Rozprawy doktorskie: „English (0593)”

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Arulanandam, Santha Devi. "'The London Prodigal': A critical edition in modern spelling". Thesis, University of Auckland, 1989. http://wwwlib.umi.com/dissertations/fullcit/9313712.

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This thesis presents a critical edition in modern spelling of The London Prodigal, a comedy played by the King's Men and printed in 1605 by Thomas Creede for the publisher Nathaniel Butter. The title-page (photographically reproduced) attributes the play to William Shakespeare. This claim is assessed and judged to be mistaken. Both external and internal evidence have been examined in relation to eight possible authorship candidates; Thomas Dekker emerges as the strongest. The present text of the play is based on the 1605 Quarto. Collation of twelve copies revealed several press variants. The introduction treats the play's publication and stage-history and takes a critical look at its background and sources, plot and structure, setting, characters, style, themes, and role in the development of Elizabethan-Jacobean drama. An attempt is made to determine the date of composition, as well as the author. A short section is devoted to conjecture about the manuscript copy used for the Quarto and to bibliographical deductions about its treatment in the printing-house. A full commentary glosses obscurities and enlarges on the play's literary, social, and historical allusions. There are textual notes on variants, emendations, and lineation. An appendix reproduces the parable of the Prodigal Son from the 1568 Bishops' Bible.
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Von, Bergen Megan Kimberly. "Spiritual meaning and the prophetic mode in T.S. Eliot’s Four quartets". Thesis, Kansas State University, 2010. http://hdl.handle.net/2097/4147.

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Master of Arts
Department of English
Michael L. Donnelly
Among the body of criticism on T.S. Eliot’s Four Quartets, critics such as Cleo McNelly Kearns and Alireza Farahbakhsh have recently interpreted the poet’s “intolerable wrestle / With words and meanings” (EC II) in light of deconstructionist theory. Although the poetry does recognize the difficulty of speaking about spiritual experience, it does not embrace the resulting linguistic miscommunication. In fact, the poems resist such a move, identifying the spiritual danger of such miscommunication; instead, they seek to overcome these difficulties and accurately communicate spiritual experience – an aim achieved in the context of biblical prophecy. Louis Martz argues that the Quartets are, in fact, not prophetic; however, he defines prophecy in terms of its social interests, rather than in terms of the interest in the human-divine relationship that characterizes both biblical tradition and Eliot’s poetry. I want to argue that reading the Quartets in the context of biblical prophecy, filtered through mystical tradition, explains their ability to transcend linguistic difficulty and explore spiritual experience in human language. In biblical tradition, the prophets overcome linguistic difficulty through a direct encounter with God, which purifies language of error and equips them to speak of divine reality. In Eliot’s Quartets, the poetry undergoes a similar purifying experience meant to replace linguistic error with a meaningful exploration of spiritual experience. For the Quartets, linguistic purification is accomplished by means of the mystical via negativa. Appropriating images associated with the via negativa, the poetry denies language tied to direct perception of spiritual reality and adopts instead a language that conveys such experience through unfamiliar words and images. In that language, the poetry is purified of its errors and made capable of exploring the human relationship with God. A poetry identified with the Incarnation, this solution communicates in human language the reality of spiritual experience. In this communication, the poetry at last explores spiritual experience in a way freed of miscommunication and meaningful for the audience, thereby fulfilling its prophetic aims.

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Al-Athari, Lamees. ""This rhythm does not please me" : women protest war in Dunya Mikhail's poetry". Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/865.

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Dvorak, John N. "Lukácsian aesthetics in a post-modern world: understanding Thomas Pynchon’s Mason & Dixon through the lens of Georg Lukács’ the historical novel". Thesis, Kansas State University, 2010. http://hdl.handle.net/2097/3896.

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Master of Arts
Department of English
Timothy A. Dayton
This thesis project seeks to reconcile the literary criticism of Marxist critic and advocate of literary realism Georg Lukács with the writing of postmodern author Thomas Pynchon in order to validate the continued relevance of Lukácsian aesthetics. Chapter 1 argues that Lukács’ The Historical Novel is not only a valid lens with which to analyze Pynchon’s own historical novel, Mason & Dixon, but that such analysis will yield valuable insight. Chapter 2 illustrates the aesthetic transition from the historical drama to the historical novel by using Lukács’ ideas to explicate The Courier’s Tragedy, a historical drama found within the pages of Pynchon’s The Crying of Lot 49. Chapter 3 applies Lukács’ ideas on the “world-historical” figure and the “mediocre” hero of the classic historical novel to Mason & Dixon. Chapter 4 asserts that Mason & Dixon enables contemporary readers to experience the novel as what Lukács calls a “prehistory” to the present. This chapter also illustrates how the prehistory of Mason & Dixon anticipates Pynchon’s nonfiction essay “A Journey into the Mind of Watts.” Finally, this chapter demonstrates how Pynchon avoids the pitfall of modernization in Mason & Dixon, which Lukács defines as the dressing up of contemporary crises and psychology in a historical setting. Chapter 5 ties together the work of the previous four chapters and offers conclusions on both what Pynchon teaches us about Lukács, as well as what Lukács helps us to learn about Pynchon.

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Kepa, Tangiwai Mere Appleton. "Language matters: The politics of teaching immigrant adolescents school English (New Zealand)". Thesis, University of Auckland, 2002. http://wwwlib.umi.com/dissertations/fullcit/3046046.

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The purpose of this thesis is to reflect upon the complex process of educating the sons and daughters of immigrant parents from diverse cultural communities. The study stresses the importance of valuing the language and culture of students in Aotearoa-New Zealand for whom English is another language. It is argued that the discourse of what shall be called ‘technocratic pedagogy’ falls short of meeting this goal. What is needed is more expansive and inclusive programmes that apprehend the social, economic, and political contexts of learning. This is necessary if the students are to continue their education not simply to absorb prescribed information and ideas but to actively understand, question, challenge, and change the school and the classroom. The thesis is written from the perspective of an indigenous Maori teacher trained in technocratic approaches of practice looking to aspects of her intimate culture, Tongan and Samoan ways of representing the world, and Paulo Freire's critical pedagogy to transform contemporary education that tends to exclude the adolescents from learning in school. This thesis is not simply another contribution to the ways in which teachers of school English in general think about methodologies and approaches to learning; rather, it is addressed more specifically to those Maori, Tongan, and Samoan teachers in this country who work with and alongside communities who are from the Kingdom of Tonga and the islands of Samoa. Thus, there is great value placed on educational experience with indigenous Tongan and Samoan teachers and students in an educational project referred to in the thesis as a ‘School-within-a-school’. The School-within-a-school refers to a site of education for teaching school English to immigrant adolescents within a large, state, secondary school in the city of Auckland. Particular attention is also paid to educational experience with indigenous teachers in a Curriculum Committee and Maori and Tongan grassroots organisations located within the same school. A fresh approach to teaching English accepts culture as the ground on which to begin to reflect on a practice within a specific context. The teachers who have a dynamic relationship with students argue that culture is a primary site for contradictions and that a revolutionary challenge to technocratic pedagogy is necessary, but not sufficient, to value and actively include the students in school. Since the English language and its attendant practices, values, traditions, and aspirations are the grounds for the students' marginalisation, immediate, consciously organised changes in the teaching beliefs, contents of education, and society at large in Aotearoa are necessary parts of any reintegrative pedagogy. On this account, the belief is that pedagogy is vitally important since it can enable the students to understand the technocratic discourse and draw upon the personal and collective experiences to counter the tendency that denies them full participation in school and the classroom.
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Lundien, Katrina. "Exploring a secondary urban ESL program : addressing the social, affective, linguistic, and academic needs of English language learners (ELLs)". Diss., Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/2218.

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Schofield, Scott James. "Staging Tudor Royalty: Religious Politics in Stuart Historical Drama (1603-1607)". Thesis, 2010. http://hdl.handle.net/1807/26233.

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Staging Tudor Royalty: Religious Politics in Stuart Historical Drama (1603–1607) examines the plays and pageantry about the Tudor royals in the context of three major events: the Hampton Court Conference (1604), the Anglo-Spanish Peace Negotiations (1603–1604) and the Gunpowder Plot (1605). Chapter 1 provides an historical survey of the political and legal controversies concerning religious belief and practice from Henry VIII’s creation of the royal supremacy (1533–1534) to Elizabeth’s final year as queen (1603). Chapters 2 through 5 comprise four case studies, each of which centres on a play or pageant about the Tudor royals and its relationship to one of the aforementioned events. Chapters 2 and 3 examine Thomas Heywood’s If You Knovv Not Me, You Know No Bodie (1604) and Samuel Rowley’s When You See Me, You Know Me (1604), dramatizations of Elizabeth’s years as princess and the later years of Henry VIII’s reign respectively, in light of the puritan campaigns for church reform and religious toleration surrounding the Hampton Court Conference. Chapter 4 examines the uses of the Tudors in Thomas Dekker’s The Magnificent Entertainment, a detailed account of James’s royal entry of March 1604. In particular, I focus on the London-Dutch community’s celebration of Tudor religious and economic commitments to the Protestant Low Countries in relation to the early Stuart negotiations for an end to the Anglo-Spanish war. Chapter 5 discusses Thomas Dekker’s allegorical rendering of the later decades of Elizabeth’s reign, The VVhore of Babylon (1607), as a commentary on the Stuart government’s response to Jesuit insurgency following the Gunpowder Plot. In order to situate these plays and pageants in their precise contexts, each of the four case studies incorporates a variety of historical evidence ranging from royal proclamations to religious polemics, from stories of martyrdom to state trials. This thesis offers a topical reading of play and pageantry in which the Tudor past engages with the seminal political-religious issues and controversies of early Stuart England.

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Halpe, Aparna. "Between Myth and Meaning: The Function of Myth in Four Postcolonial Novels". Thesis, 2010. http://hdl.handle.net/1807/26507.

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In Anglophone postcolonial fiction of the twentieth century, myth is used as a framing device that contains and interrogates historical event, thereby functioning as a form of alternative history. Despite the prevalence of cross-cultural symbolic systems and radically hybrid forms of narration, the dominant method of reading myth in postcolonial literary criticism remains dependent on conceptual models that construct myth as originary racial narrative. This particular approach fosters readings of contemporary secular myths of “nation”, “land” or “identity” within culturally monolithic frames. I scrutinize the intersections between early structuralist approaches to myth, and later post-structuralist deconstruction of myth and suggest a postcolonial reading of myth as the ideological coded middle space between sacred and secular narrative. Focusing on four novels from Southeast Asia, South Asia and the Caribbean, I demonstrate the continued influence and adaptability of myth to narrate vastly different historical and socio-cultural contexts. Taking into account several major shifts in the conceptualization of twentieth-century myth criticism , I develop a critical vocabulary for comparative readings of myth which interrogates existing discourses on the categories of “archetype”, “ideology” and “symbol”. My approach is comparativist, and foregrounds the importance of locating myth within literary and socio-cultural context. The introduction to this study defines the field of myth criticism in relation to postcolonial fiction. I provide outlines of the theoretical positions drawn from Carl Gustav Jung, Roland Barthes, Northrop Frye and Bruce Lincoln and demonstrate the relevance of each in relation to reading myth in the four novels under survey. The first chapter looks at the way Alfred Yuson exposes mythic constructions of Filipino identity in The Great Philippine Jungle Energy Café (1987). The second chapter provides a comparative study of Michael Ondaatje's The English Patient (1992) and Allan Sealy's The Everest Hotel A Calender (1998). This chapter analyzes Ondaatje and Sealy's employment of the Fisher King myth as a device for narrating radically different visions of postcolonial community. The third chapter analyzes the function of archetype as a vehicle for ideology in Wilson Harris's Jonestown (1996). The conclusion of this study suggests the way this method of analysis can provoke further critical inquiry in the field of postcolonial myth criticism.

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Ellerbeck, Erin Lee. "Domestic Dialogue: The Language and Politics of Adoption in the Age of Shakespeare". Thesis, 2010. http://hdl.handle.net/1807/32932.

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This dissertation examines the representation of adoption in early modern English drama in order to analyze the language of social and familial relations in early modern culture. I propose that although these plays often ultimately support the traditional idea of a birth family, adoption challenges conventional notions of the family by making artificial, non-consanguine relations appear natural, thereby exposing the family unit as a social construction. I suggest further that adopted characters complicate notions of biological inheritance through their negotiations of language, place, and power. My dissertation thus explores the connections between historical language use and social status in early modern England; it couples early modern rhetorical theories and treatises with modern linguistic theory, drawing upon recent sociolinguistic scholarship. The result is to show that understanding how language demarcates social position is essential to illuminating the cultural intricacies of the plays of the period. In Chapters 1 and 2, I investigate the social and economic repercussions of adoption. Chapter 1 discusses the previously overlooked cultural importance of horticultural metaphors of adoption in Shakespeare’s The Winter’s Tale, Cymbeline, and All’s Well That Ends Well. In this chapter, I explore the ways in which early modern culture explained adoption by depicting it in a particular kind of figurative language. Chapter 2 focuses on the economic consequences of, and motivations for, adoption in Middleton’s A Chaste Maid in Cheapside. In my final two chapters, I scrutinize the relations between the early modern family and linguistic practice. Chapter 3 explores the connections between genetics, physical likeness, and language in Lyly’s Mother Bombie and Shakespeare’s The Comedy of Errors. Finally, in Chapter 4 I investigate familial relation as a source of linguistic and social power. Middleton’s Women Beware Women, I argue, suggests that kinship exists within language and grants particular speakers linguistic and social authority.

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Kolentsis, Alysia Michelle. "Shakespeare's Telling Words: Grammar, Linguistic Encounters, and the Risks of Speech". Thesis, 2008. http://hdl.handle.net/1807/16760.

