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Magister Artium - MA

阮鳳香. / "2008年10月". / "2008 nian10 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 88-89). / Abstracts in Chinese and English. / Ruan Fengxiang. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第一節 --- 王朔生平介紹 --- p.1 / Chapter 第二節 --- 本文的硏究目的 --- p.2 / Chapter 第二章 --- 從人物形象看八九十年代的王朔小說特色 --- p.3 / Chapter 第一節 --- 小引 --- p.3 / Chapter 第二節 --- 孩童人物(兼論父母角色) --- p.3 / Chapter 第三節 --- 從軍人物(兼論服從者角色) --- p.11 / Chapter 第四節 --- 警官人物(兼論犯罪者角色) --- p.17 / Chapter 第五節 --- 痞子人物(兼論知識分子角色) --- p.23 / Chapter 第六節 --- 女性人物(兼論男性角色) --- p.30 / Chapter 第七節 --- 綜論 --- p.45 / Chapter 第三章 --- 解讀二十一世紀的王朔小說 --- p.49 / Chapter 第一節 --- 小引 --- p.49 / Chapter 第二節 --- 〈我的千歲寒〉 --- p.49 / Chapter 第三節 --- 〈宮裡的日子〉 --- p.57 / Chapter 第四節 --- 〈妄想照進現實〉 --- p.64 / Chapter 第五節 --- 〈駭思想〉與〈死後的日子〉 --- p.67 / Chapter 第六節 --- 《和我們的女兒談話》 --- p.70 / Chapter 第七節 --- 綜論 --- p.74 / Chapter 第四章 --- 對王朔小說的評價 --- p.76 / Chapter 第一節 --- 小引 --- p.76 / Chapter 第二節 --- 經歷文化浩劫的王朔 --- p.76 / Chapter 第三節 --- 出身軍人家庭的王朔 --- p.77 / Chapter 第四節 --- 痞子英雄王朔 --- p.79 / Chapter 第五節 --- 藝術工匠王朔 --- p.80 / Chapter 第六節 --- 聲光影畫背後的王朔 --- p.81 / Chapter 第七節 --- 文學洪流中的王朔 --- p.82 / Chapter 第八節 --- 綜論 --- p.79 / Chapter 第五章 --- 結語 --- p.87 / 參考書目 --- p.88 / 附錄 --- p.90

Cette thèse propose une lecture croisée des épopées traditionnelles et postcoloniales dans un cadre transculturel. Une analyse comparée de Moby Dick de Herman Melville, Omeros de Derek Walcott et la trilogie de l’Ibis d’Amitav Ghosh nous permet de cerner spécificités de l’épopée moderne postcoloniale. Celle-ci s’inscrit dans la lignée des épopées traditionnelles d’Homère, Virgile, Arioste, Camões et Milton, tout en rivalisant avec elles. Les épopées traditionnelles et modernes ont recours à des conventions qui esthétisent l’expérience collective comme les comparaisons épiques, la généalogie présentée sous forme de prophétie et la mise en abyme ekphrastique. L’épopée traditionnelle met en avant la vision d’une société unifiée grâce à des conjonctions harmonieuses entre le trope et la diégèse, des continuités généalogiques entre l’ancêtre et le descendant ainsi que des associations autoréflexives ekphrastiques entre l’histoire impériale et le texte qui la glorifie. Dans cette perspective, la spécificité de l’épopée postcoloniale semble résider dans l’articulation ambivalente de la condition postcoloniale. Ainsi, chez Melville, Walcott et Ghosh, le style héroï-comique contrebalance les comparaisons épiques opérant des transfigurations héroïques. De même, de nouvelles affiliations hybrides forgées par les personnages coexistent avec des généalogies discontinues, sans en combler toutes les lacunes créées par le déracinement et la violence coloniale. Cette vision équivoque trouve son expression la plus franche dans les séquences ekphrastiques où les textes sont confrontés au choix impossible entre commémoration de l’expérience et regard critique vis-à-vis d’elle. / This thesis offers collocational readings of traditional and postcolonial epics in transcultural frameworks. It investigates the specificities of modern postcolonial epic through a comparative analysis of Herman Melville’s Moby Dick, Derek Walcott’s Omeros, and Amitav Ghosh’s Ibis trilogy. It explores how these works emulate, but also rival, the traditional epics of Homer, Virgil, Ariosto, Camões, and Milton. Both traditional and postcolonial epic rely on generic conventions in order to aestheticize collective experience, setting it against the natural world (via epic similes), against history and imperial destiny (via genealogy and prophecy), and against the epic work itself (via ekphrasis). However, traditional epic emphasizes a unified worldview, characterized by harmonious conjunctions between trope and diegesis, genealogical continuities between ancestor and descendant, and self-reflexive ekphrastic associations between imperial history and the epic text commissioned to glorify it. From this perspective, the specificity of postcolonial epic can be formulated in terms of its ambivalent articulation of the postcolonial condition. In the works of Melville, Walcott, and Ghosh, tropes of heroic transfiguration are held in check by the mock-heroic, while empowering self-adopted hybrid affiliations co-exist, but cannot entirely compensate for, discontinuous genealogies marked by displacement, deracination, and colonial violence. This ambivalence finds its most powerful expression in the ekphrastic sequences where the postcolonial texts are most directly confronted with the impossible choice between commemorating experience and being critical of such commemoration.

