Honore de Balzac appartient a cette generation de geants du romantisme flamboyant: politiquement et socialement, il est honorable bourgeois, se souvient des deceptions de l'epoque dechue et prone par consequent le culte du souvenir imperial, ainsi que celui de la passion. C'est pourquoi nous trouvons de constantes ambivalences dans la representation de la femme du monde ainsi que des contradictions deroutantes quant a leur droit d'aimer. Balzac peint des etres d'exception, mais, malgre la place et le role tres important qu'il leur accorde, ces femmes subissent le droit de jugement ultime de l'auteur quand elles s'abandonnent a la passion; leur droit d'aimer semble dans un premier temps tout a fait legitime, puis il semble toujours que la morale chretienne, tellement presente a l'epoque de l'auteur et dans son esprit, l'emporte finalement. Nous verrons, dans un premier chapitre, comment Balzac analysait la societe comme un organisme animal, les especes humaines comme des especes naturelles. Son gout pour la physiologie se retrouve dans la representation de son monde qui nait d'un don d'observation et d'imagination extraordinaire. Dans un second chapitre, je tacherai de presenter la vision critique que Balzac avait de son temps; c'est essentiellement le temps de la Restauration, avec le retour de la dynastie des Bourbons apres l'Empire, quand la monarchie, dit-il en 1835, fut "attestee." Nous verrons son analyse des maux affectant la societe mais aussi sa discussion sur les principes qui la regissent, en rapport surtout avec la position de la femme aristocrate. La representation et le fonctionnement des personnages dans les spheres du physique, du moral, et du social, sont le noyau du troisieme chapitre, temoignant du grand genie de Balzac a donner a l'ame une dimension toute particuliere. D'invention realiste et de vision divinatoire, la projection du chef d'reuvre balzacien est, par consequent, paradoxal; et c'est essentiellement dans La Duchesse de Langeais, Les Secrets de la princesse de Cadignan, Le Cabinets des antiques, La Femme abandonnee, ainsi que Le Pere Goriot, et Le Contrat de mariage, que nous pourrons l' apprecier.

Kate Chopin’s stories including “A Pair of Silk Stockings,” “A Very Fine Fiddle” and “Azelie” are rich in subject-object relationships. Close text analysis helps explicate the power of these objects or things. A thing is animate and an object is not. The stockings, fiddle, and store objects are part of a transaction between things and people; what is an object to one character is a thing to another. Exploration of Victorian women and department stores illuminates how stockings overpower Mrs. Sommers. Research on share tenant life, violins’ value, and Louisiana mixed ancestry reveals how the fiddle enables Fifine and Cleophas to re-imagine their identities and cross social boundaries; similarly, “authentic woman” feminist theory highlights how objects affect Azelie’s agency. Functioning atypically, stockings, a fiddle, and store items become things and not just objects. Things invite Chopin’s characters to embrace uncertainty. We are in things and things are in us. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

People go to work and people go home. Playing out their roles and their lives, going in and out of character. We create our own characters depending on where we are and with who we are. In this project a set of characters having a “casual Friday” at work has been interpreted. Working with the office dress codes and breaking them down. The intention is to explore the relation between 2D-3D in garment and print, using distortion to create new silhouettes and characters. Inspiration is taken from 80´s movies set in the office space and 90´s casual wear. Working without restrictions when combining transferprinted characters/garments and real garments where the “Casual Friday” theme is always present. Photos of real people were taken to keep an essence of reality throughout the line-up. The silhouettes, characters and garments created in Photoshop is based on how the de-signer would usually draw them with paper and pen. What could be defined as missing today is the interpretation of 2D prints working it´s way towards 3D in a more direct way, as well as going from 2D to 3D in the line-up. To actually be able to put a nice silhouette together in the computer and then keep on working on that same silhouette on body. By working with transparent monofilament fabrics there is also great ways of what to show underneath. The results show that the relationship between 2D prints and 3D garments is striking and a good source for new design solutions in garments. To cover one part of the body in 2D and then work on the rest in 3D has been restricting in a good way. New ways of altering the body has been found as well as new ways of constructing simple garments. By creating something strong in the stage of digital sketching made it possible to work in the same way practically. Keeping the flat 2D feeling even though you´re working with something in 3D.

In this thesis, the critical term "character" is defined from a reader's perspective as a process involving three elements: (1) syntactical character, the printed words that delimit character in the order in which they occur; (2) spatial character, these printed words organized in the reader's mind into a pattern. These two together are called grammatical character; and (3) a mental image that results from reading these printed words.

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Bibliography: leaves 421-464.

Bibliography: leaves 221-234. / viii, 234 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English Language and Literature, 1994