In an attempt to explain the discrepancy between the intellectual and imaginative elements in George Eliot's art, her version of the pastoral in Adam Bede, The Mill on the Floss, and Silas Marner is examined. Based on the Warwickshire countryside of her childhood and on the Wordsworthian notion of childhood, her pastoral is the environmental correlative to the spiritual development of a character according to Ludwig Feuerbach's "Religion of Humanity." The pastoral is used to portray man's initial happy state* that is informed by his own egoism and limited viewpoint. The pastoral is also used to portray a kind of second Eden that is inherited by those men who have achieved a wider vision in the "Religion of Humanity." At the same time, the pastoral has certain unconscious associations for George Eliot which produce an imaginative pattern that is different from the one she consciously intends. The appeal of a sense of womb-like enclosedness generated by her pastoral and her apprehension of the world of intellectual and emotional maturity that lies beyond the infantile milieu create an imaginative pattern of psychological regression. The chief character within this pattern (who may also be the chief character within the intentional pattern) finally "dies" in the fatal attempt to remain within the infantile realm. At this low ebb in the imaginative pattern, the new celebrant in the "Religion of Humanity," having achieved an understanding of the not-self, is about to enter his new and shining second Eden. Thus, the enclosed and narrow point of view that corresponds to the initial stage in man's spiritual development is never imaginatively abandoned. Adam Bede is the chief inhabitant of Hayslope which shares his limited and self-centred outlook. The malfeasance of Adam's fiancee, Hetty Sorrel, initiates Adam and Hayslope into new awareness. Finally, Adam returns to an apocalyptic Hayslope with his superior Eve, Dinah Morris. Hetty Sorrel is the focus of the imaginative interest in the novel. Although the child-like Hetty initially seeks to quit the security of the Hall Farm, she later "dies"in the attempt to return. Her "death" and Adam's initiation into the "Religion of Humanity" are almost simultaneous. Through suffering and resignation, Maggie Tulliver learns to imitate Christ according to the precepts of Thomas a Kempis (and Ludwig Feuerbach). Her reward, in death, is a second childhood Eden which is much superior to the first one which was often shaken with egoistic squabbles. Imaginatively, Maggie's resignation takes on the form of a fatal timidity towards life and an inability to quit the infantile relationships within the family circle. She "dies" at the end of a regressive journey into the self at the same point where she receives the cross in recognition of her relationship and duty to others. In Silas Marner, the intellectual and imaginative elements are more closely aligned. Silas "dies" at the conclusion of a regressive journey into the self which also corresponds to his social withdrawl and spiritual death. Similarly, he is reborn and grows into an awareness of a beautiful pastoral world as his vision is widened to include the love and sympathy of fellow human beings. After Silas Marner, George Eliot seldom returned to the pastoral material she developed in the trilogy. Intellectually, her pastoral did not lend itself to a more critical examination of ideas and beliefs while imaginatively, it had become ultimately uncomfortable and unsatisfactory. That she had outgrown her pastoral and that she was unable to replace it with another imaginative system help explain her artistic sterility during the eighteen-sixties. / Arts, Faculty of / English, Department of / Graduate

Cette recherche a pour objectif de clarifier les processus psychiques et la dynamique personnelle en jeu lors du temps judiciaire pour des adolescentes déclarant des violences sexuelles subies, dans le souci d'appréhender le potentiel institué par le trauma. La méthodologie de cette recherche s'appuie sur une approche phénoménologique qui permet d'explorer la nature intrinsèque du sujet et de son expérience. Des entretiens semi directifs avec ces adolescentes ont été retranscrits et analysés selon deux méthodes : une analyse lexicométrique par logiciel informatique et une analyse de contenu. En questionnant ce que vient révéler le trauma des violences sexuelles subies à l'adolescence de l'histoire de vie du sujet, cette recherche fait apparaître deux schémas de compréhension : - l'après-coup pubertaire réveille des traumas infantiles refoulés, sans pouvoir en proposer une résolution du fait des défaillances des objets internes. Le recours à l'acte traumatophillique apparaît comme possible issue, prenant la forme de la violence sexuelle subie. Ce trauma secondaire réactive les traumas primaires en en permettant un traitement, à travers la transformation du temps judiciaire en potentielle inscription de ces adolescentes dans une historicisation. - la violence sexuelle subie met à jour la problématique pubertaire par l'effraction du sexuel. La culpabilité des victimes provient de leur confusion face à leur désir adolescent. La mise sur la scène publique s'inscrit alors dans une quête de reconnaissance de leur désir génital. La violence sexuelle subie à l'adolescence est porteuse d'un potentiel créatif, dans la tentative de résolution qu'elle propose des conflits intrapsychiques amenés par l'après-coup pubertaire. / The objective of this research is to clarify the psychic processes and the personal dynamics at play during judicial time for teenagers declaring suffered sexual abuse, in order to explore the potential established by the trauma. The methodology leans on a phenomenological approach which allows to investigate the intrinsic nature of the subject and its experience. Semi directive interviews with these teenagers are retranscribed and analyzed according to two methods : a lexical analysis by software and a content analysis. By questioning what the trauma of suffered sexual abuse in the adolescence comes to reveal about the life story, this search lightens two ways of understanding : - the afterwards of the pubertal wake repressed infantile traumas, without being able to propose a resolution because of the failures of the internal objects. The resort to the traumatophillique act appears as a possible outcome, taking the form of the suffered sexual violence. The secondary trauma revives the primary traumas and allows their treatment, by the transformation of judicial time into a potential inscription of these teenagers in a historicization. - The suffered sexual violence brings to light the pubertal problematic, by the sexual breaking. The guilt feeling of the victims results from their confusion in front of the adolescent desire. The exposure on the public scene comes in quest for admission of their genital desire. The suffered sexual violence in the adolescence carries a creative potential, as an attempt of resolution that she proposes for the intrapsychics conflicts brought by the pubertal afterwards.

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