Whether classified as realist, modernist, or postmodernist, the fiction of Alice Munro combines a strong mimetic impulse with a recognition of the limitations of mimesis. This dissertation examines the ethical dimensions of the balance between mimesis and the recognition of its limits. Chapter one provides an overview of Munro scholarship and brings particular attention to the manner in which this balance between mimesis and metafictional self-reflexivity has been analyzed since the earliest days of Munro criticism. Chapter two draws on the Munro scholarship of Naomi Morgenstern, Robert McGill, and Robert Thacker to argue that Munro’s fiction is connected, though not reducible to, her experience of reality. This connection, however imperfect, gives her aesthetics its ethical weight, particularly when the subject of her writing is the human Other. Munro’s combination of a sense of alterity with a powerful feeling of reality reflects a desire to understand and represent the Other without compromising the Other’s radical alterity. The tension that arises from this desire can find a resolution in an aesthetics of love akin to eros as described by Emmanuel Levinas and refigured by Luce Irigaray: a representation, inscribed in each story’s form, of the possibility of a subject-to-subject relationship that preserves difference and ends in mutual fecundation. Chapter three compares the ethical vision in “The Ottawa Valley,” which ends on a moment of continuing, uncompromised alterity, with the feeling of love and catharsis produced in “The Moons of Jupiter.” Chapter four reads “Material” as an oblique gesture at the possibility that literature can open a relationship to the Other that is a kind love. Chapter five examines “Deep-Holes” as an attempt to reconcile the ethical tensions inherent in writing by representing a collaborative mode of meaning-making linked to love and fecundity. This dissertation also, however, follows Derek Attridge and Munro herself in observing some distinction between the self-Other dynamic as a face-to-face relation and this dynamic as a problem of literary representation, even if the two cannot be neatly separated. / Thesis (Ph.D, English) -- Queen's University, 2012-12-04 20:14:50.513

<p> Chemical variations between the matrix and variole fractions of variolitic lavas are quite distinct. Analyses for major. and trace elements and trace gold content was carried out on separated fractions of matrix and varioles from several handspecimens. </p> <p> Discussion of the results (including the origin of variolitic textures) was aided by thin section analysis and field relationships. </p> / Thesis / Bachelor of Science (BSc)

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Cette thèse met en relation la représentation des corps dans l’œuvre d’Alice Munro avec le processus de l’empreinte tel qu’il a été mis au jour par Georges Didi-Huberman. La description des corps des personnages partage la même essence dialectique que l’empreinte : elle saisit une matière tout en laissant entrevoir le mouvement qui a donné naissance à la forme, elle est la conséquence d’un contact mais n’advient que dans la distance et son unicité fait signe vers le multiple. Le corps et son rapport au monde qui l’entoure met aussi en lumière une relation de ressemblance et de contact, une relation mutuelle que les mots eux-mêmes font transparaître dans une expression qui tend vers le lyrisme. Enfin, les corps représentés dans la fiction munrovienne ne sont pas de simples copies du réel mais sont véritablement créateurs en devenant les matériaux interpersonnels de la création artistique. Cette étude de la représentation des corps dans l’œuvre d’Alice Munro tente de montrer les enjeux de l’attention au corps, en particulier ceux du care, et comment cette attention influence l’écriture fictionnelle. / This dissertation examines the relationship between the representation of bodies in Alice Munro’s work and the imprint process as characterized by Georges Didi-Huberman. The description of the characters’ bodies gives evidence of the same dialectical essence as imprints: it attempts to fix the body matter while making movement visible, it is the product of a contact but becomes apparent only from a distance and its unicity foreshadows its multiplicity. The body and its link to the world around also displays a relationship of resemblance and contact based on reciprocity. It is conveyed through words and an expression that tends to lyricism. Finally, bodies represented in Munro’s fiction are not mere copies of the real but are creative and interpersonal as they become the very material of artistic creation. This study of the representation of bodies in Alice Munro’s work attempts to show what being attentive to bodies entails, in particular in the context of care studies, and how this attention to bodies influences fictional writing.

