Teodor Mazilu est un dramaturge à succès, poète et romancier roumain, de l’époque communiste. Sa comédie humaine éreinte férocement les parvenus du régime, amoraux et candides. Cette satire plonge ses racines dans les profondeurs du spécifique roumain, à l’instar de Caragiale, Vasile Alecsandri et Urmuz, autant qu’elle s’inscrit dans le courant de l’absurde qui lui est contemporain. Teodor Mazilu est cependant original : il est allé plus loin que Caragiale dans la satire, et refuse d’endosser la philosophie de l’absurde. En revanche, l’absence de toute psychologie des personnages de Teodor Mazilu et le parallélisme de certaines de ses pièces avec celles d’Ionesco permettent d’affirmer que l’histoire du théâtre de l’absurde, ou plus exactement du théâtre d’avant-garde, serait incomplète sans Mazilu. Son théâtre, parfois interdit par la censure, a une lecture politique implicite qui dénonce le mythe de la fausse construction personnelle, qu’elle vienne de soi ou qu’elle soit imposée par les contraintes sociales. La grande originalité de Mazilu, dans la pièce Don Juan meurt comme tous les autres,est de montrer que le Commandeur et Sganarelle peuvent devenir un seul personnage,gardien de prison et de mythe, à la fois. Cette fusion est, naturellement, en rapport avec la société totalitaire, créatrice vigilante de mythes sociaux, où il vivait. La pédagogie de l’auteur est de montrer ainsi le lien de nécessité entre dissidence d’ordre politique et dissidence d’ordre intime. / Résumé en anglais non fourni par l'auteur.

The life of Henri-Pierre Roché (1879 – 1959), art collector, journalist, writer, finds its singular rhythm in a continual meandering between dispersion and the search for unifying harmony. This dispersion – moral and physical – appears to represent a necessary evil for him since he considers his vocation to be the gathering of human experiences from as wide a spectrum as possible in order to create a work that would be useful to society, that would lead to better understanding of issues such as political harmony, eroticism and polygamy. The dissertation consists of a detailed biographical study which covers Roché’s formative years until the publication of his first literary works (1879 – 1907). A biographical summary of the remainder of his life is followed by a chapter on his first major publication, Don Juan et... , which has not formed the subject of any literary analysis prior to this. The third chapter consists of an interpretation of Roché’s novel Deux Anglaises et le Continent as both a work of initiation and an initiation to his work, illustrating how it introduces themes that recur in two further novels, Jules et Jim and Victor. Through his way of life, Roché’s life becomes his most extensive and involved œuvre. This dissertation traces the roots of his propensity for dispersion and lack of unity, to his childhood and specifically to the form of education advocated by his mother Clara Roché. This attribute surfaces again in Roché’s keeping of a personal diary, spanning almost sixty years, in which he compulsively observes and notes his own behaviour and that of those around him. The diary emphasises and prepares the fragmentary, compressed style and open-ended writing which would later become Roché’s trademark. Abandoning his studies in political science, Roché sets out on a career which has much in common with the lives dilettante intellectuals fashion for themselves towards the end of the 19th century. His first human project, formulated around 1902, is an attempt to understand the mystery of erotic love and the possibilities of sexual relationships. To this end, he transforms his own life into a kind of laboratory. At a time when France has hostile inclinations towards Britain and Germany, Roché undertakes extensive journeys to these countries, learning the languages and opening himself to literary, social and philosophical influences. The dissertation pays particular attention to the analysis of these influences, an area which has not yet been covered by any other research. Through a detailed interpretation of Don Juan et..., the nature of seduction and desire is examined in the context of the literary myth of Don Juan and the association between fragmentation and desire is emphasised. In conclusion, the association between desire and its written expression is examined and found to be reflected in Roché’s fragmentary writing, through which he appears to find a solution/ compromise in the form of voluntary incompleteness compensating for his failure in the impossible quest for unity. / Thesis (DLitt)--University of Pretoria, 2009. / Modern European Languages / unrestricted

This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

Though Byron is known for his provocative denials of the importance of Shakespeare, his public derogations of the early modern playwright are in fact a pose that hides the respect he had for the playwright’s powerful poetic vision, a regard which is recorded most comprehensively in the Shakespearean references of Don Juan. Byron imitated Shakespeare by repeating and adapting the older poet’s observations on the imitative nature of desire and the structure of emulous ambition as a source of violence. His appropriations make his work part of the modern shift away from earlier European societies, wherein ritual means of mitigating desire’s potentially inimical impact on human communities were supplemented with an increased reliance on market mechanisms to defer the effects of emulation and resentment. Finding himself among the first modern celebrities, Byron deploys Shakespeare’s representations of desire to trace the processes that produced the arc of his own fame and notoriety. Drawing on his deep knowledge of Shakespeare, Byron’s poetic vision—in its observations on the contagious nature of desire—exhibits elements of Shakespeare’s own vivid depictions of imitation as a key conduit for his characters’ cupidity, ambitions, and violence. Exploring how he plays with and integrates these representations into his letters, journals, poetry, and plays, my dissertation investigates Byron’s intuitions on the nature of human desire by focusing on his engagement with one of literature’s greatest observers of human behaviour, Shakespeare.

