À partir du roman 1984 de George Orwell, nous entendons montrer la relation entre la mémoire et la dystopie afin d'expliciter le lien qui existe entre les facultés mnésiques et leurs incidences sur une oeuvre de fiction à visée politique. Chez Orwell, les récupérations historiques d'événements avérés, les mises en abîmes tirées de la tradition de l'utopie et l'utilisation du langage sont représentatives d'une tendance à voir dans le passé les possibilités d'un à-venir autre. La manipulation des mémoires individuelle et collective par un régime totalitaire devient la voie privilégiée pour asseoir un pouvoir sur le social. Cependant, c'est également la mémoire qui permet à l'individu de s'échapper du cauchemar sociétal en lui inspirant des rêves compensatoires et en lui insufflant le désir d'oeuvrer concrètement au renversement de l'ordre établi. La mémoire permet ainsi l'émergence d'une altérité en fournissant les références d'un passé différent du présent qui alimenteront une critique du totalitarisme et, ultimement, contribueront à l'avènement d'un monde meilleur. La réappropriation d'une mémoire du passé devient, par conséquent, le moteur d'une écriture visant à définir l'horizon possible de l'avenir. Dans ce contexte, le passé s'avère être à la fois un enjeu primordial pour la domination totale et l'essence d'une résistance pour assurer à l'humanité l'espoir et l'avenir de la liberté. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Littérature, Mémoire, Dystopie, Totalitarisme. George Orwell: 1984.

published_or_final_version / History / Master / Master of Philosophy

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Over the past decade Marie Laberge has become an important figure in Quebec feminine theater. In our introduction we will see that the principal tendencies in her works correspond closely to those in Quebec women's theater as a whole. / This thesis will explore the feminine universe created by Laberge in her plays. The first chapter will examine the spatial universe which, as we shall see, frequently spatializes the feminine characters' choices and conflicts. As for the professional universe, the second chapter shows that, although Laberge's feminine characters are still involved in traditionally feminine occupations, there is a gradual shifting toward more rewarding activities. We will see in the third chapter that the intimate relationships in Laberge's theater tend to determine the overall quality of the feminine characters' existence. In general, conflicts plague these relationships. / Lastly, we will observe that, though Laberge's feminine characters react to their universe in a variety of ways, their reaction is almost invariably spatialized.

Arthur Stringer (1874-1950) was one of Canada's first professional authors. A prolific writer, he published fifty-nine books, including thirty-eight novels and fifteen volumes of poetry. His work is now out of print and unduly ignored. The dissertation comprises an annotated selection of Stringer's correspondence and a discussion of him as man of letters. The Introduction draws on Stringer's personal papers--including unpublished manuscripts, notebooks, and correspondence--to illustrate his working methods, his relationship with editors and publishers, and the role he played in the literary community. The letters selected show Stringer handling the daily problems of authorship, giving support to other Canadian writers, and (in the letters written for publication) discussing literature and literary criticism. The dissertation includes a chronology, a check-list of Stringer's books, notes on his correspondents, and a list of the repositories of his letters.

The subject of this thesis is the influence of George Orwell's experience as a war-time BBC radio broadcaster on the author as he created the world of NINETEEN EIGHTY-FOUR. In 1985 W. J. West published the transcripts of Orwell's wartime broadcasts. West suggested in his introductory preface that Orwell's NINETEEN EIGHTY-FOUR was based directly on his BBC experience and problems encountered with the Ministry of Information at that time. This thesis argues that, though Orwell probably drew on his BBC experience for the psychological content of NINETEEN EIGHTY-FOUR, Winston's treatment at the hands of Big Brother is not based on anything the author endured during his tenure at the BBC. To this end Orwell's personal and political reasons for both joining and leaving the BBC are discussed. The connection between reality and fiction in Orwell's works, both documentary and fictional, is examined, and the literary nature of all of Orwell's writing taken into consideration in an exploration of the creative dynamic shaping Orwell's expression.

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Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 309-329).

Thesis (M.A.)--University of North Texas, May, 2008. / Title from title page display. Includes bibliographical references.