Cette thèse se propose de fournir une analyse comparative de la poétique de la rétrospective traumatique et les dispositifs littéraires que trois textes - Fugitive Pieces d’Anne Michaels, Solar Storms de Linda Hogan, et Beloved de Toni Morrison - utilisent pour signifier la nécessité du recul, d'un regard rétrospectif, sur le passé atroce. La thèse étudie les façons dont chaque texte négocie la fragmentation qui caractérise la suite traumatique, notamment en raison du caractère incomplet de l'histoire traumatique inscrite comme l'absence de savoir. La thèse explore également le positionnement d'un tel passé, dans un contexte intersubjectif, qui va au-delà du simple sort individuel pour essayer de comprendre la nécessité d'être un agent moralement responsable de la sauvegarde de la mémoire dans le présent. Cette étude met ainsi l'accent sur la façon dont la mémoire et le témoignage sont intimement liés aux outils langagiers, qui, par implosion poétique, offrent la possibilité de concilier l’intervention imaginative avec le référentiel (oblique). / This thesis will provide a comparative analysis of the poetics of traumatic hindsight and the literary devices that three texts - Anne Michaels’s Fugitive Pieces, Linda Hogan’s Solar Storms, and Toni Morrison’s Beloved– utilize to signify the necessity of a retrospective gaze towards the atrocious past. The thesis investigates the ways in which each text negotiates the fragmentation that characterizes the traumatic aftermath, particularly as a result of the incomplete nature of traumatic history inscribed as absence of knowledge. It also explores the positioning of such a past within an intersubjective context, which goes beyond the simple individual plight to comprehend the need to be an ethically responsible agent of remembrance in the present. A central aspect of this study is thus the focus on how memory and witnessing are deeply entwined with the linguistic, which, by imploding into the poetic, offers the possibility of reconciling the imaginative intervention with the (obliquely) referential.

When youth novels were first written, Afrikaans speaking adolescents spent their time reading the original and absorbing youth novels then available. These suited their psychological and environmental development and they could identify with the language and style used in these novels. The contents were a representation of a world which they knew and in which they could feel secure. Although authors often dealt with issues relevant to the adolescent world, the plot reflected a secure and nurturing world where the readers and their life experiences were taken into account. In recent years the adolescent world has changed dramatically from a secure environment to a more exposed one, posing the question whether contemporary Afrikaans youth novels have retained the same traits mentioned earlier and answer to the same norms. The value of literature should never be underestimated; it can develop the imaginative skills and moral values of adolescent readers. Also, it has become clear that adolescents have a great need for reading material that deals with relevant issues. The main focus of this study is characterization and development of identity in selected youth novels by Barrie Hough, viz. My kat word herfs, Vlerkdans and Skilpoppe as revealed in textual analysis and empirical research. The literature study focuses on developmental psychology and the reading expectations of the adolescent, character development according to some narrative theories, e.g. reader response criticism and intertextuality theories. The main objective of this study is to analyze, interpret and evaluate the above three youth novels in order to establish whether or not the contemporary adolescent can identify with these specific stories. It has been found that the adolescent reader in the early years of the twenty first century is able to identify with the contemporary youth novels such as those by Barrie Hough. Although young readers do not want to steer clear of contentious themes and issues in youth novels, it seems that they still prefer evergreen classical topics and themes. This suggests that the modern adolescent is still positive about life and aspires to attain goodness and moral strength. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006

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

Zugl.: Tübingen, Universiẗat, Diss., 2004. / Hergestellt on demand.

