Notre mémoire cherche à étudier la poétique de l’espace qui articule le roman Nadie me verá llorar publié en 1999 par l’écrivaine mexicaine contemporaine Cristina Rivera Garza. En inscrivant sa démarche romanesque dans la perspective postmoderne d’une nouvelle histoire culturelle, Rivera Garza dépeint un moment fondamental de l’histoire du Mexique allant de la fin du Porfiriato jusqu’aux lendemains de la Révolution mexicaine en l’incarnant dans le destin des laissés pour compte. Ce faisant, elle présente un texte où une multitude de récits se fondent et se confondent en un tout complexe où sont mis en perspective une série d’espaces de nature ambigüe. Notre analyse tâche d’expliquer cette interrelation des chronotopes de l’Histoire et du privé en tenant compte de son impact sur la structure narrative. En décrivant les différentes modalités des espaces évoqués dans l’oeuvre, nous nous intéressons au type de relations qui unit l’ensemble de ces espaces au grand temps de l’Histoire officielle mexicaine en démontrant que tous ces éléments sont régis par une politique hétérotopique qui lézarde le fini du discours officiel en y insérant un ensemble d’éléments qui le subvertissent. L’identification et la description de cette stratégie discursive est pertinente dans la mesure où elle offre un éclairage autre sur le roman et semble caractériser l’ensemble des oeuvres de Cristina Rivera Garza. / This thesis studies the poetics of space in which the novel Nadie me verá llorar, published in 1999 and written by Cristina Rivera Garza, is articulated. Locating her novelistic project in the postmodernist perspective of a new cultural History, Rivera Garza outlines an essential moment of the history of the Mexican Revolution, from the so-called Porfiriato until the end of the Revolution. That being said, this author presents a text where a diversity of stories are founded and confounded in a complex whole in which a series of ambiguous spaces is put into perspective. Our analysis tries to explain the interaction between the chronotopes of the History, as a public space, and the private sphere to account for its impact on the narrative structure. As we describe the different modalities of space evoked in the novel, we are interested in the relations linking the spatial ensemble to the official historic time, demonstrating that all those elements are ruled by a heterotopic policy which fissures the official history, inserting elements that are capable of subverting it. The identification and description of such a peculiar discursive strategy allows us the capacity to see this novel from a different perspective. Furthermore, this discursive strategy seems to be characteristic of all of Rivera Garza’s novelistic work. / El presente estudio analiza la poética del espacio que articula la novela Nadie me verá llorar, publicada en 1999 por la escritora mexicana Cristina Rivera Garza. Al inscribir su proyecto novelesco en la perspectiva posmoderna de una nueva historia cultural, Rivera Garza esboza un momento fundamental de la historia mexicana, el comprendido entre el Porfiriato y el final de la Revolución, ubicándolo en el destino de los desquiciados. Dicho lo anterior, la autora presenta un texto donde una variedad de relatos se funden y se confunden en un todo complejo en el que se somete a escrutinio una serie de espacios de naturaleza ambigua. Nuestro análisis trata de explicar esta interrelación de los cronotopos de la Historia (constructo oficial de acontecimientos, legitimado desde el poder) y de lo privado (memoria íntima y personal de los individuos) para dar cuenta de su impacto en la estructura narrativa. Al describir las diferentes modalidades de los espacios evocados en la obra, este estudio analiza el tipo de relaciones que une el conjunto de esos espacios con el gran tiempo de la Historia mexicana oficial, demostrando que todos esos elementos son regidos por una política heterotópica que fisura la homogeneidad del discurso oficial al insertar elementos que lo subvierten. Identificar y describir dicha estrategia discursiva es pertinente ya que proyecta una luz diferente sobre la novela, siendo además una estrategia recurrente en las obras firmadas por Rivera Garza.

A través la novela Pedro Páramo, Juan Rulfo nos vislumbra elementos como la ilusión, la desilusión, la melancolía y la identidad. Sin embargo, si analizamos la obra también vamos a encontrar el fenómeno del cautiverio que impregna dichos elementos en Pedro Páramo. La presente tesina tiene como propósito demostrar que en la obra literaria de Rulfo aparece el fenómeno del cautiverio como multifacético y subyacente para otros elementos. Este se presenta en distintos cronotopos de Comala, que afectan los deseos de los personajes y al final contribuyen a sus sentimientos de ilusión, desilusión y melancolía, sino también a la construcción de su propia identidad. / With the novel Pedro Páramo, Juan Rulfo gives us a glimpse of elements such as illusion, disillusionment, melancholy and identity. However, if we analyze the work, we will also find the phenomenon of captivity that impregnates these elements in Pedro Páramo. The purpose of this thesis is to demonstrate that the phenomenon of captivity appears as multifaceted and underlying to other elements in Rulfo's literary work. This is presented in different chronotopes of Comala, which affect the desires of the characters and in the end contribute to their feelings of illusion, delusion, and melancholy, yet also to the construction of their own identity.

