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François, l’ami désenchanté : La figure de Huysmans et l’altruisme dans Soumissionde Michel HouellebecqKlingenheim, Bettina January 2020 (has links)
Ce mémoire interroge la place qu’occupe le personnage historique, Joris-Karl Huysmans (1848-1907) dans le roman Soumission (2015) de Michel Houellebecq. Située en France en 2022, l’histoire met en scène François, spécialiste de Huysmans. Afin de cerner le rôle de Huysmans dans l’histoire, nous nous sommes intéressée à l’amitié que François exprime pour lui, leurs affinités et leurs divergences. Les polémiques suscitées lors de la parution du roman nous ont poussé à également considérer la moralité de l’histoire. L’aspect temporel du roman, situé dans un futur proche, est important car il laisse supposer une comparaison. Ainsi, notamment la notion de politique-fiction - anticipation de faible amplitude -, ainsi que des concepts narratologiques empruntés à Genette - transtextualité, voix et mode -, ont fourni des outils d’analyse. De même, la recherche de Viard sur la vision politique de Houellebecq, et sa conception comtienne de la religion, a servi de guide. En premier lieu, nous avons ainsi montré que Houellebecq a créé l’illusion d’une réalité possible dans un cadre familier aux lecteurs, puis, en deuxième lieu, nous avons constaté que le narrateur est autodiégétique et la focalisation interne, ce qui nous a permis de faire le rapprochement entre le héros et la vie et l’oeuvre de Huysmans. Plus loin, l’association des caractéristiques de la politique fiction avec les fonctions testimoniale et idéologique du narrateur ont fait apparaître la figure de Huysmans comme plus largement le représentant de la décadence de la modernité. La vision antilibérale et critique exprimée par François rappelle donc le désenchantement dans la littérature « fin de siècle » dont Huysmans était un grand représentant. De plus nous avons constaté que si François et Huysmans ne partagent pas la même vision de la religion, ils partagent le même idéal conservateur de la femme et du couple. Enfin, ces éléments réunis, nous en sommes arrivée à la conclusion que plutôt que nihiliste, la moralité exprimée serait altruiste. / This essay interrogates the part played by the historical figure, Joris-Karl Huysmans (1848-1907) in Michel Houellebecqs novel Submission (2015). The story, set in France in 2022, revolves around François, specialist in Huysmans. In order to establish Huysmans role, we have focalized on François’s friendship, expressed by him, their affinities and their differences. The polemics brought on when the novel was published has also made us consider the moral of the story. The temporal aspect is important since it underscores a comparison between a plot set in the future and a historical figure. Here especially one notion of political fiction – speculation in a nearby future – has proven useful. It was furthermore the case of concepts in the field of narratology developed by Genette, intertextuality and metatextuality, voice and mode. Moreover, we have been guided by Viards theory regarding Houellebecqs political view as well as his vision on religion, inspired by Auguste Comte. Considered all together, this shows that Houellebecq has created an illusion of reality taking place in a familiar environment to which readers can relate. Further on, the narrator being homo-diegetic with an internally focalized perspective, makes it possible for us to conciliate the life of the hero with the life and works of Huysmans. We have also seen that the notions of political fiction, combined with the testimonial and ideological functions of the narrator, relates to the character of Huysmans as a representant of the decadency of modernity. Moreover, François’s anti-liberal and critical vision of France has a clear affinity with the disenchantment expressed in the 19th century, fin de siècle literature, of which Huysmans was a principal figure. We argue that although François and Huysmans don’t share the same vision of religion, they share the same conservative ideal of femininity and the couple. This all together has led us to the conclusion that the moral of the story rather than nihilistic is altruistic.
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Formanův Amadeus a role hudby ve filmové naraci / Forman's Amadeus and the Role of Music in Film NarrativeBazika, Tomáš January 2020 (has links)
Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...
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Textmedierade virtuella världar : Narration, perception och kognition / Textually Mediated Virtual Worlds : Narration, perception and cognitionPettersson, Ulf January 2013 (has links)
This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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