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This dissertation analyzes undertheorized grammatical and linguistic details of Shakespeare’s language. Using tools derived from the fields of linguistics, pragmatics, and discourse analysis, I trace the ways that Shakespeare’s speakers represent themselves in language, and how they position themselves relative to their interlocutors. Grounding my study in a selection of Shakespeare’s works in which questions of self-positioning are particularly fraught, I argue that the nuances of grammar that undergird the linguistic performance of Shakespeare’s speakers encode significant clues about interaction and interpersonal relationships. I maintain that the minute details of linguistic encounters, easily overlooked words such as modal verbs (particularly shall and will) and deictic markers (words such as I, this, and now), hold important information about speakers’ perceptions of themselves, their interlocutors, and their environment. Attention to such details, and to charged moments of linguistic encounter in which speakers must negotiate their modes of self-positioning, helps to illuminate the troubled processes of self-representation and changing self-perception. Chapter one focuses on Shakespeare’s sonnets, and suggests that these poems provide a productive model for the examination of the nuances of speech and interactive dialogue. I anchor my discussion in the particular resonance of the word shall in the sonnets, and explore the ways in which the sonnet speaker attempts to preserve linguistic control relative to a threatening interlocutor. The second chapter extends these concerns to consider how the speakers of Troilus and Cressida respond to a wide network of potentially threatening interlocutors. In this chapter, I focus on linguistic encounters such as arguments and gossip to examine the risks that speakers encounter when they enter the fray of communal discourse. My third chapter turns to Coriolanus to consider moments of aggressive linguistic collisions, in which speakers vie for the right to speak a potent and contested word such as shall. The fourth and final chapter analyzes Richard II through the frame of deictic markers and grammatical modes of self-reference to consider the protective strategies afforded by language in moments of crisis.

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Karimi, Golnar. "Linguistic imperialism : a study of language and yoruba rituals in Wole Soyinka’s Death and the king’s horseman". Thèse, 2015. http://hdl.handle.net/1866/13481.

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L’objectif de ce mémoire est de démontrer le rôle important de la langue dans la pièce de théâtre Death and the King’s Horseman par l’auteur nigérian Wole Soyinka. Le premier chapitre traite les implications de l'écriture d'un texte postcolonial dans la langue anglaise et revisite les débats linguistiques des années 1950 et 1960. En plus de l'anglais, ce mémoire observe l'utilisation d'autres formes de communication telles que l'anglais, le pidgin nigérian, les dialectes locaux et les métaphores Yoruba. Par conséquent, l'intersection entre la langue et la culture devient évidente à travers la description des rituels. La dernière partie de ce mémoire explore l'objectif principal de Soyinka de créer une «essence thrénodique». Avec l'utilisation de masques rituels, de la danse et de la musique, il développe un type de dialogue qui dépasse les limites de la forme écrite et est accessible seulement à ceux qui sont équipés de sensibilités culturelles Yoruba.
The aim of this thesis is to demonstrate the significant role of language in the development of the play Death and King’s Horseman by Nigerian author Wole Soyinka. The first chapter discusses the implications of writing a postcolonial text in the English language and revisits the language debates of the 1950s and 1960s. In addition to English, the thesis observes the use of other forms of communication such as Nigerian Pidgin English, local dialects, and Yoruba metaphors. Consequently, the intersection between language and culture becomes apparent through the description of the rituals. The final section of the thesis explores Soyinka’s primary focus of creating a “threnodic essence.” With the use of ritual masks, dance and music, he develops a type of dialogue that transcends the written form and is accessible only to those who are equipped with Yoruba cultural sensibilities.

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Yeager, Stephen. "Poetic Properties: Legal Forms and Literary Documents in Early English Literature". Thesis, 2010. http://hdl.handle.net/1807/32962.

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This thesis argues that the Middle English alliterative prosody of the Piers Plowman tradition was influenced by a discourse combining law, history, homily and poetry which was inherited from the administrative practices of the Anglo-Saxon period. As literary and legal textual genres developed recognizably distinct formal characteristics in the later Middle Ages, the combination of homiletic rhetoric and alliterative sound-patterning evoked a surviving discourse in which the formal characteristics of poems and documents were less clearly distinguished. Thus insofar as it evoked Anglo-Saxon textual culture, Piers Plowman provided a formal model which was particularly suitable to criticisms of political institutions that consolidated their power by developing new distinctions between the genres of bureaucratic texts. In each of the texts and traditions studied – Wulfstan’s homiletic law code I–II Cnut and its Latin translations, The First Worcester Fragment, Laȝamon’s Arthurian Brut chronicle-poem, The South English Legendary "Life of St. Egwine", and the Piers Plowman tradition poem Mum and the Sothsegger – apparently “literary” devices are used to authorize historically-based “legal” claims, particularly on behalf of ecclesiastical institutions looking to maintain their local influence in the face of increasingly consolidated royal administrative authority. Though oaths played a much less important procedural role after the Norman Conquest than they did in the Anglo-Saxon period, the appearance of "creative" authenticating procedures in "commemorative" texts created the appearance of orality to post-Conquest readers, to criticize a government which claimed its English "common" law to originate in the remotest recorded antiquity, even as it abandoned the practices actually recorded in the earliest surviving law codes and documents to be written in England. Comparing these texts allows a deeper understanding of their shared authenticating strategies, and also a re-appraisal of the methods we use to describe the relationships between medieval documents and authors, literature and law, texts and contexts. Appended to the dissertation is an edition of the SEL "Life of St. Egwine." Because Egwine's hagiographic tradition is so thematically invested in political concerns and closely interconnected with legal documents attributed to Egwine himself, the edition provides an opportunity to take a "disjunctively" literary and diplomatic approach to the tradition, in the process exploring some of the practical implications of the larger theoretical issues raised by the thesis as a whole.

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Hamdi, Houda. "Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day". Thèse, 2015. http://hdl.handle.net/1866/16011.

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My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.
Ma thèse est une étude comparative entre William Faulkner, Toni Morrison et Gloria Naylor. Elle me permet d’explorer comment les protagonistes males construisent leur identités en se référant à la possession matérialiste et en se basant sur la subordination de la femme, qui est une autre forme de possession, afin de consolider leur masculinité. Dans leurs textes respectifs, Go Down, Moses, Song of Solomon, et Mama Day, les trois auteurs, malgré leur différences culturelles et même littéraires, partagent l’idée que l’identité, l’histoire, et la vérité ne sont que des construits culturels et sociales. On se basant sur la théorie de Judith Butler et d’autres théoriciens poststructuralistes et contemporains, ma thèse reflète qu’il n’y a pas d’identité « naturelle » ou de réalité objective. La perception identitaire n’est qu’une illusion imaginaire et idéologique ou le sujet ne fait que répéter et performer le discours de son environnent. Faulkner, Morrison, et Naylor basent leurs oeuvres sur le thème de la liberté. Ils explorent comment, à partir de leurs corps, leurs caractères se conforment ou bien se détachent de l’idéologie qui confine leurs identités sexuelles, raciales et sociales. En critiquant, non seulement l’identité’ mais aussi l’histoire, ma thèse montre que les trois écrivains détruisent la perception que la vérité est objective surtout dans les documents historiques. Ainsi, la vérité devient qu’une forme de distorsion qui consolide une certaine idéologie. Ma thèse montre que les trois auteurs mettent en valeur la voix de la femme Afro-Américaine. Elle joue le rôle d’une médiatrice pour les protagonistes males. Elle rejette le discours matérialiste et sexiste. Cette voix féminine représente le thème de l’amour et la survie de sa communauté noire et la résistance raciale. La femme Afro-Américaine préserve la culture Africaine à travers son attachement à la tradition orale et à la connaissance intuitive. En se basant sur la tendance subversive de l’art et de la littérature postcoloniale qui est promulguée par les théories de Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford et Arjun Appadurai, je montre qu’à travers Toni Morrison et Gloria Naylor, le texte de Faulkner reste logocentrique et essentialiste dans sa vision hiérarchique de l’identité raciale et sexuelle. Morrison et Naylor se référant au mythe de l’Africain volant afin de justifier qu’il n’y a pas d’identité fixe et stable, donnant ainsi la voix a une identité hybride et fluide. En se basant sur l’article, « Parler en Langues » de Mae Gwendolyn Henderson, ma thèse explore comment en réécrivant d’autres textes, Gloria Naylor déconstruit non seulement Faulkner, mais aussi le sexisme qui demeure résident dans le texte de Toni Morrison. L’histoire de Willow Springs se base sur le mythe féminin d’une ex esclave Sapphira Wade, qui en étant volatile, son histoire et son identité résistent toute forme de catégorisations. En étudiant l’hybridité’ dans la culture Afro-Américaine, ma thèse montre que le Sud qui est décrit dans l’oeuvre de Mama Day est plus hybride que celui de Faulkner et Morrison.

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Kouki, Safa. "Against oblivion : narrating the refugee camps in contemporary literary works in english". Thesis, 2020. http://hdl.handle.net/1866/25566.

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Ma thèse entreprend une évaluation critique et un compte rendu de ce que j'appelle la «littérature des camps de réfugiés» en tant que produit culturel et genre littéraire et interdisciplinaire en soi. Sur le plan de la taxonomie, l’appellation «littératuredes camps de réfugiés» risque de se retrouver dans le discours très homogénéisant, qui fusionne les différents récits de la vie des réfugiés, qu’il vise à contrebalancer. Le fait de classer les récits sélectionnés comme un genre littéraire révèle le caractère insaisissable d’une telle entreprise car les récits eux-mêmes oscillent entre différents genres (écrits de vie humanitaire, témoignages, bildungsroman postcoloniaux, etc.) et qu’un tel genre est, compte tenu de son contexte politique, plutôt transgressif. Face à un tel risque, il est nécessaire de reconceptualiser la vision de la «responsabilité éthique» afin de repenser notre propre position et complicité et de faire place à l’existence de l’Autre qui raconte. Ainsi, tout en regroupant les récits provenant de et sur les camps de réfugiés, la «littérature des camps de réfugiés» rejette souvent l’attribution habituelle d’étiquettes toutes faites telles que «victimes», «sujets jetables» ou «émissaires sans voix» aux réfugiés et dévoile leur engagement politique et leur participation active à (re)façonner leur propre vie.En outre, des aspects thématiques particuliers explorés dans les chapitres permettent une utilisation provisoire du terme «littérature des camps de réfugiés». Ces affinités thématiques comprennent, entre autres, l’aspect de «l’attente», lorsque la vie des réfugiés semble se figer dans le temps, le présent et l'avenir. Une autre caractéristique de la «littérature des camps de réfugiés» est la capacité des réfugiés à se réinventer lorsque le camp devient «un lieu de nouveaux départs» (Simon Turner, 2015, 1). Ainsi, malgré la précarité de la vie, iiune autre similitude thématique, dans les camps de réfugiés, les habitants des camps de réfugiés font preuve de stratégies de survie qui leur redonnent l’humanité qui leur a presque été retirée par la déshistorisation et la dépolitisation systémiques. La dépolitisation, nous dit Simon Turner, «crée son propre contraire : l’hyper-politisation» (Turner, 7), autre résultat thématique crucial. En conséquence, ma thèse vise à participer à la compréhension du «processus continu par lequel une partie de notre planète commune est aujourd’hui mise en quarantaine» (Michel Agier, 2006:3). Mon intention est d’examiner l’espace spécifique d’où émerge la littérature des camps de réfugiés et comment un tel espace liminal peut affecter des formes et des stratégies spécifiques de narration du soi. À cette fin, mon premier chapitre distingue le roman de Dave Eggers, What Is the What: The Autobiography of Valentino Achak Deng(2006), de la tradition d'écriture de la vie humanitaire dans laquelle il s’est inscrit. Dans ce chapitre, j’étudie le camp comme un espace géographiquement délimité, exclu/exceptionnel. J’essaie de comprendre la gouvernance humanitaire du camp et son implication politique. Mon deuxième chapitre étudie le roman d’Elias Khoury, Gate of the Sun(2006) et son interprétation cinématographique réalisée par Yousry Nasrallah (2004). Ici, je m’éloigne du camp comme espace purement physique limité pour étudier le camp comme un espace où les habitants s’interrogent sur leur existence et résistent à leur réalité confinée et à leur capacité acquise de se réinventer à l’infini. Le troisième chapitre propose une nouvelle lecture du roman de Dionne Brand, What We All Long For (2005), car il problématise la différenciation systémique entre la figure du réfugié et celle du migrant. Dans un second temps, il suit la fissure dans le récit (les sections Quy) d’où le réfugié émerge comme une figure excessive.
My dissertation undertakes a critical assessment of and accounting for what I call “refugee camp literature” as both a cultural commodity and a literary and interdisciplinary genre on its own terms. Taxonomically, the appellation “refugee camp literature” runs the risk of falling in the very homogenizing discourse, that conflates the different accounts of the lives of the refugees, it is countering. Categorizing the selected narratives as a literary genre discloses the elusiveness of such an endeavor because the narratives themselves oscillate between various genres (Humanitarian life writing, testimonies, postcolonial bildungsroman, etc.) and such a genre is, given its political context, rather transgressive. Facing such a risk, a reconceptualization of one’s view of ‘ethical responsibility’ is needed in order to rethink our own subject-position and complicity and to make room for the Other that narrates to exist. Thus, while grouping narratives from and about refugee camps, “refugee camp literature” often dismisses the mainstream allocation of ready-made labels such as “victims,” “disposable subjects” or “speechless emissaries” to the refugees and unveils their political engagement and active participation in (re)shaping their own lives. Furthermore, particular thematic aspects explored in the chapters allow for a provisional use of the term “refugee camp literature.” These thematic affinities include, inter alia, the aspect of “waiting,” when the lives of the refugees seem to freeze in time, present and future. Another defining feature of the “refugee camp literature” is the refugees’ ability to reinvent themselves as the camp becomes “a place of new beginnings” (Simon Turner, 2015, 1). Thus, despite the precarity of life, another thematic similitude, in the refugee camps, the refugee camp dwellers exhibit survival strategies that grant them back the humanity almost stripped from them through systemic dehistorization and depoliticization. Depoliticization, Simon Turner tells us, “creates its own opposite: hyper-politicization,” (Turner, 7) which is another crucial thematic upshot. Accordingly, iv my dissertation aims at participating in the understanding of the ongoing “process by which a section of our common planet is today being put in quarantine” (Michel Agier, 2006:3). My intent is to look at the specific space from which refugee camp literature emerges and how such a liminal space may affect specific forms and strategies of narrating the self. To this aim, my first chapter distinguishes Dave Eggers’ novel What Is the What: The Autobiography of Valentino Achak Deng (2006) from the humanitarian life writing tradition it has been inscribed into. In this chapter, I study the camp as a geographically demarcated excluded/exceptional space. I try to understand the humanitarian governance of the camp and its political implication. My second chapter studies Elias Khoury’s novel Gate of the Sun (2006) and its cinematic rendition directed by Yousry Nasrallah (2004). Here, I move a step further from the camp as a purely physical limited space to study the camp as space where the dwellers question their existence and resist their confining reality and their acquired ability to infinitely reinvent themselves. The third chapter offers yet another reading of Dionne Brand’s novel What We All Long For (2005) as it problematizes the systemic differentiation between the figure of the refugee and that of the migrant. Then, it follows the crack in the narrative (the Quy sections) from which the refugee emerges as an excessive figure.

