Dans un article récent, Gilles Marcotte étudie le rapport entre l'ancien et le nouveau, et remarque qu'il y a beaucoup de similarités entre le roman au début de l'époque littéraire québécoise et le roman québécois contemporain. Cette idée sert de base à ma thèse où je considère deux romans des années quatre-vingt: Terre du roi Christian de Sylvain Trudel et De l'amour dans la ferraille de Roch Carrier. Commençant par une étude de la situation socio-politique et du développement du genre, dans le but de définir en quelque sorte le roman de la terre et l'esprit qui le caractérise, je vais ensuite à une discussion des romans de Trudel et de Carrier dans le deuxième et le troisième chapitres. Au coeur de cette discussion, sont l'idéologie et la vision du monde qui lient ces romans contemporains au roman de la terre. Dans Terre du roi Christian, la famille et le passé jouent un rôle important dans l'univers de Luc, le héros. Aux yeux de ce petit garçon, la famille sert de lien entre le passé et le présent. Le père, possédant une connaissance du passé et du monde, montre à son fils comment vivre; il est le véhicule par lequel l'héritage est transmis. Un autre caractéristique du roman de la terre, le refus de la réalité, se retrouve dans ce roman. Ne voulant pas accepter la réalité dans laquelle il vit, Luc transforme la terre en un petit paradis maya. On trouve de telles actions dans De l'amour dans la ferraille où Jeannot Tremblay se réfugie dans son monde d'amour et d'idéaux. Des pionniers, tout comme Jeannot et Luc, ont leur petit monde idéalisé dans lequel ils vivent. Ils condamnent toute innovation et se réfugient dans le passé et dans la tradition. D'autres personnages, Achille Bédard et Sautereau, trouve leur refuge dans la mort. Les procédés narratives, qu'emplois le romancier, rapproche ces deux romans contemporains du roman de la terre aussi. Tout comme dans le roman de la terre, la nature et la terre nourrissent les métaphores et les comparaisons. D'ailleurs la terre et la nature deviennent parfois de véritables personnages avec des attributs humains. Cette humanisation de la nature est aussi caractéristique du roman de la terre. Malgré toutes les similarités entre le roman de la terre et le roman contemporain, il y a, faut-il le souligner, des différences importantes. Une qui saute aux yeux, c'est la voix narrative qui a beaucoup changé depuis la naissance du roman québécois. Le focalisateur externe, donc limité, du roman de la terre n'est pas employé dans le roman de Trudel. Au lieu d'avoir un narrateur-focalisateur, Trudel se sert d'un narrateur externe et d'un focalisateur interne, ce qui donne à son roman une profondeur qui est absente du roman de la terre. La narration de Carrier est encore plus compliquée. Il a un narrateur externe et deux focalisateurs: l'un externe, l'autre interne. Cette focalisation multiple équilibre le roman et l'aide à se distancer parfois de son roman. Dans la narration des romans contemporains étudiés dans cette thèse, on est très loin du roman de la terre. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The object of this thesis is to examine the two opposite poles of human freedom, that is, determinism and total freedom, as found in the plays of Cocteau and Sartre that have been influenced by Greek drama. These contemporary playwrights however have set aside the religious aspect of ancient tragedy to concentrate on the analysis of the human condition. Cocteau, similar to Sophocles, is conscious of fate controlling human destiny. Since Cocteau is unable to alter its course, he accepts it; his plays, Antigone (1922), Oedipe-Roi (1925), Orphée (1926) and La Machine Infernale (1934), all embody such an attitude, thereby denoting freedom as an illusion. In the first chapter, Antigone, Orpheus and Oedipus are analysed as pawns of the cruel gods; as mere mortals, at the mercy of the Heavens, they cannot control their destiny. In the second chapter, emphasis is placed on man himself; we have endeavoured to show to what extent he is physically and psychologically determined and how he contains the seed of his own perdition. Cocteau's originality lies in the presentation of determinism through imagery. In La Machine Infernale, his most important play, destiny becomes a machine geared to destroy man caught in a network from which he cannot extricate himself. Such a person is Oedipus, controlled by both outer and inner forces. The outer forces or the gods plot a fate of parricide and incest which he is unable to avoid or escape. In the second instance, Cocteau studies the complexity of the human machine; in so doing, he reflects the twentieth century's interest, notably that of Freud and of the Surrealists, in the realm of the unconscious. Man is described as a complexity of heredity, natural instincts and character, especially excessive pride or hybris in the case of Oedipus, all of which influence his behaviour. According to our interpretation, the double determinism (outer and inner) which was separated to facilitate our analysis, is in fact, so interwoven as to form a complex, integral pattern of man's suffering. Sartre also is interested in man; his main concern, as philosopher and dramatist, is man and the human consciousness. The Sartrean philosophy is one of action wherein the existentialist hero, like Orestes, is the opposite of the Cocteau hero who accepts his fate; the former chooses his acts and so creates his own destiny. In chapter three we study the Sartrean revolt against God, a concept necessitated by human need and frailty. According to Les Mouches (1943) and Les Troyennes (1965), spiritual tyranny and moral order are detrimental to freedom since they hold men in bondage. Sartre believes that traditional morality is obsolete; therefore no one can guide man, even less dictate to him as he is free to invent his own values. In chapter four, Sartre's notion of total freedom is examined. The type of liberty advocated in his main play Les Mouches is not a "freedom-from" but a "freedom-for". Man must not consider himself free in the sense that he has no commitment and that he can do what he wants. Sartre wishes to replace this negative approach by a more positive type based on human solidarity and love. Once one recognizes and accepts personal autonomy, one must act in society, for being free in Sartre's terms, is being "free-to-do" and also being "free-in-society". Such a freedom however makes man suffer; he feels the anguish of responsibility and a sense of metaphysical solitude. But Sartre refuses determinism; one is either totally free or not at all. Also, determinism only serves as an alibi to avoid the harsh reality that one is basically free and solely responsible for one's acts which affect the self and society as well. Whichever path is followed, determinism or freedom, both Cocteau and Sartre arrive at the same conclusion: it is possible for him who suffers greatly to eventually attain self-knowledge and dignity, thereby reaching glory or greatness as in the case of Oedipus and Orestes. The apparent pessimism of life and its suffering can thus be transformed into optimism, which in the final analysis is a victory for mankind. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The author undertook this analysis of the caricatures of the two outstanding artists, Oscar Berger and David Low, to determine the factors which have shaped the style of each artist and the factors which have determined the public appeal of each artist's work.

