Le présent mémoire étudie le lien entre la réécriture au féminin des mythes bibliques et gréco-romains et l'utopie au féminin. Il dégage les nouvelles valeurs que proposent Le Pique-nique sur l'Acropole (1979), de Louky Bersianik, et Lueur. Roman archéologique (1979), de Madeleine Gagnon. Le projet de ces deux écrivaines se situe dans un vaste mouvement de re-vision de l'Histoire chez les féministes des années soixante-dix, qui tentaient alors de faire émerger une culture au féminin. Le chapitre I porte sur les fonctions du mythe et présente les approches de la mythocritique, de la mythodologie et de la mythanalyse. Il explique les raisons motivant la réécriture au féminin; il définit l'utopie traditionnelle ainsi que l'utopie au féminin et en précise les caractéristiques thématiques et formelles. La théorie d'Annis Pratt sur les schémas narratifs (ou archétypaux) y est résumée. Le chapitre II analyse le texte parodique de Louky Bersianik; il présente des théories sur la parodie et l'ironie et rend compte de l'analyse des figures mythiques et des liens entre celles-ci et l'utopie au féminin. Le chapitre III étudie l'oeuvre de Madeleine Gagnon en adoptant une démarche semblable à celle du chapitre II, en plus de définir la théorie-fiction et d'étudier l'intertextualité et l'intratextualité. L'étude montre que la réécriture subversive des créatrices féministes donne une large place au féminin, au maternel, à la relation mère-fille et à la créativité féminine au sein de la culture patriarcale, dans le but d'inscrire la contribution des femmes dans l'Histoire. Le projet de ces écrivaines consiste à critiquer les discours patriarcaux et à renverser le système sexe/genre (« gender ») pour envisager un monde différent. En ce sens, les oeuvres étudiées établissent un lien étroit entre le mythe et l'utopie tout en innovant au plan de la forme romanesque et en proposant de manière originale un monde repensé au féminin. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Mythes, Féminin, Madeleine Gagnon, Louky Bersianik, Utopie.

L'objet du présent mémoire est d'effectuer une comparaison historique de deux systèmes épistémologiques comportant un aspect externaliste. Les deux philosophes mis à l'étude sont Thomas Reid, Écossais ayant vécu au 18e siècle, et Alvin Goldman, professeur et chercheur américain contemporain travaillant sur l'épistémologie et la psychologie. Ce dernier a développé une analyse de la connaissance qu'on qualifie d'externaliste. Selon cette position, on considère généralement qu'une croyance vraie s'élève au titre de connaissance si elle a été causée de manière adéquate par le fait qui la rend vraie. La croyance n'est alors plus validée de l'intérieur, par la réflexion du sujet, mais bien de l'extérieur, par les faits du monde. Notre thèse est que bien qu'il ait vécu bien avant l'arrivée de ce type de position, Thomas Reid a développé une épistémologie contenant des traces bien similaires à celle de Goldman. Nous soulèverons les points de similitude et tenterons de déterminer si on peut interpréter la philosophie de Reid comme une sorte de fiabilisme, type d'externalisme postulé par Goldman. Nous affirmons que cela est possible et nous en faisons la démonstration dans ce mémoire. Ce type de lecture historique n'est pas sans problème. Il nous faudra aussi résoudre une multitude de problèmes, tant historiques, en ce qui concerne Reid, que théoriques, pour ce qui est du fiabilisme de Goldman. Le travail se fera en trois temps : l'exposition de la thèse de Reid et des traces d'externalisme s'y retrouvant; l'exposition de la thèse de Goldman et les liens possibles avec celle de Reid; enfin, l'exposition et l'évaluation d'interprétations concurrentes à la nôtre. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Épistémologie, Externalisme, Internalisme, Fiabilisme, Thomas Reid, Alvin Goldman

Using vocal music in the foreign language classroom to teach language and culture can become the foundation of an approach specifically geared to encourage students to take charge of their own language learning, and thereby improve their overall language competencies. Many researchers have already noted that the usual classroom program of instruction does not provide sufficient exposure time for students to achieve a level much above the ACTFL Intermediate level. Most students who enter university language programs with plans to major in a language have certain expectations, usually elevated, and the problem is exacerbated by commercial products which promise that, “You will speak like a native in months!” The problem is compounded by the disappointment experienced when these high expectations are not met, and students cease trying before they approach the levels to which they originally aspired. One way to help students not go through this dismotivation phase of language learning, is to help them improve their language skills beyond that usually attainable through classroom instruction alone. Training in the use of learning strategies, increased time spent listening to authentic vocal music, and the anticipated personal satisfaction gained by attaining successful results can all be positively related to an increase in motivation. By introducing students to the music of Soviet bard/poet/actor Vladimir S. Vysotsky, early in their language-training career, and using his compositions as supplementary material in a syllabus, the Russian language teacher can provide versatile authentic language material. Selections from the prolific output of approximately 700 poems and songs by Vysotsky can be used to introduce: a) language forms, b) pronunciation, c) cultural idioms and contrast, d) historicalpolitical items, e) social customs, and f) literary works and characters. In the case of language learning and metacognitive strategies, ignorance is not bliss: ignorance is the destroyer. Students who become aware of the strategies available (e.g., memory, cognitive, compensation, affective, social, or metacognitive) and pleasurable ways to improve their own language competence are more likely to be encouraged to continue studying the language and more likely to devote the extra time to the endeavor. / text

