Habilitationsschrift--Constance. / Includes bibliographical references (p. 189-193) and index.

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Arts. / "Why do women read the romance?" cannot be answered by Anglo-American feminist literary criticism; a critique is brought against feminist definitions of gender and genre, and the question, "Why did women begin to write (novels)?" Gender definition and genre formation are integrally interrelated in the modern period; this can be traced through textual analyses of textual practices in early nineteenth century texts. Analyses of Wuthering Heights, Emma, and Madame Bovary enable critique to be brought against tenets central to feminist criticism: the figure and function of the female author; the definitions of gender, desire and sexuality; the social and the sexual contracts; and the role of Oedipus in feminist-psychoanalytical debates. Moi's Sexual/Textual Politics provides a. critique of feminism, Armstrong's Desire and Domestic Fiction a feminist history of the novel, and Radway's Reading the Romance a feminist account of romance fiction. / Andrew Chakane 2018

Partant du principe qu'une machine ne sait pas qu'elle est une machine et du présupposé selon lequel un robot n'a pas de conscience, ce travail étudie le parallèle entre la fabrication des créatures de roman et la fabrication des machines. Parmi ces figures, Madame Bovary est un archétype. Comme tout autre machine, Emma Bovary ne sait pas qu'elle en est une. Emma est une machine à texte, elle est faite de livres. Pourtant, elle ne peut pas avoir lu Madame Bovary. Parce qu'Emma n'est pas consciente qu’elle est l'appareil de Flaubert, nous l'avons rapproché des fonctionnements et des disfonctionnements du Monstre de Frankenstein, encore écervelé avant l'épiphanie des livres qu'il découvre au creux d'un chemin. Après avoir défini les enjeux stratégiques de ses lectures, Emma est présentée comme une machine homéostatique, d'une part du point de vue de la thermodynamique, et d'autre part, du point de vue de l'entropie, une résultante du bovarysme, causée par les distorsions entre la vie et la lecture. Dans un premier temps Emma perçoit, puis ressent, par les feedbacks de ses lectures. Elle se transforme alors en une mécanique à émotions, gouvernée par son bovarysme. Ce sentiment renvoie à toutes ses perceptions et ses appétits. Par ses désirs, Emma démontre une capacité à comparer et à se projeter, formulant les prémices d'une conscience autobiographique. De la même manière qu'il représente l'inconscient social à partir d'automates déambulatoires, tels la figure du pied-bot ou de l'aveugle, Flaubert réussit à induire une idée de conscience dans sa créature machine / According to the fact that a machine does not know that it is a machine, and to the supposition that a robot has no conscience, this work explores parallels between the creation of the characters of a novel and the fabrication of machines. Among these figures, Madame Bovary is an archetype. Like any other machine, Emma Bovary does not know that she is one. Emma is machine created from text. She is made from the stuff of books. However, she could not have read the book Madame Bovary. Because Emma is not aware that she is a device of Flaubert, there are some similarities between her and the functions and malfunctions of the Monster of Frankenstein that didn't have a conscience until the moment of epiphany with the books he discovered in the woods. After the definition of the strategic challenges of her readings, Emma is presented as a homeostatic machine, first from the viewpoint of thermodynamics, and secondly from the viewpoint of entropy, a result of the bovarysme caused by distortions between life and reading. Emma's perceptions and feelings depend of the feedback of her readings. She becomes an emotional device, governed by her bovarysme. This feeling is present in all her perceptions and her appetites. Through her desires, Emma demonstrates an ability to compare and project herself, formulating the beginnings of an autobiographical conscience. In the same way as he represents social unconsciousness with ambulatory automatons such as the figure of the club-footed Hippolyte or the blind man, Flaubert is able to induce an idea of consciousness in his machine-creature

Zugl.: Berlin, Freie Univ., Diss., 2007

This project explores how literary authors used religious discourses in the sociointellectual climates of late nineteenth-century Catholic cultures. It takes its premise from a tacit paradox of Western European modernization: unlike other Western European nations, nations such as France and Spain modernized without adopting Protestantism or doctrines of anti-Catholicism or anticlericalism--and, thus, without a strict break into national secular discourses. Addressing how various religious discourses were used in modernizing France and Spain (respectively, from 1848 and from 1868 to the early twentieth century), I take a cultural-historical approach to representative religiously themed novels and short fiction of the periods. I contend that non-institutionalized traditional Catholic culture (a culture's “religious imaginary” or “Catholic imaginary”) offered authors a plural and, thus, strategic source for making cultural critiques. These critiques would have resonated widely with contemporaneous readerships, and often without overt confrontations (as anticlericalism has historically done). I point to the presence of such critiques specifically in canonical authors’ religious works--works often considered to be aberrational or “too Catholic” to be valued as modern vis-à-vis the landmarks of Western literature. Taking as my key example a novel by the “father of the modern Spanish novel,” Benito Pérez Galdós’s Misericordia or Compassion (1897), I unfold progressive readings of this text based on discourses borrowing historical, thematic, and stylistic elements from the archives of a Catholic imaginary. Thereafter, I broaden my argument by considering how comparable, but distinct, discourses inform social-critical readings of Victor Hugo’s Les Misérables or The Underclass (1862), Gustave Flaubert’s “Un Coeur simple” or “A Simple Heart” (1877), and Emilia Pardo Bazán’s “Un destripador de antaño” or “The Heart Lover” (1900). Overall, the project challenges a critical status quo that has chosen to identify canonical literature in reference to a secular aesthetic program, without allowing for the possibility that cultural-religious discourses might also carry weight for cultures that were modernizing. Additionally, it re-characterizes the modernizing intellectual, seen typically as spiritually cynical or atheist, as one acknowledging the populist force of the religious imaginary freed from church limits. / text

The study is a comparative analysis of Stendhal's romantic interpretation and Flaubert's realistic interpretation of outdated myths. The first purpose of the study is to reveal the linear development of Julien Sorel and Emma Bovary in quest of their respective myths. The second is to reveal technical devices used by the authors that lead to diverse interpretations of the myths. The sources of data used in the study are Le Rouge et le noir and Madame Bovary and secondary materials concerning the two novels. The study is divided into five chapters including an introduction, two chapters that develop Julien's and Emma's respective myths, a chapter concerning technical devices used in the novels and a conclusion.

