French Theseshttps://hdl.handle.net/10023/1042024-03-29T10:38:54Z2024-03-29T10:38:54ZRe-telling the stories of artists who are women : lessons from the multimedial fictions of George SandMcTurk-Starkie, Amyhttps://hdl.handle.net/10023/294392024-03-07T03:02:45Z2024-06-12T00:00:00ZThis study analyses George Sand’s depictions of artists as women creating in multiple art forms (as writers, actresses, musicians, and painters) to disclose Sand’s innovative narrative strategies that allow alternative stories about women’s creativity to emerge against a background of major medical, political, and cultural discourses that insistently rendered prevalent understandings of womanhood antithetical to artistic vocation. Challenging the tendency to read Sand’s women artists primarily through the lens of sex or gender for the production of (equally reifying) counter-stereotypes, the multimedial scope of this thesis – which addresses the lack of any major study of Sand’s female artists across art forms – demonstrates how recentring the agency and creativity possessed by Sand’s situated heroines reveals key alternative forms of women’s artistic practice within their nineteenth-century contexts.
This thesis reveals how Sand’s fiction repeatedly functions as an extensive exploration of the lived experiences of women creating in a particular art form. Reading Sand’s stories of women artists for the narrative clashes that occur between her female artists’ testimony of lived experience and the dominant cultural narratives for both “the Artist” and “the Woman” highlights how Sand’s texts rewrite these dominant narratives to reflect better the lived experiences of female artists in nineteenth-century France. Consequently, my thesis addresses the dissonance between predominant representations of creative women participating in the cultural sphere (whether as monstrous Bas-bleu, frivolous dabbler, or muse) and the lived experiences of women artists, who were increasingly present and successful in the cultural sphere. Sand’s depictions of artists as women thus not only provide models for women’s artistic identities, but more importantly, demonstrate strategies through which women could continually produce interspaces for the development of their artistic identity as a response to, and a negotiation of, the historically framed contexts that allegedly defined them.
2024-06-12T00:00:00ZMcTurk-Starkie, AmyThis study analyses George Sand’s depictions of artists as women creating in multiple art forms (as writers, actresses, musicians, and painters) to disclose Sand’s innovative narrative strategies that allow alternative stories about women’s creativity to emerge against a background of major medical, political, and cultural discourses that insistently rendered prevalent understandings of womanhood antithetical to artistic vocation. Challenging the tendency to read Sand’s women artists primarily through the lens of sex or gender for the production of (equally reifying) counter-stereotypes, the multimedial scope of this thesis – which addresses the lack of any major study of Sand’s female artists across art forms – demonstrates how recentring the agency and creativity possessed by Sand’s situated heroines reveals key alternative forms of women’s artistic practice within their nineteenth-century contexts.
This thesis reveals how Sand’s fiction repeatedly functions as an extensive exploration of the lived experiences of women creating in a particular art form. Reading Sand’s stories of women artists for the narrative clashes that occur between her female artists’ testimony of lived experience and the dominant cultural narratives for both “the Artist” and “the Woman” highlights how Sand’s texts rewrite these dominant narratives to reflect better the lived experiences of female artists in nineteenth-century France. Consequently, my thesis addresses the dissonance between predominant representations of creative women participating in the cultural sphere (whether as monstrous Bas-bleu, frivolous dabbler, or muse) and the lived experiences of women artists, who were increasingly present and successful in the cultural sphere. Sand’s depictions of artists as women thus not only provide models for women’s artistic identities, but more importantly, demonstrate strategies through which women could continually produce interspaces for the development of their artistic identity as a response to, and a negotiation of, the historically framed contexts that allegedly defined them.Title redactedO'Harrow, Haileyhttps://hdl.handle.net/10023/284282023-10-17T02:06:57Z2023-11-29T00:00:00ZAbstract redacted
2023-11-29T00:00:00ZO'Harrow, HaileyAbstract redactedHeroes of the natural world in selected works of Jean Giono and D.H. LawrenceLamb, Carolyn Andrewshttps://hdl.handle.net/10023/219502022-02-24T14:57:36Z1986-01-01T00:00:00ZThe purpose of this thesis is to identify and to define the heroes of the natural world in selected works of Jean Giono and D. H. Lawrence. The natural characters, personages whose literary representation is partially determined by their relationship to entities composing the physical universe, will be described; the heroes of the natural world, those natural characters with heroic status, will be ascertained; and a criterion for conferring the status of hero on certain of these characters of the natural world will be established.
The works which will be considered herein are: The Tri¬ logy of Pan (Colline, Un de Baumugnes and Regain), Le Serpent d'Etoiles, and Le Chant du Monde by Jean Giono, The White Peacock, The Fox, St. Mawr, The Virgin and the Gipsy and Lady Chatterley's Lover by D. H. Lawrence.
The first chapter will introduce the philosophy and the terminology of the paper. Certain terms must be defined and a general typology of heroes of the natural world will be outlined.
Chapter II, "Elemental Men: Characterization and Symbolism in Jean Giono", will examine the development of a character in terms of its relationship to nature - specifically, to the four, basic components of the physical universe: earth, air, fire and water. The symbolic functions of these images in characterization will also be assessed in each of the works by Giono.
Chapter III, "Elemental Men: Characterization and Symbolism in D. H. Lawrence", will repeat the procedure of Chapter II as it applies to the works of D. H. Lawrence.
Chapter IV, "Four Faces of Heroism", examines what makes the natural character heroic. A standard for establishing the identity of heroes of the natural world will be detailed and conclusions about these figures will be drawn.
1986-01-01T00:00:00ZLamb, Carolyn AndrewsThe purpose of this thesis is to identify and to define the heroes of the natural world in selected works of Jean Giono and D. H. Lawrence. The natural characters, personages whose literary representation is partially determined by their relationship to entities composing the physical universe, will be described; the heroes of the natural world, those natural characters with heroic status, will be ascertained; and a criterion for conferring the status of hero on certain of these characters of the natural world will be established.
The works which will be considered herein are: The Tri¬ logy of Pan (Colline, Un de Baumugnes and Regain), Le Serpent d'Etoiles, and Le Chant du Monde by Jean Giono, The White Peacock, The Fox, St. Mawr, The Virgin and the Gipsy and Lady Chatterley's Lover by D. H. Lawrence.
The first chapter will introduce the philosophy and the terminology of the paper. Certain terms must be defined and a general typology of heroes of the natural world will be outlined.
Chapter II, "Elemental Men: Characterization and Symbolism in Jean Giono", will examine the development of a character in terms of its relationship to nature - specifically, to the four, basic components of the physical universe: earth, air, fire and water. The symbolic functions of these images in characterization will also be assessed in each of the works by Giono.
Chapter III, "Elemental Men: Characterization and Symbolism in D. H. Lawrence", will repeat the procedure of Chapter II as it applies to the works of D. H. Lawrence.