This dissertation on Byron's Don Juan begins with a history and analysis of the stanza form. Since ottava rima is a two-fold structure, comprising an alternately rhyming sestet followed by an independent couplet, it encourages the expression of dialectical ideas. Byron's prosodic virtuosity uses this potential to create a multivalent tissue of tones which is essentially—and almost infinitely—ironic. A view of prosody is developed here which is unique in its perception of the poem's existence in terms of a reading that unfolds in "real time." For various reasons, "reader-response" critics have not yet taken much cognizance of prosody. Don Juan is a good testing-ground for their approach because its narrator constantly addresses his reader, insisting on a present time which actively accumulates a past and projects a future, as a reader's consciousness moves sequentially forward through the text. The present time of the verse rhythms is the present time of the discourse, which is often most self-reflexive in the famous "digressions." Some of these begin with an epic simile whose vehicle grows out of proportion to its tenor; others are triggered by an interruption of the story, as the narrator—like a Renaissance improvisor in ottava rima— suddenly addresses his audience directly. Still other digressions are not metaleptic leaps from a fictional to a "real" world, or from one fictional world to another, however; they are the result of the narrator's tendency to linger too long in one world, elaborating descriptions until his story is forgotten. Despite the poem's many-voiced, digressive insouciance, an investigation of its moral and metaphysical components reveals that its irony has limits. Maugre those critics who would claim Don Juan as the paradigmatic work of unlimited, infinitely regressive Romantic irony, the issue of political liberty is not to be joked about, unlike the problem of erotic love. At this stable point in an otherwise absurd universe, Byron reveals a non-ironic self under the ironic mask. More effectively than traditional autobiography, because it is enacted rather than reported, this poem recreates its author dramatically, in terms of a shifting triangular relationship between narrator, protagonist and reader. The temporal locus of this relationship is a fictional present tense grounded in the "real" present time of a reading of the poem. / Arts, Faculty of / English, Department of / Graduate

This study discusses works by Martin Amis and Don DeLillo in the context of several key scientific and technological transformations that occur in the aftermath of the Second World War. I begin by revisiting one of the most-discussed aspects of DeLillo's work: the currents conspiracy and paranoia that recur in his novels and, he claims, pervade the wider culture. By demonstrating how paranoid narratives strive to accommodate contemporary technologies, I create a context in which the paranoia addressed in works such as Libra and Underworld becomes intelligible as a response to the specific technological character of surveilance and control in the post-War period. The sciences of information and cybernetics also cohere in the years folowing the War, and the second chapter explores the creative tension between metaphors of entropy and information in Amis's fiction as wel as DeLillo's. The third chapter focuses on television as a constitutive element of postmodernity, and traces how DeLillo and Amis adopt narrative strategies that enable them to represent subjects who have grown accustomed to living within an environment mediated, to an unprecedented degree, by visual imagery supplied by or formatted for television. Another product of postmodern technology, commercial air travel reconfigures relationships to place and to time for inhabitants of industrialized countries. Both the liberating and limiting consequences of living in the latter half of the century of flight are addressed in the fourth chapter. The final chapter offers an assessment of the role contemporary media and technology play in establishing the characteristics associated with postmodernity, and concludes with a brief discussion of the role the internet might play within the context of the specific technologies discussed in the body of the thesis. / Arts, Faculty of / English, Department of / Graduate

No description available.