Dans les livres d'Emaux la quete de la liberte joue un role important et en suivant l'histoire, on decouvre une tragedie dans la vie des personnages. Cette these va examiner les rapports familiaux et le langage d 'Annie Emaux. Par I' autobiographie les romans revelent I' angoisse dans le present de la narratrice qui existe dans le texte par le courant de conscience et coincide avec l'histoire. Les experiences et le vecu sont retransmis par I' ecriture qui recree la realite du temps de sa jeunesse. On pourra demontrer que Annie Emaux a reussit a relier les images au vivant, tout au long de sa carriere. Dans le premier chapitre, on verra comment quelques faits historiques ont influences la societe fran~ise en transition des annees 1914 a 1980 et sont refletes dans la vie des personnages sur trois generations. Nous examinerons le passage de la narratrice a travers l'histoire et le monde intellectuel. Puis, nous verrons qu' elle a ete la seule de toute sa famille a reussir. Dans le deuxieme chapitre une etude psychologique de la famille de la narratrice sera fatte. Dans son enfance le renversement de role des parents et leur limitation sociale a pousse la narratrice vers un detachement familial durant son adolescence et a change son attitude avec les autres. Puis, une alienation s'est developpee en elle durant sa passion avec un inconnu. Dans le troisieme chapitre on etudiera I' evolution intellectuelle de la narratrice a tr avers ce qu' elle apprend et a tr avers les institutions de l 'ecole et l'universite. Dans le quatrieme chapitre, l 'abandon familial et la difference sociale montreront le detachement de la narratrice et son alienation. Puis, elle trouvera un refuge dans l 'ecriture. Dans le cinquieme chapitre le langage oral et ecrit seront analyses. Le style plat transmet par l 'amalgame des mots et des liens linguistiques un nouveau sens linguistique au langage d 'Annie Emaux. Les metaphores, par exemple, le jardin du pere ou les aliments dans I' epicerie sensualisent les mots par une correspondance entre les matieres et les sens.

This thesis attempts to prove that Walter Kempowski writes historical fiction. For this reason he should be considered an important 20th century German author. This contention is based on the presence of historical references regarding the topic of Erziehung in the Kempowski Familienchronik.

Except for literary historians and Germanists, Robert Walser (1878-1956), the Swiss poet, was known until recently only to a small circle of readers. The reason why Robert Walser was “rediscovered” a few years ago and is being read again, is that theme, content and style of his novels – they can be counted on one hand – as well as the several hundred short stories and about four dozen poems , touch upon a constantly more or less urgent problem: man’s ontological inquiry. The unassuming manner of Walser’s fragments and vignettes fascinates and elates the system-weary reader; yet, his lack of assumption is not synonymous with idle chatter. Rather, the absence of presumptuousness is based on the realization that absolutes, whether intellectual, emotional or physical are meaningless. Thus they are incompatible with the “Lebensgefühl” of Walser’s literary protagonist, who suspects essence in the loss of identity of self. It has been said of Robert Walser that he was the first writer to explore the domain of the absurd in a novel. This at the beginning of the 20th century. Walser, quite likely, would be too modest to claim literary avant-garde. The absurdity of uncertainness creates a perspective and attitude which characterize Walser’s literary figures, perspective and attitude similar to the terminal mood at the end of an era, familiar from the writings of Thomas Mann, Franz Kafka and Georg Heym. The mood Walser portrays distinguishes itself insofar that he builds no cosmic or philosophical systems, because he abhorred the finite limits of man’s intellect. Where Kafka’s intellect ad absurdum metamorphoses into the madness of the incapable insect, Walser’s realization transforms into a gay carelessness; a careless superficiality that has healing quality, since it exhausts itself in the service to humanity and revels without point of reference in an existence without system. Nature serves as the poetic spring for the delightful game of the intellect. This paper [written in German] examines the dilemma of identity in two ontological main categories and eight social-philosophical motives. Interpretation of a short story and reference to the entire works of Robert Walser served as the vehicle in this attempt.

