Thesis (Pd.D.)—Boston University / Since World War II, the crisis in Algeria has intensified interest in French literature concerning North Africa. Attention has been refocused on Louis Bertrand (1866-1941), creator of the colon novel. Bertrand, born in Lorraine, graduated from the Ecole Normale. After teaching in Algiers (1891-1900), he abandoned pedagogy for writing and settled on the Riviera. He achieved membership in the Acad~mie FranQaise in 1926. Bertrand's extensive work includes twelve novels and over sixty nonfiction volumes. He contributed extensively to French journals. Critics early favored but later disparaged his contribution on personal as well as literar.y grounds. They have failed to interpret satisfactorily the unifying element in his work: latinite. By latinit-4 Bertrand referred ostensibly to the Latin peoples, to a core of their social and aesthetic ideals, and to the lands of lumiere in the western Mediterranean basin. He bade Latins rise to new preeminence by espousfug an authoritarian ideology based on class inequality of Roman Empire vintage. Bertrand determined that the latent unanimity of latinte might be animated by heightening the awareness of continuite from early Christian Rome to the present, with the Roman Catholic Church as proof extant of that link, and by appealing to the racial ego. [TRUNCATED]

Univ., Diss. u.d.T.: Spieker, Annika: Der photographische Blick bei Emile Zola--Freiburg im Breisgau, 2006. / Literaturverz. S. 249 - 255.

Cette thèse de doctorat porte sur l’analyse du thème de l’animalité et de la bestialité dans L’Homme qui tue d’Hector France, roman écrit en 1878 et La Bête humaine d’Émile Zola, roman qui date de 1890. Ces œuvres constituent deux regards croisés sur la France, l’un sur un pays vu de l’intérieur et l’autre sur un pays diagnostiqué à la lumière de sa politique coloniale. L’enjeu est de mettre en relief jusqu’à quel point ces deux œuvres contemporaines l’une de l’autre, à la fois se répondent mutuellement et se séparent inéluctablement. Dans leurs parcours, dans leurs positions politiques et idéologiques, dans leurs rapports à la France, dans leurs modes d’intervention dans l’actualité brûlante de l’époque, tout sépare France et Zola. Mais à force de creuser dans les différences, des ressemblances peuvent surgir. Au-delà de la parenté thématique de leurs œuvres dans le récit qu’elles font de la condition humaine à l’aune de l’animalité et de la bestialité, des accointances qui se tissent, de près ou de loin, entre les figures auxquelles donne lieu la métaphore de la bête humaine, des destinées similaires sinon identiques de certains personnages, les écarts sont si importants pour oser les occulter par un simple recensement de motifs, de thèmes et de mythes communs aux deux auteurs. Ce sont ces écarts qui sont extrêmement précieux. Plus les disparités se distendent entre les deux écrivains, plus les motivations de ce rapprochement deviennent plus justifiées et plus fécondes. Lire Zola et France l’un par rapport à l’autre, et éventuellement l’un contre l’autre, c’est repenser une partie importante de la carte littéraire de la deuxième moitié du XIXe. Cette redéfinition passe par la nécessité de mettre face à face le centre et la périphérie, le blason et son ombre, le monument et son fantôme / The present doctoral thesis aims at the analysis of the theme of animality and bestiality in Hector France’s The Man who Kills (L’Homme qui tue), a novel written in 1878 and Emile Zola’s The Human Beast (La Bête Humaine) which dates around 1890. These two works represent two crossed visions on France, one on a country viewed from outside and the other on a state diagnosed in the light of its colonial politics. The purpose is to highlight the extent to which these two contemporaneous works at once mutually respond to and yet inescapably break off from each other. In their plots, in their political and ideological positions, their relationships to France, their modes of intervention in the blazing events of the time, everything separates France from Zola. However, digging deep into the differences, certain similarities can come up to the surface. Beyond the thematic link between their works that belies the narration they make of the human condition to either animality or bestiality, the more or less interwoven acquaintances, between the figures resulting from the metaphor of the human beast, or the similar if not identical destinies of certain characters, the gaps are too important to be overshadowed by a mere inventory of motifs, themes, and myths common to both writers. It is these very gaps which are extremely genuine. The more the disparities widen up between the writers, the more the motivations of this merging become more justified and fruitful. To read Zola and France in relation to each other, and eventually the one against the other, is to re-think over an important part of the literary map of the second half of the nineteenth century. This redefinition follows from the necessity of bringing face to face the centre and the periphery, the blazon and its shadow, the monument and its phantom

No description available.

<p>An analysis of Zolas Nana focusing on male desire. Through a study of the narrtive structure and the polemic relation between the concepts of “Nature” and “Culture” it is shown that opposing ideologies are imbedded in the text. Nana is a symbolic character, in large, a myth created by male desire that eventually becomes a manifestation of that desire. At the same time, however, the character Nana evolves from being a mirrored image of male desire into a more stable and real individual and this process is also an answer to when and why she dies,underlining the fact that she initially was a creation emanating from male desire and in losing those symbolic functions she loses her function in the novel.</p>

An analysis of Zolas Nana focusing on male desire. Through a study of the narrtive structure and the polemic relation between the concepts of “Nature” and “Culture” it is shown that opposing ideologies are imbedded in the text. Nana is a symbolic character, in large, a myth created by male desire that eventually becomes a manifestation of that desire. At the same time, however, the character Nana evolves from being a mirrored image of male desire into a more stable and real individual and this process is also an answer to when and why she dies,underlining the fact that she initially was a creation emanating from male desire and in losing those symbolic functions she loses her function in the novel.

Examensarbete 15 hp. Musiklärarexamen

Burke¡¦s Reflections on the Revolution in France opposes the principles of rights of man that ferment the French Revolution. Burke values the doctrines of tradition and wants to maintain the status quo, while the radical writers petition for political and social reform. The confrontation between Burke and other radical writers embodies the conflicting viewpoints of the eighteenth century. One is the idea of natural law of which Burke is the eloquent spokesman. The other is the theory of natural rights that is established to refute conservative values of the divine natural laws, in terms of the reverence of tradition, religion, order and property. The theory of natural rights is to reply to the theory of natural hierarchy and an answer to the contractual submission to absolute authority. In this thesis, I wamt to follow the dispute between Edmund Burke and the advocates of the rights of man who see in Burke the perfect formulation of the doctrines as inequality, injustice and persecution. This thesis falls into four parts. In Chapter One of this thesis, I attempt to portray the historical and social background of the eighteenth century British society from which the dispute between the conservatives and the radicals emerged and into which they interconnected with the historical and social context. In Chapter Two, I argue against Burke¡¦s ideas of natural law in the Reflections on the Revolution in France and regard Burke¡¦s insistence of preserving the traditional doctrines as the limitation of human progress and innovation by following the disputes of the radical writers. In Chapter Three, I discuss how the authority uses political imposture to make people obedient and servile in William Godwin¡¦s Enquiry Concerning Political Justice and attempt to explore how Caleb Williams has tried to unfetter the minds of people who had been deeply manipulated by despotic authority. In Chapter Four I attempt to explore Rousseau¡¦s ideas of natural state and natural man embody in Robert Bage¡¦s Hermsprong. I end my thesis with a conclusion.

Inaug.-Diss.--Würzburg. / Lebenslauf. "Literatur-verzeichnis": p. 75-76.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 776-795). Also available on the Internet.