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This master's thesis on literary writing consists of two separate parts. The first is a critique which discusses the problem of perceiving madness through reason in a selection of Guy de Maupassant's short stories. An analysis of the dialogue of the characters who represent reason will reveal that there are strong, strategic ties linking madness and reason. / This critique is followed by a creative work. The story focuses on a recluse who prefers the company of objects to that of people. He is, however, subjected to frequent visits from his "family of fools".

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In chapter one, I describe the different conceptions of self that Murdoch and Nussbaum have, and I show how these affect their depictions of human good. And I relate how each one defends the internal logic of her claims against the critique of moral relativism. I examine Iris Murdoch's conception of reality and consciousness in the distinctive way that she fuses them to a transcendent morality. / In chapter two, I turn to Murdoch's description of the journey from illusion to reality and the role of love or eros in this journey. I examine the many points of intersection between her description of the escape from selfishness and Wendy Farley's (1996) theory of how we acknowledge the other through a type of attention that she calls eros for the other . / In Chapter three, I discuss the problem that evil poses for Murdoch's moral philosophy, and how Murdoch and Farley interpret the experience of the void as yearning for relation. In the conclusion of this thesis, I present Murdoch's views on form as the consolation of human yearning. (Abstract shortened by UMI.)

One can see many poems in the five books of Francois Rabelais. These pieces in verse are sometimes inspired by the "Grands Rhetoriqueurs", or by poets of the like of Clement Marot or Mellin de Saint-Gelais, contemporary to the author. Rabelais reverses and parodies the forms he imitates; likewise these very codified poetic forms are often particularly well-suited to parody. In this case, analyzing the co-text proves to be essential when judging parodies that are often ambiguous and more ludic than they are satirical. Moreover, the poetry encases itself into the work, which in turn follows models of comedy and parody: the comic-epic and the Menippean satire. / Far from being a whim on the part of the author, or a mere nod in the direction of his friends who were poets, Rabelaisian poetry surprises the reader by its variety, which provides a fascinating portrait of the vitality of the poetical debates of the period.

Note: / Graham Greene’s first three novels are historical adventure stories. For example, the man within, published in 1929, is the story of a young man who betrays his fellow smugglers into the hands of the law. The examination of his fear because of his knowledge that they will be avenged, constitutes the main material of the book. The novels of Greene which appeared in the period 1932-1938, however, have a contemporary setting.

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