Cette thèse prend la forme d’une pyramide renversée : à la base, qui est en réalité la surface, il faut imaginer les deux poètes du XXe siècle, alors qu’à la pointe extrême se situerait Proust, point d’émanation d’une certaine énergie intellectuelle qui se diffuse dans toute la modernité. Pedro Salinas et Eugenio Montale ont lu À la recherche du temps perdu dans l’Europe du premier proustisme (1920-1930). Les poétiques du poète italien et du poète espagnol s’inscrivent dans une même recherche du secret invisible, de l’essence du monde. Le parallélisme, inédit et intertextuel, entre leurs poèmes et le roman proustien met en valeur des aspects essentiels de leur lyrisme : une mémoire intermittente, oublieuse et épiphanique, enveloppant le parcours amoureux du sujet lyrique moderne. Les recueils « La voz a ti debida » (1933) de Salinas et « Le occasioni » (1939) de Montale, en particulier, sont deux véritables canzonieri d’amour construits autour de la phénoménologie du souvenir et de l’ « adresse tutoyante ». Les poétiques de Montale et de Salinas convergent d’autant plus vers la présence-absence d’un destinataire féminin, qu’ils s’écartent du chemin du Narrateur proustien. La comparaison entre prose et poésie fait émerger l’adresse au tu comme élément nouveau qui, n’existant pas dans le roman de Proust, constitue en poésie une alternative au « solipsisme proustien ». La relation exclusive du je lyrique avec un tu lyrique l’amène à partager l’intime, à sauvegarder la mémoire et à continuer l’amour contre tout oubli. / This thesis has the form of an upside down pyramid: at the base, which is on top, we put two lyrical 20th century poets. At the tip of the pyramid is Proust, from who emanates an intellectual energy that spreads all over modern thought. Pedro Salinas and Eugenio Montale read “In Search of Lost Time” during the first period of European proustism (1920-30). Just as Proust, they shared the same search for the invisible secret, for the world’s essence. Comparing their poems between them and with Proust’s novel reveals key-aspects of their lyricism. In their poetry, like in Proust’s novel, memory is intermittent, alternating between oblivion and epiphanic moments that are essentially part of the experience of love. “La voz a ti debida” (1933) by Salinas and “Le occasioni” (1939) by Montale are based on a phenomenology of memory and love address. When Montale’s and Salinas’s poetics converge on the importance of dialogue with female figure, they move away from the Proustian narrator’s trajectory. The comparison between prose and poetry demonstrates that the lyrical relationship with “you” (an element which was absent in Proust's novel) has a direct impact on the writing form. Dialogical form of lyricism appears an alternative to the “Proustian solipsism”. The lyrical subject of Salinas and Montale can share with his beloved “tu” (you) his memory and preserve love from oblivion. / Questa tesi ha la forma di una piramide rovesciata: alla base, che è in realtà la superficie, sisituano due poeti del XX secolo, la punta estrema è invece Proust, punto d’emanazione d’una certa energia intellettuale che si diffonde in tutta la modernità. Pedro Salinas e Eugenio Montale hanno letto Alla ricerca del tempo perduto immerse nel primo proustismo europeo (1920-1930). Le poetiche del poeta italiano e del poeta spagnolo convergono verso una ricerca simile del segreto invisibile, dell’essenza del mondo. Il parallelismo, inedito e intertestuale, tra le loro opere e il romanzo di Proust mette in luce alcuni aspetti fondamentali della loro poesia lirica: memoria intermittente, oblio e momenti epifanici costituiscono il perno del loro discorso soggettivo e amoroso. Le raccolte “La Voz un debida ti” (1933) di Salinas e “Le occasioni” (1939) di Montale, in particolare, sono due “canzonieri” moderni costruiti intorno alla fenomenologia della memoria e al dialogo con il tu amato. Le poetiche di Montale e di Salinas convergono verso la presenza-assenza costante di un tu femminile nel momento stesso in cui più si allontanano dal percorso del Narratore proustiano. Il confronto tra poesia e prosa lascia emergere il dialogo con il “tu lirico” come un elemento nuovo, inesistente nel romanzo di Proust, che diventa in poesia un’alternativa al “solipsismo proustiano”. La relazione esclusiva tra io e tu lirico porta il soggetto lirico alla condivisione dell’intima ricerca, per custodire la memoria e continuare l’amore contro le forme dell’oblio.

Ce travail interprète les deux premières parties de la Divine Comédie de Dante Alighieri (1261-1321) à partir des valeurs symboliques associées par son auteur à la lumière. L’objectif est de démontrer que, grâce à la représentation de multiples phénomènes lumineux dans l’Enfer et dans le Purgatoire, le redressement moral conçu pour le lecteur est comparable à une véritable conversion, un cheminement de l’esprit qui fuit l’erreur (ténèbres) pour se rapprocher par étapes successives du salut (lumière).Dans la première partie, la nécessité pour l’auteur de placer ces deux espaces eschatologiques chrétiens sur terre est mise en relation avec les vicissitudes rencontrées par Dante qui le conduisent à s’interroger sur le destin d’une humanité en perdition. L’égarement de l’âme ayant perdu le bien de l’intellect, de même que son rachat, sont évoqués dans le monde des vivants par la présence du royaume de la damnation éternelle, l’abîme infernal, et d’un espace de pénitence temporaire, une montagne élevée. En traversant ces deux lieux de l’au-delà, le protagoniste échappe à la forêt obscure et s’apprête à atteindre le colle illuminé ; il suggère ainsi au lecteur un modèle de conduite morale à travers l’interprétation symbolique des phénomènes lumineux.Dans la deuxième et dans la troisième partie, l’exemplarité attribuée à la représentation de la lumière se précise à travers l’expérience exceptionnelle du pèlerin, viator dans le monde des morts : dans l’Enfer, la « poétique du feu » met en scène l’évolution d’une conscience en train de constater les conséquences désastreuses d’un usage malsain de l’intellect (ingegno) ; dans le Purgatoire, la « poésie du ciel » relate la libération progressive d’un esprit à qui sont annoncés les signes de son élection au privilège de la grâce. / This work is an interpretation of the first two parts of The Divine Comedy by Dante Alighieri (1261-1321) from the symbolic meanings associated to light by the author. The objective is to demonstrate that through the representation of multiple light phenomena in Hell and in Purgatory , moral recovery designed for the reader is similar to a true conversion, a journey of the mind fleeing its error (darkness) in order to approach salvation (light) by stages.In the first part, the necessity to place part of the Christian eschatological space on earth is related to Dante’s vicissitudes that make him question the destiny of a humanity in distress. The error of the soul which has lost the good of the intellect, as well as its redemption, are evoked in the world of the living by the presence of the realm of eternal damnation (the infernal abyss) and a space for temporary penance (a high mountain). By crossing those two places of the afterlife, the protagonist escapes the dark forest and prepares to reach the illuminated colle. Thus he suggests a model of moral behavior through a symbolic interpretation of the luminous phenomena.In the second and third parts, the exemplarity attributed to the representation of light is made clear through the exceptional experience of the pilgrim, viator in the world of the dead : in Hell, the "poetics of fire " stages the evolution of consciousness : an awareness of the disastrous consequences of an unhealthy use of the intellect (ingegno) ; in Purgatory , the "poetry of heaven " traces the gradual release of a mind to which the signs of its election to the privilege of grace are revealed.

Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinéma. / Neorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films.

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