Made available in DSpace on 2016-04-28T20:39:24Z (GMT). No. of bitstreams: 1 Thalita L Nobre.pdf: 573590 bytes, checksum: cb51e0187a0b882d25ae4a5fd5d18210 (MD5) Previous issue date: 2007-04-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this dissertation is to carry out a psychoanalytical reading concerning the protagonist of the literary composition Madame Bovary. This book, written by Gustave Flaubert and published in 1856 same year that Sigmund Freud was born caused a great repercussion in the French society, at that time. Because of that, the author was judged for offence to the public and religious moral . My objective using Ema Bovary as a study object, is because, principally, she presents some characteristics that can be understood, trough the Psychoanalysis like female hysteria. To become this agreement clearly, in this dissertation, I started with freudian´s theory and so I used the contribution from other authors about female psyche constitution and it accidents that cause the hysteric neurosis , after this, I present the Gustave Flaubert´s romance book with a psychoanalytical reading. Ema Bovary is not described by its author as a perfect, spotless and sufferer woman, but yes, she is described like a woman with real human beings characteristics. And these ones (of the protagonist) can have been determinative to this book became a workmanship cousin, until the current days / O objetivo desta dissertação é realizar uma leitura psicanalítica a respeito da protagonista da obra literária Madame Bovary. Este livro, escrito por Gustave Flaubert e publicado em 1856 ano do nascimento de Freud causou uma grande repercussão na sociedade francesa da época. Por causa disto, o autor foi julgado por ofensa à moral publica e religiosa . O meu intuito de utilizar Ema Bovary como objeto de estudo se deve, principalmente, pelo fato dela apresentar características que podem ser compreendidas, à luz da Psicanálise, como histeria feminina. Para tornar claro esse entendimento, nesta dissertação, parto da teoria freudiana e de autores que com ela contribuem sobre a constituição psíquica feminina e os desarranjos que ocasionam a neurose histérica , e após isto, apresento o romance de Flaubert com uma leitura psicanalítica do mesmo. Ema Bovary não é descrita, por seu autor, como uma mulher perfeita, impecável e sofredora, mas sim, com caracterísiticas humanas reais. E estas características da protagonista podem ter sido determinantes para que este livro seja considerado uma obra prima, até os dias atuais

This thesis examines the character of the unhappy bride in three French novels of the 19th century: Le Lys dans la vallee (1836) by Honore de Balzac, Madame Bovary (1857) by Gustave Flaubert and L'Assommoir (1877) by Emile Zola. It compares the heroines' tragic destinies based on the following points: childhood; education; marriage; the philosophy of love and psychology; and escapism and death. We are shown that it is education that leads to the philosophy of love, which is filled with ideas of platonic love, and that unhappy marriages involve compensation. Research by psychoanalyst Karen Horney is applied to the characters found in the novels to explain their deviant behaviour (masochism, bovarism, narcissism, detachment). Each heroine demonstrates a tendency towards the ideal and illusions inherited from romanticism. Their fates are sealed with the failure of their dreams and the victory of reality over fantasy.

This thesis is a study of the ways in which the fear of death, and its natural consequence, the desire for immortality, is manifested in the major characters of three post-Romantic works. In each case, the fear of death is unconscious, and has to "be interpreted from the dreams and illusions of the characters, which may not appear to have any immediate connection with death or immortality. In Madame Bovary, the blind man is the symbolic antithesis of Emma's dreams of finding a means of transcendence within the world itself. He is the embodiment of the horrifying vision of biological process that lies at the heart of her flight from reality. The pharmacist, Homais, is also considered to be attempting to establish a symbolic form of immortality for himself through the glorification of his reputation and his sentimental belief in scientific progress. In Niels Lyhne, the young hero attempts to free himself from the romantic influences of his childhood by proclaiming a new philosophy that is based, on atheism. However, his temperamental attachment to the idea of "infinity", and his inability to accept the physical nature of human beings betray his unconscious desire for a state of being in which he will be invulnerable to the forces of aging and death. In John Gabriel Borkman the three major characters attempt to find a means of denying the inevitability of their approaching deaths. Borkman tries to gain control over the forces of life through the exercise of power and through an identification with rocks and metal that seem to hold the promise of conferring their immutability onto him. Borkman's wife wants her son to devote his life to the glorification of the name of Borkman, that her husband has dishonoured. She hopes that her idealized self-image will live on"in the "monument" that Erhart will "erect" to the family name. Ella Rentheim, her sister, also plans to use Erhart for the establishment of a symbolic form of immortality, by trying to persuade him to adopt her family name after she has died. The method of this thesis could be applied to works from any age of literature, but I have chosen the nineteenth century because of the particular social and intellectual influences that existed in Europe after the Enlightenment'. All the artistic movements of the nineteenth century were conditioned by the legacy of metaphysical uncertainty that the religious skepticism of the Age of Reason had bequeathed to the future. In these three works, the characters devote the same religious fervour to the worldly objects of their desires as, formerly, man had devoted to God. The unconscious hope in all their attempts is that they will discover a means of being delivered from death. / Arts, Faculty of / English, Department of / Graduate

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