The French composer Henri Dutilleux (born 1916) was largely influenced by the French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu. This monumental work is regarded by many critics as one of the most important novels of all times. The narrator, a parallel figure of Proust himself, experiences an involuntary memory of his childhood. An involuntary memory which is aroused in the narrator runs like a thread through the novel. This study traces how Dutilleux's style of writing was influenced by the concept of memory. Proust's concept of involuntary memory is realised in the sonata through "musical beacons". Dutilleux's composition techniques which relate to the concept of memory involve the following markers: • mirror images such as fan-like or melismatic figures • prominence of the tritone • focal notes or chords • principle of circularity • obsessional chords. A related aspect of Proust's concept of memory is the instability and inconsistency of the human personality as it is portrayed in his novel. In this study it is indicated how Dutilleux's croissance progressive composition technique may be likened to the inconsistency of personalities. It involves the concept of thematic evolutions which usually permutate from a core cell. This technique is characteristic of his adult work, and he applied it consciously for the first time in his First Symphony (1951). However, he acknowledges that he had used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano (1947) is an early work which was written during his student years for competition purposes. He does not regard the sonata as representative of his adult writing style. Thematic permutations of a core cell in the first movement are indicated in all three movements of the work. The analysis of musical thematic structure shows that aspects of Dutilleux's adult writing style were already present in his early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.

The French composer Henri Dutilleux (born 1916) was largely influenced by the French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu. This monumental work is regarded by many critics as one of the most important novels of all times. The narrator, a parallel figure of Proust himself, experiences an involuntary memory of his childhood. An involuntary memory which is aroused in the narrator runs like a thread through the novel. This study traces how Dutilleux's style of writing was influenced by the concept of memory. Proust's concept of involuntary memory is realised in the sonata through "musical beacons". Dutilleux's composition techniques which relate to the concept of memory involve the following markers: • mirror images such as fan-like or melismatic figures • prominence of the tritone • focal notes or chords • principle of circularity • obsessional chords. A related aspect of Proust's concept of memory is the instability and inconsistency of the human personality as it is portrayed in his novel. In this study it is indicated how Dutilleux's croissance progressive composition technique may be likened to the inconsistency of personalities. It involves the concept of thematic evolutions which usually permutate from a core cell. This technique is characteristic of his adult work, and he applied it consciously for the first time in his First Symphony (1951). However, he acknowledges that he had used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano (1947) is an early work which was written during his student years for competition purposes. He does not regard the sonata as representative of his adult writing style. Thematic permutations of a core cell in the first movement are indicated in all three movements of the work. The analysis of musical thematic structure shows that aspects of Dutilleux's adult writing style were already present in his early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.

Grâce à son écriture précédant immédiatement la Première Guerre mondiale, À la Recherche du temps perdu de Marcel Proust nous offre une trame narrative propice à l’analyse du deuil intime, vécu avant cette guerre terrible qui a à jamais modifié notre conception de la mort. En s’intéressant à la mort de la grand-mère du personnage-narrateur, à celle de son amante Albertine ainsi qu’à celle de Charles Swann, on peut tracer un nouveau fil conducteur au sein du roman. Ces deuils contribuent directement à la conclusion du roman, alors que Marcel découvre sa vocation d’écrivain et décide d’y consacrer sa vie. Ce nouveau but coïncide avec le constat de l’imminence de sa propre mort, causalité entre mort et art qui justifie conséquemment que l’on se penche sur les grands deuils du roman. Quel est le véritable objet de ces deuils ? En quoi ces deuils provoquent-ils la vocation ? En quoi le deuil est-il donc créatif chez Proust ? Voilà les questions majeures qui traversent ce mémoire et par lesquelles il tentera de répondre à la nécessité de ces deuils comme unités de base et comme succession menant au surgissement final d’un sujet désormais dévoué à l’art littéraire.

Le Cahier 46 de Marcel Proust est un cahier particulièrement important dans la genèse du roman proustien. Écrit principalement dans les années 1914 et 1915, il est un cahier de transition entre le roman d'avant-guerre et le roman tel qu'il sera publié après la guerre. Cette étude du Cahier 46 [volume I] qui s'appuie sur une transcription diplomatique intégrale du Cahier [volume II] est à la fois génétique et littéraire. Elle entend montrer que ce cahier est au cœur des bouleversements du roman, le lieu de naissance de cette prolifération interne qui a fait d'un roman en trois volumes un roman fleuve, le lieu aussi où l'on assiste à la métamorphose d'Albertine. Non seulement elle occupe une place de plus en plus importante dans l'œuvre mais surtout elle change de nature. D'une fille dont le héros " s'amourache " [Cahier 13, folio 28 r°], elle devient un personnage au destin tragique, nœud d'une histoire sans cesse réécrite qui permet de relier les grands thèmes du roman - la mort, la culpabilité, Gomorrhe et l'homosexualité - et de relire les relations du héros avec les personnages de la mère et de la grand-mère. L'analyse génétique du Cahier 46, écrit dans ce moment de crise, permet de poser quelques grands principes et de proposer une analyse précise de la pratique du brouillon de Proust ainsi que de mettre en évidence la réorganisation du roman à partir de l'année 1913 qui signe l'apparition d'Albertine. Ces éléments conduisent à une interprétation littéraire de cette métamorphose du roman sous la pression du personnage : le passage d'un roman des filles à un roman d'Albertine.

