit pas nécessairement la meilleure façon d'aborder la littérature. De là, peut-on encore parler d'une bonne traduction d'Ulysses par un critère absolu qu'est le " même sens " ? D'où vient la position déterminante du traducteur, si son désir d'aller vers l'Autre ne serait pas déjà refoulé par le dilemme fidélité/trahisonThis research project compares French and Chinese translations of James Joyce's Ulysses, applying to the ethical and poetic approaches of Antoine Berman to translation criticism, and the arguments of Walter Benjamin in his article " The Task of the Translator ". Started with the foreign and strange elements raised in a detailed reading of Ulysses and its translations, we propose that the desire of communication is not necessarily the best way to deal with literature, since the dynamic writing of Joyce is open gradually to plurality, to otherness, which is the sign of its own survival. From that, could we still talk about a good translation of Ulysses with an absolute criterion, " the same meaning "? We see that the role of the translator is determinant if his desire to otherness is not already driven back by the dilemma of faithfulness/infidelity
7
Félix, Claude-Alain. "Une étude sur la personnalité de Virginia Woolf." Montpellier 1, 1993. http://www.theses.fr/1993MON11169.
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Ungar, Andras. "The epic of the Irish nation state : history and genre in James Joyce's Ulysses." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39443.
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This study examines Ulysses as a response to the Irish Literary Revival's expectation that a native epic would crown Ireland's literary achievements and to the country's imminent independence under the Sinn Fein.Ulysses thematizes the compositional imperatives which Virgil's Aeneid made canonical for the national epic. This perspective reconfigures the legacy of Stephen Dedalus' heroic stance in A Portrait of the Artist as a Young Man and Arthur Griffith's arguments in The Resurrection of Hungary: A Parallel for Ireland (1904) through which Sinn Fein won national prominence.
Through Stephen's encounter with Leopold Bloom, Ulysses substitutes its own account of the origin and future of the modern Irish polity. The "Telemachiad" redefines Stephen the epic poet as an epic character. Bloom's family history, including the characterization of Milly, supplants Griffith's founding myth with a more comprehensive historical vision. Through this concern with the genre and history, Ulysses reconstitutes the national epic's traditional discursive domain.
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Butts, Gerald Michael. "Between two roaring worlds : personal identity in James Joyce's Ulysses." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29770.
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When I first encountered James Joyce's Ulysses, at the age of sixteen, I was predictably unprepared for the book. Its shifts in narrative voice, extensive use of stream of consciousness, and ostensible disorder make the book a daunting task for the first time reader. Fortunately, my age allowed me to consign my lack of understanding to naivete, rather than, as did many early critics, to authorial deficiencies. In addition to my ignorance regarding Ulysses itself, I was completely unaware of the extensive critical debates surrounding its myriad aspects, from the supposed "communion" between Stephen and Bloom in "Ithaca" to the fact that the very edition I was reading (the Gabler text) was the source of considerable controversy in the Joycean community.Having experienced frustrations common to many readers of the book, I can understand why so many readers "give up" on Ulysses. Obviously, I was drawn back to the book, but by neither its encyclopaedic nature, nor the various games it plays with literary traditions, nor any other "technical" aspect of the author's virtuosity; I was, of course, ignorant to these features. Rather, I found---and continue to find---Ulysses an extremely compelling work of art because of the manner in which it seems to be energized with "warm fullblooded life," in the words of Bloom. The impressive extent to which Joyce has successfully created ostensibly real human beings is both remarkable and often remarked upon. Less well documented are the underlying philosophical assumptions which inform Joyce's meticulous method of characterization. The present study of Ulysses aims to uncover these assumptions.
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Clissold, Bradley. "Author--Ulysses--readers : seduction in the gaps." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22575.
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The purpose of this study is to investigate how the prose style of James Joyce's Ulysses provides seductive gaps which by design prompt readers to become co-producers of the text. Joyce strategically creates opportunities for readers to engage actively with the text through response-inviting gaps in the prose. The various types of gaps in the text place demands on readers and, inevitably, upon the author. The more reader-friendly gaps are overdetermined gaps which, by definition, are obvious and point to their own completion. These gaps when filled are, more often than not, confirmed by related references throughout the text. Ulysses, however, also abounds with gaps of indeterminacy. The ambiguous nature of these gaps generates anxiety for readers by undermining the expectations established by overdetermined gaps. Joyce's prose arrangements continually call on readers to play roles and adapt these roles to the linguistic movements of the text. This project endeavours to analyse how different gaps function and the degree to which they work in conjunction to seduce readers and the author into the dual roles of co-production and co-consumption of Ulysses.
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Barron, Graham. "The self in conversation : James Joyce's Ulysses." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60607.
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Following and at times reworking the relation between language, society and selfhood in the antifoundationalist philosophies of Charles Taylor and Richard Rorty, the thesis develops the idea of the novel as a kind of conversation. The thesis takes James Joyce's Ulysses as a progression of thought and style in which its three principal characters, Stephen Dedalus, Leopold Bloom and Molly Bloom, expound their views and then lapse into silence as part of an ongoing conversation. Three episodic conversations in particular are discussed: for Stephen, Scylla and Charybdis; for Bloom, Cyclops; and for Molly, Penelope. These conversations, it is suggested, parallel Joyce's evolving novelistic theories, and mark a movement from a metaphysical, to a scientized, and eventually to an ironist understanding of selfhood and society.
12
Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.
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Bidenne, Daniel. "Les langues étrangères dans Ulysses de James Joyce." Lille 3, 1999. http://www.theses.fr/1999LIL30018.
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Ce travail étudie les fonctions des langues étrangères dans Ulysses en ayant recours essentiellement à des démarches liées à la linguistique et à la psychanalyse, et à des travaux qui sont au confluent de ces deux disciplines, comme ceux de Julia Kristeva. L'étude se fait en deux étapes : une première, consacrée surtout à une analyse de chacun des épisodes ; une seconde, qui est une synthèse des éléments essentiels de la première ainsi qu'une réflexion sur l'utilisation des langues étrangères. On en vient ainsi à montrer que les langues étrangères fournissent une grille de lecture ne laissant échapper aucun des termes importants de Ulysses, ni ceux particuliers à l'esthétique générale ou joycienne, tout en gardant une spécificité qui ne saurait être réduite à cette fonction. On remarque par ailleurs que les langues étrangères se font de plus en plus présentes entre le début et la fin du roman, signalant ainsi une ouverture progressive à l'altérité ; que la variation de l'importance des langues étrangères les unes par rapport aux autres souligne un changement de monde culturel. Il apparaît en outre qu'un élément déterminant dans la dynamique de l'écriture de Joyce est la relation ambivalente de celui-ci avec les langues (étrangères et maternelle). C'est en partant de cette idée d'ambivalence qu'est abordée la question de la traduction, qui permet d'éclairer le fait que le désir de communication n'est pas nécessairement la meilleure façon d'aborder la littérature
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Amselle, Frédérique. "Virginia Woolf et les écritures du moi : le journal et l'autobiographie." Montpellier 3, 2005. http://www.theses.fr/2005MON30046.