The writings of Raymond Queneau span a period of more than forty years and reflect the multiplicity of his approaches: essays, songs, poems, scenarios for the cinema, translations (from English to French), journal, and novels. My study focuses mainly on five novels: Le Chiendent (The Bark Tree), Les Fleurs bleues (Between Blue and Blue), Le Dimanche de la vie (The Sunday of Life), Pierrot mon ami (Pierrot) and Zazie dans le métro (Zazie in the Metro), the one that made him known to a wide reading audience. Queneau contributed to the very rich philosophical and literary scene in France sandwiched between twentieth century surrealism and existentialism, drawing much of his inspiration from the popular characters of the everyday Parisian life. My thesis mainly focuses on Queneau's dichotomy between "what is" and "what appears to be". Because of Queneau's extreme versatility, I do not attempt to analyze every aspect of his writing but limit it to examining his concept of appearance and reality, an approach which cuts across various aspects of his writing. The first chapter outlines the interplay between the sciences, literature and the concept of humor interpreted in the light of a notion of a participatory rather than a passive reading. The second chapter, entitled "Le Défi du Langage" (The Challenge of Language), elaborates upon Queneau's "fantasy" world with a concentration on the linguistic elements and play-on-words. The third chapter, entitled "La Valeur Structurelle" (The Structural Value), deals with the way in which Queneau structures his novels and the different forms taken by his fiction: examination of the symbolic aspect of numbers and forms; echos and symmetry; dream and reality; repetitions and play on the "I/ eye". The fourth chapter, entitled "L'Etre et le Paraître" (Being and Appearing), answers the main question of appearance and reality while dealing with the philosophy of "being or not being" as well as the resulting corollary of realizing anguish and death. Queneau's characters answer to these eternal questions through a growing awareness and consciousness which drive them to espousing anonymity or popular wisdom. In so doing, Queneau's humor enlarges upon the parody of philosophers such as Parmenides, Plato, Descartes, Camus or Sartre. In the conclusion, entitled "Au-delà de l'humour" (Beyond Humor), Queneau's laughter which is omnipresent, expresses the underlying condition through his observation of particular individuals in their very individualities. In the final analysis, Queneau's humanism shines forth with great empathy, comprehension, and humility.

Julien Gracq' s quest for the "au-delà" is similar in many ways to the Surrealists' attempts to get in touch with the Beyond and to find that mythical and ideal point where binary oppositions are no longer contradictory but complementary. However, he differs greatly from the Surrealists in that his writing is anything but "automatic". Whereas he acknowledges being influenced by the Surrealists' ideas and by the works of certain authors, notably Goethe, Wagner, and Edgar Allen Poe, his works are a unique and carefully constructed web of style techniques, double-entendres, intertextual references, poetic devices, and a deliberate blurring of the dividing line between clear and obscure.

The south African playwright Athol Fugard of ten explores the problems which apartheid has created within his society -problems ranging from the racial and societal to the spiritual. He seems to communicate his thoughts about these issues through many direct references to space. This study investigates the meanings these spaces communicate. Four plays were chosen as representative of Fugard's subject matter (covering both white and non-white society) and career: Blood Knot (1963), People are Living There (1970), The Road to Mecca (1985), and My Children, My Africa (1990). Then three steps were carefully followed. First, each reference to space was identified and categorized using Keir Elam's and Susanne Langer's definition of "virtual space" as guide to the establishment of categories. Three categories were established: virtual space (that which is immediately visible to the audience), extended-virtual space (the off stage world which is real to the characters but unseen by the audience), and imaginary space (that which the characters project on or into the world around them). second, patterns and relationships among the spaces were identified (using Kenneth Burke's and Mary McCarthy's methodology of image clusters and dramatic alignments). Third and finally, the meaning of these patterns was explored, often using Edward Hall's science of proxemics to facilitate understanding. There is considerable similarity and continuity from play to play in the use of space. Fugard often employs references to extended-virtual space to communicate the many ills which have arisen in South African society. He also typically includes a virtual space or spaces which provide a safe haven from those ills. In addition, be almost always uses reference to imaginary space or spaces to communicate the hope for the future of freedom for all of South Africa's people. Ideally, the recognition of the spaces in Fugard's work should be actively, and knowingly, articulated in any production of his plays. This study provides a methodology for exploring these spaces and an indication of what many of the spaces mean.