Uppsatsens syfte är att göra en berättarteknisk analys av olika konflikter i Dr. Jekyll and Mr. Hyde av Robert L. Stevenson. De konflikter som undersöks är bland annat om Dr. Jekyll är en opålitlig berättare och vilka etiska funderingar detta kan väcka kring den klassiska hjälterollen som vanligtvis finns i berättelser. Den narratologiska analysen utgår från Gérard Genettes teorier om berättarteknik. Metoden utgår från Greimas aktantmodell och är grundad på textanalys. Tidigare forskning har undersökt hur identitet delvis kan skapas genom narrativ/berättande. Tidigare forskning har även ifrågasatt Dr. Jekylls roll som hjälte och visat på att han inte är en god person trots att doktorn försöker framställa sig som oskyldig genom sitt narrativ. Resultatet av analysen har visat att det finns perspektivbyten som är avgörande för tolkningen av Dr. Jekylls roll som antingen protagonist eller antagonist. Resultatet har också visat att Dr. Jekyll inte är en pålitlig berättare, då han undanhåller information. Jekylls motsägelsefulla narrativ avslöjar slutligen hans sanna karaktär som antagonist och som offer för sin egen ondska.

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Literature and medicine are not usually seen as related disciplines, but scholars have already begun producing fruitful scholarship regarding historical and aesthetic interactions between them. This thesis adds to that scholarship by examining medicine and literature in nineteenth-century Britain. More specifically, Thomas De Quincey's Confessions of an English Opium-Eater and Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde both use nineteenth-century medical case conventions to tell their stories. Furthermore, because both works deal with addiction, divided selves, and the power that physical substances can have on morality and character, these two works provide an excellent comparison coming 65 years apart. As such, they are a great point from which to begin looking more closely at how the interactions between medicine and literature evolved during the nineteenth-century in Britain. This thesis examines the role that "scientific" discourse has played in medicine and literature as interpretive disciplines, the rhetorical techniques and innovations surrounding the intersection of the two disciplines, and the authority that each discipline derived by implicitly borrowing ideological assumptions and textual forms from the other. Confessions is a wonderful example of a Romantic, autobiographical text that clearly uses the medical case study conventions; in fact, De Quincey was often cited in the years following the publication of Confessions as an authority on opium and its uses. By the time Jekyll and Hyde was published, however, a work like Confessions could no longer hold its own in medical debates. The professional institutions of medicine and literature had changed too much. Hence, by analyzing these two works side-by-side, I intend to illustrate different narrative approaches to similar issues at the beginning and end of the century. More importantly, I hope to use these texts in conjunction with specific medical case histories to discuss each text's reliance on interdisciplinary authority.

At first glance, Strange Case of Dr. Jekyll and Mr. Hyde is a tale that reinforces binaries. One of these is the self/other binary that is central to David Hume's and Adam Smith's theories of sympathy that conceive of a self imaginatively identifying and experiencing fellow-feeling for an other. However, this notion is complicated because Jekyll and Hyde are the same person. Further, many critics argue that Stevenson actually challenges binary thinking. While Hume and Smith do not challenge the self/other binary in connection with sympathy, trauma theory critics do challenge a self/other binary that lies at the heart of sympathy: the victim/perpetrator binary. Noted trauma theorist Dominick LaCapra develops a method of empathizing called empathic unsettlement where a secondary witness listens with empathy to a victim's traumatic witness while recognizing the difference of his or her position as a witness. He argues that perpetrators may also warrant understanding, but this understanding does not come through empathy. However, one of the hallmarks of empathic unsettlement is that it does not neatly resolve or replace traumatic narratives. Therefore, I argue that empathic unsettlement could also be a useful method for allowing a perpetrator to witness. While practicing empathic unsettlement for a perpetrator may not be worth the risk in real life, performing a thought experiment in literature can test how using empathy might provide a better way to theorize perpetration. Using two witnesses who attempt to practice empathic unsettlement for Jekyll and Hyde, Dr. Hastie Lanyon (who fails), and Mr. Gabriel John Utterson (who succeeds), I will show how empathic unsettlement could be used for both a victim and perpetrator to tease out the complexities of assessing a traumatic situation.

