Zugl.: Hamburg, Univ., Diplomarbeit / Hergestellt on demand

The thesis explores Marcel Proust’s À la Recherche du Temps Perdu and examines the narrator’s artistic and androgynous processes of becoming a writer and analyses how the combination of these two processes of “becoming” (artistic and androgynous) transforms the narrator into a writer. To examine these topics phenomenology was used as a meth-odological approach. Phenomenology is a method of inquiry that attempts to describe experiences as they are perceived and interpreted by human consciousness, as opposed to scientific description. The review of the critical literature provides a summary of various critics whose works have contributed to this thesis; it focuses on both Maurice Merleau-Ponty's and Sara Ahmed’s writings on the phenomenological perspectives, that serve to set up the predominant theoretical framework. The first chapter presents both the critical and theoretical concepts pertinent to this thesis. The second chapter describes the theoretical framework concentrating on phenomenology, and grants more attention to both Merleau-Ponty’s and Sara Ahmed’s theories. The third chapter analyses the narrator’s artistic evolution and his process of “becoming” a writer; his descriptions of experiences and associated sensations towards people and objects. Artistic works are preponderant in la Recherche where the three es-sential media: vision, sound, and prose are represented by: Elstir’s picture, Vinteuil’s Sep-tuor, and Bergotte and the narrator respectively. The fourth chapter examines the an-drogynous aspects of la Recherche in addition to the evolution of the narrator’s sexual identity; it evidences how his artistic evolution and his androgynous consciousness com- vii bined concurrently to transform the narrator in to "becoming" a writer. The fifth chapter analyzes Proust’s aesthetic conception and his eclecticism. Analogies to Nietzsche, Wag-ner, and Leibnitz are discussed. The thesis concludes with Proust’s precept that art, through intellect and sensations, provides a path towards spiritual life. The thesis aims to making Proust’s work more accessible, and enabling readers to thereby become more aware of their surroundings, and providing them with new perspectives on life. The thesis explores Marcel Proust’s À la Recherche du Temps Perdu and examines the narrator’s artistic and androgynous processes of becoming a writer and analyses how the combination of these two processes of “becoming” (artistic and androgynous) transforms the narrator into a writer. To examine these topics phenomenology was used as a meth-odological approach. Phenomenology is a method of inquiry that attempts to describe experiences as they are perceived and interpreted by human consciousness, as opposed to scientific description. The review of the critical literature provides a summary of various critics whose works have contributed to this thesis; it focuses on both Maurice Merleau-Ponty's and Sara Ahmed’s writings on the phenomenological perspectives, that serve to set up the predominant theoretical framework. The first chapter presents both the critical and theoretical concepts pertinent to this thesis. The second chapter describes the theoretical framework concentrating on phenomenology, and grants more attention to both Merleau-Ponty’s and Sara Ahmed’s theories. The third chapter analyses the narrator’s artistic evolution and his process of “becoming” a writer; his descriptions of experiences and associated sensations towards people and objects. Artistic works are preponderant in la Recherche where the three es-sential media: vision, sound, and prose are represented by: Elstir’s picture, Vinteuil’s Sep-tuor, and Bergotte and the narrator respectively. The fourth chapter examines the an-drogynous aspects of la Recherche in addition to the evolution of the narrator’s sexual identity; it evidences how his artistic evolution and his androgynous consciousness com- vii bined concurrently to transform the narrator in to "becoming" a writer. The fifth chapter analyzes Proust’s aesthetic conception and his eclecticism. Analogies to Nietzsche, Wag-ner, and Leibnitz are discussed. The thesis concludes with Proust’s precept that art, through intellect and sensations, provides a path towards spiritual life. The thesis aims to making Proust’s work more accessible, and enabling readers to thereby become more aware of their surroundings, and providing them with new perspectives on life. The thesis explores Marcel Proust’s À la Recherche du Temps Perdu and examines the narrator’s artistic and androgynous processes of becoming a writer and analyses how the combination of these two processes of “becoming” (artistic and androgynous) transforms the narrator into a writer. To examine these topics phenomenology was used as a meth-odological approach. Phenomenology