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15

Gonthier, Chloé. "Trauma, hybridity, and creolization in Edwidge Danticat’s Breath, eyes, memory and The dew breaker". Thesis, 2020. http://hdl.handle.net/1866/24188.

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Breath, Eyes, Memory (1994) de l’autrice Edwidge Danticat relate l’histoire de Sophie, une jeune femme Haïtienne qui quitte Croix-Des-Rosets pour New York où elle rejoint sa mère biologique, Martine. Le récit et le passage à l’âge adulte de Sophie sont une exploration de l’acculturation, de la violence politique, et des abus sexuels intergénérationnels auxquels le personnage fait face. The Dew Breaker (2004), un roman divisé en plusieurs nouvelles, raconte les récits de différents personnages dont les vies s’entrecroisent sous les dictatures de François et Jean-Claude Duvalier. Ce texte explore la multiplicité des perspectives étant les résultats directs d’une politique de terreur et de ses effets sur le long-terme sur les différents personnages. Au centre se trouve deux personnages : Ka Bienaimé, une jeune Haïtiano-Américaine qui idéalise la figure paternelle qu’elle perçoit comme une victime du régime dictatorial de Duvalier, et son père, un immigrant Haïtien qui cache son passé de ‘dew breaker’, un Tonton Macoute, qui travaille comme agent d’exécution violent de la dictature. Ces deux romans décrivent les dommages psychologiques, interpersonnels et culturels causés par la violence d’un régime autoritaire. Dans ce mémoire, mon intention est d’analyser comment Danticat utilise les personnages de Sophie et Ka pour enquêter sur des questions relatives au trauma et aux trahisons émotionnelles. Mon étude soutient que dans ces textes, l’autrice crée un espace où les notions d’hybridité et de créolisation se mélangent et donnent naissance à de nouvelles formes de discours. Plus particulièrement, j’offre que la langue Créole aide le lecteur à "come to a better understanding of the cultural, physical, and the historical realities of Haiti" (Sarthou 20). En reconnaissant leurs traumatismes passés comme faisant partis intégrants de leurs êtres, les personnages de Danticat gagnent en autorité et choisissent de confronter leur passé. Ce mémoire sera divisé en trois chapitres. Dans un premier temps, j’explore comment l’hybridité et le langage Créole créent un espace pour articuler de nouvelles formes d’identité. Dans un second temps, j’examine comment l’autrice utilise Breath, Eyes, Memory pour redéfinir la mémoire et les traditions. Dans un troisième chapitre, j’analyse comment The Dew Breaker entremêle les notions de violence, les souvenirs et le pardon pour interroger le potentiel d’une guérison émotionnelle.
Edwidge Danticat's Breath, Eyes, Memory (1994) tells the story of Sophie Caco, a young Haitian girl who moves from Croix-Des-Rosets, Haiti, to New York City to reunite with Martine, her birth mother. Her coming-of-age-narrative becomes an exploration of cultural displacement, political violence, and intergenerational sexual abuse. The Dew Breaker (2004), a novel as short stories, recounts the tales of different characters whose lives intersect under the Haitian regimes of both François and Jean-Claude Duvalier. The text explores a multiplicity of perspectives representing the long-term effects of political terror on a host of characters. At their center are Ka Bienaimé, a young Haitian-American woman, who has idealized her father, whom she has perceived as a victim of the Duvalier regime, and her father, a Haitian immigrant hiding his past as a dew breaker, a Tonton Macoute, working as a violent enforcer of the dictatorship. Both novels depict the psychological, interpersonal, and cultural damage caused by the violence of an authoritarian regime. In my thesis, I investigate how Danticat uses the characters of Sophie and Ka to interrogate questions related to trauma and emotional betrayal. My study argues that in these texts the author creates a space where notions of hybridity and creolization mingle and give birth to new forms of discourse. More particularly, I provide an account of how the Creole language helps the reader to "come to a better understanding of the cultural, physical, and the historical realities of Haiti" (Sarthou 20). In acknowledging the traumatic experiences of their past as part of themselves, Danticat’s characters exercise agency by choosing to address the past. I will thus divide my thesis in three chapters. In Chapter One, I explore hybridity and creolized language as a space to articulate new forms of identity. In my second chapter, I examine how the author uses Breath, Eyes, Memory to reformulate memory and reclaim tradition. In Chapter Three, I analyze how The Dew Breaker interweaves explorations of violence, remembrance, and forgiveness to interrogate the potential for emotional healing.

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16

Bolintineanu, Ioana Alexandra. "Towards A Poetics of Marvellous Spaces in Old and Middle English Narratives". Thesis, 2012. http://hdl.handle.net/1807/35062.

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From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

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17

Hannachi, Madiha. "Variations on charisma : Shakespeare's saintly, villain, and lustful leaders". Thèse, 2010. http://hdl.handle.net/1866/4528.

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Variations on Charisma: Shakespeare’s Saintly, Villain, and Lustful Leaders est une étude des mécanismes du leadership charismatique dans Henry V, Richard III et Antoine et Cléopâtre de William Shakespeare, respectivement. Le mémoire explore certains outils, tels que la rhétorique, l'ironie et resignification, qui permettent aux dirigeants de gagner l'amour des disciples, la reconnaissance, et même la crainte. Cette thèse ne traitera pas avec l'essence du charisme en tant que telle, mais plutôt avec les techniques de leadership charismatique. Dans le premier chapitre, j'ai étudié le caractère du roi Harry dans trois différents aspects: en tant que chef militaire, en tant que chef spirituel, et comme un leader politique. Parmi les techniques de leadership charismatique qui déploie Henry V de gagner l'amour de ses disciples et de dévouement est rhétorique. La capacité de livrer le discours à droite dans la conjoncture à droite et à convaincre les adeptes, même dans les moments de difficultés formes sa force clé comme une figure centrale dans la pièce. Le deuxième chapitre traite du leadership charismatique Richard III, qui est évaluée sur le plan éthique parce qu'elle est acquise grâce à assassiner. J'ai essayé d'examiner les relations possibles qui pourraient exister entre le charisme et l'agence moral. Dans ce chapitre, j'ai soulevé des questions sur la mesure dans laquelle le charisme est d'ordre éthique et comment un chef de file, qui usurpes alimentation via assassiner, est charismatique. Une technique qui renforce le leadership charismatique de Richard est l'ironie. Richard III déploie l'ironie de gagner la complicité du public. Dans le troisième chapitre, l'accent est mis sur le caractère de Cléopâtre. La question soulevée dans le chapitre concerne la relation entre le charisme et la lutte pour une identité féminine orientale. politique sexuelle de Cléopâtre est également au cœur de mon étude, car il est revu et de nouveaux sens de Shakespeare d'une manière qui souligne les qualités charismatiques de Cléopâtre. Mots clés: le charisme, la rhétorique, l'agence morale, resignification, William Shakespeare
Variations on Charisma: Shakespeare’s Saintly, Villain, and Lustful Leaders is an investigation of the mechanisms of charismatic leadership in Shakespeare’s Henry V, Richard III, and Antony and Cleopatra respectively. It explores certain tools, such as rhetoric, irony, and resignification, which allow the leaders to gain the followers’ love, recognition, and even awe. This thesis will not deal with the essence of charisma as such but rather with the techniques of charismatic leadership. In the first chapter, I have studied the character of King Harry in three different aspects: as a military leader, as a spiritual leader, and as a political leader. Among the techniques of charismatic leadership which Henry V deploys to gain his followers’ love and devotion is rhetoric. The ability to deliver the right discourse in the right conjuncture and to persuade the followers even in the moments of hardship forms his key strength as a central figure in the play. The second chapter deals with Richard III’s charismatic leadership which is assessed ethically because it is gained through murder. I have tried to examine the possible relations that might exist between charisma and moral agency. In this chapter, I have raised questions about the extent to which charisma is ethical and how a leader, who usurpes power via murder, is charismatic. One technique which reinforces Richard’s charismatic leadership is irony. Richard III deploys irony to gain the audience’s complicity. In the third chapter, the focus is on the character of Cleopatra. The question raised in the chapter concerns the relationship between charisma and the struggle for an oriental feminine identity. Cleopatra’s sexual politics is also at the heart of my study because it is revisited and resignified by Shakespeare in a way that highlights Cleopatra’s charismatic qualities. Key words: charisma, rhetoric, moral agency, resignification, William Shakespeare

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18

Matusiak, Christopher M. "The Beestons and the Art of Theatrical Management in Seventeenth-century London". Thesis, 2009. http://hdl.handle.net/1807/19203.

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This dissertation examines three generations of the Beeston family and its revolutionary impact on the developing world of seventeenth-century London theatre management. Like other early modern businesses, the Beeston enterprise thrived on commercial innovation, the strategic cultivation of patronage, and a capacity to perpetuate itself dynastically. England’s mid-century political crisis disrupted the family’s commercial supremacy but its management system would endure as the de facto standard structuring successful theatre business long after the Restoration. Following a critical introduction to the early history of theatrical management, the thesis’s four chapters chart the creation and institution of the Beeston management model. Chapter One examines the early career of Christopher Beeston, a minor stageplayer from Shakespeare’s company in the 1590s who set out ambitiously to reshape theatrical management at Drury Lane’s Cockpit playhouse in 1616. Chapter Two analyzes Beeston’s later career, particularly his unique appointment as “Governor” of a new royal company in 1637. New evidence suggests that the office was a reward for service to the aristocratic Herbert family and that traditional preferment was therefore as important as market competition to the creation of the Caroline paradigm of autocratic theatrical “governance.” Chapter Three explores the overlooked career of Elizabeth Beeston who, upon inheriting the Cockpit in 1638, became the first woman in English history to manage a purpose-built London theatre. New evidence concerning her subsequent husband, Sir Lewis Kirke, an adventurer to Canada, ship-money captain, and Royalist military governor, indicates political ideology motivated their joint effort to keep the Beeston playhouse open during the civil wars. Chapter Four addresses the question of why the larger Beeston enterprise eventually collapsed even as the management system it refined continued to support later theatrical entrepreneurs. During the Interregnum, contemporaries anticipated that William and George Beeston, Christopher’s son and grandson, would eventually dominate a renascent London stage; however, managers such as William Davenant and Thomas Betterton ultimately adapted the Beeston system more efficiently to the political environment after 1660. Thereafter, exhausted patronage, lost assets, and the abandonment of family tradition marked the end of the Beestons’ influential association with the London stage.

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19

Bernard, Jean-François. "No Laughing Matter: Shakespearean Melancholy and the Transformation of Comedy". Thèse, 2013. http://hdl.handle.net/1866/10104.

