This thesis, which is a close textual analysis of Tennyson's The Idylls of the King, attempts to explicate the poem in terms of Arthur's Vow. The Vow is seen as the thematic and structural centre of the poem. Accordingly, the thesis falls into two sections. The first is concerned with a discussion of the themes found in the Idylls and how they relate to the Vow; the second is concerned with the structural unity of the poem in terms of its imagery, mood and motifs. The thesis attempts to explain why in a world characterized by the eternal conflict between good and evil, between man and nature, it is necessary for the knights to obey Arthur's Vow. The knights and ladies are then discussed, in particular their failure to obey the Vow, and the consequences of their failure. Since the adultery between Lancelot and Guinevere is at the heart of the dissolution of the Round Table, and is never described explicitly, an attempt is made to interpret their relationship in terms of disobedience to the Vow. The thesis also examines the ways in which Tennyson gives unity to what appears to be a collection of independent poems. Unity, in particular in mood, is supplied by the poet's moralistic voice as well as by the use of lyrics. Imagistic and verbal motifs are traced through, the poem, and are shown to have a cumulative effect corresponding to the narrative climax. Finally, the use of nature imagery is shown to emphasize the struggle between man and nature as well as to sharpen the contrast between the civilization of Camelot and the ever-constant threat of anarchic nature, which threatens to erupt once the knights fail to obey the Vow. / Arts, Faculty of / English, Department of / Graduate

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<p> Science has exerted a tremendous influence on modern thought. This occurrence has brought with it its share of benefits and problems. Science has offered humankind the growing ability to understand and master nature. This benefit has also brought with it the critical problem of environmental destruction. Within its philosophical roots, science is tied to a cosmology that has alienated humanity from its 'spiritual' experience. This includes aesthetic and theological experience. Two extremes choices are possible: either to reject the scientific cosmology or to reject 'spirituality' as central to the functioning of reality. For those who wish to include the integrity of all human experience in a cosmology, the hope of synthesizing the scientific with the 'spiritual' stands as an ideal.</p> <p> The thought of Alfred North Whitehead is an attempt at such a synthesis of thought. This thesis examines Whitehead's metaphysical synthesis. It begins, in the first and second chapters, with an examination of what Whitehead understands as the problem. The first chapter deals with his description of the mechanist-materialist understanding of nature. The second chapter shows the deep problems which make such an understanding untenable. In the third chapter we explicate Whitehead's attempt at a more plausible metaphysical synthesis. Lastly, we apply Whitehead's thought to questions of ecological ethics. In this chapter we note how reintegrating the idea of a living nature occupied by things with 'inherent value' with a renewed assessment of the importance of human aesthetic and theistic experience, form together a mandate for the ethical treatment of nature.</p> / Thesis / Master of Arts (MA)

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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

El contexto sociocultural se revela determinante cuando se aborda la cuestión identitaria en la literatura, sobre todo cuando la identidad plural viene motivada por situaciones de plurilingüismo, multilingüismo y multiculturalidad. En estos contextos plurilingües literarios conviene destacar la elección voluntaria de la lengua francesa, en situaciones que dan cuenta de experiencias desgarradoras vividas. Este es el caso del escritor, y gran intelectual, Alfred Mercier, cuya novela del siglo XIX (1881), L’Habitation Saint-Ybars ou Maîtres et Esclaves en Louisiane, refleja, de manera magistral, el francés en Luisiana, en la que cristaliza las diferentes identidades plurales a través de su escritura. Esta novela y relato social se convierte en una clara muestra de la realidad lingüística y cultural de una época marcada por los acontecimientos históricos, la Guerra de Secesión, que cambiarían para siempre la estructura social de la Luisiana de las plantaciones esclavistas, dirigida por los ricos y aristocráticos criollos de lengua y cultura francesas. Tras la contextualización histórica, exploramos las diversas situaciones plurilingües (francés, criollo, inglés, etc.), para analizar posteriormente este relato social. En ese contexto, el objetivo principal de nuestra investigación es el análisis traductológico de dicha novela, seguido de una propuesta de traducción. Nos detenemos finalmente en estos procedimientos examinando su adecuación a la lengua de llegada y su resultado. / Le contexte socioculturel s’avère un facteur déterminant, lorsqu'on aborde la question de l'identité dans la littérature, surtout lorsque l'identité plurielle obéit à des situations de plurilinguisme, de multilinguisme et de multiculturalisme. Dans ces contextes littéraires multilingues, il convient de souligner le choix volontaire de la langue française, dans des situations qui sont le résultat de vécus douloureux. C'est le cas de l'écrivain et grand penseur Alfred Mercier, dont le roman du XIXe siècle (écrit en 1881), L'Habitation Saint-Ybars ou Maîtres et Esclaves en Louisiane, critsallise les différentes identités plurielles issues de ce contexte plurilingue et racial. Ce récit social témoigne d’une réalité linguistique et culturelle au sein d’une époque marquée par des événements historiques, la guerre de Sécession, qui changeront à jamais la structure sociale de la Louisiane des plantations esclavagistes, dirigée par les riches et aristocratiques créoles francophones et de culture française. Après la contextualisation historique, nous nous consacrons à la monstration des différentes situations multilingues (français, créole, anglais, etc.), afin d'analyser ultérieurement le roman. Dans ce contexte, l'objectif principal de notre recherche est l'analyse traductologique du roman, suivi d’un essai de traduction. Nous nous pencherons ainsi sur ces procédés discursifs, en examinant leur adéquation à la langue cible et leurs résultats.