is a method of inquiry that attempts to describe experiences as they are perceived and interpreted by human consciousness, as opposed to scientific description. The review of the critical literature provides a summary of various critics whose works have contributed to this thesis; it focuses on both Maurice Merleau-Ponty's and Sara Ahmed’s writings on the phenomenological perspectives, that serve to set up the predominant theoretical framework. The first chapter presents both the critical and theoretical concepts pertinent to this thesis. The second chapter describes the theoretical framework concentrating on phenomenology, and grants more attention to both Merleau-Ponty’s and Sara Ahmed’s theories. The third chapter analyses the narrator’s artistic evolution and his process of “becoming” a writer; his descriptions of experiences and associated sensations towards people and objects. Artistic works are preponderant in la Recherche where the three es-sential media: vision, sound, and prose are represented by: Elstir’s picture, Vinteuil’s Sep-tuor, and Bergotte and the narrator respectively. The fourth chapter examines the an-drogynous aspects of la Recherche in addition to the evolution of the narrator’s sexual identity; it evidences how his artistic evolution and his androgynous consciousness com- vii bined concurrently to transform the narrator in to "becoming" a writer. The fifth chapter analyzes Proust’s aesthetic conception and his eclecticism. Analogies to Nietzsche, Wag-ner, and Leibnitz are discussed. The thesis concludes with Proust’s precept that art, through intellect and sensations, provides a path towards spiritual life. The thesis aims to making Proust’s work more accessible, and enabling readers to thereby become more aware of their surroundings, and providing them with new perspectives on life. The thesis explores Marcel Proust’s À la Recherche du Temps Perdu and examines the narrator’s artistic and androgynous processes of becoming a writer and analyses how the combination of these two processes of “becoming” (artistic and androgynous) transforms the narrator into a writer. To examine these topics phenomenology was used as a meth-odological approach. Phenomenology is a method of inquiry that attempts to describe experiences as they are perceived and interpreted by human consciousness, as opposed to scientific description. The review of the critical literature provides a summary of various critics whose works have contributed to this thesis; it focuses on both Maurice Merleau-Ponty's and Sara Ahmed’s writings on the phenomenological perspectives, that serve to set up the predominant theoretical framework. The first chapter presents both the critical and theoretical concepts pertinent to this thesis. The second chapter describes the theoretical framework concentrating on phenomenology, and grants more attention to both Merleau-Ponty’s and Sara Ahmed’s theories. The third chapter analyses the narrator’s artistic evolution and his process of “becoming” a writer; his descriptions of experiences and associated sensations towards people and objects. Artistic works are preponderant in la Recherche where the three essential media: vision, sound, and prose are represented by: Elstir’s picture, Vinteuil’s Septuor, and Bergotte and the narrator respectively. The fourth chapter examines the androgynous aspects of la Recherche in addition to the evolution of the narrator’s sexual identity; it evidences how his artistic evolution and his androgynous consciousness combined concurrently to transform the narrator in to "becoming" a writer. The fifth chapter analyzes Proust’s aesthetic conception and his eclecticism. Analogies to Nietzsche, Wagner, and Leibniz are discussed. The thesis concludes with Proust’s precept that art, through intellect and sensations, provides a path towards spiritual life. The thesis aims to making Proust’s work more accessible, and enabling readers to thereby become more aware of their surroundings, and providing them with new perspectives on life. / Thesis / Doctor of Philosophy (PhD) / The thesis explores Marcel Proust’s À la Recherche du Temps perdu and examines the narrator’s artistic evolution of becoming a writer through his descriptions of his experiences and associated sensations. The thesis is divided into three sections: the first focuses on the narrator’s artistic life, the second is dedicated to his sexual identity, and evidence how they concurrently transform the narrator into becoming a writer. The third section explores Proust’s aesthetics and his conception that art provides a path towards a spiritual life. The thesis aims to render Proust’s work more accessible, thereby enabling others to be more sensitive to their surroundings, and provide new perspectives on life. Research was conducted through McMaster University Library and the internet.