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Virginia Woolf et les écritures du moi " s'intéresse aux cinq textes qui constituent Moments of Being, aux cinq volumes du journal de Virginia Woolf et son journal de jeunesse The Early Diaries ainsi qu'à Carlyle's House and other Sketches. Il ne s'agit pas d'opérer une lecture biographique de ces textes, mais de les considérer comme une œuvre à part entière qui existe par et pour elle-même. Nous nous efforçons donc de situer ces textes dans l'espace générique des " écritures du moi " ce qui implique une tentative de définition du genre, préalable à la mise en perspective de l'œuvre woolfienne au sein de ce genre, en nous appuyant sur l'étude des manuscrits. A partir de cette question, nous nous intéressons au paradoxe de l'écriture du moi chez Woolf, qui n'est pas sans poser la question de l'identité et de la place de l'autre dans le texte. Enfin, nous examinons comment cette démarche scripturale s'inscrit doublement dans le temps, dans un va et vient sensible entre la mémoire, la mort et le texteMoments of Being, Virginia Woolf's Diaries and Early Journals as well as Carlyle's House and Other Sketches have been mainly read as a biographical material. We want to show that these texts can be read by themselves, as works of arts per se. In this respect we analyse their position within the autobiographical genre and analyse, thanks to the study of the manuscripts, the ethical and esthetical dimension Woolf plays with. This leads us to the paradox of Woolf's writings – questioning the issue of identity and the role of the other within the text. The writing of the self goes together with the question of the impossibility of writing without taking into account time, memory and death
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Montera, Paola. "Articulation et implicite : étude contrastive des connecteurs logiques." Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/montera_p.
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Ce travail de traduction comparée est une étude de l'articulation et de l'implicite dans Mrs Dalloway (1925) de Virginia Woolf et dans ses traductions françaises (M-C. Pasquier, 1994, P. Michon, 1993, S. David, 1929) et italiennes (N. Fusini, 1994, A. Scalero, 1979). Deux types d'articulation sont analysés : l'articulation syntaxique-discursive (des connecteurs logiques tels que And, For, But then, Well, justement, Et alors) et celle conceptuelle (l'analogie, sous forme de comparaison et de métaphore). L'implicite est considéré comme omniprésent en tant que contrepartie de l'articulation : tout élément explicite dans le texte peut constituer un excellent déclencheur d'inférences. Les analyses sont conduites dans les deux sens : de l'original vers les traductions et des traductions vers l'original. Les connecteurs logiques ont une place proéminente. L'analyse tente d'investiguer leurs fonctions linguistiques et extralinguistiques (effets contextuels, pragmatiques, de lecture) dans le roman, mais aussi dans le langage courant. Des hypothèses formulées au cours de l'analyse sont testées, comme, par exemple, la présence de hiérarchies de contraintes systématiques dans la stratégie des traducteurs, la possibilité de regrouper des comportements traductifs et le rôle de l'étude stylistique comparée pour améliorer les traductions existantesThis dissertation seeks to explore the nature of two aspects of translation problems, i. E. "articulation" and "inference", in Virginia Woolf's Mrs Dalloway (1925) and its translations in French (M-C. Pasquier, 1994, P. Michon, 1993, S. David, 1929) and Italian (N. Fusini, 1994, A. Scalero, 1979). Two types of articulation are studied : the syntactic articulation (logical connectors such as And, For, Well, justement, And so, But then, Et alors) and the conceptual articulation (metaphor and comparison). The investigation bears particularly on the interaction between these explicit items and the potential inferences they produce, as a way of characterising both the original text and the translated text. That is why the translation analysis is led bi-directionally, from the original to the translated text, and from the translated text to the original. Other aspects, such as contextual and pragmatic effects are also analysed both in the novel and in everyday language. Some hypotheses about the presence of hierarchies and systematic strategies adopted by the translators are also formulated and discussed, as well as the possibility of exploiting existing translations for better future translations
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Roughley, Alan Robert. "Finnegans wake as a deconstructive text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27520.
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This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination,"
"trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition
that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it.
Drawing on Derrida's investigation of speech and writing, the dissertation
considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical
textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal.
In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare.Arts, Faculty of
English, Department of
Graduate
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Howie, Jordan. "A cemetery of symmetry : chiastic structure in Wandering Rocks and Ulysses." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99375.
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This thesis is an analysis of the chiastic structure in the tenth episode of James Joyce's Ulysses, Wandering Rocks, and how it relates to the chiastic elements in the novel as a whole. My reading of Wandering Rocks and Ulysses is designed to explain the contradiction between the episode's appearance of structural stability and the novel's consistent denial of unifying structures. Chiastic structure will be shown to reflect a formal process of simultaneous growth and decay that develops in the novel, and the reading of Wandering Rocks will establish how the pattern traces points of convergence between the novel's aesthetics and the organic processes that occur in the referential level of the text. While I argue that Wandering Rocks announces an inevitable loss of structural stability, the examination of its structure reveals formal principles that remain consistent throughout Ulysses .
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Conley, Tim. "The hoax that joke bilked : sense, nonsense, and Finnegans wake." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26682.
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The remarkable challenges Finnegans Wake offers to its readers and to the very process of reading are the results of an evolution of Nonsense literature. Despite the unduly "serious" framework of criticism which has been built up around it, Joyce's anomalous last work is a radical "hoax" upon interpretation. The regular confluences of linguistic deconstruction (via word association as well as recurring word and phrase matrices) and ontological metaphor, developed from authors such as Rabelais, Sterne, and Lewis Carroll, are offered by the Wake as tests to the reader's (qua reader) sensibilities. As Nonsense, Finnegans Wake departs from typified modernist modus operandi (metonymic allusion) and instead explores the limits of metaphor. The stakes of Joyce's hoax are of vital interest to the contemporary student of literature and culture, since the Wake dares the reader to find new meanings rather than to project old ones; to exult its eccentricities and its difference; and all the while to call into question (as the text itself does), its authenticity and authority.
