The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

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L’imaginaire contemporain a vu naître une esthétique du fragment qui se caractérise par la dissolution du sujet en quête d’identité dans un monde privé de stabilité et de repères au lendemain du traumatisme suscité par la guerre et la menace nucléaire. Le déni du principe de linéarité, les jeux de l’intertextualité et de l’intergénéricité de même que l’éclatement des schémas de représentation qui sous-tendent les romans réalistes traditionnels favorisent le déploiement des grilles de lecture interprétative au détriment de l’harmonisation des discours. Cette thèse, qui couvre l’intégralité de la fiction fowlesienne depuis 1963, se propose de diagnostiquer les symptômes de la crise ainsi postulée, par le prisme d’une étude (méta)textuelle, narratologique, linguistique, philosophique, mythocritique et psychanalytique. Il s’agit de voir comment l’auteur, les narrateurs et les protagonistes mis en scène envisagent de résoudre leur conflit existentiel et de réintégrer le réel dont ils se sont peu à peu désolidarisés. Ces derniers peuvent choisir de disloquer le réel pour mieux l’apprivoiser et pouvoir ensuite se l’approprier ou encore de recoller les fragments éparpillés en projetant leur moi à travers une identité fictive idéale pour retrouver le chemin de leur individuation. Une telle évolution du dissensus au consensus traduit la veine humaniste d’une œuvre qui s’efforce non seulement de faire renouer l’individu avec son moi authentique mais aussi de le réconcilier avec les autres dans un univers qui gagne en cohérence. / The contemporary imaginary has given rise to an aesthetics of fragmentation which is characterized by the dissolution of the self in search of an identity in a world deprived of stability and landmarks soon after the trauma caused by the war and nuclear threat. The refusal to follow the principle of linearity, together with the play involved in intertextuality and intergenericity, the disruption of representational patterns underlying traditional realistic novels, favour the display of reader responses at the expense of the harmony of utterances. This thesis, which covers the whole of Fowles’s fiction since 1963, aims at diagnosing the symptoms of the aforementioned crisis by means of a study including metatextual, narratorial, linguistic, philosophical, mythocritical and psychoanalytical tools. We will see how the author, the narrators, the protagonists on stage consider coming to terms with their existential conflicts and returning to a reality they have progressively dissociated themselves from. The latter can either choose to disintegrate the « real » in order to get a better apprehension of it and then to put the scattered fragments together again so as to appropriate them, while projecting their selves through an ideal and a fictional identity, which paves the way for their individuation. Such an evolution from dissensus to consensus conveys the humanistic vein of a work which endeavours not only to have the individual take up with his/her more authentic self but also to reconcile him/her with the others within a universe gaining in coherence.

Esta investigación analiza el uso de las representaciones ficcionales en la narrativa visual de los mates burilados en la actualidad. Se parte de la hipótesis de que existen en las artesanías elementos identitarios que se encuentran en sus narrativas por la influencia de la cultura andina, y que estas pueden llegar a la creación de códigos visuales que son utilizados para la construcción de representaciones ficcionales de temas actuales. La investigación se centró en el estudio cualitativo de cinco mates burilados escogidos por conveniencia para ser analizados mediante los métodos narrativos que presentan, al igual que diez mates con temas locales y translocales para ser comparados por sus elementos gráficos. Asimismo, los resultados obtenidos se complementan con la perspectiva de los mismos artesanos, que se abordó a partir de entrevistas. Además, se entrevistó a una experta en historia del arte peruano. Entre los principales resultados se encontró el uso de patrones de flora y fauna local para rellenar los espacios vacíos del mate considerándose parte de la narrativa, porque los artesanos piensan que es muy simple solo colocar a los personajes de la narrativa en el mate. Por otro lado, la lectura narrativa se basa en girar panorámicamente por completo la artesanía para entender la historia, donde se visualizan los diseños unificados y simétricos que dan la sensación que están en movimiento las escenas. Se concluyó que la cosmovisión andina es un fenómeno influyente en mates contemporáneos para representar ficciones dentro de narrativas visuales, prevaleciendo elementos gráficos como las formas orgánicas y geométricas consecutivas, que acompañan a las temáticas narrativas, dependiendo de la intención comunicativa del artesano. / This research analyzes the use of fictional representations in the visual narrative of today’s gourds carved. It is based on the hypothesis that there are identity elements in handicrafts that are found in their narratives due to the influence of the Andean culture, and that these can lead to the creation of visual codes that are used for the construction of fictional representations of current themes. The research focused on the qualitative study of five gourds carved chosen for convenience to be analyzed using the narrative methods they present, as well as ten gourds carved with local and translocal themes to be compared for their graphic elements. In the same way, the results obtained are complemented by the perspective of the handicraftsman themselves, which was addressed through interviews. In addition, an expert in Peruvian art history was interviewed. Among the main results was the use of local flora and fauna patterns to fill in the empty spaces of the gourds, being considered part of the narrative, because the handicraftsman think that it is very simple to just place the characters of the narrative in the gourds. On the other hand, narrative reading is based on completely rotating the crafts to understand the story, where unified and symmetrical designs are visualized that give the sensation that the scenes are in motion. It was concluded that the Andean worldview is an influential phenomenon in contemporary gourds to represent fictions within visual narratives, prevailing graphic elements such as consecutive organic and geometric shapes, which accompany narrative themes, depending on the communicative intention of the handicraftsman. / Trabajo de investigación

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)