Thèses (M.A.)--Université de Sherbrooke (Canada), 2001. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

No description available.

Wien, Univ., Dipl.-Arb., 2009.

Univ. Diss.--Fachbereich Literatur-und Sprachwissenschaft--Siegen--Universität-Gesamthochschule, 2000. / Bibliogr. p. 359-376. Notes bibliogr.

Th. 3e cycle--Paris 7, 1981.

La confrontation des utopies et de la Weltanschauung goethéennes avec les différents modes d’expression, dans les œuvres de fictions de Robert Musil et d’Italo Svevo, de la crise de la conscience européenne du début du XXème siècle et la rencontre, notamment, de l’âge d’or du roman de formation « heureux » qu’incarne l’œuvre de Goethe et de l’indétermination qui caractérise les œuvres de Svevo ou de Musil, permettent de mesurer l‘évolution de la conception de l’individu et du processus d’individuation ainsi que de sonder la nature des nouveaux enjeux qui accompagnent la permanence de préoccupations telles que les questions du Moi, de destin et de hasard, de morale, ou d’esthétique. D’autre part, il s’agit d’observer comment les idéaux et fantasmes mythiques (tentations faustiennes, désir de savoir absolu, idéal communautaire, mythe de l’androgyne primordial) qui habitent déjà la spiritualité goethéenne retrouvent une place dans le contexte crépusculaire de la crise européenne de l’individualité ou dans la figuration littéraire d’un monde en déclin, sans échapper cependant au caractère lucide et ironique des plumes respectives de Musil et de Svevo. / On the one hand, the comparison of the Goethean utopias and Weltanschauung with the various modes of expression, in the works of fictions of Robert Musil and Italo Svevo, of the crisis of the European consciousness of the beginning of the XXth century and the meeting, in particular, between the golden age of the "happy" novel of formation that the work of Goethe embodies and the indetermination which characterizes the works of Svevo or Musil, allow to measure the evolution of both the conception of the individual and the process of individuation as well as to sound the nature of the new stakes which accompany the permanence of concerns such as the questions of the Me, the fate and the chance, the morality or the aesthetics. On the other hand, it is a question of observing how the ideals and the mythical fantasies (Faustian temptations, desire for absolute knowledge, ideal community, myth of the primitive androgyne) which already live in the Goethean spirituality find a place in the crepuscular context of the European crisis of the individuality or in the literary representation of a world in decline, without escaping however the lucid and ironic character of the respective styles of Musil and Svevo.

Dans le cadre d’une philosophie politique féministe d’inspiration foucaldienne, l’étude de l'influence des modèles de famille sur la question de la responsabilité parentale permet de constater que la prise en charge de celle-ci par le biais de la division des rôles parentaux ne se matérialise pas de la même façon dans les différents modèles de famille. Même si on se retrouve globalement en présence de parents capables d’assurer le bon développement physique et psychique des enfants par la réponse à leurs besoins multiples, leur socialisation varie en fonction de deux grands groupes de modèles, soit la famille traditionnelle, d’une part, et les autres modèles de famille de l’autre. Dans le premier cas, les filles sont socialisées à devenir des mères et les garçons des pères, tandis que dans le cas des autres modèles, les parents privilégient des relations égalitaires et socialisent leurs enfants à devenir, le plus souvent, des êtres humains androgynes. Le principe de base à partir duquel nous effectuons un choix raisonné parmi le modèles de famille (avec le type de responsabilité parentale afférent), est la thèse sur laquelle repose notre modernité: tous les êtres humains sont nés libres et égaux. Ainsi, le double principe de l’égalité et de la liberté exige, pour que l’on puisse appuyer un modèle de famille en particulier, que les parents s’inscrivent sur un pied d’égalité à l’intérieur de celui-ci, du moins en principe, quel que soit l’arrangement de leur choix. Adoptant la perspective du féminisme socialiste et du «point de vue des femmes», les modèles de famille qui encouragent le développement androgyne des enfants et qui tiennent compte des multiples variables participant à l’oppression des femmes sont privilégiés. Qu’il s’agisse de familles monoparentales, biparentales ou polyparentales, hétérosexuelles ou homosexuelles, l’important est que la responsabilité parentale intègre le plus tôt possible la nécessité de socialiser les enfants à devenir des êtres androgynes s’identifiant à un ou à des parents androgynes.

Texte remanié: Ph. D.--Modern languages and literatures--Washington (D.C.)--Catholic university of America, 1985. Titre de soutenance : Androgyny in the novels of Guy de Maupassant.