The aim of this study is to analyse the web of meaning underlying the presence of plots and images from paralitterature in the work of Alain Robbe-Grillet. This presence is explained by a transformation in the bookmarket, cultural environment and literary landscape, and corresponds to the malaise in the social discourse raised by the crisis. / The bookmarket changed rapidly in the years following the war. Its reorganization along industrial lines lead to recurrent periods of crisis. That part of the market consisting of mass produced books came under the influence of American popular fiction. This situation had repurcussions on the literary field. People no longer saw books and authors as special, and the readership of serious literature decreased markedly. The avant garde itself seemed exhausted. Works of paralitterature, on the other hand, entered in a process of legitimation. / The New Novelists, and especially Robbe-Grillet, find in paralitterature expressions of the social discourse more powerful than those available in canonical literature. Popular fictions, rife with violence and agression, capture the worries and pessimism about society and the alienation of the individual. In Robbe-Grillet's work, the world is conceived as containing a cancer, one that threatens the social order. Reality is distorted in his fiction, and the characters are fragmented and lost in their imaginary world. The image of a cancerous society is crystallized in the motif of the ritual sacrifice of a woman. For Robbe-Grillet, though, this motif also suggests the origin of fantasy, and in doing so might rejuvenate the creative impulse. Behind the violence and eroticism of his fiction, then, and behind the anomia contaminating literature, is the desire to retrace the lightening of fantasy in the hope of dealing with both the modern world and the predicament of the novel, and possibly find a catharsis through it.

Zugl.: Trier, Univ., Diss., 2006

Zugl.: München, Universiẗat, Diss., 2008.

Texte remanié de: Habil.--Phil. Fak. II--München--Universität, 1984. / Bibliogr. p. 448-468. Index.

This thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide'.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This thesis contends that a return to a phenomenological analysis of Alain Robbe-Grillet's film and fiction is a relevant and useful undertaking at the start of the twenty first century, providing the opportunity to reassess Robbe-Grillet's entire oeuvre, both films and novels. It addresses the limitations of earlier phenomenological studies, analysing works not yet subjected to phenomenological analysis, and exploring important themes into which phenomenology can provide original insights, especially since the development of new phenomenological critical theories. The structure of this thesis demonstrates the coherence of a phenomenological approach across the works of Robbe-Grillet. The introduction contextualises the contribution of the thesis, indicating oversights to be rectified in existing studies. The first chapter charts the development of phenomenology highlighting areas of relevance to the insights outlined in the thesis. Chapter two demonstrates that both the phenomenological reduction, and Robbe-Grillet's formal strategies of challenging cultural expectations, result in a "making strange" of perceptual experience, with repercussions for the subversion of conventional fictional and filmic narratives. Subsequent chapters explore further consequences of the reduction, beginning in chapter three with the embodiment of consciousness which impacts upon the presentation of narrative perspective in Robbe-Grillet's film and fiction. The fourth chapter examines Robbe-Grillet's rendering of a lived experience of time, rather than an objective measurement of it, thus analysing another consequence of embodied existence and of the "making strange" that results from undermining cultural expectations. Another mode of bodily existence, sexuality, was neglected in previous phenomenological studies, and is examined in the fifth chapter, in the light of feminist readings of phenomenology making a new contribution in its reassessment of the debates around cultural stereotypes and subversion. Chapter six examines the complex relations surrounding intersubjectivity, another area not previously addressed, and elucidates the problematics of Robbe-Grilletian inter-human relationships, The thesis concludes that earlier phenomenological studies have not fully worked through all of the implications of the phenomenological reduction in Robbe-Grillet's works in terms of cultural subversion, nor have they accounted fully for the interdependency of various modes of human embodiment( perception, situation in space and time, sexuality and intersubjectivity) as they are enacted in Robbe-Grillet's narratives.

Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

This study looks at Jehan Alain's music itself. However, it does not propose to analyze every bar of every composition but rather to point out certain melodic, rhythmic, and harmonic traits that are peculiar to this composer's style. It will also set forth facts concerning Alain's registrations and other items of special interest to organists. Upon such investigation an attempt will be made to reach a critical evaluation of Alain as a composer for the organ.