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Medeiros, Silvio. "A modernidade em Joyce : tradição e ruptura." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253558.
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Orientador: Joaquim Brasil Fontes JuniorTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-07-24T16:11:59Z (GMT). No. of bitstreams: 1 Medeiros_Silvio_D.pdf: 12288076 bytes, checksum: 1943059d45df9da006861a94effc1dab (MD5) Previous issue date: 1999
Resumo: A proposta dessa tese de doutoramento é mostrar de que forma a imaginação literária pode nos auxiliar na compreensão da realidade histórica contemporânea, marcada por profundas rupturas e transformações na ordem das coisas, e que emerge fazendo tábua rasa de seus legados culturais. A partir do desenvolvimento de um estudo intertextual em torno de três obras da literatura ocidental; a Odisséia de Homero, a Eneida de VirgíTio e o Ulisses de James Joyce, procuramos estabelecer uma tensão entre as poéticas antiga e moderna para refietirmos sobre a falta de verdades estáveis na modernidade, cuja ênfase é depositar cada vez maior peso no pensamento sobre o futuro considerando-o como dinâmico o superior ao passado, o que torna o vasto quadro das experiências passadas em si mesmo obsoleto, decretando dessa maneira o esquecimento da própria memória. Assim, visando uma reflexão significativa sobre o nosso tempo, construímos um jogo intertextual a demandar um núcleo: a desorientaçâo do homem moderno num mundo onde a tradição cultural tende a diluir-se. O resultado desse estudo permite que venhamos a estabelecer um diálogo complexo entre discursos poéticos e filosóficos, fazendo com que a Literatura e a Filosofia figurem como preocupações-chaves no pensamento contemporâneo, para somar forças contra o lado obscuro da modernidade. Nesse sentido, o Ulisses de Joyce, texto que se inscreve no modelo da poesia épica helênica, conquanto apresente uma sucessão vertiginosa de estilos e movimentos, servirá para exemplificar a insatisfação da palavra poética moderna empenhada em sobrepor-se às limitações da realidade
Abstract: The aim of this doctorate thesis is to show in what way literary imagination may help us to understand contemporary historic reality, which is marked by deep ruptures and transformations in the order of things and which emerges making tabula rasa of its cultural heritage. An intertextual study of three works of occidental literature, Homer's Odyssey, Virgile's Aeneid, and James Joyce's Ulysses seeks to establish a tension between the old and the new poetics in order to reflect about the lack of stable truths in modernism, which emphasis lies in putting an each time major weight on thinking about the future, considering it as being dynamic and superior to the past, which turns the wide range of past experiences obsolete in itself, declaring the disremembering of the proper memory. Thus, aiming toward a significant reflection on our time, we are building an intertextual game pointing to a core: the disorientation of modern man in a world where cultural tradition tends to dilute itself. The result of this study allows us to establish a complex dialogue among poetical and philosophical discourses, turning Literature and Philosophy into key issues of contemporary thinking in order to increase strength against the dark side of modernism. In this sense, Joyce's Ulysses, a text which follows the model of Hellenistic epical poetics, since it presents a vertiginous succession of diferent styles and movements, serves as an example of the dissatisfaction of the modern poetic word in attempting to superpose itself to the limits of reality
Doutorado
Filosofia e História da Educação
Doutor em Educação
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Crapoulet, Emilie. "Musical formes and aesthetics in the works of Virginia Woolf." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10034.
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Malgré le fait qu'un très petit nombre de critiques aient reconnu que la musique dans l'oeuvre de Virginia Woolf soit plus qu'un simple détail ou un élément de second plan, aucune étude compréhensive de son esthétique musicale n'a jamais encore été faite alors que Woolf explore avec grande lucidité et perspicacité les diverses manières dont la musique peut être porteuse de sens, depuis ses relations avec la conscience, l'imagination, le langage et l'expression littéraire, pour aboutir à sa fonction ontologique, transcendentale et paradigmatique. Nous étudions dans cette thèse la méthode qu'elle emploie pour musicaliser l'écriture romanesque. Nous nous concentrons en particulier sur les stratégies narratives que Woolf adopte dans son histoire courte : "Le Quatuor à Cordes", et ses romans, "Les Vagues" et "Mme Dalloway", pour montrer comment la musique dans l'oeuvre de Virginia Woolf est une force essentielle dynamique, structurelle et esthétique qui imprègne la totalité de son art.
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Alcântara, Maria Luísa Saldanha. "O povo de Aveiro (1882-1941) e subsídios para a história de um jornal." Master's thesis, Universidade de Aveiro, 1998. http://hdl.handle.net/10773/3956.
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Salado, Régis. "Ulysses de Joyce, laboratoire de la modernité : étude de réception comparée dans les domaines français et anglo-saxon (1914-1931)." Paris 10, 1994. http://www.theses.fr/1994PA100103.
