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La première impression que ressent le lecteur à la lecture des "Chants", c'est le dépaysement. L'oeuvre nous désoriente, et, après une première lecture, nous avons l'impression de nous retrouver dans un fouillis inextricable. [...]

[...] This thesis will be confined to a study of the benevolent gentlemen in Dickens novels, and will attempt to answer such questions as: Who were these men? For what purpose did Dickens create them? What function do they serve in the novels? How great, or how limited, is their scope of action? Did they provide Dickens with his ultimate answers to the problems of human behaviour? Chapter I will discuss the background, origin and characteristics of the benevolent gentlemen. Chapter II will describe the benevolent gentlemen of the early novels, Mr. Pickcwick (The Picknick Papers, 1836-37), Mr. Brownlow (Oliver Twist, 1837-39), the Cheeryble Brothers (Nicholas Nickleby, 1838-39), Mr. Garland and the Single Gentleman (The Old Curiosity Shop, 1840-41), and Scrooge (A Christmas Carol, 1843). Chapter III will be concerned with the benevolent gentlemen of Dickens' middle period, Mr. Jarndyce (Bleak House, 1852-53), Mr. Sleary (Hard Times, 1854), and Mr. Meagles (Little Dorrit, 1855-57). [...]

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This study analyzes William Faulkner's Snopes Trilogy (The Hamlet, The Town, The Mansion) from the aspect of point of view. It shows how point of view is linked to theme in that the complexity of point of view parallels and emphasizes the complexity of truth as it exists in the novels. Each novel is examined separately, for each poses different problems involved in searching out truth and each is unique in point of view. The Hamlet is determined to have a predominantly omniscient narrator, The Town to be told by three first-person narrators, and The Mansion to combine omniscient with first-person narrative. The increasing complexity in point of view and in the search for truth leads to the conclusion that Faulkner was demonstrating that truth is not an absolute.

The Old Curiosity Shop, Charles Dickens' fourth novel, has been given little serious critical attention by modern scholars. The purpose of this study was to analyze the novel, ignoring the accepted prejudices against it and establishing it as a complex artistic creation.The organization of the study rests on the thesis that after Master Humphrey, the narrator of the first three chapters, dismisses himself from the story, the novel divides into four sections each focused on one of the four major characters-- Nell, Kit, Quilp, and Dick. The sections are not divided in the novel, but are complexly interwoven with the sections presenting different views of the major themes of the novel.Master Humrhrey's three-chapter introduction to the novel sets the plots of the four sections in motion and establishes the major concerns of the novel—alienation, creativity, and materialism. More important, Master Humphrey is the only artist whose consciousness is penetrated while he is in the act of creating.Nell’s section contains the most lengthy treatment of the major themes, but does not present the novel’s and as with Nell, his self-imposed, alienation ends in death. The similarity between Mrs. Quilp and Nell, and Nell, Mrs. Quilp's enjoyment of her suffering combine to raise the doubt that Nell's problems are imposed externally. Quilp's creativity is reflected in his ability to appear differently to different people around him. He recreates himself constantly.Dick Swiveller's progression from a morally careless rogue to a caring hero is the triumph of the novel, and his section contains the novel's solutions to the thematic problems. Unlike Nell, Kit, and Quilp, who retreat from society, Dick searches for companionship. He and the Marchioness solve the problem of alienation by finding each other. He also presents a compromise between the greed of Quilp and the grandfather and Nell's renunciation of material goods with his theory that money simply makes things more pleasant. Dick is the greatest creative artist in the novel for be uses his imagination to create a refuge for himself and his friends within an alien world. He creates through imaginative power the haven which Nell cannot find in her flight.

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