Publicado em 1929, o romance Berlin Alexanderplatz de Alfred Döblin foi considerado, desde as primeiras resenhas, um marco na literatura alemã. Sua novidade residia, sobretudo, na utilização das técnicas da colagem e da montagem, por meio das quais os fragmentos recolhidos da metrópole foram inseridos no romance como sua própria matéria formal. Döblin tentou, com isso, deslocar o espaço concedido à metrópole, de objeto de representação a sujeito da enunciação. Essa dissertação analisa a composição formal de sua narrativa para compreender o que o novo espaço angariado pela metrópole, em Berlin Alexanderplatz, implica para o gênero. Esse problema dialoga diretamente com a importante discussão da \"crise do romance\", que animava os debates de então sobre literatura e encontrava franca ressonância também na produção teórica de Döblin, desenvolvida entre 1910 e 1930. Contrapor Berlin Alexanderplatz às questões levantadas nesses textos teóricos torna ainda mais explícita a relação da obra com seu próprio tempo. Ademais, há uma estrita coincidência entre a importância da objetividade em boa parte da teoria de Döblin e os pressupostos do movimento artístico mais característico dos anos da República de Weimar, a Neue Sachlichkeit. Examinar essa convergência ajuda a iluminar os problemas de uma narrativa que oscila, dialeticamente, entre a representação do destino individual e busca uma montagem realista da metrópole. Todos esses diálogos, além do confronto com a tradição do gênero, ajudam a entrever alguns dos elementos que levaram à configuração, nas palavras de Döblin, dessa \"épica da modernidade\". / Published in 1929, Berlin Alexanderplatz, a novel by Alfred Döblin, was considered - since its first reviews - a landmark in German literature. Its novelty resided above all in the use of the techniques of collage and montage, the use of which made possible that fragments collected in the metropolis could be inserted in the novel as its own formal matter. What Döblin has tried to do with that was to displace the position usually afforded to the metropolis, from object of representation to subject of enunciation. This dissertation engages in an analysis of the narrative formal composition in order to understand what this new position - conquered by the metropolis in Berlin Alexanderplatz - implies to the genre. This problem is in constant dialogue with the very important \"crises of the novel\" issue, which supported much of the literary debate of the time and has a corresponding development in Döblin\'s own theoretical production from 1910 to 1930. Contrasting Berlin Alexanderplatz to the questions posed in these theoretical texts makes the relationship of the novel with its own time even more explicit. Moreover there is a strict coincidence between the importance of objectivity in a good deal of Döblin\'s theory and the presuppositions of the most characteristic artistic movement of the Weimer Republic, the Neue Sachlichkeit. To examine this convergence helps us cast some light on the problems of a narrative that dialectically oscillates between the representation of an individual destiny and the search for a realist montage/image of the metropolis. All this dialogues, besides the confrontation with the novel tradition, help us glimpse some of the elements that headed towards the configuration of this, in Döblin\'s own words, \"epic of modernity\".