No description available.

Notre recherche a examiné un phénomène communicationnel susceptible d’éclairer le processus de la modernisation de la société roumaine au tournant des XIXe et XXe siècles :il s’agit de la transformation de l’édition d’une société manufacturière dans « une proto-industrie culturelle » et de la création d’une sphère publique dans ce monde en constante redéfinition. Le rapport entre la croissance des biens culturels produits par les éditeurs et celle de l’intérêt des individus pour la lecture est le centre de notre recherche. Autrement dit, nous avons évalué la fonction sociale de la littérature roumaine et le rôle des livres sur le marché des produits culturels et informationnels. L’intervalle relativement long, de 1880 à 1914, nous a permis de confronter les données spécifiques à la production de littérature d’une manière diachronique, en analysant les stratégies économiques et politiques des acteurs et aussi les conflits résultant des rapports de pouvoir entre ceux-ci. L’analyse des conditions de ces mutations a déterminé les rôles sociaux des instances, les dialogues, les confrontations entre les acteurs et les publics. Nous avons identifié une crise de la littérature roumaine originelle qui a mobilisé une sorte d’internationalisation de la production littéraire. La concurrence des biens, des marchandises culturelles « importées » de l’Occident sous la forme des traductions ou des reformulations est l’un des « potentiateurs » de la création littéraire autochtone. <p>Les lectures croisées de documents (plans éditoriaux, correspondance, presse, journaux intimes et professionnels, etc.) et de sources secondaires (histoires littéraires, travaux de critique, manuels, etc.) nous ont permis de suivre l’évolution des intentions, des objectifs, des réalités et des conséquences sur ce qu’on considère l’histoire officielle de la littérature. Les différences entre les étapes démontrent, d’une manière assez exacte, les degrés de pouvoir des forces impliquées dans la production du canon littéraire ;elles illustrent aussi l’emprise croissante de l’idéologie sur le champ culturel à partir de la fin du XIXe siècle. L’analyse diachronique des parutions éditoriales à travers les 34 années étudiées reflète les changements des politiques culturelles de l’Etat. L’analyse appliquée à la politique éducationnelle de la discipline littérature roumaine nous a permis d’envisager une modification de la stratégie de l’Etat dans ce domaine et de questionner ses effets sur la création du patrimoine national. <p>Le littéraire, acteur central de notre recherche, nous a donné la possibilité d’instrumentaliser plusieurs notions appartenant à l’histoire du livre et de l’édition. De cette manière, les tensions présentes à l’intérieur de l’analyse historique de la littérature ont été transformées en sujet de réflexion, voire de rétablissement de certaines positions de domination. Le concept d’identité bibliographique est convoqué pour réaliser une lecture diachronique d’une époque. Nous avons identifié et analysé toute une série de problématiques passionnantes, telles les relations entre les instances impliquées dans la production, la circulation et la réception des livres littéraires durant la période 1880-1914.<p><p>The PhD thesis entitled The Romanian Literary Identity. Writers, Publishers and Readers in the Late Nineteenth and Early Twentieth Centuries examines a communication phenomenon, constituting a scientific enterprise that aims to clarify some aspects relating to the modernization of Romanian society during the Belle Époque: we have in mind the transformation of the “publishing house” from a business dealing with handmade items into a “proto-industrial culture” and the creation of a public sphere in a world constantly seeking to define itself. The relationship between the increasing number of cultural goods produced by publishers and the growing interest in reading among the people represents a main focus of this research. In other words, we tried to assess the social function of Romanian literature and the role of books on the market for cultural and informational products. By choosing a fairly long period of time (1880-1914), we were able to confront the data pertaining to literary production in a diachronic manner, analyzing the economic and political strategies of the “actors”, as well as the conflicts arising from the power relations between those actors. The analysis of the circumstances surrounding the transformations undergone by the Romanian cultural area enabled us to determine more clearly the social roles of the participants, the interactions and confrontations between actors and audiences. We could identify a crisis of the original Romanian literature, a crisis that fostered the “internationalization” of the literary production. The competition between cultural goods “imported” from the West in the form of translations or adaptations was one of the factors enhancing local literary production. <p>The cross-reading of documents (editorial plans, correspondence, press, personal and professional diaries etc.) allowed us to evaluate the evolution of the intentions, goals, realities and consequences of the official history of Romanian literature (which has its origins in this period). The differences between these stages revealed the power statuses of the forces involved in producing the literary canon; they also showed the growing influence of ideology on the cultural field since the end of the nineteenth century. The diachronic analysis of the titles published in the 34 years under scrutiny reflects the changes ocurring in the cultural policies of the state. The educational strategies concerning Romanian literature as a field of study revealed the state’s attitude change towards this area, which enabled us to assess the effects on the development of the “national literary heritage”.<p>The literary field, the central actor of our research, opened the possibility to operationalize several concepts pertaining to the history of book publishing. Thus, the tensions existing within the historical analysis of literature were transformed into a subject of reflection, even re-establishing some positions of dominance. The notion of bibliographical identity was employed in order to do a diachronic reading of the era.<p>The research conducted for this dissertation gave us the opportunity to identify and analyze a range of exciting issues, such as the relationship between the participants involved in the production, dissemination and reception of literary works between 1880 and 1914.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

