Diss. : Philosophie : Zürich : 1990.

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Diss.--Philosophie--Zürich. / Bibliogr. p. 151-155.

The purpose of this thesis will be to show how Graham Greene's vision of man's position in the modern world changes and deepens as the author matures as a man and a novelist. The thesis will be primarily concerned with the relationship of the central characters of Greene's novels to their environment. I will try to show how this relationship, which in Greene's early novels is often fatalistic and deterministic, changes as Greene becomes more concerned with the possibilities of a spiritual and moral 'awakening' within his heroes which can perhaps counterbalance the forces of determinism. In order to explore this expansion of Greene's vision, it will be necessary to analyze not only the growth in complexity and self-awareness that takes place in the main characters of Greene's novels, but also to explore the moral and physical universe these characters inhabit. It is the unceasing conflict between the oppressive, paralyzing environment and the protagonist's desperate search for meaning and purpose that creates the basic tension in Greene's writings. I hope to show in this essay that while the environment remains a more or less hostile constant in Greene's fictional world, the scope and vision of the protagonist is widened and enlarged to the extent that he becomes an individual capable of choice and action rather than a mere victim imprisoned by forces beyond his control. This study of the development of the hero in Greene's fiction is composed of four chapters, which attempt to delineate the changing relationship between the hero and his world. Chapter One, "The Outsider As Victim", focuses on Greene's early novels — The Man Within, It's a Battlefield, Stamboul Train and England Made Me — which portray a world where the protagonists become a prey to themselves and their environment, unable to rise above their own impotence as the fatalistic world closes in around them. Chapter Two, "Studies in Social Determinism", deals with two novels, A Gun for Sale and Brighton Rock, in which the author develops the conflict between determinism and free will. Although both Raven and Pinkie, the protagonists of these two novels, have occasional glimpses of the possibilities of love and peace that are denied the earlier characters, they too are denied these possibilities because they have no free will. They cannot choose to live, since, totally conditioned by confusion and hatred, they are destined for destruction, haunted as they may be by visions of 'freedom'. Chapter Three, "The Rise of the Individual", attempts to show how the protagonists of The Power and the Glory and The Heart of the Matter emerge as fully rounded individuals who are able to choose and act in spite of the fatalistic world that threatens to stifle free will. Greene's increasing emphasis on God's mercy and grace creates an 'opening' in the deterministic world; the protagonist is no longer necessarily a victim of his own inevitable fate. The concluding chapter, "Love and Commitment", will attempt to summarize the new more positive stance of the protagonist in Greene's later, increasingly more secular novels -- The End of the Affair, The Quiet American, The Burnt-Out Case and The Comedians. / Arts, Faculty of / English, Department of / Graduate

It is an initial assumption of this paper that the reading of a poem is an experience which the reader undergoes, or in which he participates. The reader is part of the process of the poem. Hence the discussion of "A": 1-12 is focussed on a consideration of what happens in the reading of the poem. The point of view taken is that the poem itself is an exercise in how to read. In the pursuit of this discussion, the poem is observed as an object, as anoordered device; as Zukofsky's model of the universe he perceives. Communication theory is used as an initial model for an analysis of the way in which meaning is conveyed to the reader. The subsequent discussion involves a study of Zukofsky's use of analogies and technics, as well as an analysis of the ways in which he uses language. As a cumulative result, a sense of the subjective experience of the poem is derived through the metaphor of cyclicality. The discussion of movements within the poem become cycles of movement between the reader and the poem, and between the writing and the poem. / Arts, Faculty of / English, Department of / Graduate

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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