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Ulysses de Joyce se situe au cœur du mouvement de rénovation des terres qui se produit dans l'entre-deux-guerres. L'histoire de la réception du roman, scandée par la prépublication en épisodes aux États-Unis et en Angleterre entre 1918 et 1921 puis par la parution en volume à paris en 1922, implique successivement, et parfois simultanément, trois aires culturelles distinctes mais solidaires en partie. L'étude de la réception de Ulysses, puis d'Ulysse (traduction française en 1929) révèle donc les mutations et les résistances qui s'opèrent a l'intérieur des champs littéraires anglais, américain et français, en une période qui voit s'imposer une esthétique nouvelle, que les historiens de la littérature qualifieront rétrospectivement par le terme de "modernisme". La démarche comparatiste adoptée dans la thèse vise à rendre compte de l'internationalisation de l'actualité littéraire ainsi que des écarts propres aux champs culturels pris en compte, a l'occasion de la réception du roman. On aboutit à ces résultats complémentaires : dans la perspective d'une esthétique de la réception ou d'une herméneutique, les lectures produites en réponse à Ulysses attestent a difficulté à s'approprier le texte, en dépit des premières interprétations et "orthodoxies critiques" proposées par Pound (1914-1922) ou Larbaud (1921-1922) : dans la perspective d'une histoire de la réception, le rôle moteur de ulysses dans la constitution d'une conscience moderniste dans le domaine anglo-saxon demeure sans équivalent en France, ou l'intégration du roman joycien se fait à la faveur d'une réduction au procédé du monologue intérieur. Monumentalisation et reconnaissance exceptionnelle n'impliquent, pas dans le cas d'uJoyce's u stands central in the movement of literary renovation which takes place after W. W. I. The historical process of u's reception was staggered over months by the serialized pre-publication of the novel in the U. S. And in England between 1918 and 1921 and then by the release of the novel in 1 volume in Paris in 1922. This process successively, and sometimes simultaneously, implied 3 cultural areas which are distinct but inter connected in parts. Through the study of u's reception, and subsequently of the French version (1929), mutation and a certain reluctance appear: these phenomena operate within the English, the American and the French fields, over a period which witnesses the emergence of a new aesthetics that was later on coined "modernism". The comparative bias of the doctorate aims at explaining the internationalization of literary relationships, as well as at understanding the gaps between the cultural fields taken into account. Eventually, complementary results can be drawn : according to the "aesthetics of reception" theory and to hermeneutics, the readings produced as a critical answer to u betray the difficulty to appropriate Joyce’s text, in spite of early interpretations and "critical orthodoxies" such as Pound's (1914-1922) and Larbaud's (19211922) ; in a more historical perspective, it appears that u played a vital part in the constitution of a modernist self-consciousness in the Anglo-Saxon literary world, while this function didn't operate as decisively in France, where the integration of Joyce’s novel
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Sandison, Jennifer Madden. "Reflections of self : the mirror image in the work of Virginia Woolf." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.
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Reynier, Christine. "La technique romanesque de Virginia Woolf : aspects de la mise en relation." Paris 7, 1988. http://www.theses.fr/1988PA070107.
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La critique anglo-saxonne s'étant surtout intéressée d'une part, à la biographie de Virginia Woolf et d'autre part, aux thèmes de son œuvre de fiction, il nous est apparu qu'une étude de la technique romanesque était nécessaire. Nous croyons en effet que même si le style de Virginia Woolf est répute pour sa limpidité et sa fluidité, si ses œuvres de fiction semblent se dérouler selon un mouvement naturel comme les vagues auxquelles elles font si souvent référence, il y a derrière cette apparente fluidité une structure extrêmement solide et travaillée, ainsi qu'une technique narrative très précise qui ont participé à l'élaboration des thèmes eux-mêmes et leur ont donné tout leur sens. Nous avons donc consacré nos deux premières parties à l'étude détaillée des structures du récit d'une part, et d'autre part, à la technique narrative proprement dite, en nous inspirant des travaux de narratologie et de linguistique récents. Notre but étant de mettre en lumière le lien existant entre cette technique particulière et les thèmes abordés par l'auteur, nous prolongeons cette étude par une analyse des "structures du récit, de la technique narrative et du symbolisme" (troisième partie), c'est-à-dire à la fois des liens existant entre les symboles utilisés par l'auteur et la technique, et du symbolisme des structures et de la technique elles-mêmes. Dans notre quatrième partie, la démarche est identique mais il s'agit cette fois d'étudier la relation existant entre le jeu sur les temps (analyses dans notre première partie) et la conception du temps qui se dégage de l'œuvre. Cette étude de la configuration de l'œuvre ainsi que de la vision du monde et de l'expérience temporelle qu'elle véhicule, nous a permis de montrer a quel point trois romans étaient plus achevés que d'autres. . .As english critics have dealt mainly with, on the one hand, Virginia Woolf's biography and on the other, the themes of her fictional works, we have felt that it was necessary to study her novel-writing technique so as to elucidate some up-till-now neglected aspects of the works and understand the author's artistic processes better. Indeed, even if Virginia Woolf's style has been praised for its flowing limpidity, even if her fictional works seem to unfold as easily and naturally as the waves they so often refer to, we believe that beneath this apparent fluidity there is a very strong, disciplined structure as well as a specific narrative technique, and that both contribute to the working out of the themes themselves and give them their full significance. Therefore, the first part of our study will be devoted to the detailed analysis of the structures of the narrative discourse, and the second part, to the narrative technique itself. As our aim is to reveal the relationship existing between this specific technique and the themes the author develops, we shall analyse in our third part "the structures of the works, their narrative technique and symbolism", that is the relationships that exist between the symbols used by the author and her technique, and at the same time the symbolism of the structures and also of the technique itself. In our fourth part, we proceed in a similar way but the object of our analysis is the study of the relationship between the use of tense (analysed in our first part) and the author's conception of time. .
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Marie, Caroline. "Virginia Woolf : le roman du spectacle." Paris 4, 2003. http://www.theses.fr/2003PA040246.
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A l'instar d'Orlando, The Waves, The Years et Between the Acts, les arts du spectacle au début du XXe siècle sont polymorphes et en pleine métamorphose. Cette analyse met en évidence des similitudes entre les romans et les pièces connues de Virginia Woolf. Elle convoque surtout les grandes théories du spectacle qui marquent la modernité pour confronter les stratégies narratives et polémiques mises en œuvre par la romancière à la palette de techniques utilisées par les dramaturges, les scénographes et les cinéastes de son temps. En effet, c'est moins le théâtre que la théâtralité, moins les spectacles que la spectacularité qui fertilisent le roman woolfien. Les traits spectaculaires transférables au genre de la fiction forment au sein des romans un riche réseau sémiotique. Ils font des romans la scène de multiples transformations, un champ d'action et d'expression ainsi qu'un espace de distanciation et de libération. Ils participent à la dimension métanarrative de l'oeuvre woolfienAt the turn of the twentieth century, the performing arts are polymorphous and ever-evolving, just as Virginia Woolf's novels, especially Orlando, The Waves, The Years and Between the Acts. This study highlights similarities between these novels and some plays that Woolf had read or seen. First and foremost, it refers to major modern theatrical theories to compare Woolf's narrative and polemical strategies with those of the playwrights, scenographers and film-makers of her time, whether she knew these conceptions or not. Indeed theatricality and spectacularity, defined as systems of traits that may be transferred to other artistic genres, shape Woolf's fiction more than specific plays. As a web of effective metaphors theatricality and spectacularity partake to the creation of meaning in the novels. They bring about the motives of transformation, action and expressivity while allowing for distanciation and critical awareness
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Lu, Qian Qian. "Troubling the female continuum in Virginia Woolf's Mrs. Dalloway and To the Lighthouse." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456335.