Les enfants et adolescents à haut potentiel intellectuel peuvent présenter des troubles psychologiques très variés, justifiant une prise en charge spécialisée dans un lieu de soin pédopsychiatrique. Parmi ces éventuels troubles, l’anxiété et la dépression sont des motifs fréquemment invoqués par les parents. Afin de mieux comprendre les caractéristiques et les spécificités des troubles anxieux et dépressifs dans la population des enfants et adolescents à haut potentiel, nous avons réalisé une revue de la littérature des études épidémiologiques menées sur l’anxiété et la dépression chez des enfants et adolescents à haut potentiel intellectuel. Les résultats sont variables et parfois même contradictoires. Des biais méthodologiques (absence de consensus dans la définition du haut potentiel intellectuel, biais d’évaluation des troubles anxieux ou dépressifs, faible taille des effectifs) peuvent expliquer, en partie, les résultats contradictoires observés. Nous avons ensuite mené une étude exploratoire avec pour objectif principal de comparer les troubles anxieux et dépressifs dans des groupes d’enfants avec ou sans haut potentiel intellectuel, en tentant de tenir compte de ces biais. Notre étude a donc été réalisée dans de larges cohortes d’enfants à haut potentiel intellectuel et non à haut potentiel intellectuel, à partir de différentes sources d’observation (évaluation parentale, auto-évaluation par l’enfant et évaluation pédopsychiatrique). Concernant les troubles anxieux, les résultats de l’étude 1 suggèrent que les enfants à haut potentiel global (QIT130) seraient plus anxieux que les enfants non à haut potentiel global (QIT<130) selon le diagnostic psychiatrique à la CIM-10 ou au DSM-5. Par ailleurs, selon l’auto-évaluation par l’enfant en utilisant le questionnaire R-CMAS, les enfants présentant un haut potentiel verbal (ICV130) se percevraient plus anxieux que les enfants ne présentant pas de haut potentiel verbal (ICV<130), alors que les enfants présentant un haut potentiel perceptif (IRP130) se percevraient moins anxieux que les enfants ne présentant pas de haut potentiel réceptif (IRP<130). Un ICV élevé aurait donc un effet négatif sur l’anxiété ressentie par l’enfant, alors qu’un IRP élevé aurait un effet protecteur de l’anxiété. Concernant les troubles dépressifs, les résultats de l’étude 2 montrent que, selon l’évaluation des parents, les enfants ayant un haut potentiel verbal (ICV130) présenteraient plus de trouble dépressif que les enfants ne présentant pas de haut potentiel verbal (ICV<130). Selon l’auto-évaluation par l’enfant en utilisant le questionnaire MDI-C, les enfants à haut potentiel global (QIT130), mais aussi les enfants à haut potentiel en mémoire de travail (IMT130) ou en vitesse de traitement (IVT130) se décriraient moins dépressifs au score total du MDI-C que les enfants non à haut potentiel. Enfin, les résultats de l’étude 3 sur les corrélations entre les scores au R-CMAS et au MDI-C viennent confirmer les effets protecteurs de l’IRP pour l’anxiété, ainsi que de l’IMT et IVT pour la dépression mis en évidence dans les études 1 et 2. Ces résultats devront être confirmés dans des études ultérieures qui rechercheront à mieux comprendre les mécanismes des effets protecteurs et négatifs de certaines dimensions et domaines intellectuels. / Gifted children and adolescents may present a wide range of psychological disorders, justifying specialized care in a child psychiatric care facility. Among these disorders, anxiety and depression are frequently cited by parents. To better understand the characteristics and specificities of anxiety and depressive disorders in the population of gifted children and adolescents, we have conducted a review of literature on epidemiological studies of anxiety and depression in gifted children and adolescents. There are some discrepant results. Methodological biases (lack of consensus in the definition of giftedness, bias of anxiety or depression assessment, small sample sizes) may explain, in part, the observed contradictory results. Then, we conducted an exploratory study with the main objective of comparing anxiety and depressive disorders in gifted and non gifted children and adolescents, trying to account for these biases. Our study has therefore been carried out in large samples of gifted children and non gifted children using different sources of observation (parental assessment, child self-assessment and child psychiatric assessment). Concerning anxiety disorders, the results of study 1 suggest that gifted children (Total IQ130) would be more anxious than non-gifted children (Total IQ <130) according to the ICD-10 and DSM-5 criteria. In addition, according to the child's self-assessment with R-CMAS, children with high verbal potential (VCI130) would perceive themselves to be more anxious than children with no high verbal potential (VCI<130), whereas children with high perceptual reasoning (PRI130) would perceive themselves to be less anxious than children with no high perceptual reasoning (PRI <130). High VCI would thus have a negative effect on anxiety perceived by the child, whereas high PRI would have a protective effect on anxiety. Concerning depressive disorders, the results of study 2 show that, according to the parents' assessment, children with high verbal potential (VCI130) would have more depressive disorder than children with no high verbal potential (VCI< 130). According to child self-assessment using MDI-C, gifted children (Total IQ130), but also children with high potential in working memory (WMI130) or in speed processing (PSI130), would describe themselves less depressive on the total score of MDI-C than non-gifted children. Finally, the results of study 3 analyzing the correlations between the R-CMAS and MDI-C scores confirm the protective effects of PRI on anxiety, and WMI or PSI on depression as highlighted in studies 1 and 2. Future studies are requested to confirm these results and to better understand the mechanisms of the protective and negative effects of certain intellectual dimensions and domains.

No description available.