Th. Etat--musique et musicologie--Paris-Sorbonne (Paris-IV), 1997. / Sources et bibliogr. p. 1065-1081. Discogr. p. 1082.

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Thesis (M. Div.)--Regent College, 1996. / Abstract. Includes bibliographical references (leaves 157-161).

Thesis (M.A.)--Memorial University of Newfoundland, 2003. / Bibliography: leaves 109-113.

La visée méthodologique de cette étude détermine le parcours de la recherche : l’analyse de l’argumentation dans les joutes verbales et celle des figures de rhétorique, définies comme des formes-sens, dans les cinq pièces théâtrales de Bernard-Marie Koltès. Ces deux approches principales permettent de mettre en évidence la théâtralité et la dramaticité des paroles de lutte, qui instaurent des scènes d’agôn dans le théâtre contemporain. Ces réflexions, qui prennent aussi en compte les perspectives intrascéniques et extrascéniques inhérentes à la double énonciation théâtrale, visent à approfondir la compréhension des œuvres koltésiennes dans son rapport particulier au spectateur. Tous les efforts langagiers déployés ainsi que les diverses stratégies argumentatives et figurales conduisent à une incommunication finale, créant tout au long des pièces un mélange de tragique et de comique. D’où la dramaturgie de la confrontation et de la cohabitation de paroles agonales. / The methodological focus of this study is determining the course of research: the analysis of the argumentation in verbal sparring and of figures of speech, defined as sense-forms, in Bernard-Marie Koltès’ five theatrical plays. These two main approaches make it possible to highlight the theatricality and the dramaticity of words of struggle that establish scenes of agon in contemporary theatre. These reflections, which also take into account the intrascenic and extrascenic perspectives inherent in theatrical double enunciation, aim to deepen the understanding of the works of Koltès in their particular relation with the spectator. All language efforts made by characters in confrontations, as well as various argumentative and figurative strategies, prove to be in vain and always lead to a final non-communication, creating a mixture of the tragic and the comic throughout the plays. This is what is at stake in our work: to define Koltèsian dramaturgy as a confrontation and a cohabitation of agonal words.

Many critics examine Shaw's plays in terms of the subjects they deal with, but they often ignore what aspects of these subjects Shaw draws on or how he uses them. One subject that appears in many of his works is war. This thesis examines Shaw's treatment of war in Arms and the Man and Heartbreak House, and attempts to discover a common element between them that reveals something not only about the plays themselves, but also about Shaw's drama in general. The chapter on Arms and the Man notes how Shaw makes war a highly visible element of the play, but avoids dealing with issues directly related to war. Shaw does not draw on war itself, but on its image. The sources for Catherine's and Bluntschli's impressions of both war and Sergius—Lady Butler's paintings, the military melodrama and extravaganza, Tennyson's "Charge of the Light Brigade," and accounts of the Battle of Balaklava—indicate that the play's focus is not on war, but on how one perceives the world. This idea is further reinforced by Shaw's own views about idealism, romanticism, and realism. Unlike Arms and the Man, war is an integral part of Heartbreak House. Shaw uses elements from the British homefront during the First World War—the wasted lives of England's youth, the lies of the government and the press, and the potential for violence both on the front and at home during the conflict—to help create the play's deep sense of crisis and impending doom. But as with Arms and the Man, Heartbreak House is not a play about war. Whereas war is highly visible in the former, its presence is negligible in the latter: there are no military characters or any clear indication that a war is in progress until the end of the play. Moreover, Shaw does not draw on sources related only to the war. Thus while Heartbreak House was born largely out of the despair of the First World War, its themes go beyond that conflict to deal with questions about the individual, the family, and the fabric of society itself. This thesis concludes by briefly examining Saint Joan, and notes that it combines the two approaches to war found in Arms and the Man and Heartbreak House, but distances its intended audience—the English—by using a historical conflict where Englishmen are the enemy. In comparing the three plays' treatment of war, one can conclude that the common element in Shaw's treatment of war is his distancing of an audience from the subject itself. Moreover, one discovers that this distancing is related to the nature of the subjects that Shaw uses for his plays. Only subjects that he believed were complex were suitable for creating his dramatic works. Therefore, it is fruitless for critics to examine Shaw's plays for his opinions about a subject; they should concentrate on how Shaw uses these subjects in his plays instead. / Arts, Faculty of / English, Department of / Graduate

This dissertation is a study of the romantic elements in Bernard Malamud's fiction that can be seen as representing a romantic ideology closely related to the romanticism of William Wordsworth.

L'utilisation étendue des allusions dans Heartbreak House de Bernard Shaw caractérise cette pièce par rapport aux autres oeuvres de l'auteur. Les allusions, du second niveau de lecture, donnent à cette pièce cohérence et unité. À partir de la théorie poststructuraliste de Barthes, l'approche cherche par quels mécanismes Shaw insère dans le texte divers plans de signification. Après une brève revue de la réception générale et de la critique, l'analyse procède par l'examen d'allusions implicites référant à Shakespeare, Lewis Carroll et Sébastian Brandt. Ensuite, l'examen se tourne vers les allusions inconnues référant aux oeuvres d'Oscar Wilde, de Thomas Carlyle, de Samuel Taylor Coleridge, de Walt Whitman, de Joseph Conrad, et de H. G. Wells. Finalement, l'analyse examine le décor en tant que symbole et allusion, fournissant une clef à la compréhension complète de l'oeuvre.

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