Les silences d’une œuvre musico-littéraire telle que Coming Through Slaughter participent à l’esthétique jazzistique du roman tout en représentant un défi de taille pour les traducteurs vers le français. Cette thèse a pour objet l’étude du traitement, par les deux traducteurs du roman ondaatjien, d’une part des silences rythmiques qui fragmentent le texte pour lui conférer une mélodie et un rythme textuels et, d’autre part, des silences sémantiques au service de l’esthétique jazzistique qui, au moyen de la parataxe, de l’ellipse et du gérondif, figurent textuellement, non seulement le jazz, mais aussi un de ses pères, le célèbre cornettiste Charles « Buddy » Bolden. En usant d’un métalangage musical pour décrire les stratégies traductives des deux traducteurs francophones du premier roman ondaatjien, Robert Paquin, d’abord, au Québec, en 1987, puis Michel Lederer, en France, en 1999, cette analyse examinera le rapport entretenu par l’interprétation herméneutique des deux professionnels avec leur interprétation musicale du texte. Ce faisant, l’objectif sera de démontrer les propriétés performatives de l’acte traductif lorsque le texte traduit se rattache aux œuvres musico-littéraires en général et aux romans jazzistiques en particulier. / Silences of such a musico-literary work as Coming Through Slaughter contribute to the jazzistic aesthetics of the novel while representing quite a challenge for the French translators. This thesis aims at studying how the two translators of the Ondaatjian novel dealt on one hand with the rhythmical silences which fragment the text and create its melody and its rhythm and, on the other hand, with the semantic silences of the text, part of its jazzistic aesthetics which by use of parataxis, ellipsis and gerund, recreate on a textual level, not only jazz, but also one of his fathers, famous cornet player Charles “Buddy” Bolden. By using a musical metalanguage in order to describe the translation strategies that both Francophone translators of the first Ondaatjian novel, Robert Paquin, in Québec, in 1987, and then Michel Lederer, in France, in 1999, used, this analysis will look at the relationship between the two professionals’ hermeneutic interpretation and their musical interpretation (in a performative sense) of the text. In so doing, the objective will consist in proving the performative characteristics of the translation act when the translated text belongs to musico-literary works in general and to jazzistic novels in particular.

Thesis--School of Advanced Airpower Studies, 1992. / Shipping list no.: 1998-0921-M. "November 1993." Includes bibliographical references. Also available via Internet from the Air University Press web site. Address as of 10/22/03: http://aupress.au.af.mil/SAAS%5FTheses/Gann/gann.pdf; current access is available via PURL.

Orientador: Fernando Teixeira da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T02:49:40Z (GMT). No. of bitstreams: 1 Paz_AdalbertoJuniorFerreira_M.pdf: 2608421 bytes, checksum: 973fa4a13050ef2af98bdd45f8e8d52b (MD5) Previous issue date: 2011 / Resumo: Em meados da década de 1940, no extremo norte do país, iniciavam-se os preparativos para a instalação do primeiro projeto de exploração mineral industrial na Amazônia. Este empreendimento relacionava-se com as diretrizes políticas, econômicas e estratégicas estabelecidas durante o Estado Novo para várias regiões do país tidas como periféricas e atrasadas em relação aos centros dinâmicos da economia nacional. Dessa forma, segundo o discurso oficial, a exploração das jazidas de manganês na região de Serra do Navio, situadas no interior do Território Federal do Amapá, criaria as condições necessárias para o desenvolvimento dessa importante área de fronteira, ao mesmo tempo em que contribuiria para a formação de uma verdadeira "civilização equatorial". Contudo, a implantação dessa nova sociedade exigiria a reestruturação dos padrões de sociabilidade vigentes entre uma população basicamente voltada para o extrativismo. Assim, os impactos sobre essa organização social e as diversas transfomações ocorridas naquele território, entre as década de 1940 e 1960, são analisados tomando como referência a montagem daquele complexo mineral-exportador, que se destaca por ter projetado duas company towns no interior da floresta amazônica, com as quais a empresa Indústria e Comércio de Minérios S.A. pretendia obter um tipo específico de trabalhador e de família, formando comunidades orientadas por princípios de harmonia entre capital e trabalho / Abstract: In the mid-1940s, in the extreme north of the country, began the preparations for the installation of the first industrial mineral exploration project in the Amazon. This development was related to policy guidelines, economic and strategic established during the New State to various regions of the country regarded as peripheral and lagging behind the dynamic centers of the national economy. Thus, according to the official discourse, the exploitation of manganese nodules in the region of Serra do Navio, located within the Federal Territory of Amapá, would create the necessary conditions for the development of this important border area, while it would help to the formation of a true "equatorial civilization." However, the implementation of the new society would require restructuring the existing patterns of sociability among a population largely focused on the extraction. Thus, the impacts on the social organization and various transformations occurred in that territory, between the 1940 and 1960, are analyzed with reference to the assembly of that complex mineral-exporter, which stands out for having designed two company towns in the forest Amazon, with whom the company Indústria e Comércio de Minérios S.A was seeking a specific type of worker and family, forming communities guided by principles of harmony between capital and labor / Mestrado / Historia Social / Mestre em História