Chapter IV, "Four Faces of Heroism", examines what makes the natural character heroic. A standard for establishing the identity of heroes of the natural world will be detailed and conclusions about these figures will be drawn.Madame de Genlis : environment, citizenship, and the nation in post-revolutionary FranceBerrow, Danielle Amyhttps://hdl.handle.net/10023/180122021-08-15T02:09:23Z2016-06-23T00:00:00ZThrough an ecocritical lens, this thesis investigates the interrelatedness of the themes
of environment, citizenship, and nation in Madame de Genlis’s depiction of post-Revolutionary France. At the heart of the ecocritical project is the notion that
humankind must re-evaluate its relationship with the endangered natural world in
order to protect the ecosphere; ecocriticism provides tools for re-conceptualising the
ways human communities exist, and have existed, in their respective environments. A
prolific author of the late eighteenth and early nineteenth centuries, Madame de
Genlis engages with such issues in her texts, responding to serious threats posed to the
survival of rural communities following the French Revolution, such as the
disintegration of socio-political hierarchies, the rise of individualism, and the
mismanagement of agricultural land. In the light of post-Revolutionary discourses of
liberté, égalité, and fraternité, this thesis explores how Madame de Genlis’s texts
present reconstructive narrative strategies for coming to terms with dramatic socio-political upheaval. In particular, her instructional texts - hitherto neglected by scholarship - encourage readers to re-personalise their relationship with the natural world by exploring the multiple moral and practical dimensions of the rural home.
Madame de Genlis’s preoccupation with the natural world, expressed here in terms of
a ‘rural model’, is the subject of the first chapter. The second chapter examines the
notion of social responsibility within this model, while the third chapter considers the
ways in which texts, as socio-cultural products, contribute to the re-imagining of a
nation under construction.
2016-06-23T00:00:00ZBerrow, Danielle AmyThrough an ecocritical lens, this thesis investigates the interrelatedness of the themes
of environment, citizenship, and nation in Madame de Genlis’s depiction of post-Revolutionary France. At the heart of the ecocritical project is the notion that
humankind must re-evaluate its relationship with the endangered natural world in
order to protect the ecosphere; ecocriticism provides tools for re-conceptualising the
ways human communities exist, and have existed, in their respective environments. A
prolific author of the late eighteenth and early nineteenth centuries, Madame de
Genlis engages with such issues in her texts, responding to serious threats posed to the
survival of rural communities following the French Revolution, such as the
disintegration of socio-political hierarchies, the rise of individualism, and the
mismanagement of agricultural land. In the light of post-Revolutionary discourses of
liberté, égalité, and fraternité, this thesis explores how Madame de Genlis’s texts
present reconstructive narrative strategies for coming to terms with dramatic socio-political upheaval. In particular, her instructional texts - hitherto neglected by scholarship - encourage readers to re-personalise their relationship with the natural world by exploring the multiple moral and practical dimensions of the rural home.
Madame de Genlis’s preoccupation with the natural world, expressed here in terms of
a ‘rural model’, is the subject of the first chapter. The second chapter examines the
notion of social responsibility within this model, while the third chapter considers the
ways in which texts, as socio-cultural products, contribute to the re-imagining of a
nation under construction.Notions of time and epoch in contemporary French fiction: Montalbetti, Lenoir & PireyreBoardman, Kirsty Louisehttps://hdl.handle.net/10023/163982023-12-19T03:06:09Z2018-12-07T00:00:00ZThis thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed’ in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts’ representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic’, may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism’ and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet’s climate cycles) that have become increasingly present in political and journalistic discourses.
2018-12-07T00:00:00ZBoardman, Kirsty LouiseThis thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed’ in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts’ representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic’, may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism’ and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet’s climate cycles) that have become increasingly present in political and journalistic discourses.Mourning, writing, (self-)transformation: the autofiction of Serge DoubrovskyFusaro, Anaïshttps://hdl.handle.net/10023/155832021-05-13T11:40:17Z2018-01-01T00:00:00ZThis thesis investigates the capacity of mourning to transform one’s life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography.
This investigation starts with the observation of the writer-narrator’s writing drive, which emerges from a threefold experience of death: the loss of his mother, the trauma of World War II, and the perspective of his own death. The first section argues that writing transforms the private experience of mourning into memory. Since forgetfulness threatens memory, memory must be saved and disseminated; this is why Serge Doubrovsky composes his autofiction as literature which is made of, and which belongs to, memories. The second section observes how mourning transforms the experience of writing and reading: a focus on ‘ressassement’ shows the impact of mourning on writing and how the writer-narrator turns this uncontrollable sign of trauma into his own distinct writing style, called ‘écriture consonnantique’. These transformations participate in the mutation of the writer-reader, fiction-reality, and autobiography-autofiction relationships. The last section observes these abnormal alloys through the lens of the monster. Autofiction could be considered as a monstrous genre, insofar as it recognises the work of the writer to fashion a whole new story out of fragmented and repeated memories in a creative process.
Overall, this study assesses Serge Doubrovsky’s ability to challenge existing literary boundaries, and to create, beyond the breach of mourning and within the splits of language, an interdisciplinary work that deeps on renewing literature.
2018-01-01T00:00:00ZFusaro, AnaïsThis thesis investigates the capacity of mourning to transform one’s life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography.
This investigation starts with the observation of the writer-narrator’s writing drive, which emerges from a threefold experience of death: the loss of his mother, the trauma of World War II, and the perspective of his own death. The first section argues that writing transforms the private experience of mourning into memory. Since forgetfulness threatens memory, memory must be saved and disseminated; this is why Serge Doubrovsky composes his autofiction as literature which is made of, and which belongs to, memories. The second section observes how mourning transforms the experience of writing and reading: a focus on ‘ressassement’ shows the impact of mourning on writing and how the writer-narrator turns this uncontrollable sign of trauma into his own distinct writing style, called ‘écriture consonnantique’. These transformations participate in the mutation of the writer-reader, fiction-reality, and autobiography-autofiction relationships. The last section observes these abnormal alloys through the lens of the monster. Autofiction could be considered as a monstrous genre, insofar as it recognises the work of the writer to fashion a whole new story out of fragmented and repeated memories in a creative process.