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Mon projet de thèse démontre le rôle essentiel que tient la mélancolie dans les comédies de Shakespeare. J’analyse sa présence au travers de multiples pièces, des farces initiales, en passant par les comédies romantiques, jusqu’aux tragicomédies qui ponctuent les dernières années de sa carrière. Je dénote ainsi sa métamorphose au sein du genre comique, passant d’une représentation individuelle se rapportant à la théorie des humeurs, à un spectre émotionnel se greffant aux structures théâtrales dans lesquelles il évolue. Je suggère que cette progression s’apparent au cycle de joie et de tristesse qui forme la façon par laquelle Shakespeare dépeint l’émotion sur scène. Ma thèse délaisse donc les théories sur la mélancolie se rapportant aux humeurs et à la psychanalyse, afin de repositionner celle-ci dans un créneau shakespearien, comique, et historique, où le mot « mélancolie » évoque maintes définitions sur un plan social, scientifique, et surtout théâtrale. Suite à un bref aperçu de sa prévalence en Angleterre durant la Renaissance lors de mon introduction, les chapitres suivants démontrent la surabondance de mélancolie dans les comédies de Shakespeare. A priori, j’explore les façons par lesquelles elle est développée au travers de La Comedie des Erreurs et Peines d’Amour Perdues. Les efforts infructueux des deux pièces à se débarrasser de leur mélancolie par l’entremise de couplage hétérosexuels indique le malaise que celle-ci transmet au style comique de Shakespere et ce, dès ces premiers efforts de la sorte. Le troisième chapitre soutient que Beaucoup de Bruit pour Rien et Le Marchand de Venise offrent des exemples parangons du phénomène par lequel des personnages mélancoliques refusent de tempérer leurs comportements afin de se joindre aux célébrations qui clouent chaque pièce. La mélancolie que l’on retrouve ici génère une ambiguïté émotionnelle qui complique sa présence au sein du genre comique. Le chapitre suivant identifie Comme il vous plaira et La Nuit des Rois comme l’apogée du traitement comique de la mélancolie entrepris par Shakespeare. Je suggère que ces pièces démontrent l’instant où les caractérisations corporelles de la mélancolie ne sont plus de mise pour le style dramatique vers lequel Shakespeare se tourne progressivement. Le dernier chapitre analyse donc Périclès, prince de Tyr et Le Conte d’Hiver afin de démontrer que, dans la dernière phase de sa carrière théâtrale, Shakespeare a recours aux taxonomies comiques élucidées ultérieurement afin de créer une mélancolie spectrale qui s’attardent au-delà des pièces qu’elle hante. Cette caractérisation se rapporte aux principes de l’art impressionniste, puisqu’elle promeut l’abandon de la précision au niveau du texte pour favoriser les réponses émotionnelles que les pièces véhiculent. Finalement, ma conclusion démontre que Les Deux Nobles Cousins représente la culmination du développement de la mélancolie dans les comédies de Shakespeare, où l’incarnation spectrale du chapitre précèdent atteint son paroxysme. La nature collaborative de la pièce suggère également un certain rituel transitif entre la mélancolie dite Shakespearienne et celle développée par John Fletcher à l’intérieure de la même pièce.
My dissertation argues for a reconsideration of melancholy as an integral component of Shakespearean comedy. I analyse its presence across the comic canon, from early farcical plays through mature comic works, to the late romances that conclude Shakespeare’s career. In doing so, I denote its shift from an individual, humoural characterization to a more spectral incarnation that engrains itself in the dramatic fabric of the plays it inhabits. Ultimately, its manifestation purports to the cyclical nature of emotions and the mixture of mirth and sadness that the aforementioned late plays put forth. The thesis repositions Shakespearean melancholy away from humoural, psychoanalytical and other theoretical frameworks and towards an early modern context, where the term “melancholy” channels a plethora of social, scientific, and dramatic meanings. After a brief overview of the prevalence of melancholy in early modern England, the following chapters attest to the pervasiveness of melancholy within Shakespeare’s comic corpus, suggesting that, rather than a mere foil to the spirits of mirth and revelry, it proves elemental to comic structures as an agent of dramatic progression that fundamentally alters its generic make-up. I initially consider the ways in which melancholy is developed in The Comedy of Errors and Love’s Labor’s Lost, as an isolated condition, easily dismissible by what I refer to as the symmetrical structure of comic resolution. In both plays, I suggest, the failure to completely eradicate melancholy translates into highly ambiguous comic conclusions that pave the way for subsequent comic works, where melancholy’s presence grows increasingly cumbersome. Chapter three reads Much Ado about Nothing and The Merchant of Venice as prime dramatic examples of the phenomenon by which prominent comic characters not only fail to offer a clear cause for their overwhelming melancholy, but refuse to mitigate it for the benefit of the plays at hand. The melancholy found here creates emotional loose ends from which a sense of malaise that will take full effect in later comedies emanates. In the next chapter, As You Like It and Twelfth Night are held as a landmark in Shakespeare’s treatment of comic melancholy. The chapter suggests that these plays complete the break from individual melancholic characterization, which no longer seem suitable to the comic style towards which Shakespeare progressively turns. Consequently, the final chapter undertakes an analysis of Pericles and The Winter’s Tale to demonstrate the fact that, in his concluding dramatic phase, Shakespeare returns to the comic taxonomies of melancholy in order to foster more forceful, lingering emotional impacts as a form of dramatic impressionism, a relinquishing of details in favour of more powerful emotional responses. In a brief coda, I read The Two Noble Kinsmen as the culmination of the dramatic treatment in melancholy in Shakespeare, where the spectral wistfulness that characterized the late plays reaches a breaking point. I suggest that the play bears witness to a passing of the torch, as it were, between the Shakespearean dramatization of melancholy and the one propounded by Fletcher, which was to become the norm within subsequent seventeenth-century tragicomic works.

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20

Castravelli, Lianne C. "Building Beyond Limits : Fantastic Collisions Between Bodies and Machines in French and English Fin-de-Siècle Literature". Thèse, 2012. http://hdl.handle.net/1866/9691.

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«Construire hors limite: collisions fantastiques entre corps et machines dans la littérature fin-de-siècle française et anglaise» explore un ensemble de textes qui ont surgi à la fin du dix-neuvième siècle en réponse et en réaction à la fulgurante évolution de l’environnement scientifique et technologique, et qui considèrent la relation entre l’homme et la machine en fantasmant sur la zone grise où ils s’intersectent. Les principaux textes étudiés comprennent L’Ève future de Villiers de l’Isle-Adam, Le Surmâle d’Alfred Jarry, Trilby de George Du Maurier, Le Château des Carpathes de Jules Verne, ainsi qu’une sélection de contes dont nous pouvons qualifier de «contes à appareils», notamment «La Machine à parler» de Marcel Schwob. Utilisant la théorie des systèmes comme base méthodologique, cette dissertation cherche à réinterpréter les textes de la fin du dix-neuvième siècle qui naviguent les limites de l’humain et du mécanique et les surfaces sensibles où ils se touchent et interagissent en les réinscrivant dans un projet plus vaste de construction d’identité qui défie le temps chronologique et les échelles mathématiques. Le lien entre la théorie des systèmes et l’architecture – comme méthode d’organisation d’espace blanc en espace habitable – est exploré dans le but de comprendre la manière dont nous façonnons et interprétons le néant à l’origine de l’identité individuelle, et par association collective, en pratiquant littéralement la schématisation et la construction du corps. Des auteurs tels Villiers et Jarry imaginent la construction du corps comme une entreprise scientifique nécessairement fondée et réalisée avec les matériaux et les technologies disponibles, pour ensuite démanteler cette proposition en condamnant le corps technologique à la destruction. La construction d’une identité amplifiée par la technologie prend donc des proportions prométhéennes perpétuellement redessinées dans des actes cycliques de rasage (destruction) et d’érection (édification), et reflétées dans l’écriture palimpsestique du texte. L’intégrité du corps organique étant mis en question, le noyau même de ce que signifie l’être (dans son sens de verbe infinitif) humain pourrait bien s’avérer, si l’on considère la correspondance entre perte de voix et état pathologique dans les textes de Du Maurier, Verne et Schwob, être une structure des plus précaires, distinctement hors sens (unsound).
“Building Beyond Limits: Fantastic Collisions Between Bodies and Machines in French and English Fin-de-Siècle Literature” explores late-nineteenth-century texts that emerged in response, or in reaction to, the rapidly evolving scientific and technological environment and which specifically consider man’s relationship to the machine by fantasizing about the grey area where they intersect. The core texts examined include Villiers de l’Isle-Adam’s L’Ève future, Alfred Jarry’s Le Surmâle, George Du Maurier’s Trilby, Jules Verne’s Le Château des Carpathes, and a selection of short stories which we may refer to as contes à appareils, most prominently Marcel Schwob’s “La Machine à parler.” Using systems theory as its underlying structure, this dissertation sets out to reinterpret late-nineteenth-century texts that navigate the limits of the human and the mechanical and the sensitive surfaces where they touch and interact by re-inscribing them into a greater project of identity-building that defies chronological time and mathematical scale. As such, the connection between systems theory and architecture – as a method of organizing blank space into space that is inhabitable – is explored in order to understand the way in which we shape and make sense of the void at the origin of individual, and by extension collective, identity by engaging in the literal act of body mapping and building. Authors such as Villiers and Jarry set up the building of bodies as a scientific endeavor which must necessarily rely on available materials and technologies only to level this proposition by condemning the technological body to destruction. The construction of a technologically-enabled identity thus takes on promethean proportions which are perpetually redesigned in the cyclical acts of raising and razing, and reflected in the palimpsestic qualities of the texts. At stake is the integrity of the organic body, of the very nucleus of what it means to be human which, as evidenced by the equating of pathology with the loss of voice in the texts of Du Maurier, Verne and Schwob, may very well prove to be a structure which is distinctly unsound.

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Lanpher, Ann. "The Problem of Revenge in Medieval Literature: Beowulf, The Canterbury Tales, and Ljósvetninga Saga". Thesis, 2010. http://hdl.handle.net/1807/24360.

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This dissertation considers the literary treatment of revenge in medieval England and Iceland. Vengeance and feud were an essential part of these cultures; far from the reckless, impulsive action that the word conjures up in modern minds, revenge was considered both a right and a duty and was legislated and regulated by social norms. It was an important tool for obtaining justice and protecting property, family, and reputation. Accordingly, many medieval literary works seem to accept revenge without question. Many, however, evince a great sensitivity to the ambiguities and paradoxes inherent in an act of revenge. In my study, I consider three works that are emblematic of this responsiveness to and indeed, anxiety about revenge. Chapter one focuses on the Old English poem Beowulf; chapter two moves on to discuss Chaucer’s Reeve’s Tale and Tale of Melibee from the Canterbury Tales; and chapter three examines the Old Icelandic family saga, Ljósvetninga saga. I focus in particular on the treatment of the avenger in each work. The poet or author of each work acknowledges the perspective of the avenger by allowing him to express his motivations, desires, and justifications for revenge in direct speech. Alongside this acknowledgement, however, is the author’s own reflection on the risks, rewards, and repercussions of the avenger’s intentions and actions. The resulting parallel but divergent narratives highlight the multiplicity of viewpoints found in any act of revenge or feud and reveal a fundamental ambivalence about the value, morality, and necessity of revenge. Each of the works I consider resists easy conclusions about revenge in its own context and remains incredibly current in the way it poses challenging questions about what constitutes injury, punishment, justice, and revenge in our own time.

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Butler, Emily Elisabeth. "Textual Community and Linguistic Distance in Early England". Thesis, 2010. http://hdl.handle.net/1807/24696.

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This dissertation examines the function of textual communities in England from the early Middle Ages until the early modern period, exploring the ways in which cultures and communities are formed through textual activities other than writing itself. I open by discussing the characteristics of a textual community in order to establish a new understanding of the term. I argue that a textual community is fundamentally based on activity carried out in books and that perceptions of linguistic distance stimulate this activity. Chapter 1 investigates Bede (c. 673–735) and his interest in multilingualism, coupled with his exploration of the boundaries between the written and spoken forms of English. Picking up on an element of Bede's work, I argue in Chapter 2 that Alfred (r. 871–899) and his grandson Æthelstan (r. 924/5–939) found new ways to make textuality the defining quality of the emerging West Saxon kingdom. In Chapter 3, I focus on the intralingual distance in the textual community surrounding the works of Ælfric (c. 950–1010) and Wulfstan (d. 1023). I also discuss the role of contemporary or near-contemporary manuscript use in forming a textual community at the intersection of ecclesiastical and political power. In Chapter 4, I examine the activities of a textual community in the West Midlands in the twelfth and thirteenth centuries. By glossing Old English texts and rethinking English orthography, this textual community both renewed the work of Anglo-Saxon writers and enabled the activity I discuss in Chapter 5. Chapter 5 argues for a more constructive rationalization of the curatorial and editorial activities of Matthew Parker (1504–1575) than has been presented hitherto. I argue that Parker's cavalier methods of conserving and editing his books in fact represent responses to the textual models he found in those manuscripts. An appendix presents the text and translation of the preface to Parker's edition of Asser's Life of King Alfred. I close with a discussion of the production and use of books, followed by an illustration of the ongoing importance of textual community in England by highlighting the layers of use in a single manuscript (Oxford, Bodleian Library, MS Hatton 20) that links together the chapters of this dissertation.

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Vézina, Marie-Ève. "Faith lost and regained : the evolution of Anne Rice's critique of christianity in The Vampire Chronicles". Thèse, 2009. http://hdl.handle.net/1866/3704.

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Ce mémoire réunit trois romans de la série Les Chroniques de vampires de la populaire écrivaine américaine Anne Rice (The Vampire Lestat, Memnoch the Devil et Blood Canticle) afin d'étudier l'évolution de sa critique de la religion à travers l'écriture. Une analyse précise et complète de Lestat de Lioncourt, le personnage principal de la série, est faite afin de mieux comprendre l'impact de la transformation spirituelle du protagoniste sur l'ensemble de l'oeuvre de Rice. Dans The Vampire Lestat, le rejet de toute forme de croyances religieuses de la part de Lestat ainsi que la déconstruction et l'érotisation de rituels religieux traditionnels reflètent l'influence de l'athéisme. Memnoch the Devil représente la transition entre le refus de croire de Lestat et son retour subséquent à la religion catholique. Finalement, Blood Canticle symbolise le retour vers la foi du protagoniste et de l'auteur, en plus de marquer la fin des Chroniques de vampires de Rice. L'analyse s'inspire d'éléments biographiques afin de démontrer l'importance de la religion dans les récits de Rice, sans toutefois considérer ses romans comme des autobiographies.
This thesis brings together three of Anne Rice's novels from The Vampire Chronicles series – The Vampire Lestat, Memnoch the Devil and Blood Canticle – in order to study the evolution of her critique of religion in her writing. A precise and complete examination of Lestat de Lioncourt, the series' main protagonist, allows the reader to better understand the impact of his spiritual transformation on Rice's literary career as a whole. In The Vampire Lestat, Lestat's rejection of religious beliefs as well as the deconstruction and eroticization of traditional religious rituals hint at the influence of atheism. Memnoch the Devil represents the transition between Lestat's refusal to believe in religion and his subsequent return to the Catholic faith. Finally, Blood Canticle symbolizes both the protagonist's and the writer's return to the faith, in addition to the conclusion of Rice's Vampire Chronicles. The analysis uses elements from Rice's biography to indicate religion's importance in her works without considering these novels as autobiographies.

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Mehta, Bijalpita. ""Unchaste" Goddesses, Turbulent Waters: Postcolonial Constructions of the Divine Feminine in South Asian Fiction". Thesis, 2010. http://hdl.handle.net/1807/26298.