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Martin, William School of English UNSW. "The recurrence of rhythm: configurations of the voice in homer, plato and joyce." Awarded by:University of New South Wales. School of English, 2007. http://handle.unsw.edu.au/1959.4/26001.
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The Recurrence of Rhythm is an inquiry into the notion that the voice flows ??? a theme that continually recurs in the Homeric poems, Plato's Cratylus and James Joyce's A Portrait of the Artist as a Young Man and Ulysses. Through a re-interpretation of the meaning of rhythmos in pre-Socratic philosophy, I define rhythm as the particular manner in which the voice is flowing, and argue that it is the specific quality of phonetic writing to represent the flowing aspect of the voice. The Greek concept of rhythmos is held to be inseparable from the invention of phonetic writing and the transcription of the Homeric poems, and it is this new definition of rhythm that allows the thesis to engage in contemporary debates concerning the relationship between speech and writing (as developed by Derrida, Ong, Havelock, Parry, Lord and Prier). I also argue that the Platonic concept of rhythm qua metre provides an essential point of mediation between the Greek oral tradition and the history of Western literature, a move that sets the scene for a comparative study of Homer and Joyce. By developing an original concept of recurrence that pertains to both the repetition of themes in the Homeric poems and the heroic experience of living for the sake of the story, this thesis proposes that rhythm and recurrence are interrelated concepts that distinguish the lyrical and dramatic modes that structure the epic form of narrative found in both Homer's poems and Joyce's novels. Drawing upon the esthetic philosophy of Stephen Dedalus, I develop the dialectical theory of genre first outlined by Joyce in the Paris notebook, and argue that the latent lyricism contained in the narrative style of A Portrait is a proto-typical form of the interior monologue found in Ulysses. In opposition to the early modernist paradigm of Joyce criticism, this thesis rejects the notion that mythic archetypes function as Platonic ideals (i.e. the transcendent form of the modernist artwork), but rather holds that heroic themes recur in the mental stream of the modern subject, and manifest themselves immediately through Joyce???s use of the interior monologue technique.
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Brûlé, Michel 1964. "Partie critique: Réflexion sur "L'art du roman" de Virginia Woolf ;Partie création: ... Dent pour dent." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59534.
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In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.
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Philips, Aileen. "Actes poetiques : le jeu de la loi dans la genese de l'ecriture et du sujet chez virginia woolf." Paris 7, 2000. http://www.theses.fr/2000PA070077.
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Les textes de virginia woolf portent en eux des inscriptions de leurs propres geneses. Plus precisement, les scenes de l'ecriture tissees a travers la structure diegetique de ces textes fonctionnent a la fois comme des representations de la genese de l'ecriture et comme des mises en scene de cet evenement. Dans chaque cas, la genese de l'ecriture accompagne l'engendrement du sujet. On pourrait donner a un des elements qui figure de facon decisive a travers ces mises en scene, le nom de "loi". Il s'agit d'une force exterieure qui, en premier lieu, barre le chemin, en arretant le processus de l'ecriture pour finalement, et de facon paradoxale, participer a la constitution de l'ecriture produite et du sujet qui emerge. Cette etude se propose premierement de comprendre ce qui fonctionne commela "loi" dans les textes analyses et tente ensuite de decouvrir comment l'ecriture et le sujet se mobilisent pour negocier un passage au-dela de l'obstacle impose. Elle vise a la fois ce qui fonctionne comme une force de loi externe et interne au texte : d'abord, ce qui vraisemblablement intervient de l'exterieur du texte pour empecher son engendrement, et ensuite ce qui constitue la force de loidu texte, ce qui accorde a un texte la possibilite de fonctionner lui-meme comme une force de loi en imposant la singularite de son propre idiome vis-a-vis des conventions pre-etablies ou il prend son depart. La mise en relation des trois textes de woolf qui forment l'objet de cette etude, a savoir, the voyage out, to the lighthouse, et between the acts, rend manifeste une evolution decisive du rapport a la loi vis-a-vis de l'idiome poetique aussi bien que du sujet. Pour les trois textes etudies ici, la nature de la negociation avec la loi devant laquelle chacun se trouve est determinante dans la construction de sa loi propre. The voyage out se termine par une dissociation entre les dimensions singulieres et universelles dont il a besoin pour inaugurer sa propre force de loi. To the lighthouse, en revanche, n'evite pas, mais plutot se tourne vers la negociation d'un rapport avec les forces de loi exterieures auxquelles il est confronte. Dans between the acts, la loi a laquelle l'idiome du texte est confronte est la sienne. L'idiome de ce texte fait appel aux lois contradictoires qui le constituent, les invitant a un jeu de l'entre-deux afin de degager du conflit, la possibilite de
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Pavec, Nathalie. "Dynamiques du jeu dans l'oeuvre romanesque de Virginia Woolf." Paris 3, 2005. http://www.theses.fr/2005PA030123.
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Ce travail, portant sur les neuf romans de Virginia Woolf, étudie l'évolution d'une écriture qui met en œuvre une dynamique tensionnelle et fait jouer la figure de l'écart, tant au niveau thématique que sémiotique et structurel. Après une première approche pragmatique consistant en une micro-lecture des incipit, l'analyse s'intéresse aux formes visuelles où semble émerger une signifiance, entre apparition et disparition. Puis elle explore le travail de la mémoire, dans son rapport à la vision créatrice et à l'interaction métaphorique entre signifiant et signifié. Enfin, elle s'ouvre plus largement au jeu de l'indétermination et de la réverbération plurielle, faisant de l'entre-deux le lieu d'une dialectique de l'instable, de la dérobade et de la manifestation spectrale. Ainsi se dessinent des lignes de fuite et de variation, qui sont autant de parcours pour une lecture envisagée comme expérience du dessaisissement et de la rencontre avec une œuvre vive, un texte en perpétuel devenirThis study seeks to trace the evolution of Virginia Woolf's writing in her nine novels which draw upon the notion of in-betweenness and operate through a dynamic tension between dialectic polarities. After a close reading of the opening pages of the novels, the analysis focuses on visual patterns and significant forms which reveal elusive networks of meaning wavering between appearance and disappearance. Then, time and memory are explored in terms of their relation to artistic creation and to the interactive signifying process at work in the metaphor. Finally, indeterminacy and plurality are addressed more extensively : the text is approached as a play ground of reverberating forces, a space haunted by endless lines of variation and an open territory of interaction between author and reader. Writing thus becomes an experience of what Woolf calls " the flowing and the unpossessed ", shared by a " common reader " taking part in the creative process rising out of this textual intercourse
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Fourer, Chantal. "James Joyce, de "Dubliners" à "Ulysses" : modernité du baroque." Limoges, 1993. http://www.theses.fr/1993LIMO0505.