Ma recherche vise à étudier la nouvelle anglo-américaine par rapport à une forme à laquelle elle est inextricablement liée, le cycle de nouvelles, qui, à mi-chemin entre histoire et roman, est érigé en une série d'histoires interconnectées et qui présente certains éléments récurrents (personnages, lieu, thèmes). La réflexion sur le cycle de nouvelles, considéré comme un genre en tant que tel, donnera la priorité à l’analyse de l’oeuvre d’Alice Munro placée dans une perspective comparative, en relation et en continuité, non seulement avec le travail d’écrivains canadiens "maîtres" du genre, mais aussi avec la tradition du cycle de nouvelles américaine. / My research aims at studying the Nord-American short story in relation to a form to which it is inextricably linked, the short story cycle, which, halfway between history and novel, is set as a series of interconnected stories presenting some recurring elements (characters, place, themes). The reflection on the short story cycle will give priority to the analysis of Alice Munro's work placed in a comparative perspective, in relation and continuity, not only with the work of 'Canadian writers' masters' of the genre, but also with the tradition of the American short story cycle. / Il presente lavoro si propone di analizzare la forma narrativa del ciclo di racconti, mettendone in luce le caratteristiche in relazione all’opera di Alice Munro. Il corpus narrativo di Munro, formato da quattordici raccolte in un arco temporale che copre più di quarant’anni (la prima raccolta, Dance of the Happy Shades esce ne 1968 e l’ultima, Dear Life nel 2012), ben si presta a questo tipo di studio. Nell’ arco della sua prolifica opera Munro ha esplorato le potenzialità della forma breve, rimodulando progressivamente i confini fra i generi, scomponendone le prospettive e gli esiti possibili ora nella direzione della novella modernista (cara a scrittrici come Katherine Mansfield ed Eudora Welty), ora nella creazione di cicli di storie o di serie di racconti interconnessi, destrutturando o risemantizzando la nozione di brevità e di genere letterario. Il lavoro, che si presenta come un case study, si propone un duplice obiettivo: quello di estendere la nozione di ciclo di racconti e di includerla in quella di “politesto” , (ossia quella categoria critica che concepisce l’opera letteraria, la raccolta di racconti ad esempio, come processo aggregativo mettendo in luce tutti quei legami intertestuali e intratestuali che i singoli testi intrattengono fra di loro) e quello di applicare questa categoria all’opera di Alice Munro, ovvero studiare, con gli strumenti della teoria della letteratura e della comparatistica, i rapporti tra i racconti, nella loro natura intra ed intertestuale, e tra le raccolte stesse analizzate sulla base della loro natura politestuale.

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Uppsatsen behandlar Anne B. Ragdes roman Berlinerpopplarna (2007) och Alice Munros novell ”Kärlek, vänskap, hat” (2009). Båda verken är skrivna i modern tid av kvinnliga författare och innehåller en rad liknande stildrag, bland annat intern fokalisation inifrån flera olika karaktärer. Mitt syfte har varit att se vad som skiljer två verk med liknande drag och därigenom påvisa hur de stilgrepp och val författaren gör påverkar slutresultatet. För att finna svaret har jag använt komparation och jämfört varje aspekt av böckerna noggrant. Bland annat har jag studerat hur intern fokalisation används, vad som gjorts genom person- och miljöskildringar och hur de hemligheter som har stor vikt i respektive bok har hanterats. Mitt resultat visar att två till synes liknande texter kan skilja sig kraftigt då man ser närmare på dem. Författarna har genom sina val av stildrag och hur de används skapat helt skilda historier även på de ställen där de använder liknande metoder. Det visar sig bland annat genom att intern fokalisation i Berlinerpopplarna används för att få nära kontakt med flera karaktärer medan det i ”Kärlek, vänskap, hat” används för att se en karaktärs äventyr ur flera synvinklar och därmed skapa ironi.

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Thesis (M.A.)--Oregon State University, 2008. / Printout. Includes bibliographical references (leaves 79-82). Also available on the World Wide Web.