Overall, this study assesses Serge Doubrovsky’s ability to challenge existing literary boundaries, and to create, beyond the breach of mourning and within the splits of language, an interdisciplinary work that deeps on renewing literature.Rhetoric and the art of the French tragic actor (1620-1750) : the place of 'pronuntiatio' in the stage traditionGrear, Allison Patricia Sarah Lantsberryhttps://hdl.handle.net/10023/153482019-04-01T09:02:55Z1982-06-01T00:00:00ZIn seventeenth-century France a new type of theatre was established to correspond to the ideals and taste of the dominant social group. As part of the process a particular ideal was forged for the new-style actor. Moulded by classical writings on acting and actors which suggested that the; style of serious, cultured acting operated within the same aesthetic as that of oratorical delivery, this ideal similarly identified refined acting with principles of pronuntiatio and the bienséance acceptable in contemporary formal discourse As a result of this identification no separate art of acting was considered necessary in seventeenth-century France, the rules and principles of expression of emotion in oratorical delivery being accepted as valid for serious acting. It is to these rules and. principles therefore that recourse must be made if the style of seventeenth-century acting and the approach of the actor at this period are to be appreciated. Study of seventeenth-century French treatises on oratorical delivery indicates the extent to which expression of emotion was considered to require study and practise of basic principal which would enable the speaker to evoke a particular passion by appropriately moving tones and accompanying gesture, and yet at the same time remain within a socially-acceptable range. Interpretation of seventeenth-century writings Oil actors and acting in light of these principles highlights the declamatory nature of serious acting of this period. The actor was understood to approach his role with a view to representing and thus exciting passions through effective vocal variation and suitably decorous accompanying gesture (body-language). Attention was focused upon the actor's voice, upon his moving tones and cadences, and upon the grace with which he used his body to reinforce such emotional portrayal. During the eighteenth century this conception-of acting and the style it had produced were called into question. Acting began to evolve its own aesthetic, an aesthetic based upon impersonation of character through personal identification and experience of the effects of emotion in real life. Study of rules to regulate emotional expression and imitation of the best models were abandoned in favour of cultivation of artistic sensibility: recourse to the imagination and personal sensitivity. In the process emphasis shifted from the voice to non-linguistic ways of showing feeling on the stage, and gestural expression released itself from subjection to social bienséance and enriched its range and potential. Evidence of these trends as well as fidelity to or reaction against principles of bienséance may be traced in writings on acting and delivery of the first half of the eighteenth century. At the beginning of the century acting theory was still rooted in and patterned on the model of pronuntiatio. By 1750 it had established its worth as an independent art with principles more directly based upon the dramatic experience.
1982-06-01T00:00:00ZGrear, Allison Patricia Sarah LantsberryIn seventeenth-century France a new type of theatre was established to correspond to the ideals and taste of the dominant social group. As part of the process a particular ideal was forged for the new-style actor. Moulded by classical writings on acting and actors which suggested that the; style of serious, cultured acting operated within the same aesthetic as that of oratorical delivery, this ideal similarly identified refined acting with principles of pronuntiatio and the bienséance acceptable in contemporary formal discourse As a result of this identification no separate art of acting was considered necessary in seventeenth-century France, the rules and principles of expression of emotion in oratorical delivery being accepted as valid for serious acting. It is to these rules and. principles therefore that recourse must be made if the style of seventeenth-century acting and the approach of the actor at this period are to be appreciated. Study of seventeenth-century French treatises on oratorical delivery indicates the extent to which expression of emotion was considered to require study and practise of basic principal which would enable the speaker to evoke a particular passion by appropriately moving tones and accompanying gesture, and yet at the same time remain within a socially-acceptable range. Interpretation of seventeenth-century writings Oil actors and acting in light of these principles highlights the declamatory nature of serious acting of this period. The actor was understood to approach his role with a view to representing and thus exciting passions through effective vocal variation and suitably decorous accompanying gesture (body-language). Attention was focused upon the actor's voice, upon his moving tones and cadences, and upon the grace with which he used his body to reinforce such emotional portrayal. During the eighteenth century this conception-of acting and the style it had produced were called into question. Acting began to evolve its own aesthetic, an aesthetic based upon impersonation of character through personal identification and experience of the effects of emotion in real life. Study of rules to regulate emotional expression and imitation of the best models were abandoned in favour of cultivation of artistic sensibility: recourse to the imagination and personal sensitivity. In the process emphasis shifted from the voice to non-linguistic ways of showing feeling on the stage, and gestural expression released itself from subjection to social bienséance and enriched its range and potential. Evidence of these trends as well as fidelity to or reaction against principles of bienséance may be traced in writings on acting and delivery of the first half of the eighteenth century. At the beginning of the century acting theory was still rooted in and patterned on the model of pronuntiatio. By 1750 it had established its worth as an independent art with principles more directly based upon the dramatic experience.Images of adultery in twelfth and thirteenth-century Old French literatureHarper, Aprilhttps://hdl.handle.net/10023/146542019-04-01T09:03:23Z2003-01-01T00:00:00ZThis thesis examines literary images of masculinity and femininity, their function and depiction in marriage roles and homo-social relationships in the context of crisis: wifely adultery. The study is heavily reliant upon vernacular texts, especially Old French works from the twelfth and thirteenth century including works from the genres of romance, lais, fables, and fabliaux. Latin works including historia and prescriptive texts such as customaries, penitentials, etiquette texts and medical and canon law treatises are also used to contextualise themes in the Old French literature. The introduction summarises modern literary and historical criticism concerning sexuality in the Middle Ages. It then discusses the influences of the Church, philosophy, medicine, natural theory and society on medieval definitions of sexuality to contextualise the literature which is focal to this thesis. The following four chapters each consider a single character in the adulterous affair: the adulteress, the husband, the lover and the accuser. The literary images of each character are analysed in detail revealing the diversity of depictions between and also within genres. This enables the identification of medieval sexual constructs, challenging some previous critiques of representations of sexuality in the Middle Ages. The final chapter explores the language by which the sexual act is presented. Furthermore, it shows how language is used and occasionally abused in committing, prosecuting and evading punishment for adultery and how it can be wielded as a weapon of women. Through the focus of a body of literature rich in depictions of sexuality, this thesis questions the misogynist overtones often attributed to medieval literature. The diversity of images shows that the literature illustrates a wide range of opinions and ideas reflective of the complexity of sexuality in medieval society.
2003-01-01T00:00:00ZHarper, AprilThis thesis examines literary images of masculinity and femininity, their function and depiction in marriage roles and homo-social relationships in the context of crisis: wifely adultery. The study is heavily reliant upon vernacular texts, especially Old French works from the twelfth and thirteenth century including works from the genres of romance, lais, fables, and fabliaux. Latin works including historia and prescriptive texts such as customaries, penitentials, etiquette texts and medical and canon law treatises are also used to contextualise themes in the Old French literature. The introduction summarises modern literary and historical criticism concerning sexuality in the Middle Ages. It then discusses the influences of the Church, philosophy, medicine, natural theory and society on medieval definitions of sexuality to contextualise the literature which is focal to this thesis. The following four chapters each consider a single character in the adulterous affair: the adulteress, the husband, the lover and the accuser. The literary images of each character are analysed in detail revealing the diversity of depictions between and also within genres. This enables the identification of medieval sexual constructs, challenging some previous critiques of representations of sexuality in the Middle Ages. The final chapter explores the language by which the sexual act is presented. Furthermore, it shows how language is used and occasionally abused in committing, prosecuting and evading punishment for adultery and how it can be wielded as a weapon of women. Through the focus of a body of literature rich in depictions of sexuality, this thesis questions the misogynist overtones often attributed to medieval literature. The diversity of images shows that the literature illustrates a wide range of opinions and ideas reflective of the complexity of sexuality in medieval society.Corsican language status and speaker attitudes - minority language education, polynomia and distanciationBlackwood, Robert J.https://hdl.handle.net/10023/146082023-01-30T11:29:30Z2002-01-01T00:00:00ZAn interesting language contact situation exists on the French island of Corsica, where French is the official national language but where Corsican, the island's minority language, is also in use and where Tuscan Italian, a previous official language, continues to exert a certain influence. The Corsican language is a cause espoused by the nationalist movements on the island, some of whom resort to violence and terrorism to force the government in Paris to address issues relating to the administration of Corsica. The extension of the Corsican language features amongst the demands made by the nationalists, who use the language in their high- profile campaigns. However, the Corsican language is not widely heard across the island, where no Corsican monolinguals are left alive and where French is the lingua franca. Whilst French is the language of communication, support for the Corsican language appears to be strong. This Thesis seeks to gauge the opinions of islanders, both corsophone and non-corsophone, to the language and its use. Of particular interest currently is the debate surrounding compulsory Corsican language classes for school children, and the attitudes of Corsicans to this question is addressed in this project. At the island's university in Corte, a number of academics, language activists and some politicians are engaged in work on the language, proposing a polynomic model for Corsican to extend the use of the language. Others are devoting time to differentiating the language from French, in an attempt to refine a 'purer' Corsican. This Thesis assesses the attitudes of islanders to these questions in order to provide an overview of the language situation on Corsica and to draw together proposals for those seeking to reverse the language shift to French.