本論文研究渥雷‧索因卡《死亡與國王的侍衛長》一劇，以及本劇對約魯巴（Yoruba）人孤注一擲抵制西化卻徒勞無功的境遇所做的關注。本劇改編真實歷史，重演一九四五年在奈及利亞奧約（Oyo）城發生的動亂。當時應舉行侍衛長（Horseman）自殺儀式，然而英國殖民者以武力中斷。本劇一方面解釋這個儀式在約魯巴社會的重要性，另一方面揭露侍衛長心不甘情不願了結生命，並斷言活人獻祭這類殘忍的傳統必然要革除，特別是在因英國殖民而致的動盪時刻。 / 論文分為四個章節，依據米哈依爾‧巴赫汀（Mikhail Bakhtin）的時空型（chronotope）理論，探究《死亡與國王的侍衛長》其社會歷史背景與戲劇表演手法。第一章介紹作者和劇本，並回顧評論，以及說明接下來討論的議題和理論架構。第二章分析文本與現實世界相互輝映的關係。艾瑞克‧霍布斯邦（Eric Hobsbawm）在〈發明傳統〉（"Inventing Traditions"）的見解用以闡明傳統是因時制宜的產物。比爾‧阿希克洛夫特（Bill Ashcroft）等三人提出的後殖民典型，有助於瞭解約魯巴人為了阻擋外來影響竭力奮戰，儘管殖民政府的干預相當強勢。第三章詮釋劇中人物的性格特徵，以弗朗茲‧法農（Frantz Fanon）告誡不可畫地自限的觀點為鑑。無法順應社會變異因此冥頑不靈的人，失去了看世界的洞察力。而那些猶豫不決者，為了遵從老一套的價值觀，受煎熬得筋疲力盡。第四章總結本文，認為本劇主張靈活性和果斷力以進行改變。 / This thesis studies Wole Soyinka's Death and the King's Horseman and its concerns for the Yoruba people's desperate but futile resistance to Westernization. Adapted from a real historical event, this play reenacts the disturbance in the Oyo city of Nigeria in 1945, when the ritual of the Horseman's suicide was interrupted by the British colonial force. While the play explains the importance of the ritual in the Yoruba society, it reveals the Horseman's reluctance to end his life and asserts that cruel tradition like human immolation must be reformed especially at the fluctuating moment caused by the British colonization. / Consisting of four chapters, this thesis relies on Mikhail Bakhtin's chronotope to explore the socio-historical context and theatrical representation of Death and the King's Horseman. Chapter one introduces the dramatist and the play, reviews critical opinions, and illustrates the purpose and theoretical framework of the following discussion. Chapter Two, which analyzes the interrelationship between textual and actual worlds, adopts Eric Hobsbawm's "Inventing Traditions" to clarify tradition as produced according to specific circumstances. The postcolonial models proposed by Ashcroft et al helps understand the Yoruba people's struggle for no foreign impact despite powerful intervention by the colonial government. Chapter Three interprets the roles' characterization with the aid of Frantz Fanon's warning of self-confinement. Unable to adjust to social variances, the obstinate people blind their vision of the world, while those procrastinating become dead exhausted by difficult conformity to old values. Chapter Four concludes that this play argues for resilience and resolution to make difference.

While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.

