De tous les auteurs français du XIXe siècle, Balzac fut le plus connu en Europe centrale et orientale. Sa réception fut moins marquante avant 1918, tranquille en 1918-1948 et glorieuse en 1948-1989. Pourquoi Balzac a-t-il obtenu ce quasi monopole ? Pourquoi Balzac et non Flaubert, Zola ou Maupassant ? Nous avons analysé les postfaces et les critiques de ses chefs-d´œuvre ainsi que le contexte historique et culturel. Après 1948 le pouvoir communiste cherche quelqu'un sur qui s´appuyer en littérature et Balzac en sort victorieux. Son époque forte arrive pour tous les pays alliés de l´URSS. Son œuvre fait l´objet de dizaines de milliers de tirages, les maisons d´édition nationales se l´arrachent, subventionnent sa promotion littéraire en le liant avec Lénine ou très souvent avec Marx, Engels qui servent de caution pour lui ouvrir une grande voie. En quarante ans, Balzac est partout. Après 1989, la littérature classique est déjà installée mais c´est aussi sa fin. Balzac n´est plus nourri par les maisons d´édition : celles-ci étant devenues privées, publient ce qu´elles veulent. Que cinq livres de Balzac sont édités. Point d´intérêt pour l´auteur de La Comédie humaine, pourtant, la culture slovaque est imprégnée de son souvenir. / Of all the French authors in the XIXth century, Balzac was the best known in Central and Eastern Europe. His reception was less remarkable before 1918, quiet in 1918-1948 and glorious in 1948-1989. Why did Balzac obtain this almost monopoly? Why Balzac and not Flaubert, Zola or Maupassant? We analysed the postscripts and the criticisms of his masterpieces as well as the historical and cultural context. After 1948 the communist power is searching for someone who they can lean on in literature and Balzac emerged victoriously. His powerful era is visible in all the allied countries of the USSR. His work is the subject of ten thousand of the prints, the national publishing houses compete for him, subsidize his literary promotion by linking him with Lenin or very often with Marx, Engels who serve as a surety to open a great way for him. In forty years, Balzac is everywhere. After 1989, the classical literature is already installed but it is also its end. Balzac is no longer fed by the publishing houses: they become private and publish what they want. Only five books are edited. Point of interest of the author of the Human Comedy, however, the Slovak culture is impregnated in his memory.

This comparative reading of contemporary Australasian and Canadian fiction privileges a reciprocal interaction between ecocriticism and magic realism within the field of postcolonial studies. My research shows that few works examine magic realism as a distinct aesthetic mode, while many ecocritical and postcolonial studies favour colonialist and pessimistic perspectives. Seeking to balance thematic and aesthetic concerns, my concepts of ecological magic realism and magic realist ecopoetics re-evaluate this still often misunderstood mode: its techniques in postcolonial narratives not only transcribe the cultural plight of the postcolonial subject, but also translate the missing ecological link between the environment and human beings. Informed by ecopoetic reflections on figurative language, Delbaere-Garant’s notion of mythic realism, and material ecocriticism, my concepts take the narrative and physical agency – or poiesis – of the non-human world as their focal point. Recognizing the dialogical web of human and non-human energies raises the issues of eco-imperialism as well as those of environmental and social justice. My thesis discusses two main configurations of ecological magic realism common to Anglo-Celtic and Indigenous texts within my corpus: synergy and crisis. These shifting interspecies relations are explored through the contexts of eco-spiritualities, scientific approaches to Nature, Nature writing, gothic-like metamorphoses, eco-apocalypse, and the Anthropocene. Rejecting dualistic worldviews, magic realism in these collaborative or competitive humans/Nature interactions remains ambivalent: on the one hand, it re-enacts human beings’ failed embeddedness in their non-human surroundings; on the other, it also re-opens the possibility of a mutually-enriching symbiosis. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished

Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre. / This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the young author and the cultural style of his novels. In the central part of this analysis the characters are studied in the perspective of their search for identity and of their way of coming to terms with the public and social systems with which they are confronted through events involving their civil status (marriage, death, etc.). Their relationship with the image and power of numeracy is another important dimension of the complex dynamics of this search for identity. The voices that one hears in the narration, public or private, individual or collective, consensual or dissenting, are examined for the clues they yield concerning the cultural tensions present within the communities represented in the novels. The last part of the thesis examines the conflict and convergence between literacy as a “habitus” and the living traces of orality as they appear in the novels of the corpus (Brûlebois, Aller retour, La Table-aux-Crevés). This study also aims at being open to the world of Marcel Aymé as a whole and at being attentive to the interrelations between all the publications of the author, including his newspaper articles and his plays.

