Thèse (M.E.L.) -- Université du Québec à Chicoutimi, 2007. / La p. de t. porte en outre: Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en études littéraires. CaQCU Bibliogr.: f. [109]-114. Document électronique également accessible en format PDF. CaQCU

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With particular focus on the processes of rewriting and adaptation of works by Marguerite Duras, this study will examine the generic, stylistic, and thematic differences between the novel Un Barrage contre le Pacifique (The Sea Wall) and the play adapted from that novel, L'Eden Cinéma (Eden Cinema). The transition from narrative to drama first of all implies formal changes, but we will see that with Marguerite Duras, the texts are often hybrid, thereby minimizing the generic differences between the novel and the theatrical adaptation and accentuating their similarities. In terms of style, we can perceive a more feminine tendency ; however it is especially at the thematic level that we find significant differences, whether because of a change in family relationships which seem to undergo a healing process, or because of Suzanne, the main character’s gradual emancipation. Thanks to the use of comparisons, analyses and hypotheses already published by Duras’ literary critics, we will not only compare these two works but we will also see under what circumstances these hypotheses are applicable to our own corpus. We will analyze the relationships between the characters, taking into account their alienation and submission, their contradictory feelings of love and hatred, and escalating tensions between them with the goal of determining the link between the generic and thematic changes between the two texts. Ultimately, we will ask ourselves if it is through the rewriting of her own family narrative that the author can not only emancipate herself but also represent herself in her text. / Thesis (Master, French) -- Queen's University, 2009-09-22 12:12:00.371

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Thesis (M.A.)--Central Connecticut State University, 1999. / Thesis advisor: Dr. M.-C. Rohinsky. " ... in partial fulfillment of the requirements for the degree of Master of Arts in French." Includes bibliographical references (leaves [i]-vi).

Th. 3e cycle--Arts du spectacle--Paris 3, 1987.

Marguerite Duras' earlier works fit readily into the genre of the traditional novel and, like many early works of fiction, are often autobiographical in content. Un Barrage contre le Pacifique (l950), for example, tells the story of her difficult childhood in Indochina where she was raised by a widowed mother. However, with Moderato Cantabile (1958) her writing style changes markedly. The author associates this alteration in style with a crisis in her personal life whereby her writing becomes poetic and the narrative content increasingly abstruse. It is with the writer's experimentation in film during the sixties and seventies that a group of works, referred to in this paper as the "India Song" texts, appear. In this group of works, beginning with Le Ravissement de Loi V. Stein (1964), and ending with Aurélia Steiner, Aurélia Steiner, Aurélia Steiner (1979), the same story is told and retold, yet the form of the language, the narration, and the dominant mode of perception alters remarkably from text to text. These texts together are proposed, in this study, to form a unique self-portrait of the author. The thesis is divided into two parts. In Part I, the transition in writing style is considered as a movement away from an autobiographical mode into a self-portraiture mode. A comparison is made between the characteristics of her writing style in the texts following Moderato Cantabile and the characteristics of the self-portrait as outlined by Michel Beaujour in Miroirs d'encre. To elucidate the situation of the Durassian heroine prior to the self-portrait revealed in the "India Song" texts, the myth of Narcissus and Echo is utilized. This use of myth provides a background Gestalt against which the patterns within the fiction begin to appear. Part II is a textual analysis of the "India Song" self-portrait works which include Le Ravissement de Loi V. Stein, Le Vice-Consul, L'Amour, La Femme du Gange, India Song, and Aurelia Steiner, Aurelia Steiner, Aurélia Steiner. The ancient Summarian myth of female initiation, the myth of Inanna, when applied to these texts, discloses the transformation in perspective underlying the arcane surface patterns in which the same "story" reappears from text to text. From a one-dimensional world dominated by the masculine "regard", the reader is pulled, via the auditory, into a multidimensional kinaesthetic feminine world of the "lower" senses that is referred to in the analysis as "l'écoute". It is this perspective that the female writing voice of Aurelia Steiner, culmination of this unusual self-portrait, offers to the reader. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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L’alcool est un thème majeur de l’œuvre de Marguerite Duras. L’objectif de notre recherche est d’en déterminer les enjeux sur les plans de l’histoire, de l’imaginaire et de la lecture. La première partie est consacrée à la place et au rôle de l’alcool dans la diégèse. Nous examinons l’alcool durassien dans son rapport à l’espace, au temps et aux personnages. La deuxième partie aborde le caractère ambivalent de l’alcool durassien sous l’angle des pulsions. Nous cherchons en particulier à mettre au jour les rapports complexes que l’alcool entretient avec la destruction et avec la création (y compris littéraire) dans l’imaginaire de l’auteur. La troisième partie est consacrée à la « lecture de l’alcool ». Il s’agit avant tout d’analyser les modalités de la réception de ce thème par le lecteur. Cela nous amène, pour finir, à émettre l’hypothèse que la lecture du texte durassien serait en fait une « lecture ivre », c’est-à-dire une expérience qui provoquerait, chez le lecteur réel, des effets comparables à ceux que l’alcool produit chez les personnages de fiction. / Alcohol is a major theme in the works of Marguerite Duras. The aim of this research is to study Durassian alcohol from the point of view of the story, the imagination and the reading. The first part outlines the place and the role of alcohol in the diegesis. We examine Durassian alcohol in view of its relationship with space, time, and characters. The second part tackles the ambivalent nature of Durassian alcohol from the angle of fantasy. In particular, we seek to highlight the complex relationship that alcohol has with destruction and creation (including literary creation) in the author’s imagination. The third part focuses on the “reading of alcohol”. It mostly aims to analyse the ways in which this theme is received by the reader. Finally, this leads us to make the assumption that the reading of the Durassian text is indeed a “drunk reading”, that is to say, an experience which generates, in the real reader, similar effects to those alcohol causes in the fictional characters.