Ce mémoire comparatiste s'applique à mettre en relation les poésies d'Hector de Saint-Denys Garneau (1912-1943) et de Francis Ponge (1899-1989) en y étudiant les rapports entre espace et subjectivité. À défaut de se laisser emporter par un lyrisme traditionnel, ces poètes expriment leur présence au monde, à la fois sensuelle et intellectuelle, à travers les paysages qui s'offrent à eux. En effet, fondamentalement moderne, l'écriture de l'espace, qui prend appui sur la matière du monde, du corps et des mots, effrite les frontières de la subjectivité poétique. Elle s'exprime différemment au sein des textes étudiés : alors que l'approche de l'espace chez Garneau semble s'effectuer par osmose, par imprégnation, dans une recherche de transparence, chez Ponge le paysage se présente comme objet à capturer pour mieux s'y affirmer. Néanmoins, dans leur goût pour la matérialité, pour une expression du soi qui prenne acte du dehors, Garneau et Ponge se retrouvent dans la peinture de Cézanne, dont le regard artistique devient une façon de percevoir l'espace. Le rapprochement de ces pratiques scripturale et picturale met en relief comment les oeuvres de Garneau et de Ponge permettent d'octroyer une valeur positive à la fragmentation du sujet, réconcilié dans l'art.

À partir de Regards et jeux dans l'espace, nous étudierons comment la question de l'identité chez Saint-Denys Garneau est liée au mouvement. Notre travail permettra d'observer que le sujet garnélien oscille entre réalité et fiction, alors même que l'œuvre témoigne d'une recherche de la vérité. Si la fiction peut participer de l'identité du sujet, c'est que l'écriture poétique chez Saint-Denys Garneau est une pratique ludique empreinte de sérieux. Par le jeu de la fiction, le sujet s'écrit, s'invente et se reconnaît autre. En fait, la vérité que découvre le sujet à travers la poésie est une totalité mouvante et fragmentaire, impossible à circonscrire. Tout comme il accepte que la contradiction et le multiple constituent ses fondements identitaires, le sujet garnélien consent à ce que la poésie soit une tâche humble : elle forme le moyen de poursuivre sa quête de vérité, et non un absolu en soi.

"Ce présent mémoire porte sur l'opinion de la presse britannique au sujet des bombardements stratégiques perpétrés sur l'Allemagne nazie durant la Seconde Guerre mondiale (1939-1945). Plus précisément, notre analyse se concentre sur le point de vue du London Times, du Daily Herald et du Manchester Guardian. Par l'étude de leurs éditoriaux abordant les bombardements stratégiques, nous montrons d'une part, l'opinion de ces journaux, et d'autre part, l'évolution de cette opinion durant l'ensemble du conflit. En utilisant une analyse qualitative et comparative, nous soulignons l'appui ou la critique du bombardement de l'Allemagne par les trois quotidiens, et quels sont les différents arguments soulevés par chacun. Les résultats de ce mémoire indiquent que les trois journaux appuient la campagne de bombardements sur l'Allemagne durant l'ensemble de la guerre. De plus, nous notons une convergence des discours puisque chacun des quotidiens mentionne sensiblement le même argumentaire pour défendre sa position. Malgré la destruction de l'Allemagne et la mort des civils engendrées par cette stratégie, il est légitime et nécessaire, selon le Times, le Herald et le Guardian, de bombarder l'ennemi afin de gagner la guerre et de détruire le nazisme."

No description available.

No abstract available / English Studies / M.A. (English)

This dissertation enquires into the nature and value of a phenomenon which is typically found in art. Chapter 1 attempts to get clear on what phenomenon is being discussed by considering various thinkers' attempts to talk about it, and by considering artworks which exemplify (or are) it. I call the phenomenon 'art' and roughly characterise it as the expression of emotion. Chapter 2 considers the role of artists' intentions to the meaning of the artworks they create, and more broadly the role of utterers' intentions to the meanings of their utterances. This is done because certain positions regarding the role of intentions to utterances' meanings breaks the communicative link between the utterer of an utterance and the apprehender of the utterance, which link is important to the thesis advanced. Chapter 3 argues for a particular analysis of what I call art in Chapter 1, and briefly argues that it is very valuable.

Because of woman's peculiar relationship to language, and therefore to the means of comprehending and expressing her experience, female autobiographical writing is a problematic undertaking. An exploration of several premises about Western culture can help to illuminate the difficulties the female autobiographer encounters in creating her life/text. Among these premises are the following: (1) that the culture that provides the context for female experience is what feminist theorists call "patriarchal," that is, a culture dependent upon and reinforced by the supremacy of male interests, pursuits, and values. (2) that the habit of mind of this culture is essentially dichotomous, and that this bifurcation, although it serves very well to enable one person or group to gain power over another, fails to account for the sense of relatedness characteristic of female moral development as demonstrated by recent feminist psychologists. (3) that one lives through telling oneself the story of one's life (that is, that living itself is an essentially autobiographical act); that this narrative conforms to certain cultural conventions; and that these conventions present distinct problems to the narrator who is female. (4) that the human being constructs its self through language, and that the language of a patriarchal culture is problematic to female authenticity. In order to confront these theoretical problems in practice, twelve essays explore some experiences of a middle-aged, middle-class white American woman in the second half of the twentieth century. These include illness, both physical (multiple sclerosis) and emotional (depression, agoraphobia); suicide; relationships with men, strangers, and cats; motherhood; and above all, writing. They form a feminist project whose purpose is so to merge theory with praxis, nonfiction with fiction and poetry, scholarship with creation, that such distinctions become meaningless and the female writer can get on with the real business of making and contemplating her text. An annotated selected bibliography lists works in feminist theory and criticism, some of which inform the essays, thus providing a program for extensive feminist study, especially in literature, anthropology, and psychology.