Title: The temporality of love – A study about the definition of love over time in love novels Subject: Sociology Authors: Penny Salomonsson The purpose of this study is to form an understanding regarding what love is in love novels from different periods, from the beginning of 1800s to the present, 2020. Previous studies have shown that the definition of love has gone from being about the couple to being about the individual. What love is has therefore become uncertain, which has led to discussion. The study of this topic is therefore of great relevance because it can show what love has been and what it is or at least what we want it to be, and that can say something about our society. This study is based on a qualitative research method. The method is conceptual history – the study of concepts which is an approach in text analysis. Ten love novels were included in the study, some of them are classic love novels because it probably gave a more credible picture of what love was during the chosen time periods. The theoretical perspective that the collected data is analysed through is Anthony Giddens theories about passionate love, romantic love and the pure relationship. Eva Illouz analytical tool “the great transformation of love” are also used. The result of this study shows that all periods during the chosen time period defines love based on romantic love in some sense. Romantic love therefore does not dominate the definition of love of all the different time periods, however, it does exist. Moreover, the study result also shows that characteristics is important for the definition of love and that reflection and development also has important place in the definition of love.

Although there are a lot of popular books available on the subject of hope I still believe that there is a need for another study on the phenomenon of hope. Especially where proper exegesis and a multidiscipline approach are taken into account. In this study I’ve researched the effect of a society in transition on hope. I suspect that the changes since 1994 have a significant influence on the attitude, thought and behaviour of the Afrikaner especially. To come to such a conclusion the study take theories of change in Sociology into account. Some information were gathered from papers. The reason for that is the influence papers have on the spirit of society, and in this case its influence on people’s hope. Unfortunately one of the conclusions is that a lack of hope can very well be one of the consequences of the changes in society since 1994. The contemporary study is followed by a study on hope in Paul’s letter to the Romans. The background of the author, the congregation and the theology of the letter were taken in consideration. In most of the cases I’ve used the verses in the letter where the word hope was used. Surprisingly there is quite a comparison between the letter of Romans and society today as far as the reasons that causes hopelessness. Therefore Romans can be of great value to give hope in a disorientated society. Until now we know that there is a lack of hope in society, and that Romans give us reason to hope, but what is the person looking like that we want to communicate with? The study on post modernity show us how this “new” paradigm looks like. Post modernity is very different to modernism. The latest paradigm is universal and no one and nothing can escape it. Social sciences, the arts, economy, science itself and the theology were largely influenced by post modernity. With its larger emphasis on spirituality it creates wonderful opportunities for preaching. On the other side though, one should also keep its threats in mind, especially the proneness to relativism and New Age. In the last chapter I use all the information and conclusions of the previous chapters to get to a homiletic strategy for a postmodern context. The most important part of this chapter is to conclude that confession is a suitable hermeneutical and homiletical tool for preaching in post modernity. There is no need to prove confession, it is about something that is believed. The Bible therefore is still as relevant as ever. Communication strategies are included to guide the preacher in the most effective way when preaching in a postmodern context. The chapter ends with certain specific homiletic contents from the Roman letter that can be used today. We can know for certain that hopelessness is part of our society today. However we’ve got the promise of Romans 15:13 that God stays our God of hope. Our tasks are to posision us homiletically, hermeneutically and strategically in such a way that we give our faith the best possible chance. / Dissertation (MTh (Practical Theology))--University of Pretoria, 2006. / Practical Theology / MTh (Practical Theology) / unrestricted