Dans la Recherche du temps perdu, toute relation filiale est une relation où le fils fait inévitablement souffrir sa mère en commettant, selon Proust, une forme de parricide. La lecture des œuvres pré-Recherche de l’auteur, telles la nouvelle « La confession d’une jeune fille » et l’article « Sentiments filiaux d’un parricide » permettent de comprendre cette relation ambigüe, au cœur de laquelle se trouve l’amour incommensurable que ressent le fils pour le parent, un amour si intense qu’il en est étouffant. Dans ces conditions, le parent en vient à symboliser aux yeux de l’enfant la Loi contre laquelle il doit se rebeller à coup de gestes de cruauté. Le fils, s’il est de ceux qui peuvent soutenir la vue de leurs crimes, entre alors dans un cercle vicieux : par sa cruauté, il tue – symboliquement ou réellement – le parent aimé et il en jouit. Suite à ce sadisme, il ressent une insupportable culpabilité qui le mène à une dévotion masochiste encore plus grande pour son parent. Or, par le personnage du narrateur de la Recherche du temps perdu, Proust démontre que la seule manière de se libérer de cette douloureuse culpabilité, c’est l’Art. Le crime ultime qu’est la création excuse les actes de cruauté antérieurs et les justifie même. C’est la seule manière de transformer la souffrance vécue (issue entre autres de la culpabilité d’avoir pris plaisir à faire souffrir un parent aimé) en idées universelles, en œuvre d’art. / In A la recherche du temps perdu, every filial relationship is one where the son inevitably causes his mother suffering by committing, according to Proust, a form of parricide. The writings of Marcel Proust before la Recherche, such as the short story “A young girl’s confession” and the newspaper article “Filial sentiments of a parricide”, allow us to understand this ambiguous relationship, at the heart of which we can find the unmeasured love that the son feels for his parent, a love so intense that it soon becomes suffocating. Under these conditions, the parent comes to symbolize to the child “the moral Law” against which he must rebel, choosing cruelty as his weapon. The son, if he is one of those who can stand the sight of their own crimes, enters then in a vicious cycle: with his daily acts of cruelty, he kills – symbolically or in genuinely – the beloved parent, and he enjoys it. Following this act of sadism, he feels an unbearable guilt that leads him to an even greater masochistic devotion for his parent. Yet, through the character of the narrator of la Recherche, Proust demonstrates that there is indeed one way to free oneself from this painful guilt, and it is through Art. Creation, the ultimate crime, excuses and even justifies any previous acts of cruelty. It is the only way of transforming suffering (resulting among other things, from the guilt of having enjoyed causing a beloved parent any kind of suffering) into universal ideas, into art.

This dissertation examines how Marcel Proust presents and uses different speech styles in A la recherche du temps perdu. The narrator of the novel analyzes how almost everyone he encounters speaks and consistently bases his decisions about how to interact with others on his evaluation of their speech mannerisms. I argue that, through the narrator’s observations, Proust emphasizes the role of the socioindexicality of speech, or how the way a person speaks communicates their social identity, in mediating social relations. I begin by presenting the narrator’s comments on how social status is interpreted through the way that people speak. Then I turn in the second chapter to how the narrator’s understanding of what factors determine a person’s speech mannerisms changes over the course of his life. The third chapter argues that the narrator has a sustained interest in how people use speech to perform different identities and shows how his investigation into the reasons these performances succeed or fail informs Proust’s own technique of using different speech styles to create fictional characters in his novel. The last chapter discusses how Proust’s Jewish and gay characters adapt how they speak to avoid or overcome discrimination. In each of these chapters, I show how, in A la recherche, the way social identity is interpreted and performed through speech causes individuals to take on different identities. I argue that, through the narrator’s comments on this phenomenon, Proust demonstrates how it affects the structure of society while also studying the way it can be used to create fictional characters in a novel.

This Master's thesis consists of two separate parts: Le vent dans les voiles, a travel fiction, is followed by a short essay, Le voyage comme archeologie de la memoire. / Le vent dans les voiles is both a travel fiction and a short apprenticeship novel. Julien Legare, an idealistic young man, is fond of Jim Morrison and Zarathoustra . As he is travelling in Europe, his dreams of intellectual and emotional liberation are breaking down to pieces. Disillusion eventually leads him to a new vision, beyond childhood nostalgia. / The essay is a mythocritical analysis of three Twentieth Century novels by Le Clezio, Proust and Gabrielle Roy: Le chercheur d'or, A la recherche du temps perdu and La Route d'Altamont . These books have in common the themes of travel, memory and creation. The three protagonists all long for the lost paradise of their childhood, thus they search for their origins. Travelling in space and time, on the outside and inside themselves, they become archaeologists of their own memory, digging for forgotten treasures. Is remembrance a topos of travel literature?