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This dissertation explores the presence of the divine feminine in Indic river myths of the Ganga, the Narmada, and the Meenachil as represented in the three novels: Amitav Ghosh’s The Hungry Tide, Gita Mehta’s A River Sutra, and Arundhati Roy’s The God of Small Things. It challenges masculinist nationalistic narratives, and identifies itself as a feminist revisionist work by strategically combining Indian debates on religious interpretations with Western phenomenological and psychoanalytical perspectives to open up productive lines of critical enquiry. I argue that the three postcolonial novelists under survey resurrect the power of the feminine by relocating this power in its manifestation as the turbulent and indomitable force of three river goddesses. In their myths of origin, the goddesses are “unchaste,” uncontainable, and ambiguous. Yet, Mahatma Gandhi and the Indian patriarchy manipulated and coerced women for their political purposes. They denied female agency in order to promote a brand of nationalism bordering on religious zeal and subjugation through imposed paradigms of chastity. The patriarchy conflated the imaginary chastity of the mother goddess in her multiple manifestations--including but not limited to the River Ganga--with the exalted position forced upon the young Indian widow. Popular art of the colonial period in India dismantled the irrepressible sexual ambiguity of the divine feminine for the Indian population, and reinvented her as a chaste, mother figure (Bharat Mata, or Mother India), desexualized her, and held her up as an iconic, pervasive figurehead of the Motherland. Ironically though, the makeover of the uncontrollable, “chaotic” feminine into this shackled entity during and after the Indian freedom struggle is just the kind of ambiguity that appears in discourses of nation building. By reaffirming the archaic myths of the feminine, Ghosh, Mehta, and Roy dislodge the colonial project and the patriarchal Indian independence movement that sought to “chastise” the divine feminine. I suggest that in these three novels pre-colonial images of the river goddesses--presented in all their ambiguous, multiple, and fluid dimensions--are a challenge to the Indian nationalist project that represents the goddesses one dimensionally as an iconic figure, unifying the geo-body of India and symbolically projecting her as the pure, homogenous Bharat Mata.

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Lor, Prathna. "Queering the Cross-Cultural Imagination: (Trans)Subjectivity and Wilson Harris's The Palace of the Peacock". Thèse, 2013. http://hdl.handle.net/1866/10004.

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Ce mémoire comprend deux volets : une étude théorique et un texte de création littéraire. Dans un premier temps, il s’agir d’étudier le rôle du désir dans la démarche thématique et philosophique employée par l’écrivain Wilson Harris dans son roman The Palace of the Peacock. Ainsi démonterons-nous dans le premier chapitre que Harris se sert – de façon paradoxale – du désir empirique pour faire valoir les limites mêmes de celui-ci. Nous aborderons dans le deuxième chapitre le rapport problématique qu’entretient, chez Harris, la subjectivité féminine avec la subjectivité masculine. En particulier, nous examinerons la représentation de ce rapport sous la forme de métaphores ayant trait à l’environnement et à l’anatomie. Nous avancerons que le caractère problématique que revêt le rapport entre subjectivités féminine et masculine dans le roman est en quelque sorte nécessitée par l’écriture même de Harris. Dans le troisième chapitre, nous prendrons part aux débats sur la poétique qui animent la littérature contemporaine afin de situer notre propre élan vers la création littéraire. En même temps, nous entreprendrons une tentative de récupération de certains des concepts théoriques formulés par Harris, en lien avec notre propre poétique. S’ensuivra notre projet de création littéraire, intitulé HEROISM/EULOGIES, qui constitue le quatrième et dernier chapitre du mémoire. Ce texte, extrait d’un projet d’écriture créative plus vaste, trace les mouvements d’un certain nombre de sujets à travers une Amérique imaginée.
This study contains two parts: a theoretical component and a literary text. The theoretical component discusses desire as a thematic and philosophical methodology in Wilson Harris’s The Palace of the Peacock. Chapter one argues that Harris paradoxically makes use of forms of empirical desire to demonstrate its epistemological limits. Chapter two discusses the problematic situation of female subjectivity in relation to male subjects, through environmental and anatomic metaphors, which Harris’s writing necessitates. Chapter three discusses contemporary poetics in order to situate my impetus for literary writing and attempts to salvage some of Harris’s theoretical concepts in dialogue with my own poetics. Chapter four contains the creative writing project, HEROISM/EULOGIES—an excerpt from a larger project—that charts the movement of various subjects across an imagined American landscape.

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Hachaichi, Ihsen. "Eye and Ear in Wordsworth's Poetry". Thèse, 2013. http://hdl.handle.net/1866/9864.

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Cette thèse de doctorat porte sur la phénoménologie visuelle et auditive dans la poésie du poète romantique Britannique William Wordsworth. Je soutiens que l’œil, bien qu’il soit usurpateur, joue un rôle fondateur dans le développement de la conscience chez ce poète. L’oreille, quant à elle, souvent présentée comme organe rédempteur, a aussi des imperfections. Ensemble, l’œil et l’oreille, dépassent leurs imperfections respectives et joignent leurs forces dans la construction du poème et, au- delà de cela, à la construction de la conscience du poète.
This thesis is concerned with the visual and aural phenomenology in Wordsworth’s poetry. It places Wordsworth’s aesthetics between the most immediate embodied experience and the most exalted operations of the mind. My contention in the first two chapters is that one way to understand Wordsworth’s ambivalence toward the eye is to consider that visual perception is not a substratum on which imagination is coated or fabricated. Both bodily vision and imagination constitute characteristic and, strictly speaking, necessary ways of seeing. In the third chapter I deal exclusively with the ear, its status as an “organ of vision” as well as its impairments. The fourth chapter concentrates on the notion of synesthesia and delineates how beyond their negativity the eye and the ear contribute evenly to the growth of the poet’s mind.

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Khemakhem, Zied. "Conceptual blending and the mapping of the inner recesses of the mind in Virginia Woolf's The Waves". Thèse, 2013. http://hdl.handle.net/1866/10005.

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Cette étude offre une lecture de The Waves de Virginia Woolf en tant qu’une représentation fictive des “formes exactes de la pensée.” Elle établit le lien entre le récit de The Waves et l’expérience personnelle de l’auteur avec “les voix” qui hantaient son esprit, en raison de sa maladie maniaco-dépressive. La présente étude propose également une analyse du roman inspirée par la théorie de la “fusion conceptuelle:” cette approche narrative a pour but de (1) souligner “la fusion” de l’imagination, des émotions, et de la perception qui constitue l’essence du récit de The Waves, (2) mettre l’accent sur les “configurations mentales” subtilement développées par/entre les voix du récit, en vue de diminuer le semblant de la désorganisation et de l’éparpillement des pensées généré par la représentation de la conscience, (3) permettre au lecteur d’accéder à la configuration subjective et identitaire des différentes voix du récit en traçant l’éventail de leurs pensées “fusionnées.” L’argument de cette dissertation est subdivisé en trois chapitres: le premier chapitre emploie la théorie de la fusion conceptuelle afin de souligner les processus mentaux menant à la création de “moments de vision.” Il décrit la manière dont la fusion des pensées intérieures et de la perception dans les “moments de vision” pourrait servir de tremplin à la configuration subjective des voix du récit. La deuxième section interprète l’ensemble des voix du roman en tant qu’une “société de soi-mêmes.” À l’aide de la théorie de la fusion conceptuelle, elle met l’accent sur les formes de pensée entrelacées entre les différentes voix du récit, ce qui permet aux protagonistes de développer une identité interrelationnelle, placée au plein centre des différentes subjectivités. Le troisième chapitre trace les processus mentaux permettant aux différentes voix du roman de développer une forme de subjectivité cohérente et intégrée. Dans ce chapitre, l’idée de la fusion des différents aspects de l’identité proposée par Fauconnier et Turner est employée pour décrire l’intégration des éléments de la subjectivité des protagonistes en une seule configuration identitaire. D’ailleurs, ce chapitre propose une interprétation du triste suicide de Rhoda qui met en relief son inaptitude à intégrer les fragments de sa subjectivité en une identité cohérente et “fusionnée.”
This dissertation starts with the premise that Virginia Woolf’s The Waves is to be read as a “mind thinking” and as an expression of “the exact shapes” that the mind holds. It establishes the link between Woolf’s experience of writing The Waves and her obsession with the “voices that fly ahead;” i.e. the very voices that used to prey on her mind as a result of her manic-depressive illness. It also offers a reading to the novel inspired by Conceptual Blending Theory: this framework helps (1) account for the “blend” of sensory impressions, feelings, and imaginative thoughts that constitute the essence of The Waves, (2) make up for the dispersed and seemingly fragmented nature of the narrative by emphasizing the various “mental patterns” weaved by/among the mind’s different voices, and (3) enable the reader to pin down a sense of the protagonists’ identities by carefully following their “blended” mental processes. The argument of this dissertation is developed in three chapters: the first chapter uses blending theory to highlight the mental processes that lead to the crystallization of intense “moments of visions.” It shows how a sense of the protagonists’ subjectivities would emerge by virtue of the “patterned” insight gained in those peculiar moments of revelation. The second chapter reads The Waves as a “society of selves.” Using Blending Theory, it emphasizes the “patterned” mental connections weaved among the different voices, which allows them to gain a “situated” or inter-relational form of insight about their own subjectivities. The third chapter follows the mental processes that enable The Waves’ protagonists to construct a stable and coherent sense of identity through the mental integration of different aspects of their subjectivities. In this chapter, Fauconnier and Turner’s notion of “living in the blend” is used to show how, in the course of their subjective development, The Waves’ voices would achieve an overall sense of psychological and identitary “wholeness.” The chapter also accounts for Rhoda’s unfortunate suicide in terms of her inability to continue to live in the very blend of her personal identity.

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Tourki, Mohamed Ali. "The Place of the Gods : Biblical, Tragic, and Humanist Modes in Shakespeare’s Antony and Cleopatra". Thèse, 2013. http://hdl.handle.net/1866/10825.

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Ce mémoire se focalise sur la pièce Antony and Cleopatra de Shakespeare en relation avec la pensée biblique, l’humanisme de la Renaissance et les caractéristiques de la tragédie comme genre littéraire et philosophie grecque. La chute d’Adam et Eve dans la Bible, ainsi que le conflit entre le héros tragique et les dieux, sont deux thèmes qui sont au centre de ce mémoire. Le mythe de la chute d’Adam et Eve sert, en effet, d’un modèle de la chute—et par conséquent, de la tragédie—d’Antoine et Cléopâtre mais aussi de structure pour ce mémoire. Si le premier chapitre parle de paradis, le deuxième évoque le péché originel. Le troisième, quant à lui, aborde une contre-rédemption. Le premier chapitre réfère à l’idée du paradis, ou l’Éden dans la bible, afin d’examiner ce qui est édénique dans Antony and Cleopatra. La fertilité, l’épicuréisme, l’excès dionysien sont tous des éléments qui sont présents dans la conception d’un Éden biblique et Shakespearien. Le deuxième chapitre est une étude sur la tragédie comme genre fondamentalement lié à la pensée religieuse et philosophique des grecs, une pensée qui anime aussi Antony and Cleopatra. Ce chapitre montre, en effet, que les deux protagonistes Shakespeariens, comme les héros tragiques grecs, défient les dieux et le destin, engendrant ainsi leur tragédie (ou ‘chute’, pour continuer avec le mythe d’Adam et Eve). Si le deuxième chapitre cherche à créer des ponts entre la tragédie grecque et la tragédie Shakespearienne, le troisième chapitre montre que le dénouement dans Antony and Cleopatra est bien différent des dénouements dans les tragédies de Sophocle, Euripide, et Eschyle. Examinant la pensée de la Renaissance, surtout la notion d’humanisme, la partie finale du mémoire présente les protagonistes de Shakespeare comme des éternels rebelles, des humanistes déterminés à défier les forces du destin.
This thesis focuses on Shakespeare’s Antony and Cleopatra in relation to biblical thought, Renaissance humanism, and tragedy as a literary genre and Greek philosophy. The fall of Adam and Eve as well as the conflict between the tragic hero and the gods are two themes that are at the center of this work. The myth of the fall of Adam and Eve functions as a model for the fall—and thus the tragedy—of Antony and Cleopatra and is also the very structure of this study. If the first chapter talks about heaven, the second evokes the original sin. The third chapter investigates a ‘counter-redemption’. The first chapter refers to the idea of heaven, or Eden in the Bible, in order to examine the idea of Eden in Antony and Cleopatra. Fertility, Epicureanism, and Dionysian excess are all elements that are present in the conception of a biblical and a Shakespearean Eden. The second chapter is a study of tragedy as a genre fundamentally related to ancient Greek religious thought and philosophy—which is also the case in Antony and Cleopatra. This chapter demonstrates that the two Shakespearean protagonists are indeed similar to Greek tragic heroes, constantly defying gods and fate, thus, engendering their own tragedy (or ‘fall’, to continue with the myth of Adam and Eve). If the second chapter seeks to bridge Greek tragedy and Shakespearean drama, the third, however, shows that the ending in Antony and Cleopatra is different from the endings in plays by Sophocles, Euripides, and Aeschylus. Analyzing the philosophy of the Renaissance, especially the notion of humanism, the final chapter of this work introduces Shakespeare’s protagonists as eternal rebels, humanists who are determined to defy the forces of fortune.

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Lassoued, Nesrine. "Transgression in Matthew Lewis's The Monk and the Fragmentation of the Self". Thèse, 2014. http://hdl.handle.net/1866/11048.

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Agharazi, Hoda. "Why Say No? : Marriage Proposal Rejections in Jane Austen’s Pride and Prejudice and Charlotte Brontë’s Jane Eyre". Thèse, 2019. http://hdl.handle.net/1866/23721.