Syftet med arbetet är att utforska hur jag uppfattar texten och musiken utan några övriga instruktioner och sedan följa processen i att skapa mina egna interpretationer utifrån instruktioner jag lägger till själv. De frågeställningar som används för att undersöka detta är: Vilka tankar och känslor väcker det hos mig när jag studerar in en notbild helt utan instruktioner? Vilka insikter kan jag få om olika sätt att följa de instruktioner som tonsättaren anger genom att ta bort dem helt? Vad fyller tonsättarens instruktioner för funktion för mig som musiker och hur kan jag förhålla mig till dem respektfullt men samtidigt fritt? Metoden som används är att två romanser av Ture Rangström har valts ut och alla instruktioner som har med tempo, karaktär, artikulation och dynamik att göra har suddats ut. Därefter studerar jag in romanserna för att sedan föra in mina egna instruktioner och skapa min egen interpretation. Genom att följa min process genom den loggbok jag fört under tidens gång resonerar jag sedan kring frågeställningarna och gör en kort jämförelse av min egen tolkning och tonsättarens instruktioner i originalnoterna. Detta gör jag för att väcka medvetenhet kring hur jag gör mina konstnärliga val genom det landa i att kunna göra de valen på ett mer självsäkert sätt. Mina resultat pekar på att det som tonsättaren ger oss musiker med sina instruktioner är en utgångspunkt för interpretationen, snarare än en absolut sanning om hur något ska låta. Genom att utföra instruktionerna till punkt och pricka har jag inte framfört en interpretation, den måste jag bidra med själv genom att umgås och arbeta med musiken, analysera den, reflektera över vilka val jag vill göra samt prova mig fram genom min klingande praktik.

[pt] A presente dissertação se propõe a fazer uma síntese teológica da teologia da graça em Santo Agostinho e da teologia dialética de Karl Barth. E mostrar que, embora os dois tenham usado de base a carta de Paulo aos Romanos para fundamentarem suas respectivas teologias, usaram epistemologias completamente diferentes. Nossa pesquisa tencionar mostrar que, enquanto Santo Agostinho fazia todas as coisas dependerem da Graça Divina, creditando a Cristo o mérito de tudo, Karl Barth ontologizou demais o tema do pecado. Nossa pesquisa objetiva mostrar que, embora os dois trabalharam demais as palavras pecado e redenção, palavras essas que gravitam em toda história da salvação, o escopo da teologia de Santo Agostinho está na graça. Enquanto que, Karl Barth deu mais ênfase a questão do pecado e seu efeito catastrófico, que estabeleceu uma crise entre Deus e o homem. Daí a teologia da crise. Mas também a teologia dialética, que acontece através de uma autodoação e uma autocomunicação entre Deus e a humanidade, pois o Não-Deus foi superado a partir do sim pronunciado através da obra de Cristo. / [en] The present research proposes to make a theological synthesis of the theology of grace in Saint Augustine and the dialectical theology of Karl Barth. And to show that, although the two used Paul s letter to the Romans as a basis to support their respective theologies, they used completely different epistemologies. Our research is intented to show that while St. Augustine made all things depend on Divine Grace, crediting Christ with the merit of everything, Karl Barth over- ontologized the theme of sin. Our research aims to show that, although the two worked too hard on the words sin and redemption, words that gravitate throughout salvation history, the scope of St. Augustine s theology is in grace. Meanwhile, Karl Barth placed more emphasis on the issue of sin and its catastrophic effect, which established a crisis between God and man. Hence the theology of crisis. But also dialectical theology, which takes place through self-giving and self-communication between God and humanity, since the Not-God was overcome from the yes pronounced through the works of Christ.

