Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Cette thèse vise à rendre compte de la perception de la folie au XIXe siècle à travers l’analyse de textes mettant en scène un narrateur fou durant l’âge d’or de l’aliénisme (entre 1830 et 1870). Elle montre dans quelle mesure la littérature expose les différents discours qui la définissent et sert de plateforme d’expression au contre-pouvoir. Dans la mesure où il s’agit de concevoir la folie dans une perspective discursive, l’analyse a bénéficié des travaux de Foucault sur le domaine et contribue à l’avancée de la critique en privilégiant l’analyse littéraire de la représentation du fou et de son discours. Tout d’abord, l’analyse de La Fée aux Miettes de Nodier et de Louis Lambert de Balzac expose le discours aliéniste en rapport avec celui du fou, en considérant ce dernier comme un être non seulement malade, mais aussi sublime et exceptionnel. Le second chapitre montre comment les narrateurs de Mémoires d’un fou de Flaubert et Aurélia de Nerval rejettent la conception dominante de la folie en lui substituant leur propre conception, poétique et sublime, et en s’attaquant au terme lui-même, l’un par la multiplication de ses acceptions, l’autre par son éviction. Enfin, le troisième chapitre analyse Un Martyre dans une maison de fous de Karl-des-Monts, Mémoires d’une aliénée d’Hersilie Rouy et Un Beau-frère d’Hector Malot. Dans ces récits d’individus internés à l’asile, l’analyse dégage les moyens stylistiques par lesquels les narrateurs cherchent à invalider leur diagnostic de folie et dénoncer les défauts de l’aliénisme, tout en préservant leur individualité de la catégorisation médicale. La thèse montre comment la représentation de la folie et le discours du fou en tant que narrateur servent autant à la création littéraire qu’à l’établissement d’une conception de la folie alternative à celle proposée par l’aliénisme.

In several of Michel Houellebecq’s, Marie NDiaye’s, and Michael Haneke’s works there are moments in which attention is drawn to a backdrop of interesting spaces and shifting urban and rural topographies. Rather than viewing the spaces of the narratives as a passive stage upon which the action takes place, or as an exteriorization of the characters’ emotional state, this thesis approaches their works with the perspective that socio-economic change impacts on space, and that this impact can be explored by narrative. This thesis takes three of Houellebecq’s novels, three of NDiaye’s novels, and two of Haneke’s films, and positions them in the context of the economic shift between two dominant modes of production: Fordism and post-Fordism. Post-Fordism can be defined according to four distinguishing features, each of which expresses itself on space in different ways: the first three concern the flexibilization, tertiarization, and feminization of the workforce; and the fourth refers to the global, informatized and geopolitical context in which these processes take place. The analysis in this thesis looks at the way in which the narratives depict these features, with a focus on their spatial attributes. An important part of the research question concerns whether the narratives respond to the precarious and volatile nature of post-Fordism by constructing a nostalgia for a more ‘stable’ past time and space. Houellebecq’s novels critique the impact of post-Fordist spatial change and emotively convey a sense of nostalgia. NDiaye’s novels also critique the impact of post-Fordist spatial change and explore the desire for stability. However, they simultaneously critique that desire, impeding recourse to nostalgia. Haneke’s films articulate the impact of post-Fordist spatial change and the way in which it impedes the city’s ability to be a space of ethical encounter. They present rural idylls and some urban spaces as offering opportunities for ethical relationships and the construction of community. The thesis offers a new way to approach two authors and a filmmaker who are among the most remarkable of the twenty-first century. It demonstrates the value of literary and filmic works in making sense of socio-economic change, as well as the way in which economic transition expresses itself on the French territory and impacts upon experience and interaction occurring within it.

This thesis examines the 'Miroir Historial Abrégé de France' and 'Cest chose profitable', two unpublished historical texts composed by an anonymous royal official for King Charles VII of France (1422-1461). It seeks to establish the context in which they were produced, the purposes for which they were cemposed, and the identity of the author(s). Chapter One classifies manuscripts of the 'Miroir Historial' and 'Cest chose profitable' into two groups and five groups, respectively. In each case, the version most representative of the text prepared for Charles VII is identified. A study of surviving manuscripts indicates that 'Cest chose profitable' enjoyed more success than the 'Miroir Historial'. Chapter Two examines the illustrations accompanying each text. It is probable that the author supervised the illustration in one manuscript of the 'Miroir Historial'. Chapters Three and Four compare the major themes of the texts and their political context. Similarities in auctorial methods suggest that they are the work of a single author who has interpreted his historical sources to justify contemporary royal policies in France, and the king's relations with the pope, the emperor and the king of England. Chapter Five proposes Noél de Fribois, royal <u>notaire et secretaire</u> (active 1420-1459), as the author of both texts. It indicates how Fribois's career, and contemporary cultural and professional attitudes to history, are reflected in his texts. It concludes that the audience primarily envisaged for the texts was royal or noble, and that their purpose was chiefly to arouse and maintain support for royal policies among the royal entourage. The thesis also includes appendices presenting edited extracts and manuscript descriptions, and a volume of photographs.

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Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Proefschrift--Amsterdam. / "Ouvrages consultés": p. [162]-166.