2002-01-01T00:00:00ZBlackwood, Robert J.An interesting language contact situation exists on the French island of Corsica, where French is the official national language but where Corsican, the island's minority language, is also in use and where Tuscan Italian, a previous official language, continues to exert a certain influence. The Corsican language is a cause espoused by the nationalist movements on the island, some of whom resort to violence and terrorism to force the government in Paris to address issues relating to the administration of Corsica. The extension of the Corsican language features amongst the demands made by the nationalists, who use the language in their high- profile campaigns. However, the Corsican language is not widely heard across the island, where no Corsican monolinguals are left alive and where French is the lingua franca. Whilst French is the language of communication, support for the Corsican language appears to be strong. This Thesis seeks to gauge the opinions of islanders, both corsophone and non-corsophone, to the language and its use. Of particular interest currently is the debate surrounding compulsory Corsican language classes for school children, and the attitudes of Corsicans to this question is addressed in this project. At the island's university in Corte, a number of academics, language activists and some politicians are engaged in work on the language, proposing a polynomic model for Corsican to extend the use of the language. Others are devoting time to differentiating the language from French, in an attempt to refine a 'purer' Corsican. This Thesis assesses the attitudes of islanders to these questions in order to provide an overview of the language situation on Corsica and to draw together proposals for those seeking to reverse the language shift to French.Etude sur Le Miroir, ou Les Evangiles des domees de Robert de GrethamAitken, Marion Y. H.https://hdl.handle.net/10023/136212019-04-01T09:03:23Z1922-01-01T00:00:00Z1922-01-01T00:00:00ZAitken, Marion Y. H.Methodological issues raised by translating Paul Éluard's Les sept poèmes d'amour en guerreBotly, Michael Edwardhttps://hdl.handle.net/10023/135102020-11-26T03:07:21Z1997-06-01T00:00:00ZWithin the general field of translation studies, the translation of poetry has perhaps led to more discussion than any other single topic, as well as to a very wide and diverse range of translation approaches and strategies. However, it often seems that the more extreme of these approaches have been defined with greater clarity than the unsystematic, compromise approaches adopted in practice by most translators. This thesis examines a translation 'middle ground', proposing an approach to the translation of poetry which considers textual elements of content and expression not in isolation from one another but rather in terms of their functional interaction in the overall effect of both source- and target-text, aiming in this way to minimise translation loss in the translation of any given poetic source-text. This approach is developed and demonstrated in a practical way, through an examination of the translation of Paul Éluard's Les sept poèmes d'amour en guerre. Following the most comprehensive study of the seven-poem series yet undertaken, the thesis examines in detail two published translations of the series, analysing the strengths and weaknesses of the approach adopted by each translator. This then leads on to the practical application of this information, in the production and analysis of a new translation of the series using the 'middle ground' approach to translation advocated by the thesis. The appendices to the thesis include an alphabetic directory of published English-language translations of Éluard poems.
The electronic copy of this thesis des not contain appendices 2 and 3
1997-06-01T00:00:00ZBotly, Michael EdwardWithin the general field of translation studies, the translation of poetry has perhaps led to more discussion than any other single topic, as well as to a very wide and diverse range of translation approaches and strategies. However, it often seems that the more extreme of these approaches have been defined with greater clarity than the unsystematic, compromise approaches adopted in practice by most translators. This thesis examines a translation 'middle ground', proposing an approach to the translation of poetry which considers textual elements of content and expression not in isolation from one another but rather in terms of their functional interaction in the overall effect of both source- and target-text, aiming in this way to minimise translation loss in the translation of any given poetic source-text. This approach is developed and demonstrated in a practical way, through an examination of the translation of Paul Éluard's Les sept poèmes d'amour en guerre. Following the most comprehensive study of the seven-poem series yet undertaken, the thesis examines in detail two published translations of the series, analysing the strengths and weaknesses of the approach adopted by each translator. This then leads on to the practical application of this information, in the production and analysis of a new translation of the series using the 'middle ground' approach to translation advocated by the thesis. The appendices to the thesis include an alphabetic directory of published English-language translations of Éluard poems.Forms of social and personal fulfilment and non-fulfilment in the Old French narrative laisLow, Alison Maryhttps://hdl.handle.net/10023/134592019-04-01T09:02:39Z1987-07-01T00:00:00ZThe Old French narrative lais offer an image of the individual in terms of both social and personal relationships. This study considers the extent to which it is possible to derive definitions of forms of social and personal fulfilment and non-fulfilment from these texts. As well as being presented in isolation, they are shown in interaction; there can never be a total divorce of the personal desires of the individual from his/her rights and obligations in society. These two aspects of human existence - love and society - appear in the lais in a state of balance or imbalance. Even in those lais in which the characters themselves do not achieve a balance of social and personal fulfilment, the image of the ideal emerges. Consummate fulfilment in a relationship - be it feudal, familial, sexual - necessarily involves a fusion of social suitability and personal commitment. In his/her aspirations to and/or success in fulfilment, the individual appears variously in these texts both as a pawn of the forces of society or destiny and as endowed with the power to earn his/her own happiness. The degree of importance that the interaction between love and society has in the lais is, in particular, indicated through the extent to which these patterns of interaction define the patterns of narrative structure. From this study, conclusions can be drawn as to the historical reality of the individual in twelfth-century noble society in France; the lais offering a reflection of that society, of which they are a product, and also an expression of its ideals, which allow for the very real obstacles to a fusion of social and personal fulfilment to be overcome.
1987-07-01T00:00:00ZLow, Alison MaryThe Old French narrative lais offer an image of the individual in terms of both social and personal relationships. This study considers the extent to which it is possible to derive definitions of forms of social and personal fulfilment and non-fulfilment from these texts. As well as being presented in isolation, they are shown in interaction; there can never be a total divorce of the personal desires of the individual from his/her rights and obligations in society. These two aspects of human existence - love and society - appear in the lais in a state of balance or imbalance. Even in those lais in which the characters themselves do not achieve a balance of social and personal fulfilment, the image of the ideal emerges. Consummate fulfilment in a relationship - be it feudal, familial, sexual - necessarily involves a fusion of social suitability and personal commitment. In his/her aspirations to and/or success in fulfilment, the individual appears variously in these texts both as a pawn of the forces of society or destiny and as endowed with the power to earn his/her own happiness. The degree of importance that the interaction between love and society has in the lais is, in particular, indicated through the extent to which these patterns of interaction define the patterns of narrative structure. From this study, conclusions can be drawn as to the historical reality of the individual in twelfth-century noble society in France; the lais offering a reflection of that society, of which they are a product, and also an expression of its ideals, which allow for the very real obstacles to a fusion of social and personal fulfilment to be overcome.The 'double movement' : parody in the work of Alain Robbe-Grillet, with particular reference to Un RégicideHamilton, Colin M.https://hdl.handle.net/10023/134522019-04-01T09:02:41Z1989-07-01T00:00:00ZThis thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide’.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.