Dans la Recherche du temps perdu, toute relation filiale est une relation où le fils fait inévitablement souffrir sa mère en commettant, selon Proust, une forme de parricide. La lecture des œuvres pré-Recherche de l’auteur, telles la nouvelle « La confession d’une jeune fille » et l’article « Sentiments filiaux d’un parricide » permettent de comprendre cette relation ambigüe, au cœur de laquelle se trouve l’amour incommensurable que ressent le fils pour le parent, un amour si intense qu’il en est étouffant. Dans ces conditions, le parent en vient à symboliser aux yeux de l’enfant la Loi contre laquelle il doit se rebeller à coup de gestes de cruauté. Le fils, s’il est de ceux qui peuvent soutenir la vue de leurs crimes, entre alors dans un cercle vicieux : par sa cruauté, il tue – symboliquement ou réellement – le parent aimé et il en jouit. Suite à ce sadisme, il ressent une insupportable culpabilité qui le mène à une dévotion masochiste encore plus grande pour son parent. Or, par le personnage du narrateur de la Recherche du temps perdu, Proust démontre que la seule manière de se libérer de cette douloureuse culpabilité, c’est l’Art. Le crime ultime qu’est la création excuse les actes de cruauté antérieurs et les justifie même. C’est la seule manière de transformer la souffrance vécue (issue entre autres de la culpabilité d’avoir pris plaisir à faire souffrir un parent aimé) en idées universelles, en œuvre d’art. / In A la recherche du temps perdu, every filial relationship is one where the son inevitably causes his mother suffering by committing, according to Proust, a form of parricide. The writings of Marcel Proust before la Recherche, such as the short story “A young girl’s confession” and the newspaper article “Filial sentiments of a parricide”, allow us to understand this ambiguous relationship, at the heart of which we can find the unmeasured love that the son feels for his parent, a love so intense that it soon becomes suffocating. Under these conditions, the parent comes to symbolize to the child “the moral Law” against which he must rebel, choosing cruelty as his weapon. The son, if he is one of those who can stand the sight of their own crimes, enters then in a vicious cycle: with his daily acts of cruelty, he kills – symbolically or in genuinely – the beloved parent, and he enjoys it. Following this act of sadism, he feels an unbearable guilt that leads him to an even greater masochistic devotion for his parent. Yet, through the character of the narrator of la Recherche, Proust demonstrates that there is indeed one way to free oneself from this painful guilt, and it is through Art. Creation, the ultimate crime, excuses and even justifies any previous acts of cruelty. It is the only way of transforming suffering (resulting among other things, from the guilt of having enjoyed causing a beloved parent any kind of suffering) into universal ideas, into art.

Zugl.: Oxford, University, Diss.

La série adjectivale est une structure bien connue des lecteurs de Proust. La Recherche comprend plus de trois mille séries adjectivales ; elles combinent deux, trois, jusqu’à dix-sept adjectifs. Les variations sémantiques et syntaxiques sont nombreuses entre les séries. Devons-nous parler de série adjectivale ou de séries, au pluriel ? Quel point commun ont toutes ces séries entre elles ? Peut-on dire que la série adjectivale est une figure de style ?Notre but sera de montrer comment s’articulent ces deux phénomènes stylistiques qui font de la série adjectivale une microstructure complexe : l’effet artiste et le fait de vision. Notre thèse consiste à démontrer que la série adjectivale est un phénomène stylistique, un fait qui ne peut se comprendre qu’en analysant le fonctionnement cognitif d’une vision du monde. Dans une première partie nous analysons la série adjectivale comme un fait de langue, une syntaxe complexe ; dans une seconde partie, nous étudions les effets stylistiques produits par la série adjectivale ; puis nous démontrons que le fait syntaxique est l’expression d’un rapport phénoménologique entre le narrateur et le monde qui l’entoure. / Adjectival series are a well-known by Proust’s readers. We find more than three thousand adjectival series in In Search of the Lost time ; some combine two, three, four adjectives, until seveteen adjectives ; we notice semantical variations and syntactical differences. Should we speak about adjectival series or serie ? What do these series have in common ? Is the adjectival series a stylistic figure ? We want to prove that the adjectival serie is part of these two both stylistics phenomenons which are artistical writting effects and vision of the world. We analyse this stylistic fact according to psychomecanical linguistic, as the expression of an original way to feel. In the first part of research we will show that the adjectival serie is a complex syntactic fact ; in the second part we analyse the adjectival serie as a stylistic effect ; then, we demonstrate that the syntactic fact express a phenomenological link between the narrator and the world.