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John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. This profusion of sources and its application to the Etude Fantasy are explored in the introduction, which is a general discussion o f the composer's background and aesthetic stance. The intriguing title of the Etude Fantasy implies the coexistence of two genres and raises the issue of the role of each genre in the thematic and structural organization o f the work. It is this issue which is the principal subject of inquiry in the thesis. Chapter I examines the historical background o f the etude genre, discussing similarities between the pianistic techniques employed in Corigliano's work and those found in specific historical instances of the etude genre over two centuries. Chapter II focuses on the historical background of the fantasia genre, emphasizing contrasting characters, textures, and keys as the main indicators o f a free form, and at the same time drawing attention to thematic transformation as a device of structural unification. Chapter III concentrates on elements that produce structural and formal coherence in John Corigliano's Etude Fantasy. These elements are motivic, intervalic, melodic, and harmonic in nature.

On November 10, 1988, Philipp Jenninger, President of the German Bundestag (FRG), held a speech in commemoration of the fiftieth anniversary of Reichskristallnacht, or 'night of broken glass', a pogrom which was orchestrated by the National Socialist government against Germany's Jewish citizens. The speech proved to be extremely controversial and provoked heated reactions in Germany and around the world. / The following is an analysis of the discourse generated by the speech in Germany. The goal of my project is to elucidate the discursive structures that subtended the state of the German discours social in order to show the way in which the 'text' of Der Fall Jenninger was formed and informed by it. / The first part of the thesis shall serve as an introduction to the incident of Der Fall Jenninger. Part two will outline the precepts upon which I will be basing my analysis. Part three will consist of my analysis of Der Fall Jenninger.

French literary translators have traditionally translated in an ethnocentric fashion in such a way that the translated work did not seem translated. They tried to write their translations in the same way the author would have, had he been French. Readers of French translations seemed quite satisfied with that approach. Yet there are translators who do not feel comfortable with this ethnocentric approach. They have done a great deal of reflection on their work, and are introducing new ways of translating literature. One of these is Antoine Berman. We have dedicated the first half of our work to his theories and the second half to a possible application of these theories to a novel by Joyce Carol Oates, I Lock my Door upon Myself. This novel was translated in France by Marie-Lise Marliere and its French title is Un amour noir. We will quote examples from the translation where we feel we can apply Berman's theory of "distorting tendencies" and make practical suggestions of alternative French translations. Our conclusion leads us to explore ways to better serve the French readers of Joyce Carol Oates.

In this thesis, I investigate the nature of geometric knowledge and its relationship to spatial intuition. My goal is to rehabilitate the Kantian view that Euclid's geometry is a mathematical practice, which is grounded in spatial intuition, yet, nevertheless, yields a type of a priori knowledge about the structure of visual space. I argue for this by showing that Euclid's geometry allows us to derive knowledge from idealized visual objects, i.e., idealized diagrams by means of non-formal logical inferences. By developing such an account of Euclid's geometry, I complete the "standard view" that geometry is either a formal system (pure geometry) or an empirical science (applied geometry), which was developed mainly by the logical positivists and which is currently accepted by many mathematicians and philosophers. My thesis is divided into three parts. I use Hans Reichenbach's arguments against Kant and Edmund Husserl's genetic approach to the concept of space as a means of arguing that the "standard view" has to be supplemented by a concept of a geometry whose propositions have genuine spatial content. I then develop a coherent interpretation of Euclid's method by investigating both the subject matter of Euclid's geometry and the nature of geometric inferences. In the final part of this thesis, I modify Husserl's phenomenological analysis of the constitution of visual space in order to define a concept of spatial intuition that allows me not only to explain how Euclid's practice is grounded in visual space, but also to account for the apriority of its results.

By taking into account various published fragments, concepts and the final 'Volksstuck' this thesis attempts to show how the playwright Odon von Horvath developed the characters of his commercially successful 'Volksstuck' "Tales From The Vienna Woods". Chapter one of this thesis includes a brief biography of Horvath. The second chapter comprises a short history of the 'Volksstuck', Horvaths interpretation of the genre and its implications for his plays as well as a summary of the final version "'Geschichten aus dem Wiener Wald.' Volksstuck in drei Teilen." The thesis further attempts to recreate a genealogy of the dramatic characters Zauberkonig, Alfred, Marianne and Oskar and to give possible reasons for their dramaturgical changes up to the development of the final version. In addition the thesis concerns itself with one example for the development of stage directions. Political as well as religious implications are considered alone and in connection with the characters.