1989-07-01T00:00:00ZHamilton, Colin M.This thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide’.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.The poetry of GuillevicBowd, Gavinhttps://hdl.handle.net/10023/134492019-04-01T09:03:00Z1991-07-01T00:00:00Z1991-07-01T00:00:00ZBowd, GavinThe poetry of Pierre SeghersRigby, Mary B.https://hdl.handle.net/10023/134472019-04-01T09:03:03Z1989-07-01T00:00:00ZAlthough Pierre Seghers is well-known as publisher and promoter of poetry, his own poetry, as a corpus, has never been the focus of academic attention. This study approaches his poetry first through the themes. The picture which emerges, of the universe and the individual's position in this universe, is characterised by dynamism; nature, society and the individual are all in a state of becoming. So, too, are the individual's relationship with the outside world and the picture he has of himself. For the poet, these are realised in the language of his poetry. Part II is a study of the poetic technique. The importance attached by Seghers to the oral quality of poetry has led to an emphasis on the rhythms of Seghers's verse. Features which are typical of his verse and which give rise to dynamism in the verse itself are studied in relation to the dynamism which is conveyed thematically. The poetry is divided into four main types. These are the early fixed-form poetry, and three later freer forms: freed alexandrine verse, verse in mixed line-lengths, and verse written in lines of sixteen syllables. The poetry written in a mixture of line-lengths is highlighted as the apogee of Seghers's production: it is here that the dynamic relationship between the self and the outside world is most successfully concretised. The four categories reflect a chronological development, but the poetry seen in each section is studied in a synthetic manner, and a number of features are seen to be common to poetry of different types and from different periods. The synthetic character of the study is complemented by commentaries on three whole poems. A comprehensive bibliography of Seghers's poetry and prose works is found at the end of the thesis.
1989-07-01T00:00:00ZRigby, Mary B.Although Pierre Seghers is well-known as publisher and promoter of poetry, his own poetry, as a corpus, has never been the focus of academic attention. This study approaches his poetry first through the themes. The picture which emerges, of the universe and the individual's position in this universe, is characterised by dynamism; nature, society and the individual are all in a state of becoming. So, too, are the individual's relationship with the outside world and the picture he has of himself. For the poet, these are realised in the language of his poetry. Part II is a study of the poetic technique. The importance attached by Seghers to the oral quality of poetry has led to an emphasis on the rhythms of Seghers's verse. Features which are typical of his verse and which give rise to dynamism in the verse itself are studied in relation to the dynamism which is conveyed thematically. The poetry is divided into four main types. These are the early fixed-form poetry, and three later freer forms: freed alexandrine verse, verse in mixed line-lengths, and verse written in lines of sixteen syllables. The poetry written in a mixture of line-lengths is highlighted as the apogee of Seghers's production: it is here that the dynamic relationship between the self and the outside world is most successfully concretised. The four categories reflect a chronological development, but the poetry seen in each section is studied in a synthetic manner, and a number of features are seen to be common to poetry of different types and from different periods. The synthetic character of the study is complemented by commentaries on three whole poems. A comprehensive bibliography of Seghers's poetry and prose works is found at the end of the thesis.Barrès the novelistHalsall, Albert W.https://hdl.handle.net/10023/134332019-04-01T09:02:34Z1976-01-01T00:00:00Z1976-01-01T00:00:00ZHalsall, Albert W.The role of the correspondences in Gide's search for dialogueTodd, Kathleen F.https://hdl.handle.net/10023/134312019-04-01T09:03:19Z1978-04-01T00:00:00ZThe aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.
1978-04-01T00:00:00ZTodd, Kathleen F.The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.Alain, "Philosophe-Poète"Henderson, Jane M.https://hdl.handle.net/10023/134272019-04-01T09:03:11Z1997-01-01T00:00:00ZThe central theme of this thesis is Alain's insight into the nature of the cognitive experience of literature. Aware that subjective and non-analytical factors have their part to play in all forms of knowledge, Alain grew increasingly hostile to the type of philosophy characterised by what he believed was an exaggerated use of the scientific method. The introduction shows that Alain was not the only Philosopher of his day to point to the potential superiority of literature over philosophy as a form of knowledge. The ensuing chapters suggest, however, that he went further than most of his contemporaries in probing the specific nature of the mental activities involved in the creation and appreciation of works of literature. The first chapter is on investigation of Alain's working method and of the epistemological assumptions behind it. This is followed by a chapter on language and one on Alain's own style in which it is suggested that his poetic attitude, shown an his respect for the obscurity and expressive ambiguity of the word, can be of greater cognitive value than the more restrictive attitude of most philosophers towards language. The next chapter is a discussion of Alain's criteria of criticism in literary matters and it reveals his hostility towards those writers who do not share his conviction that the task of the creative writer is one of exploring the world through the reality embodied in language itself. In his own literary commentaries, Alain condemns those who misconceive the nature of their medium and merely express pre-conceived ideas in literary form. His belief, discussed in the same chapter, that great works of literature constitute a world of expression which cannot be explained, attests once again to Alain's conviction that purely / purely logical discourse is inadequate in the face of lived experience. The final chapter shows how Alain considers that literary works, which offer cognitive experience in the form of subjective truths apprehended in the reading relationship, are of much greater value to man in his quest for knowledge than the works of psychologists or moralists whose aim is to prove or demonstrate some truth about human nature.