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La these se propose de montrer que l'oeuvre de joyce emprunte, consciemment et inconsciemment, a l'esthetique et aux pratiques artistiques du baroque en les renouvelant les modernisant. Le baroque euphemise, proche des origines du mouvement, a l'expression quelque peu balbutiante des nouvelles de dubliners, puis le baroque proliferant et "distancie", post-moderniste avant l'heure de ulysses informent l'oeuvre dans son ensemble. Est toutefois exclus de notre etude finnegan's wake qui exacerbe et complexifie la vision baroque en explorant de vertigineux abimes linguistiques et mythiques. Dans ulysses, mais aussi dans giacomo joyce ou les poemes de chamber music, joyce propose impose le depassement, la subversion du langage et de la vision classique, en une demarche qui calque et prend ses distances avec celle des poetes francais du 17e siecle, des musiciens baroques, ou des architectes espagnols, en integrant les techniques et les images de la modernite. Son choix de certaines figures mythiques, son usage des effets de miroirs et de trompe-l'oeil, son retour a la metaphore-anamorphose puisent aux sources du baroque et le renouvellement, sur le mode ludique et parodique. Un vaste panorama mythographique, entrelacant figures ornementales et masques emblematiques de vie et de mort, laisse emerger la figure d'un eros baroque du 20e siecle. Unifiant ainsi la tradition et la novation, annoncant a bien des egards les visions et le techniques de la litterature post-moderne de france ou des ameriquesThrough baroque art appeared in specific historical conditions, modern critics consider that the baroque vision and baroque forms of expression have outlived the conditions of their birth. Joyce's work may be interpreted in the light of that enduring tradition. It seems to derive from the baroque aesthetics, to renew, to modernize it. The shor-stories of dubliners evolve from a euphemized baroque to more ornemental forms, which are turned in ulysses into a monstrous proliferation of figures and situations. The world of ulysses, as well as that of chamber music, and even giacomo joyce is a world of games of displacement, mirror effects, labyrinthine quests, illusory devices, make-believe, etc. . . Joyce's work transcends its origins. Subverts both classical language and classical vision. A whole network of mythic figures, embedding ornemental and emblematic masks of life and death (including the dominant one of eros), structures and unifies joyces's work. As a tentative of synthetic unification, ulysses establishes a link between tradition and renewed visions, foretelling the linguistic and stylistic experimentations of finnegan's wake and post-modernist literature
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Zahanagiu-Girard, Elena-Monica. "De "Melymbrosia" (1908) à "The Voyage Out" (1915) : l'invention allotropique du projet woolfien d'écriture." Nancy 2, 2003. http://www.theses.fr/2003NAN21008.
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Le point de départ de cette thèse est donné par le statut " allotropique " de The Voyage Out, du " roman charbon " (Melymbrosia) au " roman diamant " (The Voyage Out), selon l'expression de D. H. Lawrence à propos de sa propre écriture de Sons and Lovers. Après avoir tracé le parcours rédactionnel du premier roman de Virginia Woolf (1882-1942) en corrélation avec le contexte psycho-socio-culturel des années 1908 à 1915, cette étude vise à examiner l'évolution du projet artistique de l'auteur au travers des points communs et des différences entre les deux versions. Cette perspective comparative prend en compte des aspects variés de la composition, à commencer par l'architecture interne des deux versions ou leur agencement en chapitres, suivie par les transformations telles que les suppressions, les contractions, les déplacements, les adjonctions et la dilatation du récit. Cette thèse offre également une étude détaillée des phénomènes polyphoniques dans l'une et l'autre versions, du rôle croissant du silence et de la création d'un réseau dense et obsessionnel de motifs symboliques essentiellement dans la version finale. Enfin, le dernier volet de cette recherche plurielle vise à analyser la matrice symbolique du voyage dans les deux versions sur le fond de laquelle se profile la question des activités créatrices des personnages, ces processus évolutifs qui reflètent les nouvelles préoccupations de l'auteur et la maturation de sa conception critique et esthétiqueThis thesis examines Virginia Woolf (1882-1942)'s literary allotropes, Melymbrosia and The Voyage Out, "carbon novel" and "diamond novel" respectively, according to D. H. Lawrence's formulations concerning his writing of Sons and Lovers. After tracing the writing process of Virginia Woolf's first novel in relation to its psycho-socio-cultural background from 1908 to 1915, this study aims at exploring the evolution of the author's artistic project by looking at the common points and differences between the two versions. Beginning with the internal architecture of the two versions (or their organisation into chapters) and continuing with the transformations - deletion, contraction, placement, addition and expansion - of the narrative, this comparative study analyses various aspects of Woolf's evolving literary composition. This thesis also studies in detail the polyphonic phenomena present in both versions, the growing use of silence and the creation of a dense network of symbolic images found essentially in the final version. Finally, this research project, opening on various fields, analyses the symbolic mould of the voyage in both versions, as a backdrop to the characters' creative activities considered as developing processes reflecting the changing preoccupations of the author, and the maturing of her own critical and aesthetic voices
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Zephir, Frédérica. "La quête de l'unité dans l'oeuvre de Virginia Woolf." Nice, 1994. http://www.theses.fr/1994NICE2002.