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Ce mémoire étudie l’objectif des multiples demandes en mariage dans Pride and Prejudice par Jane Austen et Jane Eyre par Charlotte Brontë. Je montrerai que l’inclusion par Austen et Brontë de ces multiples demandes – par Darcy et par Rochester, respectivement – joue un rôle central dans la structure narrative de leurs romans. J’analyserai comment ces auteures présentent à leurs héroïnes des multiples demandes en mariage afin de démontrer le moment approprié pour accepter une telle demande. Ce mémoire contextualisera les choix d’Elizabeth Bennet et de Jane Eyre en engageant en conversation avec plusieurs savants littéraires travaillant sur Austen et Brontë. Le premier chapitre sera consacré à Pride et Prejudice et analysera l’évolution des rapports entre Darcy et Elizabeth. Le deuxième chapitre examinera Jane Eyre et le parcours individuel de Jane en ce qui concerne sa relation avec Rochester. J’examinera également comment chaque auteure démontre que les rôles et stéréotypes des sexes peuvent constituer une menace pour une relation saine ainsi que pour le développement de soi. Au travers de multiples demandes en mariage, Austen et Brontë démontrent l’importance de l’indépendance et l’égalité dans un mariage. Elles démantèlent également les notions traditionnelles de masculinité.
This thesis studies the purpose of multiple marriage proposals in Jane Austen’s Pride and Prejudice and Charlotte Brontë’s Jane Eyre. I will show that Austen’s and Brontë’s inclusion of two proposals – by Darcy and by Rochester, respectively – are central to the narrative structures of their work. I will examine how Austen and Brontë present their heroines with multiple proposals in order to demonstrate the proper moment at which a proposal should be accepted. This thesis will contextualize the choices of Elizabeth Bennet and Jane Eyre by engaging in conversation with several literary scholars who work on Austen and Brontë. The first chapter will be dedicated to Austen’s Pride and Prejudice, and the analysis of Darcy and Elizabeth’s changing relationship. The second chapter will examine Brontë’s Jane Eyre and Jane’s individual journey as it relates to her relationship with Rochester. I will also examine how each author demonstrates how gender roles and stereotypes can serve as a threat to a healthy relationship as well as to one’s own self-development. Through multiple proposals, Austen and Brontë demonstrate the importance of independence and equality in entering a marriage. They also dismantle traditional notions of masculinity.

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Debbiche, Amal. "Social rejection of minority groups and its impacts on the individual's identity and perception of the self : exploring homosexual and racial identities in James Baldwin's Giovanni's room and Just above my head". Thèse, 2014. http://hdl.handle.net/1866/11484.

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Ce mémoire examine la question de la formation de l'identité en tant que procédure compliquée dans laquelle plusieurs éléments interviennent. L'identité d'une personne se compose à la fois d’une identité propre et d’une autre collective. Dans le cas où l’identité propre est jugée sévèrement par les autres comme étant déviante, cela poussera la personne à, ou bien maintenir une image compatible avec les prototypes sociaux ou bien résister et affirmer son identité personnelle. Mon travail montre que l'exclusion et la répression de certains aspects de l'identité peuvent causer un disfonctionnement psychique difficile à surmonter. Par contre, l'acceptation de soi et l’adoption de tous les éléments qui la constituent conduisent, certes après une longue lutte, au salut de l’âme et du corps. Le premier chapitre propose une approche psychosociale qui vise à expliquer le fonctionnement des groupes et comment l'interaction avec autrui joue un rôle décisif dans la formation de l'identité. Des éléments extérieurs comme par exemple les idéaux sociaux influencent les comportements et les choix des gens. Toutefois, cette influence peut devenir une menace aux spécificités personnelles et aux traits spécifiques. Le deuxième chapitre examine la question des problèmes qu’on risque d’avoir au cas où les traits identitaires franchiraient les normes sociales. Nous partons du problème épineux de la quête de soi dans Giovanni's Room de James Baldwin. L'homosexualité de David était tellement refusée par la société qu’elle a engendrée chez lui des sentiments de honte et de culpabilité. Il devait choisir entre le sacrifice des aspects de soi pour satisfaire les paradigmes sociaux ou bien perdre ce qu’il a de propre. David n'arrive pas à se libérer. Il reste prisonnier des perceptions rigides au sujet de la masculinité et de la sexualité. Mon analyse se focalise essentiellement sur l'examen des différents éléments théoriques qui touchent la question du sexe et de la sexualité. Le résultat est le suivant : plus les opinions dominantes sont rigides et fermes, plus elles deviennent une prison pour l’individu. Par contre, plus elles sont tolérantes et flexibles, plus elles acceptent les diversités de l'identité humaine. Dans le dernier chapitre, j'examine la question de la représentation des relations entre les caractères masculins dans Just Above My Head. L'homosexualité est présentée comme un moyen sacré pour exprimer l'amour. Les caractères révèlent leurs sentiments implicitement à travers les chants spirituel tel que le gospel ou bien explicitement à travers la connexion physique. Dans ce roman, Baldwin montre que c'est seulement grâce à la sincérité et à l'amour que l'individu peut atteindre la libération du soi.
The present thesis examines the construction of identity as a complex process in which many factors interact. A person's identity comprises both the personal self and the collective self. Having an aspect of identity that is judged as deviant or devalued will lead to the individual's confusion between maintaining an image that fits social prototypes or embracing his personal identity. My work demonstrates that the exclusion or repression of certain aspects of identity may lead to disconnection from one's inner self. Yet, it is only through self-acceptance and the embracing of all elements of the self that one manages to resist hostility and gain the liberation of the soul and body. In the first chapter, a social psychological approach is employed in order to explain group functioning and the role that group interaction plays in shaping one's identity. External factors like social ideals influence people's behaviors and choices. Therefore, they represent a threat to personal differences and unique traits. The second chapter examines the implications of having an identity that transgresses social norms by exploring David's quest for the self in James Baldwin's Giovanni's Room. David's insecure identity because of his homosexuality fills him with destructive feelings of shame and guilt. I maintain that sacrificing aspects of the self to satisfy social paradigms may cause the loss of the individual's integrated self. David fails in freeing the self which remains imprisoned in fixed internalized perceptions of manhood and male sexuality. I analyse theoretical views about sex and gender that vary from rigid and traditional opinions to more tolerant and universalizing ones that accept possibilities of diversity in human identity. iv In the last chapter, I will examine Baldwin's depiction of male's bonding in Just Above My Head. The characters confront their emotions. Homosexuality is portrayed as a sacred way of expressing love. The characters' feelings are revealed both in gospel singing and in bodily connection. In this novel, Baldwin demonstrates that it is only through sincerity, disclosure and love that one can attain the liberation of the self.

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Ashrafi, Shah Jehan Begum. "The self and its complicated relationship with writing in The Diary". Thèse, 2017. http://hdl.handle.net/1866/19348.

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My thesis presents my novella, The Diary. I explore psychological conflicts that arise in a person when he is not at ease with his way of thinking and acting. My plot depicts the main character Shadi’s inferiority complex, his guilt and his conscience. The twin sister, Shadia, is the other or feminine self in which Shadi, the male writer, mirrors himself since his childhood. Shadi becomes a con man in order to explore themes for his plays through a fraudulent business plan in real life. Shadi’s male ego is something constructed by patriarchy. My approach, in analyzing The Diary, is primarily psychoanalytical. I use The Mad Woman in the Attic by Sandra Gilbert and Susan Gubar, to support my story’s main theme. The male writer in my story imprisons his sister Shadia in his plays as he wants to fight his inferiority complex resulting from his twin sister’s intelligence. Shadia steps out of the male writer’s text to talk to the male author in a state of dissociation. Sigmund Freud’s works contribute in explaining Shadi’s madness. The female writer is the unconscious part of Shadi’s mind. She is his super-ego as she is his conscience. I also use Louis A. Sass’s Madness and Modernism to delve into my male protagonist’s psychosis. Thus, I portray him as someone who seeks “a wakening” (Sass 3) through the loss of reason. Simone de Beauvoir states that the woman is considered to be the Other in The Second Sex. I use the Other in psychosis as a positive concept although it invokes feelings of terror. Harold Bloom’s The Anxiety of Influence helps me to depict my male protagonist’s rebellion against his precursors. Helene Cixous’s “The Laugh of Medusa” explains the importance of l’écriture feminine in Shadi’s poems written in a state of madness.
Ma mémoire présente ma nouvelle «The Diary». J’explore les conflits psychologiques qui surgissent chez une personne lorsqu'il n'est pas à l'aise avec sa façon de penser et d'agir. Mon histoire représente le complexe d'infériorité de Shadi, sa culpabilité et sa conscience. Sa soeur jumelle, Shadia, est le soi de l'écrivain, Shadi. Il se cherche en elle depuis son enfance. Shadi devient un escroc pour explorer des thèmes pour sa nouvelle pièce de théâtre. L'ego de Shadi est une résultante du patriarcat. Dans l'analyse de «The Diary», mon approche est principalement psychanalytique. J'utilise The Mad Woman in the Attic par Sandra Gilbert et Susan Gubar pour soutenir le thème principal de mon histoire. Shadi emprisonne sa soeur Shadia dans ses écrits car il veut se battre contre son complexe d'infériorité provenant de l'intelligence de sa soeur jumelle. Shadia sort du texte de l'écrivain pour parler à l'auteur. Les travaux de Sigmund Freud contribuent à expliquer la démence de Shadi. La soeur est la partie inconsciente de l'esprit de Shadi. Elle est son super-ego alors qu'elle est sa conscience. J'utilise aussi Madness and Modernism de Louis A. Sass pour la étudier la démence de mon protagoniste, Shadi. Simone de Beauvoir déclare que la femme est considérée comme l'autre. J'utilise l'autre en psychose comme un concept positif bien qu'il invoque des sentiments de terreur. The Anxiety of Influence de Harold Bloom m'aide à décrire la rébellion de mon protagoniste masculin contre ses précurseurs. «The Laugh of Medusa» d’Hélène Cixous explique l'importance de l'écriture féminine dans les poèmes de Shadi qui les écrits dans un état de démence.

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Touihri, Hanen. "Deictic shifts and discursive strategies in Othello". Thèse, 2013. http://hdl.handle.net/1866/9657.

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Ce mémoire, “Deictic Shifts and Discursive Strategies in Othello”, est une étude des outils linguistiques et les stratégies utilisées par les différents personnages de la pièce. Il explore la façon dont le texte est construit et les différentes techniques qui le régissent de l'intérieur. Il étudie également l'utilisation de certains outils tels que les déplacements, les références déictiques indexicaux, les actes de langage et la rhétorique, et la façon dont ils permettent aux intervenants d'obtenir des résultats différents en fonction de la situation où ils sont. Ce travail est divisé en trois chapitres: le premier est consacré aux discours publics où je trace les différentes techniques utilisées par les personnages tel que la monopolization de la parole, la défense ou la persuasion de leurs interlocuteurs. Le deuxième chapitre se concentre sur les discours orientés vers une seule personne et montre comment les discours peuvent être utilisés pour avoir un effet sur l’interlocuteur. La première partie de ce chapitre traite de la sémiotique de choc. La deuxième partie est consacrée à la sémiotique de la tromperie et de manipulation. Le dernier chapitre est consacré aux soliloques et met l'accent sur l'écart entre les paroles de Iago et les réponses émotionnelles ainsi que les changements dans la personnalité d'Othello et de l'effet connexe de ces changements sur sa langue.
This thesis, Deictic Shifts and Discursive Strategies in Othello, is a study of the linguistic tools and strategies used by different characters in the play. It explores how the text is built and the different techniques that govern it from within. It also studies the use of certain tools such as deictic shifts, indexical references, speech acts, and rhetoric, and the way they allow the speakers to achieve various results depending on the situation they are in. This thesis is divided into three chapters: the first is dedicated to the public-oriented speeches wherein I trace the different techniques used by the characters to monopolize the conversational floor, defend themselves or convince their addressees. The second chapter focuses on the one-addressee oriented discourses and shows how discourse can be used to have an effect on the addressee. The first part of this chapter deals with the semiotics of shock. The second part is dedicated to the semiotics of deception and manipulation. The last chapter deals with soliloquies and focuses on the discrepancy between Iago’s words and emotional responses as well as the changes in Othello’s personality and the related effect of these changes on his language.

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Ben, Gouider Trabelsi Hajer. "Rethinking community in Dionne Brand’s What we all long for, Ahdaf Soueif’s The map of love, Michael Ondaatje’s Anil’s ghost and Joseph Boyden’s Three day road and through black spruce". Thèse, 2010. http://hdl.handle.net/1866/7074.

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Dans cette thèse, j’ai étudié les alternatives aux communautés normatives proposées dans les romans suivants: What We All Long For de Dionne Brand, The Map of Love d’Ahdaf Soueif, Anil’s Ghost de Michael Ondaatje aini que Three Day Road et Through Black Spruce de Joseph Boyden. En utilisant un nombre de termes clés (les aspirations, la traduction (culturelle) subversive, la guérison, l’autodétermination), j’ai examiné la critiques des communautés normatives aussi bien que la configuration des communautés alternatives développées dans les œuvres cités ci-haut. L’étude de trois romans diasporiques et deux romans amérindiens m’a permis d’établir un « dialogue » entre deux visions du monde ainsi qu’entre deux approches aux crises des communautés normatives. En effet, la conception d’une communauté alternative présentée dans le roman de Boyden souligne le rôle important que joue la famille dans la conception d’une société postcolonial alternative. Les romans diasporiques, en revanche, évitent de fonder leurs conceptions de la communauté alternative sur la famille traditionnelle comme unité d’organisation sociale. Les communautés alternatives proposées dans les romans diasporiques sont basées sur des alliances au-delà des différences nationales, culturelles, religieuses et ethniques. Le premier chapitre a traité la communauté affective proposée comme alternative à la communauté multiculturelle canadienne. Le deuxième chapitre a traité la communauté alternative et la mezzaterra, l’espace du quel cette communauté ressort, dans The Map of Love de Soueif. Dans le troisième chapitre, j’ai exploré la relation entre la guérison, le toucher et l'émergence d'une communauté alternative dans Anil's Ghost d’Ondaatje. Dans le dernier chapitre, j’ai analysé la façon dont l'affirmation de l'autonomie juridique et la narration pourrait contribuer à la découverte de la vision qui guide la communauté Cri dépeint, dans les romans de Boyden, dans sa tentative de construire une communauté alternative postcoloniale. Mots clés: Communautés alternatives, traduction (culturelle) subversive, affect, communautés normatives en crise, multiculturalisme et guérison
This dissertation studies alternatives to communities in crisis proposed in Dionne Brand’s What We All Long For, Ahdaf Soueif’s The Map of Love, Michael Ondaatje’s Anil’s Ghost and Joseph Boyden’s Three Day Road and Through Black Spruce. Using a number of keywords (longing, subversive (cultural) translation, healing, touch and self-determination), I examine each novel’s contestation of a normative, oppressive configuration of community as well as the alternative community it proposes. Juxtaposing three diasporic novels and two Indigenous (Canadian) texts, I establish a dialogue between different worldviews and the ways they read and respond to communal crises. Unlike the alternative conceptions of community presented in the diasporic novels under consideration, the alternative conception proposed in Boyden’s novels stresses the importance of strong families to the building of an alternative postcolonial society. The diasporic texts, however, do not align their alternative communities with the traditional family as a unit of social organization and trope. These alternative communities evolve around affiliation rather than filiation. They build solidarities with the other beyond national, cultural, religious and ethnic lines of division. The first chapter studies an alternative to Canadian multiculturalism in Brand’s What We All Long For. The second chapter examines the alternative community and the mezzaterra from which it emerges in Soueif’s The Map of Love. The third chapter explores the tightly-knit relation between healing, touch and the emergence of an alternative community in Ondaatje’s Anil’s Ghost. The last chapter studies the contribution of legal autonomy and storytelling to discovering the vision that guides the Cree community portrayed in Boyden’s novels in its attempt to build an alternative postcolonial community. Keywords: Alternative communities, subversive (cultural) translation, affect, normative communities in crisis, multiculturalism and healing

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Loiselle, Eric. "The Broken "I" : fragmentation of self and otherness in modern urban narratives". Thèse, 2009. http://hdl.handle.net/1866/3751.