1997-01-01T00:00:00ZHenderson, Jane M.The central theme of this thesis is Alain's insight into the nature of the cognitive experience of literature. Aware that subjective and non-analytical factors have their part to play in all forms of knowledge, Alain grew increasingly hostile to the type of philosophy characterised by what he believed was an exaggerated use of the scientific method. The introduction shows that Alain was not the only Philosopher of his day to point to the potential superiority of literature over philosophy as a form of knowledge. The ensuing chapters suggest, however, that he went further than most of his contemporaries in probing the specific nature of the mental activities involved in the creation and appreciation of works of literature. The first chapter is on investigation of Alain's working method and of the epistemological assumptions behind it. This is followed by a chapter on language and one on Alain's own style in which it is suggested that his poetic attitude, shown an his respect for the obscurity and expressive ambiguity of the word, can be of greater cognitive value than the more restrictive attitude of most philosophers towards language. The next chapter is a discussion of Alain's criteria of criticism in literary matters and it reveals his hostility towards those writers who do not share his conviction that the task of the creative writer is one of exploring the world through the reality embodied in language itself. In his own literary commentaries, Alain condemns those who misconceive the nature of their medium and merely express pre-conceived ideas in literary form. His belief, discussed in the same chapter, that great works of literature constitute a world of expression which cannot be explained, attests once again to Alain's conviction that purely / purely logical discourse is inadequate in the face of lived experience. The final chapter shows how Alain considers that literary works, which offer cognitive experience in the form of subjective truths apprehended in the reading relationship, are of much greater value to man in his quest for knowledge than the works of psychologists or moralists whose aim is to prove or demonstrate some truth about human nature.The language of La Satyre MénippéeSmith, Alexander Hallhttps://hdl.handle.net/10023/134182019-04-01T09:03:07Z1951-01-01T00:00:00Z1951-01-01T00:00:00ZSmith, Alexander HallReading the fantastic : the narrative fiction of Barbey d'AurevillyMcKeown, Andrew Patrickhttps://hdl.handle.net/10023/134142023-10-24T08:13:45Z1996-07-01T00:00:00ZAlthough Barbey's handling of the Fantastic has certainly not been overlooked, studies tend to examine this subject from a conceptual or thematic perspective. This has left unexplored the relationship between the Fantastic and Barbey's way of writing; this study aims to fill that gap by offering a stylistic analysis of the Fantastic. The thesis approaches the question by first attempting to define how the Fantastic works, and concludes by proposing the principle of a dynamic flux between writing of the real and the unreal. From this premise, the study of Barbey's Fantastic questions first the presence of realist discourse in the texts, and offers a critique of the traditional view which suggests that Barbey borrows from nineteenth-century realist orthodoxy. In its place, a broader form of mimesis is proposed. Following this, the thesis examines how Barbey's fiction works at counterpoint to the mimetic code, undermining and destabilising the illusion of vraisemblance. In so doing, the peculiarities of narrative technique are promoted as germane to the voicing of textual doubt. Then, Barbey's rhetoric is considered, offering a reading of how verbal exorbitance weakens the relationship with the signified. After this, Barbey's attempts to re-write differences are examined, a trend which provokes a crisis in the differential foundations of human understanding. The thesis concludes by examining how these principles work within the nouvelle Léa. This discussion indicates how the Fantastic demands to be read as a whole textual entity and not as a sporadic mode, and suggests that it is only in endless and unchecked interpretation- reading- that the meaning of the Fantastic is to be grasped.
1996-07-01T00:00:00ZMcKeown, Andrew PatrickAlthough Barbey's handling of the Fantastic has certainly not been overlooked, studies tend to examine this subject from a conceptual or thematic perspective. This has left unexplored the relationship between the Fantastic and Barbey's way of writing; this study aims to fill that gap by offering a stylistic analysis of the Fantastic. The thesis approaches the question by first attempting to define how the Fantastic works, and concludes by proposing the principle of a dynamic flux between writing of the real and the unreal. From this premise, the study of Barbey's Fantastic questions first the presence of realist discourse in the texts, and offers a critique of the traditional view which suggests that Barbey borrows from nineteenth-century realist orthodoxy. In its place, a broader form of mimesis is proposed. Following this, the thesis examines how Barbey's fiction works at counterpoint to the mimetic code, undermining and destabilising the illusion of vraisemblance. In so doing, the peculiarities of narrative technique are promoted as germane to the voicing of textual doubt. Then, Barbey's rhetoric is considered, offering a reading of how verbal exorbitance weakens the relationship with the signified. After this, Barbey's attempts to re-write differences are examined, a trend which provokes a crisis in the differential foundations of human understanding. The thesis concludes by examining how these principles work within the nouvelle Léa. This discussion indicates how the Fantastic demands to be read as a whole textual entity and not as a sporadic mode, and suggests that it is only in endless and unchecked interpretation- reading- that the meaning of the Fantastic is to be grasped.The emergence of the proletarian novel in France (1890-1914) and its critical reception : a study of the works of Charles Louis-Philippe, Emile Guillaumin, Eugène Le Roy, Marguerite Audoux and Lucien JeanHolland, James Edwinhttps://hdl.handle.net/10023/134102019-04-01T09:02:37Z1983-07-01T00:00:00ZThere were two principal aims which inspired the writing of this thesis. The first was to fill a gap in English scholarship by presenting, in necessarily attenuated form, to English readers what scholars like Edouard Dolléans and Michel Ragon had provided for the French; namely, a description, in Part One, of the background to the proletarian involvement in literature and especially in novel writing which gathered rapid momentum during the quarter century before the First War. In so doing, this thesis attempts to analyse the connection between the proletarian novelists of the late nineteenth century, and middle class naturalist, realist, romantic and classical writers who had earlier made use of the j working class theme. It was the intention to demonstrate that, while offering new insights into the life of the indigent-masses, these writers often relied heavily for style and theme on those established by their predecessors. The comparison could only be made by treating in detail selected representatives of this new development in literature, and this was aided by examining the opinions of contemporary critics. The precise reasons for choosing the five authors who appear in the title and for subjecting them to greatly varying degrees of examination are given at the beginning of Part Two. In general, however, these five may be seen as the group which exhibited at once the greatest similarity to established literary conventions and also the most striking originality in the development of their subject. The second and predominant aim of this thesis was to present to an English readership the works of hitherto largely ignored novelists. Because of their obscurity, greater use of quotation and paraphrase was made than would have been necessary to discuss works of widely recognised authors. Part Two is a systematic evaluation of all the novels written by the five during the period 1890-1914. The limits of one thesis did not allow exhaustive treatment of any of the novelists and it is hoped that one of the results of this study will be to stimulate further research into them. To that end as extensive a bibliography as possible has been compiled and appears in two sections at the end of this work.
1983-07-01T00:00:00ZHolland, James EdwinThere were two principal aims which inspired the writing of this thesis. The first was to fill a gap in English scholarship by presenting, in necessarily attenuated form, to English readers what scholars like Edouard Dolléans and Michel Ragon had provided for the French; namely, a description, in Part One, of the background to the proletarian involvement in literature and especially in novel writing which gathered rapid momentum during the quarter century before the First War. In so doing, this thesis attempts to analyse the connection between the proletarian novelists of the late nineteenth century, and middle class naturalist, realist, romantic and classical writers who had earlier made use of the j working class theme. It was the intention to demonstrate that, while offering new insights into the life of the indigent-masses, these writers often relied heavily for style and theme on those established by their predecessors. The comparison could only be made by treating in detail selected representatives of this new development in literature, and this was aided by examining the opinions of contemporary critics. The precise reasons for choosing the five authors who appear in the title and for subjecting them to greatly varying degrees of examination are given at the beginning of Part Two. In general, however, these five may be seen as the group which exhibited at once the greatest similarity to established literary conventions and also the most striking originality in the development of their subject. The second and predominant aim of this thesis was to present to an English readership the works of hitherto largely ignored novelists. Because of their obscurity, greater use of quotation and paraphrase was made than would have been necessary to discuss works of widely recognised authors. Part Two is a systematic evaluation of all the novels written by the five during the period 1890-1914. The limits of one thesis did not allow exhaustive treatment of any of the novelists and it is hoped that one of the results of this study will be to stimulate further research into them. To that end as extensive a bibliography as possible has been compiled and appears in two sections at the end of this work.The challenge of the image : readings in the crisis of auto(bio)graphical self-representation : [with particular reference to Rousseau, Valéry and Barthes]Myatt, Anna C.https://hdl.handle.net/10023/134092019-04-01T09:02:59Z1999-03-01T00:00:00ZThis thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.