Ce mémoire de maîtrise porte sur cinq films de fiction de Jean-Pierre et Luc Dardenne : La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) et Le silence de Lorna (2008). L’objectif de cette recherche est d’analyser la problématique du « réel » à travers ces cinq cas filmiques, en défendant l’idée que le réel, à défaut de pouvoir être représenté (Jacques Lacan), est visé – et exprimé – par l’appareillage cinématographique des Dardenne. Dans le premier chapitre, nous déterminons en quoi le cinéma de Jean-Pierre et Luc Dardenne opère une nouvelle fictionnalité qui brouille les limites entre le document et la fiction. Dans le deuxième chapitre, nous situons l’approche des Frères dans la modernité cinématographique et nous analysons les enjeux esthétiques qui, au sein de leur cinéma, « posent le problème du réel ». Enfin, le troisième chapitre est entièrement dédié à l’acteur dardennien qui, par sa méthode, son jeu et ses postures, provoque l’expression du réel. / This master's thesis focuses on five fiction films directed by Jean-Pierre and Luc Dardenne: La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) and Le silence de Lorna (2008). This research aims to analyze the problem of “the real” through these five films, arguing that although the real can’t be represented (Jacques Lacan), it can be targeted — and expressed — through the cinematic apparatus of the Dardenne. In the first chapter, we explain how the films of Jean-Pierre and Luc Dardenne deploy a new fictionality that blurs the boundaries between document and fiction. In the second chapter, we place the Dardenne’s approach in the context of modern cinema and analyze the aesthetic aspects that set out the problem of the real in their cinema. The third chapter is dedicated to the Dardennian actor, a proper "body character" (Gilles Deleuze), who also participates in the expression of the non obvious character of the real.

L'intentionalité est la faculté qu'a l'esprit humain de se diriger vers des objets de toutes sortes. On la capture linguistiquement à travers l'usage de verbes comme "savoir", "croire", "craindre", "espérer". Les énoncés intentionnels comme "Jean croit que Nosferatu est un vampire" ou "Oedipe aime Jocaste" défient les lois de la logique classique, remettant en cause la validité de principes logiques tels que la généralisation existentielle ou encore la substitution des identiques. Je propose dans ma thèse une analyse fondée sur les logiques intentionnelles explicites, des logiques où le langage est enrichi au moyen d'opérateurs qui expriment explicitement l'intentionalité. Des aspects originaux de la signification des énoncés intentionnels sont saisis au coeur des pratiques argumentatives, dans le contexte de la logique dialogique notamment. S'intéressant plus spécifiquement au cas de la fictionalité, paradigme où se mêlent naturellement considérations logiques, linguistiques et métaphysiques, je défends une théorie artefactuelle dans laquelle on définit des critères d'existence et d'identité pour les identités fictionnelles littéraires au moyen de la notion de relation de dépendance ontologique. La notion de dépendance ontologique est toutefois sujette à de graves difficultés que l'on repasse ici dans le contexte d'une sémantique modale-Temporelle, défendant alors une approche novatrice de la dimension artefactuelle des fictions. In fine, on propose une combinaison de la théorie artefactuelle à une sémantique pour l'opérateur de fictionalité qui permet l'articulation entre différents points de vue sur la fiction, les points de vue interne et externe notamment. / Intentionality is that faculty of human mind whereby it is directed towards objects of all kinds. It is recorded linguistically in verbs such as "to know", "to believe", "to fear", "to hope". Intentional statements such as "John thinks that Nosferatu is a vampire" or "Oedipus loves Jocasta" challenge classical logical laws such as existential generalization or substitution of identical. I propose here an analysis grounded on explicit intentional logics, i. e. logics in which languages are enriched by means of specific operators expressing intentionality. Some original aspects of the meanings of intentional statements are grasped within argumentative practices, more specifically in the context of dialogical logic. I focus more specifically on fictionality, a paradigm in which logical, linguistic and metaphysical considerations are naturally embedded. I defend an artifactual theory in which existence and identity criteria for fictional entities are defined by means of the notion of ontological dependence relation. That notion faces several difficulties overcome here in a modal-Temporal semantics in which an innovating approach to the artifactual diemnsion of fiction is defended. Ultimately, a combination of that theory to a semantic for the fictionality operator is suggested. This enable us to articulate external and internal viewpoints on fictionality.

Ce mémoire de maîtrise porte sur cinq films de fiction de Jean-Pierre et Luc Dardenne : La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) et Le silence de Lorna (2008). L’objectif de cette recherche est d’analyser la problématique du « réel » à travers ces cinq cas filmiques, en défendant l’idée que le réel, à défaut de pouvoir être représenté (Jacques Lacan), est visé – et exprimé – par l’appareillage cinématographique des Dardenne. Dans le premier chapitre, nous déterminons en quoi le cinéma de Jean-Pierre et Luc Dardenne opère une nouvelle fictionnalité qui brouille les limites entre le document et la fiction. Dans le deuxième chapitre, nous situons l’approche des Frères dans la modernité cinématographique et nous analysons les enjeux esthétiques qui, au sein de leur cinéma, « posent le problème du réel ». Enfin, le troisième chapitre est entièrement dédié à l’acteur dardennien qui, par sa méthode, son jeu et ses postures, provoque l’expression du réel. / This master's thesis focuses on five fiction films directed by Jean-Pierre and Luc Dardenne: La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) and Le silence de Lorna (2008). This research aims to analyze the problem of “the real” through these five films, arguing that although the real can’t be represented (Jacques Lacan), it can be targeted — and expressed — through the cinematic apparatus of the Dardenne. In the first chapter, we explain how the films of Jean-Pierre and Luc Dardenne deploy a new fictionality that blurs the boundaries between document and fiction. In the second chapter, we place the Dardenne’s approach in the context of modern cinema and analyze the aesthetic aspects that set out the problem of the real in their cinema. The third chapter is dedicated to the Dardennian actor, a proper "body character" (Gilles Deleuze), who also participates in the expression of the non obvious character of the real.

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)