Thesis (M.A.)--University of Hong Kong, 1968. / Also available in print.

Thesis (M.A.)--Guo li zheng zhi da xue. / Reproduced from ms. copy. Bibliography: leaves 235-239.

Thesis (M.A.)--Guo li zheng zhi da xue, Minguo 66 [1977.] / Cover title. Reproduced from typescript. Bibliography: p. 163-175.

This dissertation is divided into two parts. Part Two contains my translations of Japanese texts by Nishiwaki Junzaburō (1894-1982): three essays from Chōgenjitsushugi shiron (Surrealist Poetics) (1929), his first and second collections of poems written in Japanese, Ambarvalia (1933) and Tabibito kaerazu (No Traveller Returns) (1947), as well as a long poem from his "middle period," entitled "Eterunitas" (1962). Part One, consisting of three chapters, attempts to expose various theoretical issues that these translations bring forth. Through this "exposé," several major issues surface, namely, the concepts of Language, Poetry, and Translation. Further, these concepts are interrelated by a "paradisal" centre—the notion of "non-meaning." Chapter One presents a deconstructive examination of the notion of translation. Two opposing manifestations of Language, writing and reading, are set forth by way of Roland Barthes's textual concepts, "le scriptible" and "le lisible." "Writing" is here defined as a language-movement of production that opposes "knowledge," while "reading" is regarded as the consumption of codes, that is, "knowing." The question posed at this point is: what status does "translation" possess in terms of these two opposing language-movements? Is it writing or reading? Through Walter Benjamin's essay on translation, "Die Aufgabe des Übersetzers" (The Task of the Translator), as well as through Jacques Derrida's reading of it in his "Des Tours de Babel," translation is revealed to hold an essentially paradoxical function: a translation is secondary to the original in its status, yet it deconstructs the original and triggers the survival movement of Language towards its paradisal state of non-meaning. Thus translation is seen as partaking of an originary movement of writing, which Derrida elsewhere names "différance." In Chapter Two, Nishiwaki's notion of Poetry presented in his Surrealist Poetics is discussed along with Georges Bataille's notions of "dépense" and "non-savoir," as well as with Derrida's grammatology. Nishiwaki proposes a negative evolution of poetry whose ultimate end is the (self-)extinction of poetry. Similarly, Bataille locates Poetry in the self-sacrificial "jouissance," beyond identity, beyond knowledge. Derrida's notion of "arche-writing" in turn exposes the "always-already" existence of the essentially transgressive movement of "writing" everywhere in our logocentric universe. Through these discourses, then, Poetry is envisioned as the death of writing, located outside of Language, in the paradise of non-meaning. Every writing strives towards this paradisal goal. At the same time, for Nishiwaki, this paradise includes an origin (the origin of poetry) which he names "tsumaranasa (boredom, insignificance) of reality." Poetry thus begins and ends in this fundamental loss of language, meaning, and knowledge. In Chapter Three, the translated poems of Nishiwaki are discussed as representing not "reality" but a certain movement of Language, be it Benjamin's "translation" or Derrida's "arche-writing." The text of Ambarvalia essentially presents fissures in the Japanese language caused by the invasion of foreign tongues. Thus it is Nishiwaki's translatory textual strategy that produces a "new" poetic language. In No Traveller Returns, Nishiwaki's willful appropriation of past traditions is brought forth. In "Eterunitas," we witness the failure of silence, Language's failure to attain Poetry, initiating the incessant flow of writing, poetry, and translation, beyond reading. / Arts, Faculty of / English, Department of / Graduate

Pendant une trentalne d’années de la parution de son premier roman "Voyage au bout de la nuit" en 1932 jusqu'a sa mort en 1961, Louis—Ferdinand Celine a contribue de facon remarquable au renouvellement du genre romaneaque. Or, plusleurs etudes ont deja ete consacrees au style celinien et, en particulier au vocabulaire argotique et a l'emploi du francais populaire dans les premiers romans de l'auteur. Toutefols, les innovations de Celine ne se volent pas moins dans le domaine des structures et des techniques narratives que dans celui du langage. Cette these a done pour but d'examiner non pas l'histoire ni meme le langage employe, mais plutot les structures du recit narratif autrement dit la facon dont Celine organise le recit. Afin de ne pas alter sur les brisees d'autres chercheurs, la presente etude s'appuie sur "Nord" le dernier roman publie du vivant de l'auteur et s’inspire de la methode structurale elaboree par Gerard Genette et appliquee a l'analyse de la "Recherche du temps perdu" dans son Important essai "Discours du recit" (figures 111. Paris: Seuil* 1972, pp. 65-282). Cette these reprend donc l'analyse du dlscours narratif sous cinq rubriques: I'ordre, la duree la frequence, le mode et la voix. Chacune de ces rubriques forme le sujet d'un chapitre. Les trois premiers cencernent les transformations que subit la temporalite lorsque l'histoire devient recit; le quatrieme concerne la perspective et la quantite d'information que fournit le recit sur l'histoire; et le cinquleme, l'acte narratif lui—meme et le role du narrateur et du narratalrc. Afin de permettre une etude a la fois systematique et exhaustive, cette these se fonde sur une analyse informatique de tous les verbes de "Nord", et des elements d'information grammaticale, stylistique et narrative qu'ils proposent. Grace a l'analyse informatique il est possible d'identifier avec plus de precision les structures narratives qui caracterisent le recit de "Nord". En axant son roman sur le decalage entre Celine—narrateur et Celine—heros, Celine—auteur reussit effectivment a lui donner une forme typiquement cell— nienne. L’independance du narrateur a pour resultat de dedoubler le recit en deux niveau parallèles: celui d'un recit 1944 et celui d'un recit 1960 L’interaction des deux recits aboutit a son tour a un effet tres marque de fragmentation au plan de l'ordre narratif. Le role exceptionnel du narrateur se reflete aussi dans l'absence de pauses descriptives et dans l'importance inattendue des ellipses (effets de durée ), ainsi que de la repetition (effet de frequence). Le mode et la voix narrative mettent egalement en relief la predominance du narrateur. En fait c'est lui qui assume fort souvent le discours ou les recits des personnages d'ou l'empioi tres fréquent dans "Nord" du style indirect libre et du discours pseudo—diégétique. En plus de ses fonctions proprement narratives, le narrateur remplit toute une serie de fonctions extra—narratives. Loin de se contenter de narrer l'histoire, il ne cesse de commenter sa narration, d'interpeller le narrataire et d'exprimer ses propres reflexions sur l'histoire qu'il raconte et sur le monde en general. Quant au narrataire, tel que mis en scene par Celine, il ne se contente pas d'etre le destlnataire passif de ces effusions, il les provoque. L’ analyse informatique permet aussi de cerner avec rigueur les techniques narratives de Celine qui donnent a son recit son étonnante modernité. Car en depassant la visee romanesque traditionnelle centree essentiellement sur l'histoire contée Louis—Ferdinand Céline se place plutot dans la position du narrateur qui se raconte en train de raconter l'histoire. II s'est ainsi assure une place importante parmi les innovateurs du roman. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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No abstract available. Copyright / Dissertation (MA)--University of Pretoria, 1955. / Historical and Heritage Studies / unrestricted

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