1999-03-01T00:00:00ZMyatt, Anna C.This thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.Literary renewal and the reader : the multiple pleasures of La nouvelle fictionKarolyi, Julianhttps://hdl.handle.net/10023/134062019-04-01T09:03:15Z1998-05-01T00:00:00ZIn this thesis I seek to describe, analyse and characterise the contemporary literary movement La Nouvelle Fiction, a group that has received no critical attention to date. The movement is examined first in terms of its place in French literary history, taking as reference points both literary and theoretical trends: in particular, the nouveau roman and aspects of post-structuralism, with both of which the Nouvelle Fiction implicitly compares or contrasts itself. In Part I, I go on to analyse the theory of the fantastic and detective fiction, both genres that influence the Nouvelle Fiction, and provisional descriptions of the Nouvelle Fiction are thereby developed based on Umberto Eco's theory of the 'model reader'. I suggest that the Nouvelle Fiction demands a particularly active interpretative role of its reader, which is compared in the texts with moral competence in the world. Through analysis of key narrative strategies in Part II (circular narrative structures, unreliable narrative voices, parody, and mise en abyme), the movement is examined for its internal characteristics, and specific differences in practice are established between the Nouvelle Fiction and the nouveau roman. In Part III, aspects of reader-reception are examined, first, through the use of Barthes's anatomy of textual pleasure, second, through the relationship between fiction, the world and identity, and thirdly, through discussion of the extent engagement is possible in these ludic and interpretatively ambiguous texts. I argue that a picture thus emerges of a fiction that heralds a heightened role for the active reader of texts that represent a renewed relationship with reality and with the way narrative shapes it, after the reaction against representation that was an important characteristic of the modernist aesthetic.
1998-05-01T00:00:00ZKarolyi, JulianIn this thesis I seek to describe, analyse and characterise the contemporary literary movement La Nouvelle Fiction, a group that has received no critical attention to date. The movement is examined first in terms of its place in French literary history, taking as reference points both literary and theoretical trends: in particular, the nouveau roman and aspects of post-structuralism, with both of which the Nouvelle Fiction implicitly compares or contrasts itself. In Part I, I go on to analyse the theory of the fantastic and detective fiction, both genres that influence the Nouvelle Fiction, and provisional descriptions of the Nouvelle Fiction are thereby developed based on Umberto Eco's theory of the 'model reader'. I suggest that the Nouvelle Fiction demands a particularly active interpretative role of its reader, which is compared in the texts with moral competence in the world. Through analysis of key narrative strategies in Part II (circular narrative structures, unreliable narrative voices, parody, and mise en abyme), the movement is examined for its internal characteristics, and specific differences in practice are established between the Nouvelle Fiction and the nouveau roman. In Part III, aspects of reader-reception are examined, first, through the use of Barthes's anatomy of textual pleasure, second, through the relationship between fiction, the world and identity, and thirdly, through discussion of the extent engagement is possible in these ludic and interpretatively ambiguous texts. I argue that a picture thus emerges of a fiction that heralds a heightened role for the active reader of texts that represent a renewed relationship with reality and with the way narrative shapes it, after the reaction against representation that was an important characteristic of the modernist aesthetic.A critical translation of Charles Collé's 'Le Galant escroc'Vasey, Franceshttps://hdl.handle.net/10023/133812019-04-01T09:03:24Z1999-01-01T00:00:00ZCharles Collé (1709-1783) enjoyed the reputation amongst his contemporaries of an accomplished writer of popular songs and of comédies de société. Although three of his plays were performed at the Comédie-francaise during his lifetime, the vast majority of his work was written with a view to performance at the private theatres in Paris, notably that of his main benefactor, the due d'Orleans. This thesis looks at one of the plays written for the duc's circle of friends, namely Le Galant escroc (1753), the intention being to produce a translation into English for performance purposes. As a preliminary to translation, the play is analysed in the light of four aspects of eighteenth-century society and literature: a discussion of Collé's life and career; relevant aspects of the theatre and of literary trends in the eighteenth century, with special reference to the private theatres of Paris; the social background of the characters portrayed in Le Galant escroc, with particular reference to the financiers and their relationship to the members of the nobility; and characteristic features of eighteenth-century French. The translation strategy is based both on the above considerations and on consideration of relevant translation theories. The translation retains the eighteenth-century setting, with some elements of archaism in the language and markers to remind the audience that the action is taking place in France. Emphasis is placed on theatricality and playability, but the author's intentions, in as far as they are deductible, are respected.
1999-01-01T00:00:00ZVasey, FrancesCharles Collé (1709-1783) enjoyed the reputation amongst his contemporaries of an accomplished writer of popular songs and of comédies de société. Although three of his plays were performed at the Comédie-francaise during his lifetime, the vast majority of his work was written with a view to performance at the private theatres in Paris, notably that of his main benefactor, the due d'Orleans. This thesis looks at one of the plays written for the duc's circle of friends, namely Le Galant escroc (1753), the intention being to produce a translation into English for performance purposes. As a preliminary to translation, the play is analysed in the light of four aspects of eighteenth-century society and literature: a discussion of Collé's life and career; relevant aspects of the theatre and of literary trends in the eighteenth century, with special reference to the private theatres of Paris; the social background of the characters portrayed in Le Galant escroc, with particular reference to the financiers and their relationship to the members of the nobility; and characteristic features of eighteenth-century French. The translation strategy is based both on the above considerations and on consideration of relevant translation theories. The translation retains the eighteenth-century setting, with some elements of archaism in the language and markers to remind the audience that the action is taking place in France. Emphasis is placed on theatricality and playability, but the author's intentions, in as far as they are deductible, are respected.France, man and language in French Resistance poetry.Longwell, Ann E.https://hdl.handle.net/10023/133762019-04-01T09:03:25Z1989-07-01T00:00:00ZThe Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
1989-07-01T00:00:00ZLongwell, Ann E.The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.French Renaissance comedy, 1552-1630Jeffery, Brianhttps://hdl.handle.net/10023/133742019-04-01T09:03:21Z1967-01-01T00:00:00Z1967-01-01T00:00:00ZJeffery, BrianExample and authority in the narrative representation of women, as illustrated in selected writings of Christine de Pizan and Marguerite de NavarreRamsay, Alison J.https://hdl.handle.net/10023/133652022-05-16T12:21:07Z1999-09-01T00:00:00ZThis thesis examines the use of authority and example in the narrative representation of women in selected writings of Christine de Pizan and Marguerite de Navarre. In this thesis, it is shown that these two women writers reject the universalised notion of Woman and strive to create an alternative, not oppositional, view of the female sex. By working within established literary parameters, adopting authority from earlier works and adapting this rhetorical tool, firstly by editing or altering their sources and, secondly by incorporating the authority of personal experience into their narratives, Christine de Pizan and Marguerite de Navarre establish their own auctoritas. Similarly, the rhetorical device of example is appropriated and modified, again through a subtle process of editing and revision and by the self-inscription of the authors into their exempla. Through their use of authority and example, these women writers expose the notion of Woman as flawed and, in so doing, undermine the validity of the codes of conduct propounded for women by the canon. This thesis contends that Christine de Pizan and Marguerite de Navarre defy the patristic unipolar model of human sexuality by adopting a bi-polar model, deliberately placing the prevailing notion of Woman at the opposite, and therefore negative, pole to Man. Thereafter, through their constant rejection of universalising generalisation, they create a neutral space between the poles of Man and Woman wherein women are shown capable of active participation in a society. This thesis is undertaken from the perspective of a woman('s) historian and literary analyst, making use of a new historicist and gender-based theoretical analysis of the Livre de la Cite des Dames, the Livre des Trois Vertus and the Heptaméron situated within an appropriate historical context. This thesis is the first comprehensive comparative study of the rhetorical devices used by these two women authors in their narrative representation of women.
