Texte remanié de: Thèse 3# cycle--Lettres--Paris X, 1969. / Thèse soutenue sous le titre : "Cinéma moderne et société de consommation.

Ce mémoire s'intéresse à la réception critique de Né à Québec, première œuvre d'Alain Grandbois et aux relectures de ce récit à travers le temps. Cette étude a pour point de départ le paradoxe entre le futur prometteur de l'œuvre que laissait augurer la réception initiale et le rôle bien secondaire que joue désormais Né à Québec dans l'histoire de la littérature québécoise. Le mémoire est divisé en trois chapitres structurés chronologiquement et couvre la réception de l'œuvre de sa publication en 1933 jusqu'à nos jours. Le premier chapitre se penche sur le contexte de réception initial ainsi que sur l'élaboration d'un discours critique dominant sur Né à Québec. Cette partie de l'étude a aussi pour but de rappeler les conclusions de Marcel Fortin sur la réception immédiate de l'œuvre en question telles que décrites dans son ouvrage Histoire d'une célébration, publié il y a maintenant plus de vingt ans. Ce rappel est primordial afin de bien comprendre comment la pensée critique a évolué au-delà de la décennie 1930. À noter que l'analyse présente dans ce mémoire offre une perspective différente que celle de Fortin sur les commentaires de cette période puisqu'elle s'organise autour de concepts théoriques nouveaux, en particulier la notion de stéréotype telle que définie par Jean-Louis Dufays. Les deux autres chapitres traitent de textes critiques sur Né à Québec qui n'ont jamais dans le passé été directement le sujet d'une étude de réception. Tout au long de cette étude, le discours sur l'œuvre de Grandbois est décrit, analysé et comparé afin de comprendre comment ce récit historique en est venu à être aujourd'hui délaissé par le public et les littérateurs du Québec et d'ailleurs.

The first of the two essays was presented at the conference 'Ethnicity in an Age of Globalisation', held at Uganda Martyrs University, Kampala, Uganda, from 3-6 September 2001. / Thesis (MA)--University of Stellenbosch, 2002. / Babel or Piraeus? : globalisation, culture and tradition -- Between freedom and culture : Alain Finkielkraut's critique of multiculturalism. / ENGLISH ABSTRACT: The conception of globalisation as a "programme" or "project" driven by a group of people or companies with a set agenda underlies much of the antagonistic discussion of globalisation. Protagonists of globalisation, in turn, often describe the process as inevitable progress. This paper analyses the process of globalisation and argues that it should not be understood as such a singular process. Rather, the concept "complex connectivity" - where the local and the global come' into closer contact and influence, or interpenetrate, one another more directly - facilitates a more nuanced analysis of globalisation -.This understanding of globalisation will be tested against the phenomenon of culture by posing two questions: Does globalisation lead to the destruction of local culture( s) by an encroaching singular global culture (i.e. is globalisation cultural imperialism)? Or alternatively: Does globalisation represent an opening .up and exchange between previously isolated cultures and societies? This paper argues in favour of the second position by employing John Tomlinson's existential definition of culture and his understanding of the dialectic that exists between the local and the global in complex connectivity. Instead of global culture, we can more properly speak of . "globalized" culture, which looks different in every local situation. This is a more optimistic answer to the cultural' effects of globalisation, and although some concerns remain, it seems clear that to understand globalisation as complex connectivity rules out many of the charges of cultural imperialism lodged against globalisation. / AFRIKAANSE OPSOMMING: Baie van die hedendaagse antagonistiese diskussie oor globalisasie gaan uit van die veronderstelling dat globalisasie 'n 'program' of 'n 'projek' is wat deur 'n groep individue of maatskappye gedryf word. Voorstanders van globalisasie, daarenteen, beskou die proses dikwels as 'onafwendbare vooruitgang.' Hierdie opstel analiseer die proses van globalisasie en argumenteer dat globalisasie nie as so 'n eenduidige process verstaan moet word nie. Die konsep "complex connectivity" word ingespan om 'n meer genuanseerde analise van globalisasie te bied aangesien dit dui op die komplekse interaksie, of selfs interpenetrasie, tussen plaaslike en globale prosesse. Hierdie opvatting oor globalisasie word getoets aan die hand van kultuur deur twee teenstellende vrae te stel: Is globalisasie 'n enkelvoudige globale kultuur wat dreig om plaaslike kulture oor te neem en uiteindelik te vernietig (ook genoem kultuurimperialisme)? Of eerder: Is globalisasie 'n geleentheid tot groter openheid en interaksie tussen kulture en gemeenskappe wat voorheen van mekaar geïsoleer was? Die opstel argumenteer ten gunste van die tweede posisie deur gebruik te maak van John Tomlinson se eksistensiële definisie van kultuur en sy opvatting oor die interaksie tussen die plaaslike en die globale. Instede van globale kultuur kan ons eerder praat van 'geglobaliseerde' kultuur, wat telkens anders lyk in elke plaaslike opset. Hierdie posisie bied 'n versigtige, maar meer optimistiese antwoord op die kulturele impak van globalisasie deurdat veel van die aanklagte van kultuurimperialsime teen globalisasie afgewys word.

No description available.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Zugl.: Regensburg, Univ., Diss., 2007

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in French." Includes bibliographical references (p. 409-432).

This dissertation examines D.H. Lawrence’s and Wyndham Lewis’s exploration of the evental subject, and asks how their work might help us understand agency in a way that does not discount powerful forms of socio-historical determinism. Examining a variety of their critical and fictional writing from the first three decades of the twentieth century, I argue that Lawrence and Lewis explore ways of thinking about the subject’s relationship to radical novelty without occluding the constraining forces of mass culture. Challenging conventional modernist forms of novelty which seek to except themselves from forces of historical and social determination, they pursue a form of novelty that emerges from these forces, yet radically reconfigures the world that history has produced. Similarly, even though the “evental subject” is conditioned by the forms of relation encoded by society, its agency lies in the power to transfigure the modes of being that have been normalized. The evental subject is not an autonomous source of agency that is exempted from the social order, but derives its agency from reconceptualizing the nature of social embeddedness—understanding social relations as unpredictably generative rather than narrowly limiting. In this regard, the forms of subjectivity articulated by Lawrence and Lewis substantially anticipate, and are illuminated by, Alain Badiou’s theory of the event. Chapter 1 argues that Lawrence’s Study of Thomas Hardy and Studies in Classic American Literature approach the problem of the evental subject largely in terms of affect, understanding the subject not as the preexistent and stable bearer of affective experience, but as the processual product of mutually-constituting affective relationships. Chapter 2 examines Women in Love to find Lawrence negotiating love as an affective site of radical subjective possibility that reconfigures the cultural norms through which intimate relationships are coded and constrained. Chapter 3 turns to Lewis’s The Enemy to ask how his version of the evental subject largely inhabits the tension between personality and selfhood, where the former suggests social performance and the latter denotes an autonomous, ontological category. Contra the conventional turn to the autonomous self as the source of agency, he seeks to understand the subject, and its agency, as the product of social performance. Finally, Chapter 4 argues that Tarr articulates the possibilities of a radically exteriorized understanding of personality; through Lewis’s ironic portrayal of the ineluctable ways in which even the perception of choice is coded by the situation, he presents fiction and authorship as the spaces in which to imagine an evental subject.

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