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Ce mémoire mélange théorie et fiction pour explorer la technique narrative du “nous” performatif. Le premier chapitre démontre le role du discours dans le processus de formation d’identité, pour éventuellement démontrer que la nature performative du langage est responsable de la creation des constructions sociales du soi et de l’autre. En étudiant les failles de ce système, cet essai tentera de créer une entité narrative libre de ces contraintes. Un second chapitre théorique, après des exemples de fiction, se penchera sur l’entité narrative du flâneur, qui à travers sa relation intime avec la cité, souligne une dichotomie présente dans la relation entre le soi et l’autre. Le flâneur emergera comme un site de traduction dans lequel le “nous” performatif peut prendre action. Toutefois, les limites du flâneur en tant qu’outil narratif l’empêchera d’être la representation ultime de cette dichotomie. Après d’autres exemples de fiction, un troisième chapitre combinera ce qui aura été apprit dans les chapitres précédents pour démontrer que le “nous” performatif et sa dissolution du “je” et du “tu” mène à une narration qui est responsable, consciente d’elle-même et représentative de la réalité urbaine moderne et ses effets sur la création de l’identité.
This paper blends theoretical and creative writing in order to explore the narrative device of the performative “we”. The first chapter highlights the role of discourse in the process of identity formation and will move on to show how the performative role of language is used in the creation of social constructs such as the self and the other. Focusing on the limits of such a system, this paper attempts to create a narrative entity that is free of these boundaries. After some creative writing examples, a second theoretical chapter focuses on the in-depth study on the narrative entity of the flâneur, which, through its relationship with the city, highlights a complex dichotomy present in the relationship between the self and the other. The flâneur will emerge as a site of translation through which the performative “we” can begin to take action. However, the flâneur’s limits as a narrative device prevent it from being the definitive representation of this new relationship. After more creative writing examples, a third chapter combines what was learned from the previous chapters in order to demonstrate that the performative “we” and its dissolution of the “I” and the “you” leads to a narrative that is responsible, self-aware, and highly representative of modern urban reality and its effects on the creation of identity.

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Cotnoir-Thériault, Crystelle. "Gender Performativity in Chaucer’s Troilus and Criseyde and Shakespeare’s Troilus and Cressida". Thèse, 2017. http://hdl.handle.net/1866/20104.

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Ayari, Mohamed. "Gender, globalization and beyond in Karen Tei Yamashita's Tropic of Orange and Jhumpa Lahiri's The Interpreter of Maladies". Thèse, 2018. http://hdl.handle.net/1866/22480.

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Køhlert, Frederik Byrn. "Drawing in the margins : identity and subjectivity in contemporary autobiographical comics". Thèse, 2014. http://hdl.handle.net/1866/12014.

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Mon projet de thèse démontre comment le genre de la bande dessinée peut être mobilisé de façon à déstabiliser les idéologies identitaires dominantes dans un contexte autobiographique. À partir de théories contemporaines de récits de vie et de leurs emphase sur la construction du sujet au travers du processus autobiographique, j’explore les façons par lesquelles les propriétés formelles de la bande dessinée permettent aux artistes féminines et minoritaires d’affirmer leurs subjectivités et de s’opposer aux idéaux hégémoniques reliés à la représentation du genre, du traumatisme, de la sexualité, de l’ethnicité, et du handicap, en s’auto-incarnant à même la page de bande dessinée. Par une analyse visuelle formelle, ma thèse prouve que les esthétiques hyper-personnelles du dessin à la main découlant d’une forme ancrée dans l’instabilité générique et le (re)mixage continu des codes verbaux et visuels permettent aux artistes de déstabiliser les régimes de représentation conventionnels dans une danse complexe d’appropriation et de resignification qui demeure toujours ouverte à la création de nouveaux sens. Suite à l’introduction, mon second chapitre explique la résistance de Julie Doucet par rapport aux plaisirs visuels découlant de la contemplation des femmes dans la bande dessinée par son utilisation du concept originairement misogyne de la matérialité féminine grotesque comme principe génératif à partir duquel elle articule une critique de la forme et du contenu des représentations normatives et restrictives du corps féminin. Le troisième chapitre considère la capacité de la bande dessinée à représenter le traumatisme, et se penche sur les efforts de Phoebe Gloeckner visant à faire face aux abus sexuels de son enfance par l’entremise d’un retour récursif sur des souvenirs visuels fondamentaux. Le chapitre suivant maintient que la nature sérielle de la bande dessinée, sa multimodalité et son association à la culture zine, fournissent à Ariel Schrag les outils nécessaires pour expérimenter sur les codes visuels et verbaux de façon à décrire et à affirmer le sens identitaire en flux de l’adolescent queer dans sa quadrilogie expérimentale Künstlerroman. Le cinquième chapitre suggère que l’artiste de provenance Libanaise Toufic El Rassi utilise la forme visuelle pour dénoncer les mécanismes générateurs de préjugés anti-Arabes, et qu’il affirme son identité grâce au pouvoir de rhétorique temporaire que lui procure l’incarnation d’un stéréotype connu. Mon dernier chapitre démontre comment Al Davison emploie la bande dessinée pour mettre en scène des rencontres d’observations dynamiques avec le spectateur implicite pouvant potentiellement aider l’auteur à éviter le regard objectivant généralement associé à la perception du handicap.
This dissertation argues that the comics form can be mobilized to destabilize dominant notions of identity in an autobiographical context. Drawing on current theories of life writing that stress the construction of the self through the autobiographical process, it explores how the specific formal properties of comics provide opportunities for women and minority artists to assert subjectivity and contend with hegemonic ideas concerning the representation of gender, trauma, sexuality, ethnicity, and disability through the embodiment of the self on the comics page. Through formal visual analysis, the dissertation shows how the highly personal and hand-drawn aesthetics of a form that thrives on generic instability and the continual (re)mixing of verbal and visual codes allows artists to destabilize conventional representational schemes in a complex dance of appropriation and resignification that is always open to the creation of new meanings. Following the introduction, Chapter 2 shows how Julie Doucet resists the visual pleasure associated with looking at women in comics by using the originally misogynistic concept of grotesque female materiality as a generative principle from where she articulates a critique in both form and content of normative and restricting representations of the female body. Chapter 3 examines the comics form’s ability to depict trauma, and focuses on Phoebe Gloeckner’s attempts to come to terms with childhood sexual abuse through a recursive return to key visual memories. Chapter 4 argues that the form’s serial nature, multimodality, and association with zine culture provides Ariel Schrag with the tools to experiment with visual and verbal codes in order to delineate and assert a sense of the in-flux and queer teenage self in an experimental four-volume Künstlerroman. Chapter 5 argues that Lebanese-born artist Toufic El Rassi uses the visual form to expose the mechanism behind the production of anti-Arab prejudice, and that he asserts personal identity through the temporary rhetorical power afforded by the inhabitation of a known stereotype. Chapter 6 shows how Al Davison employs the comics form to stage dynamic staring encounters with the implied observer that have the potential to help the author elude the objectifying gaze commonly associated with looking at disability.

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Stepanova, Olga. "Women, sources, and rhetoric in George Pettie’s A petite pallace of Pettie his pleasure". Thèse, 2014. http://hdl.handle.net/1866/11660.

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Ce mémoire, Women, Sources, and Rhetoric in George Pettie’s A Petite Pallace of Pettie his Pleasure, étudie la collection de romans courts de l’anglais moderne intitulée A Petite Pallace of Pettie his Pleasure (1576) et l’identifie comme une collection pour les femmes et comme un précurseur du style euphuistique. Le mémoire est constitué de trois chapitres. Dans le premier chapitre, j’analyse la position des femmes au début de l’Angleterre moderne, alors que A Petite Pallace est dédié aux femmes. Le deuxième chapitre traite des éléments structuraux de chaque histoire comprise dans la collection. Je relève également les modifications faites par l’auteur à des histoires d’origine afin de les adapter à ses lecteurs et afin d’attirer davantage d’attention. Le dernier chapitre porte principalement sur les figures de style utilisées par Pettie pour éblouir ses lecteurs et démontrer toute la richesse de la langue anglaise
This thesis, Women, Sources, and Rhetoric in George Pettie’s A Petite Pallace of Pettie his Pleasure, studies the early modern English collection of novellas A Petite Pallace of Pettie his Pleasure (1576) and indentifies it as a collection for women and a forerunner of the euphuistic style. The thesis consists of three chapters. In the first chapter I consider women’s position in early modern England, as A Petite Pallace is dedicated to ladies. The second chapter deals with structural elements of each story included in the collection. I also trace modifications made by the author to his source stories in order to adapt them for his readers and to attract more attention. The last chapter focuses on linguistic devices used by Pettie to dazzle his audience and to demonstrate the possibilities of the English language.

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Maxwell, Ashley-Marie. "Japanese Macbeth : Shakespeare's role on the international stage". Thèse, 2018. http://hdl.handle.net/1866/21985.

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Mestiri, Asma. "Sign, meaning and violence in Laurell K. Hamilton’s novels : a postmodernist approach". Thèse, 2014. http://hdl.handle.net/1866/11655.

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Tufenkjian, Viken. "Eventual benefits : kristevan readings of female subjectivity in Henry James’s Late Novels". Thèse, 2015. http://hdl.handle.net/1866/14113.

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Moyer, Alexia. "Literary meals in Canada : the Food/books of Austin Clarke, Hiromi Goto, Tessa McWatt and Fred Wah". Thèse, 2012. http://hdl.handle.net/1866/8804.

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Literary Meals in Canada étudie Pig Tails ’n Breadfruit d'Austin Clarke, Chorus of Mushrooms et The Kappa Child de Hiromi Goto, This Body de Tessa McWatt, ainsi que Diamond Grill de Fred Wah. Cette thèse entreprend d’établir la signification de la nourriture dans ces récits, ce qu'elle permet aux auteur(e)s d'exprimer par rapport à divers thématiques—les structures sociales, la culture, le langage, ou encore la subjectivité—et comment ils/elles établissent des connexions entre elles, et quelles conclusions ils/elles en tirent. En d'autres termes, cette thèse s'interroge sur les stratégies utilisées par ces auteur(e)s lorsqu'ils écrivent de la “nourritéra-ture.” Ma lecture de ces oeuvres est aussi ancrée au sein d'une conversation sur la nourriture au sens large: que ce soit dans les cercles académiques, dans les supermarchés, par l'intermédiaire des étiquettes, ou dans les médias. J'examine comment mon corpus littéraire répond, infirme, ou confirme les discours actuels sur la nourriture. Divisé en quatre chapitres—Production, Approvisionnement, Préparation, et Consommation—ce mémoire précise la signification du “literary supermarket” de Rachel Bowlby, en s'appuyant sur les travaux de Michael Pollan et Hiromi Goto; compare la haute cuisine d'Escoffier à la “hot-cuisine” d'Austin Clarke; recherche les connections entre l’acte de faire la cuisine et celui de l’écrire chez Luce Giard, Austin Clarke, et Fred Wah; confronte les préceptes d'Emily Post concernant les bonnes manières de la table à la cacophonie et aux bruits de mastication chez Hiromi Goto; et relie Tessa McWatt et Elspeth Probyn qui partagent, toutes deux, un intérêt et une approche à la sustentation des corps. Les textes qui composent ce corpus sont des “foodbooks” (“aliment-textes”). La nourriture, et les différentes activités qui y sont associées, y est transcrite. C’est pourquoi cette thèse accorde une grande importance aux particularités de ce moyen d'expression.
Literary Meals in Canada examines Austin Clarke’s Pig Tails ’n Breadfruit, Hiromi Goto’s Chorus of Mushrooms and The Kappa Child, Tessa McWatt’s This Body, and Fred Wah’s Diamond Grill. It asks, what does food mean to these stories, what does it allow the writers in question to say—about social structures, culture, language, and subjectivity—and how do they go about making these connections or drawing these conclusions? In other words, what are their food-writing strategies? I also read these texts as part of a larger conversation about food, a conversation taking place in academic circles as well as at the supermarket, on food labels, on television, and other media outlets. I look for moments in which my literary corpus responds to and challenges food-centred discourse. Comprised of four chapters—Production, Procurement, Preparation, and Consumption—this dissertation explicates Rachel Bowlby’s term, “literary supermarket,” through Michael Pollan and Hiromi Goto; it compares Escoffier’s haute cuisine with Austin Clarke’s “hot-cuisine”; it tracks the kinship between “doing-cooking” and writing cooking, as articulated by Luce Giard, Austin Clarke, and Fred Wah; it reads Emily Post’s advice on table manners against Hiromi Goto’s cacophony of gnashing and nibbling; and it pairs Tessa McWatt with Elspeth Probyn, both of whom share a similar approach to, and interest in, bodies that eat. The texts that make up this corpus are foodbooks. Food and the activities and processes associated with it are therefore mediated by language. For this reason the dissertation attends to the particularities and the potential effects of writing food.