Ce mémoire de maîtrise porte sur l'écriture de soi dans les récits de voyage d'écrivaines-voyageuses. La première partie de ce mémoire, Je serai partout, est un récit de voyage autofictionnel divisé en 28 courts chapitres. Annick, la narratrice-personnage, évoque ses rencontres, ses amours et ses désirs qui sont à l'image de son existence : en perpétuel mouvement avec une propension à la fuite. Son départ pour l'Inde coïncide avec un évènement personnel bouleversant qui transforme profondément ses convictions et ses projets. Le voyage devient alors une véritable quête de soi où elle remet en question ses choix personnels, ses désirs de tout quitter et son errance constante. Le récit entremêle les temps, oscillant entre les souvenirs de pérégrinations passées et le présent de sa découverte de l'Inde. La narration privilégie une perspective intime en s'attardant aux expériences personnelles du personnage. Le voyage, le changement et la liberté sont les thématiques au cœur de cette histoire. La deuxième partie de ce mémoire porte sur l'analyse de la représentation des écrivaines-voyageuses de la première moitié du XXe siècle. Nous y étudions les cas d'Alexandra David-Néel, d'Ella Maillart, et d'Annemarie Schwarzenbach afin d'observer comment ces écrivaines se définissent et se représentent à travers les thématiques du voyage. Notre hypothèse est qu'elles se construisent comme des êtres entre deux mondes : d'un point de vue social entre les normes du féminin et du masculin, mais aussi d'un point de vue géographique entre l'Orient et l'Occident. C'est pourquoi le premier chapitre présente l'opposition partielle et le détachement à la vie occidentale permis par le voyage. Nous abordons notamment des manifestations de leur liberté, laquelle s'exprime par le brouillage de la frontière entre les genres par leur habillement et leur posture. Dans le second chapitre, nous nous penchons sur l'affirmation et la représentation de soi à travers la découverte de l'Ailleurs. Le clivage Orient/Occident est le rivet de cette analyse. Nous y examinons les différentes façons de parler de soi, de l'expression de la vulnérabilité à l'autohéroïsation, puis nous évoquons la relation de nos auteures avec l'altérité. Ne souhaitant pas nous cantonner à l'étude biographique de nos auteures, l'ensemble de cette recherche et l'analyse textuelle du corpus reposent sur différentes théories, à savoir : la géopoétique, l'orientalisme, les études de genre et bien sûr les études critiques sur le récit de voyage. / This Master's thesis focuses on the self-writing in the travel stories of female traveler-writers. The first part, Je serai partout, is an autofictional travelogue divided into 28 short chapters. The story revolves around Annick, the narrator-character. She evokes a lot about her encounters, especially her lovers and her desires which are a reflection of her existence: in perpetual motion and inclined to flee. Her departure for India coincides with an overwhelming personal event which profoundly transforms her convictions and her projects. Then, the trip becomes a real quest of herself where she questions her personal choices, her desires to leave everything and her constant wandering. The story intertwines the times, oscillating between memories of past wanderings and the present in her discovery of India. The narration favors an intimate perspective by focusing on the character's personal experiences. Travel, change and freedom are the themes at the heart of this story. The second part deals with the analysis of the representation of female traveler-writers of the first half of the 20th century. We study the cases of Alexandra David-Néel, Ella Maillart, and Annemarie Schwarzenbach in order to observe how these writers define and represent themselves through the themes of travel. Our hypothesis is that they construct themselves between two worlds: from a social point of view between the norms of the feminine and the masculine, but also from a geographical point of view between the East and the West. The first chapter presents their partial opposition and detachment from Western life allowed by travel. We discuss in particular with the manifestations of their freedom, which is expressed by blurring the line between genders through their clothing and posture. In the second chapter, we look at self-affirmation and self-representation through the discovery of Elsewhere. The East / West divide is the rivet of this analysis. Then, we examine the different ways of speaking about oneself, from the expression of vulnerability to self-heroization, then we evoke the relationship of our authors with otherness. Not wishing to confine ourselves to the biographical study of our authors, all of this research and the textual analysis of the corpus are based on different theories, namely: geopoetics, orientalism, gender studies and, of course, critical studies on travel narratives.

En sondant la pratique du graphisme d'auteur et le roman graphique, ce mémoire définit une zone convergeant entre le design graphique, les arts visuels et la création littéraire. Il présente deux points de vue : un panorama informatif du graphisme d'auteur et du roman graphique accompagné d'un regard réflexif sur ma pratique de graphiste auteur. Le contexte de ma recherche porte sur l'exploration de territoires identitaires féminins à travers les concepts de fragment, de mémoire, d'autofïction et de monoparentalité. La problématique de recherche est issue de cette question : le graphisme peut-il être utile socialement et servir à améliorer une communauté ? Cette volonté d'engagement social a donné naissance à un projet de praticienne en graphisme d'auteur : l'écriture et l'illustration d'un roman graphique dans lesquelles je prends position en livrant une vision personnelle et positive de la monoparentalité.

