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"Thèse soutenue à la Faculté des lettres de l'Université Laval." / Collection "L'Hermine." "Bibliographie": v. 2, p. [259]-311.

Thesis (Ph.D.)--University of Alberta, 1997. / Includes bibliographical references.

This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.

abstract: Hispanic Narratives of the Ill or Disabled Woman: A Feminist Disability Theory Approach, is a comprehensive study that delves into the topic of the ill or disabled female in the narratives of Hispanic female authors who either have a disability or who have been affected by a chronic or terminal illness, causing debilitation. In order to address this topic, this thesis investigates disability identity by utilizing feminist disability theory by Kim Q. Hall, Rosemarie Garland-Thomson, and Susan Wendell, amongst others, and at the same time reviews current disability policies in both Latin American and Spanish societies. By providing a critical view of this theme from a feminist standpoint, this study places emphasis on the lived experiences that ill or disabled Hispanic women face, doubly marginalized, not only based on their illness or (dis)ability, but also their gender. This in depth analysis of Fruta Podrida (2007) and Sangre en el ojo (2012) by Lina Meruane, Diario del dolor (2004) by María Luisa Puga, Clavícula: (mi clavícula y otros inmensos desajustes (2017) by Marta Sanz, Diario de una pasajera by Ágata Gligo (1997), Si crees en mí, te sorprenderé (2014) by Ana Vives, and The Ladies Gallery: A Memory of Family Secrets by Irene Vilar provides relevant information on societal norms, policies and current debate about healthcare and women’s rights in various Hispanic countries and the United States. At the same time, it emphasizes the disabled female as subject, and investigates the societal perpetuation of disability. This dissertation discusses various concepts from disability studies, such as the illness/disability narrative, corporeal invisibility, normalcy, medical pathologization, stereotyping, and ableism, and investigates them in relation to both chronic and terminal illness or physical and mental disability in relation to the ill or disabled Hispanic female. / Dissertation/Thesis / Doctoral Dissertation Spanish 2018

This project focuses on the autofictional family novels, crafted from the mid-1970s onwards through the early 2000s in French and Serbian by the women writers of Jewish Sephardi origin, born in the French-ruled Maghreb (Annie Cohen, Annie Fitoussi, Nine Moati, Gisèle Halimi) and ex-Yugoslavia (Frida Filipović and Gordana Kuić), respectively. It is situated at the many intersections of Slavic, Jewish, Gender, and Memory Studies. Through the lens of feminist and decolonizing interpretive strategies, I analyze and connect these texts as a translingual and largely unknown archive of Sephardi women’s contemporary writing. Applying the methodological took-kit of Comparative Literature, I unsettle and frustrate a narrowly conceptualized—monolingual and mono-ethnic—vision of literary production. This emerging archive carves out a space in which the uniqueness and difference—ethno-cultural and gender, alike—of Sephardi women’s lived experiences throughout the 20th century becomes foregrounded in the full complexity of their poetics against the politics of erasure, silencing, invisibilization, and oblivion.  In this connective and comparative thesis, I re-discover the corpus as a transmediterranean feminist project, which destabilizes the notion of literary canon and articulates its anti-ethnocentric instantiations. Additionally, I tease out Sephardi identity as a tenuous and performative phenomenon, produced in and through the act of writing by the generation of Sephardi daughters, as they grapple with ambiguous and provocative maternal legacies. Language or, more precisely, languages themselves—Serbian and French, traversed, interspersed with, if not interrupted by Judeo-Spanish/Djudezmo, Spanish, and Judeo-Arabic—serve as the crucial poetic means of this identity performance. Finally, the corpus under my scrutiny performs what Marianne Hirsch deems postmemorial work, in that it harbors and preserves the memories of the foremothers in the narrative flow of these autofictional matrifocal family novels, which are, in turn, to be remembered by the reader.