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Dimakis-Toliopoulos, Panagiota. "The Abuser and the Abused : impropriety in Selected Texts by Jane Austen". Thèse, 2009. http://hdl.handle.net/1866/3577.

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Le thème de cette thèse est le droit des femmes à la fin du dix-huitième siècle dans les romans de l’auteure britannique Jane Austen. L’abus psychologique (et parfois physique) entre femmes est omniprésent au moment où le sujet de l’égalité entre hommes et femmes est à son apogée. Depuis la publication du volume Jane Austen and the War of Ideas de Marilyn Butler, on ne limite plus nos interprétations aux significations littéraires des romans, au contraire, elles se multiplient dans les champs culturels, sociaux, économiques... Ceci permet de mieux comprendre l’époque reflétée dans ses oeuvres. Les interactions humaines se compliquent: les mères essayent à tout prix de « vendre » leurs filles à l’homme le plus riche. Pour ce faire, ces mères résistent aux normes patriarcales. De plus, les femmes veuves sont problématiques car leur statut social ne peut pas être défini. Austen peint et critique les veuves autonomes qui essayent vigoureusement d’exercer leurs pouvoirs à travers leur sexualité et en manipulant leur vocabulaire dans le but de monter dans l’échelon social. En fait, les femmes de tous âges et toutes classes essayent de manipuler les autres pour leurs gains personnels. L’obtention de pouvoir fait en sorte que ces femmes compétitives ne créent pas une société inclusive: elles se marginalisent encore plus. Ce combat interne permet d’autant plus aux hommes d’injurier les femmes. Finalement, avec la montée du cinéma de nos jours, les oeuvres d’Austen sont traduites pour atteindre un grand nombre de spectateurs. Parmi la panoplie de films, l’abus est traduit et interprété à différents degrés.
The focus of this study is women’s rights in Jane Austen’s novels. Despite the increasing awareness of individuality and human rights, psychological (and often physical) abuse exists. After Marilyn Butler’s seminal study Jane Austen and the War of Ideas, Austen is better understood within the contexts of her time. Human relationships are much more complicated as mothers try to “sell-off” their daughters to the highest bidder. These women attempt to secure their own financial future regardless of their children’s wishes or patriarchal norms. Moreover, widows who once exercised power through their husbands see this power relinquished, as society tries to identify their social status. Austen criticizes independent widows who try to obtain power by using their sexuality and manipulative language. The need for control spreads to all females no matter their social standing. This develops a competitive nature amongst them that limits the growth of society. This lack of unity allows men to abuse women themselves. Finally, with the advent of film studies, it is important to look at Austen novels translated into this media. Directors interpret abuse in various degrees, but most acknowledge its presence.

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Mouratidis, Maria. "The Aesthetics of Madame de Staël and Mary Shelley". Thèse, 2012. http://hdl.handle.net/1866/10097.

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L’esthétique de Madame de Staël and Mary Shelley discute l’art de l’improvisation et le concept de l’enthousiasme dans les écrits de ces deux auteurs. Dans ce projet, j’explore l’esthétique d’improvisation et d’enthousiasme de Madame de Staël dans Corinne, en me référant à son autre roman Delphine, à sa pièce de théâtre Sapho, et à ses nouvelles ainsi qu’à ses textes philosophiques comme De l’Allemagne, De l’influence des passions, et De la littérature. J’argumente que Madame de Staël représente à travers le caractère de Corinne une esthétique anti-utilitaire. J’explique qu’elle évoque des valeurs cosmopolites qui valorisent une culture indigène qui est en opposition avec l’impérialisme de Napoléon. De plus, j’examine comment les improvisations de Corinne dérivent d’un enthousiasme qui est associé à la définition que Platon offre du terme. Ceci est évident par la signification que Madame de Staël présente du terme dans De L’Allemagne. J’interprète la maladie de Corinne comme étant d’origine psychosomatique qui est manifesté par la perte de son génie et par un suicide lent qui est une expression de colère contre la patriarchie. Le caractère de Corinne permet à Madame de Staël d’explorer le conflit que les femmes artistes éprouvaient entre ayant une carrière artistique et adhérant à l’idéologie domestique. Chapitre deux se concentre sur l’intérêt que Shelley démontre sur l’art de l’improvisation comme elle l’exprime dans ses lettres à propos de l’improvisateur Tommaso Sgricci. Malgré sa fascination avec la poésie extemporanée, Shelley regrette que cette forme d’art soit évanescente. Aussi, j’examine son enthousiasme pour un autre artiste, Nicolò Paganini. Son enchantement avec se violoniste virtuose est lié à des discours concernant le talent surnaturel des improvisateurs. J’argumente qu’il y a un continuum d’improvisation entre les balades orales du peuple et les improvisations de culture sophistiqué des improvisateurs de haute société. J’estime que les Shelleys collaboraient à définir une théorie d’inspiration à travers leurs intérêts pour l’art de l’improvisation. Chapitre trois considère le lien entre cosmologie et esthétique d’inspiration à travers la fonction de la musique, spécialement La Création de Joseph Haydn, dans The Last Man de Shelley. J’examine la représentation du sublime des Alpes dans le roman à travers de discours qui associent les Alpes avec les forces primordiales de la création. Les rôles de la Nécessité, Prophétie, et du Temps peuvent être compris en considérant la musique des sphères. Chapitre quatre explore les différentes définitions de terme enthousiasme dans les écrits de Shelley, particulièrement Valperga et The Last Man. Je discute l’opinion de Shelley sur Madame de Staël comme suggéré dans Lives. J’analyse les caractères qui ressemblent à Corinne dans les écrits de Shelley. De plus, je considère les sens multiples du mot enthousiasme en relation avec la Guerre civil d’Angleterre et la Révolution française. Je présente comment le terme enthousiasme était lié au cours du dix-septième siècle avec des discours médicales concernant la mélancolie et comment ceci est reflété dans les caractères de Shelley.
The Aesthetics of Madame de Staël and Mary Shelley discusses the art of improvisation and the concept of enthusiasm in the writings of these two authors. In this project, I explore Madame de Staël’s aesthetics of improvisation and enthusiasm as represented in Corinne by drawing from her other novel Delphine, her play Sapho, and her short stories as well as her philosophical texts such as De l’Allemagne, De l’influence des passions, and De la littérature. I argue that Madame de Staël embraces through Corinne an anti-utilitarian aesthetic. I maintain that she represents a cosmopolitanism that values indigenous culture as opposed to Napoleon’s Imperialism. Furthermore, I examine how Corinne’s improvisations derive from an enthusiasm that can be associated to Plato’s elucidation of the term in Phaedrus and in Ion. This is evident by Madame de Staël’s own definition of enthusiasm as presented in the closing chapters of her De l’Allemagne. I interpret Corinne’s illness that is manifested in the loss of her genius as having psychosomatic origins and as being a slow suicide that is an expression of anger against patriarchy. The character of Corinne allows Madame de Staël to explore the conflict that women artists faced between having an artistic career and adhering to the domestic ideology. Chapter two focuses on the interest that Shelley takes in the art of improvisation as is manifested in her letters about the improvisator Tommaso Sgricci. Despite her fascination with extempore poetry, she regrets that this art form is evanescent. Moreover, I examine her enthusiastic response to another artist, Nicolò Paganini. Her fascination with this virtuoso violinist is linked to discourses about the unnatural talent of improvisatores. I argue there is a continuum of improvisation from the ballad form of the common people to the high-cultured improvisatore. I hold that the Shelleys were collaborating in defining the theory of inspiration through their interest in the art of improvisation. Chapter three considers the link between cosmology and aesthetics of inspiration through the function of music, especially Joseph Haydn’s The Creation, in Shelley’s The Last Man. I examine the representation of the sublimity of the Alps in the narrative through discourses that associate the Alps with the primordial forces of creation. The roles of Necessity, Prophecy, and Time can be understood in the novel by taking into account the notion of the music of the spheres. Chapter four explores the different meanings of the word enthusiasm in Shelley’s writings, primarily in Valperga and The Last Man. I discuss Shelley’s views on Madame de Staël as presented in Lives. I analyze Corinne-inspired characters in Shelley’s texts. In addition, I consider the meaning of enthusiasm in Shelley’s writings in relation to the English Civil War and the French Revolution. I present how enthusiasm was linked in the seventeenth-century to medical discourses about melancholia and how this is reflected in Shelley’s characters.

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Olguin, Suyin. "Revisiting the gentleman : a study of hegemonic masculinity in the works of Jane Austen". Thèse, 2013. http://hdl.handle.net/1866/10671.

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L’augmentation grandissante de l’attention portée dans les études sur la masculinité tant à la littérature féminine qu’à ses auteurs incite les chercheurs à se pencher de nouveau sur l’icône qu’est le gentilhomme, sur la réponse qu’offre la littérature du XVIIIe siècle face à cette idéalisation de la masculinité, et comment ces standards ont contribué à façonner nos propres perceptions des différenciations des rôles sexuels. Ce mémoire présente une analyse des personnages masculins des romans de Jane Austen, Emma, Persuasion et Mansfield Park, à travers le concept de « masculinité hégémonique » de R.W. Connell, concept qui a eu un impact certain dans les recherches retraçant comment l’histoire et l’hégémonie ont fabriqué les attentes sociales et nationales envers l’homme anglais. Les livres expliquant la conduite à avoir pour être un gentilhomme viril ont sans aucun doute perpétué ces idéaux. À travers l’étude de la politesse, de la sincérité et de l’héroïsme, perpétuellement renouvelés afin de correspondre aux nouveaux idéaux de la masculinité, cette thèse étudie les livres éducatifs influents, notamment de Locke, Knox et Secker, afin de comprendre de quelle façon la masculinité hégémonique est devenue une partie intégrante du discours et de l’éducation à l’époque de la Régence anglaise. Les œuvres d’Austen ne cesse de rappeler la vulnérabilité de l’hégémonie en rappelant constamment au lecteur l’importance des expériences et de la croissance personnelle, et ce, peu importe le sexe. Néanmoins, ses romans correspondent tout de même à ce que devrait être une éducation appropriée reposant sur les règle de conduite, l’autonomie, le travail et la sincérité; lesquels, tel que l’histoire analysée dans ce mémoire le démontrera, appartiennent également aux idéaux du nationalisme anglais et de la masculinité.
The increasing amount of attention to literature and female novelists in masculinity studies invites academics to revisit iconic figures like the gentleman in order to explore how literature responds to idealizations of manliness in eighteenth-century society and how these standards contribute to our own view of gender differentiation. This thesis analyses male characters in Jane Austen’s Emma, Persuasion and Mansfield Park under the scope of R.W. Connell’s concept of “Hegemonic Masculinity,” a concept that has been influential in the study of how history and hegemony influence social and national expectations of English masculine character. Conduct books that instructed genteel men how to be a manly gentleman perpetuated these ideals. Through the study of how politeness, sincerity, and heroism were continuously transformed to incorporate new ideals of manhood, this thesis examines influential conduct books by Locke, Knox, and Secker in order to understand how hegemonic masculinity became an essential part of Regency masculine education and discourse. Austen’s works highlight the vulnerability of hegemony by reminding the reader about the importance of human experience and growth regardless of gender. Nevertheless, her novels respond to appropriate education that instructs on principle, self-governance, industry, and sincerity, all of which, as the history addressed in this thesis demonstrates, also belonged to ideals of English nationalism and masculinity.

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47

Sheckler, Catherine. "Dancing on the Edge of the Word : Ursula K. Le Guin and Metaphor". Thèse, 2018. http://hdl.handle.net/1866/21712.

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Dzialowski, Louis. "Sideshadow views : narrative possibilities in Charles Dickens's late novels". Thèse, 2017. http://hdl.handle.net/1866/19287.

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Belghiti, Rachid. "Dance and the colonial body : re-choreographing postcolonial theories of the body". Thèse, 2012. http://hdl.handle.net/1866/9690.

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Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question.
Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it.

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Cook, Trevor. "Plagiarism and Proprietary Authorship in Early Modern England, 1590-1640". Thesis, 2012. http://hdl.handle.net/1807/35725.

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The first rule of writing is an important one: writers should not plagiarize; what they write should be their own. It is taken for granted. But who made the rule? Why? And how is it enforced? This dissertation traces the history of proprietary authorship from the earliest distinctions between imitation and misappropriation in the humanist schoolroom, through the first recorded uses in English of the Latin legal term plagiary (kidnapper) as a metaphor for literary misappropriation, to an inchoate conception of literary property among a coterie of writers in early modern England. It argues that the recognition of literary misappropriation emerged as a result of the instrumental reading habits of early humanist scholars and that the subsequent distinction between authors and plagiarists depended more upon the maturity of the writer than has been previously recognized. Accusations of plagiarism were a means of discrediting a rival, although in this capacity their import also depended largely upon one’s perspective. In the absence of established trade customs, writers had to subscribe to the proprieties of the institutions with which they were affiliated. They were deemed plagiarists only when their actions were found to be out of place. These proprieties not only informed early modern definitions of plagiarism; they also helped define the perimeters of proprietary authorship. Authors who wished to make a fair profit from labours in print had to conform to the regulations of the Stationer’s Company, just as authors who maintained a proprietary interest in their manuscripts had to draw upon legal rhetoric, such as plagiary, in the absence of a legally recognized notion of authorial property. With new information technologies expanding the boundaries of proprietary authorship everyday, the proprieties according to which these boundaries were first defined should help teachers and researchers not only better to understand the nature of Renaissance authorship but also to equip their students for the future.

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