In his 1987 essay "Canadian Poetry After Auschwitz," Michael Greenstein argues that A.M. Klein's mock-heroic poem, The Hitleriad (1944), ultimately fails to portray the severity and tragedy of the Holocaust because "it lacks the necessary historical distance for coping with the enormity" of the event (1). Greenstein's criticism is interesting because it suggests that in order for a writer to adequately represent the horrors of a traumatic event like the Holocaust it is "necessary" for him to be distanced from the event. While Greenstein specifically addresses historical (or temporal) distance, Canadian authors writing about the Holocaust have also, inevitably, had to negotiate their geographical and cultural distance from the historical event as well. Not surprisingly, their works tend to be immensely self-reflexive in nature, reflecting an awareness of the questions of authority and problems of representation that have shaped critical thinking about Holocaust literature for over half a century. This dissertation examines the role that distance has played in the creation and critical understanding of representative works of Canadian Holocaust literature. It begins with an extensive analysis of the poetry and prose of geographically-distanced poet A.M. Klein, whose work is unique in the Canadian literary canon in that it mirrors the shifting psychological state of members of the Canadian Jewish community as news of the Holocaust slowly trickled into Canada. This is followed by a discussion of the Holocaust texts of Irving Layton and Leonard Cohen, both of whom experimented with increasingly graphic Holocaust imagery in their works in response to the increasingly more horrifying information about the concentration camps that entered the Canadian public conscience in the 1960s. The dissertation then turns its attention to the uniquely post-memorial and semi-autobiographical works of two children of Holocaust survivors, Bernice Eisenstein and J.J. Steinfeld, before focusing on the Holocaust works of Timothy Findley and Yann Martel, both of whom produce highly metafictional novels in order to respond to the questions of appropriation and ethical representation that often surround works of Holocaust fiction created by non-Jewish writers. The dissertation concludes with an analysis of Anne Michaels' novel Fugitive Pieces—a text that addresses all three types of distance that stand at the center of this dissertation, and that illustrates many of the strategies of representation that Canadian writers have adopted in their attempts to negotiate, highlight, erase, and embrace the distance that separates them from the Holocaust.

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IN ENGLISH The primary concern of this thesis is to explore the instances of incorporation of media-specific elements extracted and translated from radio and cinema into Samuel Beckett's late prose. The analysis of the texts forming Beckett's Nohow On trilogy is based on the investigation of the two modes of perception - the aural and the visual - and is realised through the close reading of Company, Ill Seen Ill Said, and Wostward Ho in the context of media and film theory and practice. The chief premise is that the formal translations among the print and non-print media in Beckett's work are conditioned by the author's interest in, and theoretical and practical familiarity with, radio, television, and cinematography. The discussion is thus supported by biographical and bibliographical framework, and Beckett's familiarity with the specificities of broadcast media and cinema is considered in their direct relation to the progressive 'technologisation' of his fiction of the 1980s. The thesis outlines the origins and transformations of the motif of voice as one of Beckett's chief fictional concerns, and explores the texts' practical and notional borrowings from the field of cinematography to elucidate the way in which they are designed to simulate perceptual experiences. In doing so, the individual...

Das Ziel dieser Arbeit ist die Berechnung der arithmetischen Volumina der Shimuravarietäten vom orthogonalen Typ und der natürlichen Höhen der speziellen Zykel auf diesen. Wir entwickeln, für den Fall guter Reduktion, eine allgemeine Theorie ganzzahliger Modelle von toroidalen Kompaktifizierungen der Shimuravarietäten vom Hodge Typ (sowie des Standardhauptfaserbündels darüber). Dies ermöglicht, unter Verwendung der Theorie der Borcherdsprodukte, das arithmetische Voluminen einer zu einem Gitter L der Diskriminante D assoziierten Shimuravarietät, bis auf log(p) Beiträge zu Primzahlen p mit p^2|4D, zu berechnen. Dies ist eine Verallgemeinerung einer Arbeit von Burgos, Bruinier und Kühn. Die Höhen der speziellen Zykel werden im Falle von Kodimension 1 bis auf log(p)-Beiträge mit p|2D berechnet, sowie unter leichten zusätzlichen Einschränkungen im Falle von Kodimension > 1. The resultierenden Grössen sind spezielle Ableitungswerte gewisser L-Reihen. Im Falle der speziellen Zykel stimmen diese mit speziellen Ableitungswerten gewisser normalisierter Eisensteinreihen überein (zusätzlich, bis auf Beiträge bei unendlich). Dies bestätigt Vermutungen von Bruinier-Kühn, Kudla und anderen. / The overall aim of this thesis is to compute arithmetic volumes of Shimura varieties of orthogonal type and natural heights of the special cycles on them. We develop a general theory of integral models of toroidal compactifications of Shimura varieties of Hodge type (and of its standard principal bundle) for the case of good reduction. This enables us, using the theory of Borcherds products, and generalizing work of Burgos, Bruinier and Kühn, to calculate the arithmetic volume of a Shimura variety associated with a lattice L of discriminant D, up to log(p)-contributions from primes p such that p^2|4D. The heights of the special cycles are calculated in the codimension 1 case up to log(p), p|2D, and with some additional restrictions in the codimension > 1 case. The values obtained are special derivatives of certain L-series. In the case of the special cycles they are equal to special derivatives of Fourier coefficients of certain normalized Eisenstein series (in addition, up to contributions from infinity) in accordance with conjectures of Bruinier-Kühn, Kudla, and others.