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M.A. (English) / Victorian studies is a field much-studied and, during the century that has passed since the end of Queen Victoria‘s reign, literary criticism on the subject has been extensive. In the main, however, criticism has tended to focus on the protagonists of Victorian novels, whether to argue that their journeys are immoral, or represent a warning against immorality, or to examine their behaviour and so arrive at conclusions regarding identity. Through a close reading of Oscar Wilde‘s The Picture of Dorian Gray (1891), Robert Louis Stevenson‘s The Strange Case of Doctor Jekyll and Mr Hyde (1886), and Bram Stoker‘s Dracula (1897), and by focussing on the reactions and responses of Victorian society (as the texts represent it) to the novel‘s transgressive characters rather than on those characters themselves (as has been the trend) this dissertation moves away from readings of duality and moral judgment and towards a greater understanding of the intricacies of late-Victorian society itself. In addition, and through this process, this dissertation interrogates the bifurcated and contradictory nature of the Victorian moral structure and destabilizes the binary oppositions of character judgment that were so fundamental in its creation. Furthermore, through a discussion of the historical context of the text‘s chosen for this study, this dissertation challenges the formulation and authenticity of Victorian morality by considering the manner in which power informed the behaviour and decisions of middle-class Victorians at the turn of the century. To this end, I will consider how the philosophies of Friedrich Nietzsche, especially those pertaining to power and morality, are invaluable in problematizing the binary system of categorization that so dominated the late-Victorian cultural space. Finally, I argue that the texts I have elected to study represent a climate of unrest and dissatisfaction with the Victorian moral climate at the fin de siècle (or turn of the century) and that they are instrumental in our understanding of that moral climate and the subsequent changes to it.

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Suite aux grands changements qui bousculèrent la société, la fin du dix-neuvième siècle fut une période de grande instabilité pour l’Angleterre. Les anxiétés créées par ces bouleversements se reflétèrent dans une prolifération de la littérature Gothique. Bien que le genre soit généralement étudié en relation avec la peur, ce mémoire soutient que le gothique tire son essence d’un large éventail d’émotions — et, tout particulièrement, de la honte. Étroitement liée à la notion de moralité, la honte est profondément ancrée dans les codes sociaux et les conventions. Dans une société aussi conservatrice et rigoureusement structurée que celle de la fin de la période victorienne, la honte révèle les conflits auxquels les individus faisaient face, ainsi que leur manière de les gérer. Pour comprendre les dynamiques de ces enjeux et les valeurs à leur fondement, ce mémoire explore trois romans importants de l’époque : The Picture of Dorian Gray, de Oscar Wilde, The Beetle, de Richard Marsh et The Strange Case of Dr Jekyll and Mr Hyde de Robert Louis Stevenson. En se concentrant particulièrement sur la figure du monstre gothique, cette étude considère deux types de honte : interne et externe. Tandis que le portrait de Dorian Gray illustre le conflit interne du protagoniste, la créature de The Beetle offre un exemple de honte externe comme châtiment; enfin, le double dans Jekyll and Hyde expose la mécanique de coexistence des hontes externe et interne. Au moyen de cet angle d’analyse, ce mémoire ouvre alors de nouvelles perspectives d’études sur la littérature gothique de la fin du dixneuvième siècle. / The end of the nineteenth century in England was a period of great instability as society experienced significant changes. These disruptions created anxieties, which were manifested in the proliferation of Gothic literature. While the Gothic genre is generally studied through the lens of fear, this thesis argues that it is governed by a range of affects, especially shame. Closely linked with morality, shame is deeply embedded in social codes and conventions. In a rigidly structured, conservative society such as that of late Victorian Britain, shame reveals much about the struggles that people faced and how they handled them. To understand the dynamics of these struggles and the values that underpinned them, this thesis explores three major novels from the fin de siècle period: The Picture of Dorian Gray by Oscar Wilde, The Beetle by Richard Marsh and The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. With a particular focus on the figure of the Gothic monster, this study considers two different types of shame, internal and external. The portrait in Dorian Gray illustrates the internal conflict of the protagonist, while the creature in The Beetle offers an example of external shame as punishment. Meanwhile, the double in Jekyll and Hyde provides an opportunity to understand how internal and external shame coexist. In so doing, this thesis provides new insights into Gothic literature of the fin de siècle.

Ce mémoire étudie les épitomés de la figure doppelganger en trois romans britanniques gothiques du XIXe siècle: Frankenstein de Mary Shelley, Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson et Dracula de Bram Stoker. En utilisation avec les sources secondaires dont The Origin of Species et The Descent of Man de Charles Darwin, et The Uncanny de Sigmund Freud, je soutiens que le doppelganger symbolise les conventions sociales et les angoisses des hommes britanniques dans les années 1800. Grâce à un examen des représentations physiques et métaphoriques de la dualité et de la figure doppelganger dans la littérature primaire, je démontre que la duplicité était courante au XIXe siècle à Londres. En conclusion, les doppelgangers sont des manifestations physiques gothiques de terreur qui influencent les luttes avec bien séance, des répressions des désirs et des craintes de l'atavisme, de la descente et de l'inconnu dans le XIXe siècle. / This thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.