This thesis explores the role of translation in the production and manipulation of identities in the contemporary Americas as exemplified in the work of Guillermo Gómez-Peña. Underscoring the instrumentality of borders vis-à-vis dominant constructions of identity and in connection with questions of language, race, and citizenship, I argue that translation not only functions as an agent of hegemonic superiority and oppression, but also as a locus of plurivocity and hybridization. Drawing from the concepts “continuous variation” (Deleuze and Guattari [1987] 2004), “coloniality of power” (Mignolo 2000), and “hybridization” (García-Canclini 1995), I discuss the connection of translation with three main topics: monolingualism, globalization, and racial hybridity. First, I discuss the influence that the dominant ideology of the nation-state has exerted on the way translation has been conceptualized since translation studies emerged as a field. Then I turn to colonial legacies in the Americas and the role of translation in situations of language hegemony as shaped by forces of assimilation and diversification. Finally, I look at translation as a crucial agent for the production and legitimization of Latin American identity throughout the nineteenth and twentieth centuries. Viewing translation as a performative and transformative activity, I critique a number of contemporary approaches to translation and I point to new understandings of translation as a cluster concept (Tymoczko 2007) in order to expand translation theory and practice beyond Western paradigms.

"Throughout the Andes eight out of ten people are Indians. , They are the destiny of Ecuador, Peru and Bolivia--but also a national burden..." The problems presented by this group are of primary importance, not only because the Indians represent such a large percentage of the population but also because factors such as modern communications make the indigent aware of his own misery as well as of the vast well-being which other groups enjoy. As novelists of Peru and Ecuador turn to examine national problems, their works provide us with new, amplified insight. Although their interpretations may seem exaggerated, they may be considered as representative of the thought or ideology of social reformers of those areas. Integral to the modern novel of social protest is the account of the role of the large landholder, the village priest, and the cholo or person of mixed blood in their relations with the Indian. Just as these three social types dominate Latin American society during the colonial and Independence periods, so do they play a leading role in the contemporary social novel.

The purpose of this paper is to analyze and discuss the conflict with conformity in three novels of Sinclair Lewis from 1920 to 1925. It is also the intention of this paper to identify Sinclair Lewis as the leader of the conflict - with - conformity movement of this period.

Le présent mémoire interroge la figure du complot en tant que posture interprétative qui possède elle-même des points communs avec la structure de l’analyse littéraire et artistique. En tant que dynamique de lecture, ces deux démarches tentent de révéler un discours en récoltant une série d’indices qui présupposent la composition d’un discours totalisant et descriptif. À partir de cette analogie initiale, je tente de réfléchir une pratique d’analyse littéraire délaissant ses prétentions à la rationalité et favorisant l’exposition de la subjectivité comme point de départ nécessaire à l’élaboration d’une connaissance. Cette réflexion sur le complot se présente comme une suite de trois études de cas. Le premier chapitre s’intéresse à l’œuvre dessinée de la mangaka Tsurita Kuniko (1947-1985), en s’attardant particulièrement à la représentation des manifestations étudiantes japonaises de la fin des années 60 à travers un récit intitulé « 65121320262719 ». Cette lecture devient l’occasion d’interroger les théories herméneutiques de la « lecture symptomale » et de la « lecture de surface ». Le second chapitre s’intéresse à la représentation de la société secrète dans le film Out 1 : noli me tangere (1971) de Jacques Rivette. Créé à partir d’un strict procédé d’improvisation, le film met en parallèle l’indétermination narrative de cette méthode de tournage à la force de contrôle de ses sociétés secrètes fictives. Le troisième chapitre est l’occasion d’une étude de réelles théories du complot, et propose une interprétation de l’interactivité lectorale dans les échanges web autour de la théorie du complot QAnon. / This thesis examines the figure of the conspiracy as an interpretive stance that shares similarities with the framework of literary and artistic analysis. As reading practices, they both seek to reveal a specific discourse by gathering a series of clues that presuppose the composition of a totalizing and descriptive account. From this opening analogy, I attempt to consider a practice of literary analysis that abandons its pretensions to rationality and favors the exposure of subjectivity as a necessary stage and starting point for the elaboration of knowledge. This study of conspiracy is presented as a series of three case studies. The first chapter looks at the comic work of mangaka Tsurita Kuniko (1947-1985), focusing in particular on the representation of the Japanese student protests of the late 60s through a story entitled "65121320262719". This work offers an opportunity to question the hermeneutic theories of "symptomatic reading" and "surface reading". The second chapter focuses on the representation of secret societies in Jacques Rivette's film Out 1: noli me tangere (1971). Created from a rigorous process of improvisation, the film contrasts the narrative indeterminacy of this shooting method with the controlling force of its fictitious secret societies. The third chapter examines real-life conspiracy theories, and proposes an interpretation of readership interactivity in web exchanges around the QAnon conspiracy theory.