Diese Dissertation behandelt nicht-holomorphe Diese Dissertation behandelt nicht-holomorphe Eisensteinreihen und Dessins d''Enfants. Nicht-holomorphe Eisensteinreihen entstehen aus Untergruppen der Modulgruppe, indem man über alle Elemente der Gruppe modulo dem Stabilisator einer Spitze aufsummiert. Die zweite Struktur, Dessins d''Enfants, sind bipartite Graphen die in topologische Flächen eingebettet sind. Dessins d''Enfants stehen in Korrespondenz zu Belyi-Paaren und Untergruppen der Modulgruppe von endlichem Index. Deshalb bestehen zwischen Eisensteinreihen und Dessins d''Enfants Verbindungen und ein Schwerpunkt dieser Arbeit ist es, Informationen und Wissen über das eine Objekt in das andere zu übertragen. Bezüglich Dessins d''Enfants beschäftigen wir uns mit Symmetrien. Wir waren in der Lage, Automorphismen von algebraischen Kurven im assoziierten Dessin, in der zugehörigen Untergruppe sowie insbesondere auf den Spitzen zu interpretieren. Außerdem beschreiben wir die Zusammenhänge zwischen Dessins für Untergruppen, dadurch können wir für zwei Untergruppen anhand ihres Dessins entscheiden, ob sie in einander enthalten sind. In Kombination mit hier erbrachten Resultaten zu den Hauptkongruenzuntergruppen führt dies zu einem implementierten Algorithmus, der prüft, ob eine Gruppe eine Kongruenzuntergruppe ist oder nicht. Auf der Seite der Eisensteinreihen untersucht dieser Text Streukonstanten, Greensche Funktionen und Kroneckergrenzformeln. In der Streumatrix fanden wir Symmetrien (für bestimmte Gruppen). Für Greensche Funktionen wurde eine Spurformel bewiesen. Wir zeigten, dass Eisensteinreihen eine Identität erfüllen, die wir Kroneckergrenzformel nennen; sie vergleicht den konstanten Term der Eisensteinreihe mit Funktionen, die von ausgezeichneten Modulformen kommen. Die Dissertation gipfelt in der Berechnung der Streukonstanten für die Untergruppen assoziiert zu den Fermatkurven, die fast alle Nichtkongruenzuntergruppen sind. / In this dissertation non-holomorphic Eisenstein series and Dessins d''Enfants are considered. Non-holomorphic Eisenstein series are created out of subgroups of the modular group by summing up over all elements modulo the stabilizer of a cusp. The second main object, Dessins d''Enfants, are bipartite graphs that are embedded into topological surfaces. There is a correspondence between Dessins D''Enfants, Belyi pairs and subgroups of the modular group of finite index. Therefore Eisenstein series and Dessins d''Enfants are related and a focus of this work is how to use the one to find information about the other. The main results concerning Dessins d''Enfants in this thesis are investigations of symmetries of Dessins. We have been able to interpret automorphisms of algebraic curves on the associated Dessin, the subgroups and in particular the set of cusps. Furthermore, we describe the relation of Dessins for subgroups. Therefore, with help of the Dessins we can decide if two subgroups are contained in each other. Together with our results on the Dessins for principal congruence subgroups this leads to an implemented algorithm that checks if a subgroup is a congruence subgroup or not. On the side of Eisenstein series we consider scattering constants, Green''s functions and Kronecker limit formulas. We found symmetries in the scattering matrix for certain groups. For Green''s functions we established a trace formula. We showed that Eisenstein series fulfill an identity we call Kronecker limit formula in which they are compared with functions coming from certain modular forms. Most of the work done in this thesis culminates in the calculation of the scattering constants for the subgroups associated to Fermat curves; most of these groups are non-congruence.

Tesis

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.

Nous considérons certaines séries de Fourier liées à la théorie des formes modulaires. Nous étudions leurs propriétés analytiques : la dérivabilité, le module de continuité et l'exposant de Hölder. Nous utilisons deux méthodes différentes. La première revient à trouver et itérer une équation fonctionnelle de la fonction étudiée (méthode d'Itatsu) et la deuxième provient de l'analyse en ondelettes (méthode de Jaffard). L'étape essentielle de chacune dépend de la modularité sous-jacente. Nous trouvons que les propriétés analytiques de ces séries aux points irrationnels sont liées aux propriétés diophantiennes de ces points. Ce travail a été motivé par l'étude de la fonction de Riemann. / We consider certain Fourier series which arise from modular or automorphicforms. We study their analytic properties: differentiability, modulus of continuity and theH¨older regularity exponent. We use two different methods. One is based on finding anditerating a functional equation for the function studied (Itatsu’s method), the second onecomes from wavelet analysis (Jaffard’s method). The crucial steps in both of them arebased on the underlined modularity. We find that the analytic properties of these seriesat an irrational x are related to the fine diophantine properties of x, in a very precise way.The work was motivated by the study of the Riemann series.

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.