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This dissertation is about representations of celebrity in poetry written in English by Canadian authors from around 1955 to 1980. These years span what I call the era of celebrity in Canadian poetry. During that era, four poets who experienced celebrity also wrote about it in their poetry: Irving Layton, Leonard Cohen, Michael Ondaatje, and Gwendolyn MacEwen. Although the degree of celebrity differed for each poet, they all wrote seriously about its consequences. For Layton, celebrity threatened his freedoms of expression and self-definition. Cohen was also concerned about freedom but implied that celebrity was slavery to which masochists submitted themselves. Ondaatje's interest was in both celebrities and legendary figures who tried to resist the public's judgement of their sexuality and race. MacEwen extended this criticism of celebrity by commenting implicitly on the general exclusion of women from celebrity in Canadian poetry. / In addition to analysis of poetry and historical argument, this dissertation claims that celebrity is literary, because the invasion of privacy that celebrities often experience is the enactment of a metaphor: the private is public. Celebrity depends on a system of media and various aspects of culture, but it also often involves variations on this metaphor, as in the identity formation of celebrities who create personas to help manage their publicity. Through these personas, they sometimes engage in performances of masculinity and religiosity that help to establish the exclusivity of celebrity. This exclusivity is an aspect of the category of "the literary," but celebrity is not only literary in that sense; it also involves metaphor, and writers are therefore some of its best critics. / Cette thèse se préoccupe des représentations de la célébrité dans la poésie canadienne anglaise d'environ 1955 à 1980—ce que j'appelle l'ère de la célébrité dans la poésie canadienne. Au cours de cette ère, quatre poètes ont également vécu et écrit à propos de la célébrité dans leurs poèmes: Irving Layton, Leonard Cohen, Michael Ondaatje, et Gwendolyn MacEwen. Bien que le degré de célébrité soit différent pour chaque poète, ils ont tous écrit à propos des conséquences sérieuses de celle-ci. Pour Layton, le coût de la célébrité était la liberté d'expression et d'auto-définition. Cohen était également préoccupé par la liberté mais insinuait que la célébrité était un esclavage auquel les masochistes se soumettaient. Ondaatje a représenté la légende afin de détourner le regard du public et de résister au jugement publique de la sexualité et la race des vedettes. MacEwen a étendu cette critique en commentant implicitement sur l'exclusion générale des femmes de la célébrité dans la poésie canadienne. / En outre à l'analyse de la poésie et d'un argument historique, cette thèse affirme que la célébrité est littéraire parce que l'invasion de la vie privée que les vedettes peuvent vivre est elle-même une métaphore: le privé est publique. La célébrité dépend d'un système de médias et divers aspects de la culture, mais la formation de l'identité des vedettes dépend aussi de la métaphore. Ils créent des personnages ou masques et s'engagent dans des performances de la masculinité et de la religiosité qui les aident à établir l'exclusivité de la célébrité. Cette exclusivité est un aspect de la catégorie du 'littéraire,' mais la célébrité n'est pas seulement littéraire dans ce sens; elle implique aussi la métaphore, et les écrivains sont, par conséquent, certains de ses meilleurs critiques.

In contradiction to Lyotard, who posits an equal relationship between listener and speaker in Just Gaming and The Postmodern Condition, Atwood examines the ways in which women's voices are stifled by men's terroristic control of the speaking position. Her novels reveal a significant flaw in Lyotard's work: he ignores the effects which a political or hierarchical system has on his ideal language grid. Within contemporary patriarchal societies, Atwood's heroines must struggle against male dominance in order to fulfill what Lyotard calls "the obligation to retell." Irigaray argues that women's exclusion from discourse can be traced back to Plato's myth of the cave, in which both men and women are encouraged to forget their maternal origins. In Atwood's novels, women must return to and revalue their maternal origins in order to find a voice, and the stories they must retell are altered versions of those of the mother.

The thesis is a short novel, Prague Summer, with a critical afterward. / The novel is an account of Alexandra Adams' journey to Prague the summer after the "Velvet Revolution." Juxtaposed with the narrator's first-person recollections of that time are her meditations about the body, where she explores the degree to which she can rely on her body to speak the truth. Ultimately, the text is both an account of the narrator's idiosyncratic artistic journey and a record of the processes involved in self-transformation. / The required critical afterward is in two parts. The first provides a summary of Richard Rorty's account of language and selfhood. The second considers Proust, Kundera, and Johnson as liberal ironist writers and examines the relationship between the contingency of language and the contingency of self in their texts.

The first part of this Master's thesis consists of the translation into French of five stories taken from Canadian author Ethel Wilson's (1888-1980) Mrs. Golightly and Other Stories first published in 1961. To date, this author who has garnered much praise does not appear to have been translated into French. The second part which comprises the critical section will open with the statement and presentation of the translation policy that underscored the translated text. We have drawn primarily on the theories of Antoine Berman and Barbara Folkart to elaborate a policy that takes a literal approach (Berman) with "subjective" underpinnings, in accordance with Folkart's wish to acknowledge the translating agent's subjectivity and have it be brought to the forefront of the translating act. Secondly, a number of translation problems that we encountered during the translation process and that raised specific issues will be examined and analyzed. / La première section de ce mémoire se compose de la traduction française de cinq nouvelles extraites du recueil Mrs. Golightly and Other Stories de l'auteure canadienne Ethel Wilson (1888-1980), recueil paru en 1961. Jusqu'à présent, cette auteure jouissant d'une certaine renommée n'a jamais fait l'objet de traduction en français.La seconde partie qui se veut le volet critique du mémoire s'ouvre sur l'énonciation de la politique ayant sous-tendu la traduction. Cette politique, qui s'inspire principalement des théories d'Antoine Berman et de Barbara Folkart, préconise le recours à une approche « littérale », tel que l'entend Berman, mais « subjective », en réponse au souhait de Barbara Folkart, qui milite en faveur de l'inscription de la subjectivité du traducteur dans le texte traduit. En second lieu, quelques problèmes de traduction qui ont jalonné l'entreprise traductive et soulevé des enjeux particuliers sont examinés et analysés.

As its title imports, the following thesis is intended to support a conviction that in the Province of Nova Scotia and at the present day there is to be found evidence, not unvaluable, as to the nature and nurture of popular tales and songs,--tales and songs of the folk.

This thesis consists of De'ath Sound, a short poetic novel (of approximately 27,000 words), and Check Your Sex at the Door, a critical postface. / In the novel, traditional notions of plot and character fracture, and the underlying story, a kind of impulsion towards plot, plays itself out in ambiguous, even disturbing ways. The work itself, much shorter than a traditional novel, shares some of the sensibilities and structures of a long poem. The use of repetition, recurrent imagery, and the rhythm of sound, informs the narrative. / The postface, intimately connected with the fictional text, employs language, syntax, and rhythms of speech which echo those used in the fictional text. As in any good work of fiction, language is privileged, suffusing and even disrupting form and content.

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Dark House is a creative writing thesis. In the story, Ben Sandler, a twenty-five year old graduate student in English, retreats to his great uncle's home in rural Ontario to write his Master's thesis. The text is presented in alternating chapters. Chapters 1, 3, 5, 7 and 9 are first person accounts of Ben's experiences. Chapters 2, 4, 6 and 8 are annotated selections from his writings. The required critical afterword is in two parts. The first section deals with innovative and experimental approaches to literary criticism. In the second section, I consider some issues of epistemology, orienting my discussion around the work of Martha Nussbaum and Stanley Cavell.