Ce mémoire de maîtrise porte sur l'écriture de soi dans les récits de voyage d'écrivaines-voyageuses. La première partie de ce mémoire, Je serai partout, est un récit de voyage autofictionnel divisé en 28 courts chapitres. Annick, la narratrice-personnage, évoque ses rencontres, ses amours et ses désirs qui sont à l'image de son existence : en perpétuel mouvement avec une propension à la fuite. Son départ pour l'Inde coïncide avec un évènement personnel bouleversant qui transforme profondément ses convictions et ses projets. Le voyage devient alors une véritable quête de soi où elle remet en question ses choix personnels, ses désirs de tout quitter et son errance constante. Le récit entremêle les temps, oscillant entre les souvenirs de pérégrinations passées et le présent de sa découverte de l'Inde. La narration privilégie une perspective intime en s'attardant aux expériences personnelles du personnage. Le voyage, le changement et la liberté sont les thématiques au cœur de cette histoire. La deuxième partie de ce mémoire porte sur l'analyse de la représentation des écrivaines-voyageuses de la première moitié du XXe siècle. Nous y étudions les cas d'Alexandra David-Néel, d'Ella Maillart, et d'Annemarie Schwarzenbach afin d'observer comment ces écrivaines se définissent et se représentent à travers les thématiques du voyage. Notre hypothèse est qu'elles se construisent comme des êtres entre deux mondes : d'un point de vue social entre les normes du féminin et du masculin, mais aussi d'un point de vue géographique entre l'Orient et l'Occident. C'est pourquoi le premier chapitre présente l'opposition partielle et le détachement à la vie occidentale permis par le voyage. Nous abordons notamment des manifestations de leur liberté, laquelle s'exprime par le brouillage de la frontière entre les genres par leur habillement et leur posture. Dans le second chapitre, nous nous penchons sur l'affirmation et la représentation de soi à travers la découverte de l'Ailleurs. Le clivage Orient/Occident est le rivet de cette analyse. Nous y examinons les différentes façons de parler de soi, de l'expression de la vulnérabilité à l'autohéroïsation, puis nous évoquons la relation de nos auteures avec l'altérité. Ne souhaitant pas nous cantonner à l'étude biographique de nos auteures, l'ensemble de cette recherche et l'analyse textuelle du corpus reposent sur différentes théories, à savoir : la géopoétique, l'orientalisme, les études de genre et bien sûr les études critiques sur le récit de voyage. / This Master's thesis focuses on the self-writing in the travel stories of female traveler-writers. The first part, Je serai partout, is an autofictional travelogue divided into 28 short chapters. The story revolves around Annick, the narrator-character. She evokes a lot about her encounters, especially her lovers and her desires which are a reflection of her existence: in perpetual motion and inclined to flee. Her departure for India coincides with an overwhelming personal event which profoundly transforms her convictions and her projects. Then, the trip becomes a real quest of herself where she questions her personal choices, her desires to leave everything and her constant wandering. The story intertwines the times, oscillating between memories of past wanderings and the present in her discovery of India. The narration favors an intimate perspective by focusing on the character's personal experiences. Travel, change and freedom are the themes at the heart of this story. The second part deals with the analysis of the representation of female traveler-writers of the first half of the 20th century. We study the cases of Alexandra David-Néel, Ella Maillart, and Annemarie Schwarzenbach in order to observe how these writers define and represent themselves through the themes of travel. Our hypothesis is that they construct themselves between two worlds: from a social point of view between the norms of the feminine and the masculine, but also from a geographical point of view between the East and the West. The first chapter presents their partial opposition and detachment from Western life allowed by travel. We discuss in particular with the manifestations of their freedom, which is expressed by blurring the line between genders through their clothing and posture. In the second chapter, we look at self-affirmation and self-representation through the discovery of Elsewhere. The East / West divide is the rivet of this analysis. Then, we examine the different ways of speaking about oneself, from the expression of vulnerability to self-heroization, then we evoke the relationship of our authors with otherness. Not wishing to confine ourselves to the biographical study of our authors, all of this research and the textual analysis of the corpus are based on different theories, namely: geopoetics, orientalism, gender studies and, of course, critical studies on travel narratives.