1999-09-01T00:00:00ZRamsay, Alison J.This thesis examines the use of authority and example in the narrative representation of women in selected writings of Christine de Pizan and Marguerite de Navarre. In this thesis, it is shown that these two women writers reject the universalised notion of Woman and strive to create an alternative, not oppositional, view of the female sex. By working within established literary parameters, adopting authority from earlier works and adapting this rhetorical tool, firstly by editing or altering their sources and, secondly by incorporating the authority of personal experience into their narratives, Christine de Pizan and Marguerite de Navarre establish their own auctoritas. Similarly, the rhetorical device of example is appropriated and modified, again through a subtle process of editing and revision and by the self-inscription of the authors into their exempla. Through their use of authority and example, these women writers expose the notion of Woman as flawed and, in so doing, undermine the validity of the codes of conduct propounded for women by the canon. This thesis contends that Christine de Pizan and Marguerite de Navarre defy the patristic unipolar model of human sexuality by adopting a bi-polar model, deliberately placing the prevailing notion of Woman at the opposite, and therefore negative, pole to Man. Thereafter, through their constant rejection of universalising generalisation, they create a neutral space between the poles of Man and Woman wherein women are shown capable of active participation in a society. This thesis is undertaken from the perspective of a woman('s) historian and literary analyst, making use of a new historicist and gender-based theoretical analysis of the Livre de la Cite des Dames, the Livre des Trois Vertus and the Heptaméron situated within an appropriate historical context. This thesis is the first comprehensive comparative study of the rhetorical devices used by these two women authors in their narrative representation of women.Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie CollinsPicq, Elisabethhttps://hdl.handle.net/10023/111122019-03-29T16:01:18Z2000-01-01T00:00:00ZThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.
2000-01-01T00:00:00ZPicq, ElisabethThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.Edition and study (mostly linguistic) of a section of an Anglo-Norman translation of the Bible (14th century) : the Acts of the Apostles in MSS B.N. fr. 1 & 9562Ratcliff, Nora Elizabethhttps://hdl.handle.net/10023/107662019-04-01T09:02:52Z1955-01-01T00:00:00ZThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.
1955-01-01T00:00:00ZRatcliff, Nora ElizabethThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.Genres instables : ludic performances of autofiction in the works of Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric ChevillardFraser, Morvenhttps://hdl.handle.net/10023/73252020-09-19T02:03:55Z2015-11-30T00:00:00ZAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.
2015-11-30T00:00:00ZFraser, MorvenAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.Charles Baudelaire's translations of Edgar Allan PoeSemichon, Laurenthttps://hdl.handle.net/10023/68712019-07-01T10:04:13Z2003-01-01T00:00:00ZAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.
2003-01-01T00:00:00ZSemichon, LaurentAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.Marriage and desire in seventeenth-century French comedyTownshend, Sarah Elizabethhttps://hdl.handle.net/10023/68122023-03-28T11:28:53Z2015-06-25T00:00:00ZThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.
2015-06-25T00:00:00ZTownshend, Sarah ElizabethThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.The German Occupation in recent French fiction : an analysis of the literary “mode retro”Morris, Alan I.https://hdl.handle.net/10023/64622019-07-01T10:09:38Z1985-07-01T00:00:00ZThis thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.
1985-07-01T00:00:00ZMorris, Alan I.This thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.Literacy and the vernacular : a case study based on the post-colonial history of Mauritius, with particular reference to Mauritian CreoleHills, Laurahttps://hdl.handle.net/10023/64542019-04-01T09:03:11Z2001-01-01T00:00:00ZThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.
2001-01-01T00:00:00ZHills, LauraThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.Women and nature in the works of French female novelists, 1789-1815Margrave, Christie L.https://hdl.handle.net/10023/63912021-08-15T02:01:49Z2015-06-25T00:00:00ZOn account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
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2015-06-25T00:00:00ZMargrave, Christie L.On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.A corpus linguistic analysis of phraseology and collocation in the register of current European Union administrative FrenchAnderson, Wendy J.https://hdl.handle.net/10023/49092019-07-01T10:02:45Z2003-01-01T00:00:00ZThe French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.
2003-01-01T00:00:00ZAnderson, Wendy J.The French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.The 'internal exotic' : a postcolonial re-reading of nineteenth-century Alsatian and Corsican literature in FrenchLorber, Julia Elfriedehttps://hdl.handle.net/10023/37442020-11-17T03:03:20Z2013-01-01T00:00:00ZThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.
2013-01-01T00:00:00ZLorber, Julia ElfriedeThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.Pierre Reverdy : lyrisme de la réalité. Poétique du visuelBrogly, Marie-Noëllehttps://hdl.handle.net/10023/34132020-11-19T09:03:30Z2013-06-01T00:00:00ZThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.
2013-06-01T00:00:00ZBrogly, Marie-NoëlleThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.'Pour garder l'impossible intact' : the poetry of Heather DohollauO'Connor, Clémencehttps://hdl.handle.net/10023/7912021-10-05T10:39:41Z2009-11-30T00:00:00ZThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.
2009-11-30T00:00:00ZO'Connor, ClémenceThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.The formation of a European identity through a transnational public sphere? The case of three Western European cultural journals, 1989-2006Hauswedell, Tessa C.https://hdl.handle.net/10023/7892019-04-01T09:02:39Z2009-11-30T00:00:00ZThis thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.
2009-11-30T00:00:00ZHauswedell, Tessa C.This thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.The specificity of Simenon: on translating 'Maigret'Taylor, Judith Louisehttps://hdl.handle.net/10023/7132019-07-01T10:05:07Z2009-06-23T00:00:00ZThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.
2009-06-23T00:00:00ZTaylor, Judith LouiseThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.'Le vrai recueil des Sarcelles' of Nicolas Jouin : an edition with a linguistic study of the depicted sociolect and its Parisian connectionsRandell, Elizabethhttps://hdl.handle.net/10023/5452019-07-01T10:10:59Z2008-11-27T00:00:00ZThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.
2008-11-27T00:00:00ZRandell, ElizabethThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.