The purpose is to understand the reasons for changed perceptions about Swedish nuclear weapons during the time when Sweden considered acquiring these weapons. The main question is: which stories about Swedish nuclear weapons did key players in Sweden present from 1958 to 1963 and how did these stories change. Primary sources are texts from 1958– 1963, texts for or against Swedish atomic weapons, government investigations and political texts and bills. The theoretical perspective is framing analysis (Kuypers) and narrative analysis (Shenhav) unified in a method. Text-by-text, framing, agenda extension, and story are investigated and compared, supported by previous research. The analysis shows that stories can be divided into five categories, the military, the dystopian, the scientific, the state community building and the security policy stories. In 1958, the military story of nuclear weapons dominated as an issue of weapons development in the nuclear age. The following year, new stories came from opinion leaders, the yes side developed stories about the necessity of the bomb for the military and in foreign policy. The no side told stories about the consequences of a Swedish bomb as a dystopia for humanity and the collapse in foreign relations. Both told scientific stories about the effects which either ended in calming message to the people or created fear of radiation damage and the genetics of future generations. After 1959 both the Social Democrats and the military began to hesitate and changed their stories. Among other things, future civil nuclear power, economic realism and good relations with the US outweighed the idea of nuclear weapons guaranteeing a Swedish non-alliance policy. The change in the stories could also be interpreted as an early de facto no a conclusion shared by previous research. By 1963 the Social Democrats' story of a modern society without nuclear weapons dominated.

Research has been conducted on Francis Poulenc and his prominent 20th century sonata for brass instruments. Poulenc and members of the French compositional collaboration known as Les Six have all been subjects of research. Francis Poulenc's Sonata for Horn Trumpet and Trombone is a crucial piece in the development of brass chamber music during the 20th century. As one of the first works written for modern brass instruments, it demonstrates a highly crafted compositional style representative of Poulenc's early period. Research includes background and historical significance of the Sonata, analysis of form and compositional techniques, biographical information on Francis Poulenc and the members of Les Six and a section on implications for the performance of the work. This study is necessary due to the lack of research available for the piece especially considering its relevance to the development of brass chamber music. This study explores the compositional style of Francis Poulenc and his contribution to the brass ensemble repertoire.