本論文期望藉由探究《陽光下的葡萄乾》一劇，對非裔美人在面對社會困境以及白人意識型態時，如何發展自我認同的議題啟發新的思考。蘿琳．漢司白瑞以寫實的寫作手法，呈現非裔美人在美國一九五○年代種族隔離區的生活。種族隔離政策(segregation laws)中，空間具有特別的指涉意義，因此本文選擇米哈依爾．巴赫汀(Mikhail Bakhtin)的「時空型」(chronotope)理論作為本論文的基本架構。由於劇本和其當代歷史相互輝映，歷史背景的研究可以幫助理解劇中人物動機；反之，由解析劇中情節和人物行為，亦可推測非裔美人的未來發展。 本論文分為四個章節。第一章提供作者生平、劇本、評論、以及理論架構的基本介紹。第二章有兩個主題：呈現作品如何反映歷史，以及從社會背景的角度詮釋角色。其中，弗朗茲．法農(Frantz Fanon)的《黑皮膚，白面具》幫助解釋部分角色的同化行為。第三章顯示非裔美人如何在白人霸權之下建立自我認同：在社會上表達訴求以對抗白人霸權，在文化上接納非洲本能和美洲文化，及在家庭方面堅守傳承下來的家庭尊嚴。史都華．霍爾( Stuart Hall)的離散理論(diaspora)特別用來處理其中同時具有非洲和美洲本質的文化議題。第四章則是本論文的結論，總結作者寫本劇的信念和目的。 / This thesis studies A Raisin in the Sun and expects to bring new inspirations of how African Americans develop their own identities confronting social plights and white ideology. With the realistic writing style, Lorraine Hansberry truthfully depicts and reflects African Americans’ life in the segregated ghetto in the 1950s. As space carries significant meanings in the enforced segregation laws, Mikhail Bakhtin’s chronotope serves as the main theoretical framework of this thesis. The play is interconnected with its contemporary history, so we may interpret the characters by considering their historical background and infer the American blacks’ future path by scrutinizing the plot and actions in the play. This thesis consists of four chapters. Chapter One is an introduction to the author’s life, the play, the critical opinions, and the theoretical framework. In Chapter Two, there are two main issues: first, how this play reflects the historical background, and second, interpretation of characters in relation to their specific social contexts. Frantz Fanon’s Black Skin, White Masks is applied to explain the potential of assimilation of some characters. Chapter Three reveals how African Americans under the white hegemony find their own identities in social, cultural, and family perspectives. The gist is that they must strive for the improvement of their social status, embrace both African and American cultural roots, and stick to their family pride. Stuart Hall’s theory on diaspora is useful to deal with the cultural identity which ambiguously covers both African and American essences. Chapter Four is the conclusion of the thesis that sums up the author’s belief and intention in writing the play.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

The aim of this study is to draw new perspectives to the theoretic approach towards the complex nature of the modern fairy tale genre and its transformation. The study is exemplified by two books by Alan A. Milne about Winnie-the-Pooh (1926-1928), Tove Jansson’s eight books about the Moomintrolls (1945-1970) and Eno Raud’s four books about three funny creatures called “Nakstitrallid” in Estonian (1972-1982). In this thesis, I examine the disputable problem of defining the fairy tale genre in modern literature and refer to the history of the genre and storytelling tradition that have indirectly inspired all three authors in their decision to turn for fairy tale as a genre. Applying the poetical analysis, I argue that these authors contributed to the continuity of fairy tales by creating the link between folkloric heritage, novelistic literary expression and children’s imagination. This study can therefore be considered as topological, however it does not pretend to introduce the complete systematic definition of the genre as the thesis’ format does not allow such in-depth investigation. In the first chapter, ‘Archaic world stimulation in modern fairy tale’, I examine the dominating literary categories that refer to the folk fairy tale intertext: Bakhtin’s concept of ‘chronotope’ – category of time and space, system of fictional allegoric characters and category of fantastic.  In the second chapter, ‘Modern fairy tales from perspective of children’s literature’, I analyze the books of Milne, Jansson and Raud in the scope of narratological and aesthetic categories of children’s literature. The folkloric laughter intertextually reproduced by naïvism of the Moomins, the Naksitralls, and Winnie-the-Pooh’s friends, while folkloric collective hero is presented by universal harmony of a happy family and child-like protagonists. I came to the conclusion that poetics of folklore fairy tale still exists in these books through the intertextual dialogue. Modernism as literary method re-evaluates folkloric aspects such as nonlinear time, the blurred boarders between individual and cosmos, material and spirit, text and reality. Every new artistically unique fairy tale world resembles the new stage of the genre development. The more innovative is the story, the more sophisticated can be its poetics.

It has always been important to study history. But what we can’t forget is that there’s more than one way of doing so. One of those is literature. In this thesis I will therefore study two contemporary historical novels: The Night Watch by Sarah Waters and The Underground Railroad by Colson Whitehead. The aim is to explore how they portray different kinds of historical experiences and how that may relate to questions that are relevant even in a contemporary context. Because both novels have an interestning relationship with time and space, I’m going to use the russian literary theorist Micheal Bachtins concept of the chronotope to explore how time and space operates and relate to eachother. In the end, this thesis also aims to show that literature can be a valuable object to study for those that are intererested in histiography.