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Par ses thèmes et sa structure l'œuvre de Virginia Woolf dévoile un univers divisé, scindé, éclaté en multiples morceaux et fragments et dont la singularité permet d'évoquer les grands symptômes des psychoses schizophréniques, d'autant que le vécu de la romancière est lui-même marqué du sceau de la maladie mentale. Après une approche biographique de la problématique woolfienne suivie d'une analyse des traits psychologiques les plus pertinents des personnages et d'une étude concernant l'expression romanesque de la folie, la démarche cherche à vérifier, par l'examen des thèmes les plus significatifs de l'œuvre, si l'aspect schizoïde peut être retenu comme une caractéristique originale de l'œuvre. Une troisième partie, qui s'efforce de cerner la tentative de reconquête de l'unité perdue menée par la romancière au moyen de l'écriture, conclut à l'échec de cette quêteThrough their themes and their structure, the works of Virginia Woolf reveal a divided and split universe separated into numerous parts and fragments whose uniqueness calls to mind schizophrenic psychosis, all the more so as the writer's itself is deeply marked by mental disturbance. After a biographical approach to the woolfian intricacies, followed by an analysis of the most outstanding psychological aspects of her characters and a study of the romantic expression of madness, my contention is to verify, after studying the most meaningful themes in the works, if the schizoid aspect can be retained as an original feature in her novels. The third part, which endeavours to determine if the writer's attempt to reconquer the lost unity through her writings has succeded, comes to the conclusion that this is, in fact, not the case
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Esteves, Lenita Maria Rimoli. "A (im)possivel tradução de Finnegans Wake : uma investigação psicanalitica." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271093.
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Orientador: Nina Virginia de Araujo LeiteTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano, uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido
Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense
Doutorado
Doutor em Linguística
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Downes, Gareth J. "James Joyce, Catholicism and heresy : with specific reference to Giordano Bruno." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14800.
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In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.
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Clissold, Bradley. "Recovering the common sense of high modernism : embodied cognition and the novels of Joyce, Faulkner, and Woolf." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36895.
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This thesis argues that the popular characterization of high modernist fiction as esoteric, elitist, uncommunicative, and far too difficult for the common reader obscures the democratic principles at the heart of modernist experimentation and its poetics of difficulty. Recent theories of embodied cognition when applied to representative examples of high modernist novels help dispel the myth of inaccessibility and reveal the many ways in which these works actually accommodate the common reader. Once the stigma of inaccessibility is removed from the study of modernist novels, it becomes possible to see how their formal experiments with language as well as the themes and issues they contain operate for readers and writers alike as a means of exploring everyday cognitive activities and responses. To this end, the concept of cognitive dissonance provides a heuristic device for understanding what lies behind the motivations of writers who aestheticise experiences of dissonance in their texts and the responses of readers who confront these texts. This cognitive approach to modern literature challenges assumptions about high modernism's "uncompromising intellectuality" and replaces them with a view of modernism that is more accessible and inclusive without diminishing its radical difficulty. It also paves the way for new readings of highly canonical modernist fiction. For instance, I examine how James Joyce places "inscribed" readers into Ulysses to guide actual readers through some of the difficulties of the novel. I then read William Faulkner's The Sound and the Fury as a novel that both thematises and formally resists the modern threat of behaviouristic human conditioning. Finally, I look at how the theme and form of Virginia Woolf's Mrs. Dalloway reinforce the embodied equation of dissonance with illness and incompletion.
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Bauchart, Hélène. "Approches du négatif dans l'oeuvre romanesque de Virginia Woolf." Amiens, 2010. http://www.theses.fr/2010AMIE0001.
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Branco, Elizabeth Hey. "Molly's monologue in Ulysses." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24339.
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Polychronakos, Helen. "Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.
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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Skrbic, Nena. "A sense of freedom : a study of Virginia Woolf's short fiction." Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:4637.
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Ergal, Yves-Michel. "De l'oeuvre "in nucleo" à l'oeuvre "in progress" : Marcel Proust et James Joyce." Paris 4, 1992. http://www.theses.fr/1992PA040027.
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Marcel Proust et James Joyce conçoivent, au début du XXe siècle, l'idée d'un nouveau genre littéraire, celui de l'œuvre. A l’âge de vingt-cinq ans, ils publient un premier recueil de nouvelles, Les plaisirs et les jours et Dublinois. Malgré les thèmes "in nucléo" dans l'œuvre de jeunesse, il manque à Proust et à Joyce un porte-parole : celui-ci sera Jean Nanteuil et Stephen le héros. Lorsque Proust et Joyce découvrent la structure circulaire de l'œuvre, de l' « in nucléo » - le roman d'initiation - nous passons à l' « in progress », le roman de l'artiste. Dans l' « in progress », Proust et Joyce mettent en scène le portrait d'un anti-artiste, Swann Charlus ou, pour Joyce, Leopold Bloom. La fonction essentielle du roman consiste à dévoiler la sexualité des personnages. Libéré de ses angoisses, l'artiste peut s'effacer d'une œuvre qu'il vient en vérité d'écrireMarcel Proust and James Joyce conceived, at the beginning of the XXth century, the idea of a new literary genre: that of the work. At the age of 25, both published their first books of short stories, Les plaisirs et les jours and Dubliners. Despite the themes "in nucleo" in their early works, Proust and Joyce lacked a spokesman: he will be Jean Santeuil and Stephen Hero. When Proust and Joyce discover the circular structure of the work, the "in nucleo" - the roman d'initiation - we move on to the "in progress", the novel of the artist. In the "in progress", Proust and Joyce stage the portrait of the anti-artist, Swann Charlus or, for Joyce, Leopold Bloom. The essential function of the novel is to reveal the sexuality of the characters. Liberated from his fears, the artist may disappear from the work he has in fact just written
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Belluc, Sylvain. "Signe, nature, signature : parcours étymologiques dans l’œuvre de James Joyce – Dubliners, A Portrait of the Artist as a Young Man et Ulysses." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030105.