In the early 1920s, Gustav Friedrich Hartlaub created a fine arts movement that began in Weimar, Germany, which questioned artistic Expressionism. In 1923, he formed an art exhibition to display new art works of simplicity that were of his anti-Expressionist goal. This exhibition was termed Neue Sachlichkeit, or New Objectivity, and quickly became associated with all fine arts. Music of Neue Sachlichkeit ideals during the 1920s and 1930s began to exhibit anti-Expressionist concepts of form, neoclassicism and limited instrumentation. Paul Hindemith was among the leading figures of Neue Sachlichkeit music. Although Paul Hindemith's Septet (1948) was composed during his later career, it shows many Neue Sachlichkeit traits found previously in the 1920s and 1930s. Characteristics of limited/mixed instrumentation, neoclassic instrumentation and form, and Baroque counterpoint are found in the Septet. These traits can also be head in earlier Neue Sachlichkeit pieces by Hindemith such as Hin und zuruck, op. 45a (1927), Das Marienleben (1922/23, rev. 1948) and Neues vom Tage (1929). Chapter 2 examines the Neue Sachlichkeit movement within the fine arts. Chapter 3 gives a brief biography of Paul Hindemith with a concentration on his influence of Neue Sachlichkeit music of the 1920s and 1930s. This chapter also relates this period of Hindemith's earlier career with his techniques used in later works, such as the Septet. Chapter 4 discusses how the Septet directly relates to the Neue Sachlichkeit fine arts movement. Chapter 5 gives a general analysis of the Septet. This analysis provides the reader with an understanding of the forms and tonal relationships used in the Septet. This summarizes the neoclassicism of the Septet and shows traits of Neue Sachlichkeit. Chapter 6 concludes with an examination of the mixed instrumentation of the Septet.

"Art," besides being art, "is also philosophy," Aldous Huxley says in Vulgarity in Literature. Throughout the years in which he has been writing, Huxley has never lost sight of this dictum. His philosophy has ever formed an integral part of all that he has produced, and especially has it been basic in his novels. Because of the importance of philosophy to Huxley, the artist, I have aimed in this study at following the course of his changing philosophy. I have tried to present Huxley in his early years advocating a philosophy of meaninglessness and then, after becoming dissatisfied with such an interpretation of life, evolving a kind of pseudo-humanistic theory which he later discarded in favor of a mystical interpretation of the universe. In addition to showing the "what" of Huxley's philosophy, I have attempted to search out its "whys" as well. I have held his theories up to the light of the sociological background of his times and to the light of his own personality. That is, I have decided that the philosophy to which he holds and has held is subject ot the dictates of social change and to the dictates of his own nature.

The purpose of this thesis is to study C. S. Lewis's use of fantasy to illuminate reality by contrasting the world as he saw it with his imaginary worlds. To do this, it is necessary to describe the various types of books he wrote, to illustrate the view of reality presented in his writing, and then to examine the different types of fantasy he used in his books.

The eye witnesses against MacArthur were members of the Truman Administration. Acheson and Marshall were the principal critics of MacArthur’s stand. Secretary Acheson testified that MacArthur had done a fine job in Japan and our allies agreed without policy there. Acheson replied to the alleged lack of policy by making a distinction between our policy and our war aims. Our policy in Korea looked to a unified, independent democratic government, but our war aim was to stop the attack on South Korea. Regarding the proposal that the United States take unilateral action if our allies did not support us, he said that our collective-security system could not survive if we took action other members of the system disapproved. He opposed the use of Nationalist troops on the grounds that it would weaken the defense of Formosa, and was complicated by other nations fighting in Korea that did not recognize the Nationalist Government. Finally Acheson denied that MacArthur was not allowed to issue battle communiques on the real military situation in Korea. However he felt that the General’s release of March 20 concerning truce negotiations gave the impression that the United States was speaking with two voices. Secretary of Defense George Marshall has a military point of view and at the same time a global picture of the situation. He believed that the Nationalist forces would not be effective in Korea. He testified that MacArthur’s removal was necessitated by his public disagreement with the foreign and defense policies of the United States. He made it clear that MacArthur had not violated any military policy, but he had made public his disagreement with it to such a degree that it interfered with the carrying out of that policy. All of the Joint Chiefs of Staff, Marshall testified, concurred in the relief of General MacArthur. General Bradley’s testimony was probably the most damaging to MacArthur. The principal point bought out by Bradeley was that MacArthur’s strategy would involve us in the wrong war, at the wrong place, at the wrong time, and with the wrong enemy. He pointed out that we also had sanctuary since the Chinese did not bomb out ports and supply bases. He felt that a blockade would involve the ports of Hong Kong and Dairen, and therefore would not be tenable. Furthermore, MacArthur was not in agreement with the decision to limit the conflict to Korea, and his actions, Bradeley said, jeopardized the civilian control of the military authorities. Both Generals Breadeley and Collins agreed that they would have to resign and speak out in case they were involved in a conflict in which duty and the best interest of the country could not be reconciled.

No description available.