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L’écriture joycienne se distingue par la conscience aiguë dont elle témoigne de l’histoire des mots. Cette tendance est le produit de l’émergence de la grammaire comparée et de la sémantique historique au XIXe siècle, disciplines qui avaient bouleversé le concept d’étymologie et légitimé, en apparence, la prise en compte du passé de la langue dans son emploi. Pourtant, quand Joyce écrit, cette approche est irrémédiablement dépassée, et ses nombreuses contradictions critiquées. Aussi les œuvres de l’écrivain, loin de constituer un reflet fidèle et stable du discours sur l’étymologie du siècle où il naquit, en mettent-elles à nu les paradoxes et les partis pris. La stratégie d’écriture de Dubliners, si elle repose sur une exploitation fréquente des données mises au jour par les comparatistes et les sémanticiens, prend ainsi le contrepied de toute démarche transcendantale et tire profit de la nature subjective et aléatoire de l’activation des potentialités étymologiques des mots par le lecteur. La volonté affichée par Stephen dans A Portrait of the Artist as a Young Man de trouver une justesse supérieure dans la motivation directe puis indirecte des noms fait place, dans le roman suivant, à un rejet amer de « l’imposture des sons ». Mais Ulysses éclaire également les failles des théories linguistiques de son époque : sa mise en lumière du rôle joué par l’étymologie populaire dans le fonctionnement de la langue implique une critique du positivisme saussurien et s’inscrit dans une dénonciation plus large de toute conception pseudo-rationnelle et supra-individuelle de l’histoireOne of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Briggs, Roger T. "Dubliners and the Joycean epiphany." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t065.pdf.
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Bzdigian, Quintana Maral. "Beyond the fringe: a hidden pattern in Mrs. Dalloway's : moments of being." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115355.
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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura InglesaAs human beings, we are in constant awareness of our past and memories. We tend to attach significance to life events, places and people that make up our lives. Remembering a memory allows us to relieve that moment once again, nevertheless it never evokes the same feelings that the original did. Moreover we are not able to remember everything, but unconsciously, we retain specific moments in our mind. Aware of all of this, Virginia Woolf wrote “A sketch of the past” published in “Moments of being”, A Collection of Autobiographical Writings. In this work, Woolf tells us about her early years, and she describes and introduces people and places that build her life. She feels so connected to these situations, that she made them part of her memory. But she also discusses that certain things may get remembered, while others simply fade away. Because of this, she says that she does not control these moments and in the same way that she kept them in her memory, they came to her present reality, making her feel powerless. Although all of these descriptions Woolf never gives an accurate definition of “moments of being”, instead she asserts that these episodes of “ecstasy” are “embedded in a kind of nondescript cotton wool” (Woolf, ‘Sketch’72) forgotten in the everyday life were “a great part of every day is not lived consciously” (Woolf, ‘Sketch’70). These moments are called “moments of non-being”. Moments of being can be related to a moment of evocation, as they reveal something beneath the “cotton wool”.
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Johns, Alessa. "Joyce and Chaucer : the historical significance of similarities between Ulysses and the Canterbury tales." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63365.
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Schabbach, Virgínia Maria. "Virginia Woolf, apropriação e dramaturgia : um procedimento de escrita textual para o teatro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142644.
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Esta pesquisa investiga a construção do texto dramatúrgico Virginias, sobre a vida da escritora inglesa Virginia Woolf, que utilizou como metodologia de escrita o procedimento de apropriação, em que a obra e os diários pessoais da escritora foram fraturados pelo recorte e pela posterior colagem destes intertextos na nova criação. O trabalho articula os estudos sobre citação e apropriação de Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith e Marjorie Perloff, percebendo o procedimento como uma prática que tem a pós-modernidade como influência. A pesquisa utiliza como aportes teóricos sobre a condição pós-moderna, os autores Jean-François Lyotard e Linda Hutcheon e Cecília Salles sobre a gênese criativa.This research investigates the construction of the play Virginias, about the life of English writer Virginia Woolf, which used as writing methodology the procedure of appropriation. This procedure consisted in fracturing the writer’s work and diaries by cutting them out and then pasting the pieces of intertext together in a new creation. The work articulates the studies about quotation and appropriation of Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith and Marjorie Perloff, and perceives the procedure as a practice that has postmodernity as influence. The research has as theoretical background about the postmodern condition the authors Jean-François Lyotard and Linda Hutcheon and Cecília Salles about creative genesis.
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Lacourarie, Chantal. "Texte et tableau dans l'oeuvre de Virginia Woolf." Paris 3, 1996. http://www.theses.fr/1996PA030190.
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L'ecriture de virginia woolf manifeste un sens visuel aigu et un oeil pictural critique. Les paysages sont surtout impressionnistes chez virginia woolf. Souvent associes a l'enfance et decrits par des personnages enfants, ils correspondent a la nostalgie d'un monde naturel baigne de lumiere et de chaleur, aux couleurs pures et chatoyantes. L'adulte tend a delaisser le paysage pour le portrait qu'informe l'esthetique expressionniste. D'une relation harmonieuse, l'etre humain passe a un stade de conflit. La maitrise de la forme consiste a integrer le portrait dans le paysage par le biais du post-impressionnisme. C'est a cette synthese que virginia woolf atteint dans ses oeuvres les plus acheveesA keen visual sense and a critical pictorial eye inform virginia woolf's writing. Her landscapes are for the most part impressionistic. Often associated to childhood and described by children characters, they tally with a nostalgia for a natural world bathed in light and heat, with pure and shimmering colours. Adults tend to turn their backs on landscapes and go in for portraits which are influenced by expressionnist aesthetics. From a harmonious relation with nature, the human being shifts to a stage of conflict. The mastery of form consists in integrating portraits into landscapes thanks to post-impressionism. Virginia woolf reaches this synthesis in her most fulfilled works
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Scanlan, Jill. "Playing the audience: A reader's production of Between the Acts." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/419.
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Bormanis, John Curt. "Oppositional constructions of Jewishness, gender and ethnicity in the works of James Joyce (1882-1941) and Gertrud Kolmar (1894-1943) (Ireland)." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186666.
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In this dissertation I explore the role that religious discourses (especially the Hebrew Bible), ethnic nationalist movements, and shifting configurations of gender played in the works of German-Jewish and Irish Catholic writers during the early twentieth century. I focus on the works of Gertrud Kolmar and James Joyce because they take up oppositional and critical positions vis-a-vis not only the dominant forces of their oppression, but also towards the movements and groups which fostered their oppositional consciences. Thus, while Kolmar found a defense against German anti-Semitism in Jewish tradition, she also struggled against the misogynistic discourses within Judaism. And while Joyce was adamant in his rebellion against the British Empire and the English language, he was equally committed to challenging the parochialism, anti-Semitism, and suffocating Catholicism of the Ireland from which he fled at age 22. The works of both authors are important today because they elucidate the inextricably bound nature of ethnic, religious and gender identities, and offer insights into our continuing struggle to deal with these issues and their modern origins in the early twentieth century.