Dans son dernier roman achevé intitulé Persuasion, Jane Austen se sert fréquemment du style indirect afin de représenter la pensée du personnage principal, Anne Elliot. Ce roman fut traduit en français pour la première fois en 1821 par Isabelle de Montolieu, publié à Paris sous le titre de La Famille Elliot, ou l’ancienne inclination. Qu’est-ce que le style indirect libre devient dans la narration de la première traduction française de Persuasion ? La formulation de cette question, que nous envisageons à partir d’un corpus de textes théoriques, fait suite à un certain nombre de travaux consacrés aux relations entre la traduction et le discours rapporté qui ont mis en évidence le rôle du style indirect libre dans la traduction de Montolieu. On propose pour la première fois l’application des concepts narratologiques à l’analyse de cette traduction : notre étude s’appuie ainsi sur des notions opératoires susceptibles de saisir sa singularité narrative et le rapport entre le discours rapporté et la traduction. Le troisième chapitre de notre étude débute sur l’analyse de notre traduction. Grâce aux concepts issus de la narratologie surtout à tendance « énonciative », nous avons pu regarder au-delà de la phrase pour finir par remarquer que le style indirect libre est surtout très répandu dans la narration de La Famille Elliot. Nous souhaiterions ici combler une lacune en consacrant la présente étude à un phénomène souvent jugé « extraordinaire ». Pour autant, le présent ouvrage ne doit pas être considéré uniquement comme une étude spécialisée, car il a aussi l’ambition de contribuer à l’étude du discours rapporté au sein du texte traduit en général. / In Persuasion, Jane Austen uses this technique to present Anne Elliot’s consciousness. Persuasion, Austen’s posthumously published “late” novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l’ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu’s use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen’s fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine’s mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine’s point of view (PDV), demonstrating that the narration achieves this focus on the heroine’s consciousness through syntactically unmarked fragments of FID thought report.

This essay is a narratological analysis of Stephen King’s ​The Shining, ​and​ ​employs Mieke Bal’s categorization of focalization, description and discourse with the intent of establishing their function in representing the concept of the uncanny in the narrative. By analyzing these narratological functions and their interplay, several manifestations of the ordinarily elusive uncanny become evident. The novel, through the structuring of the narrative and use of forthright descriptions as well as the insight into the characters’ minds, continually manages to represent the disturbances of the familiar that characterize the uncanny.

"Realism" is one of the enduring theoretical problems of the cinema. This study aims to broaden the parameters of the term by focusing on an often overlooked strain of thought that flows throughout the work of a number of prominent and seemingly incongruous thinkers such as Bazin, Kracauer, Benjamin, Barthes, Buñuel, and others. Realism, I contend, is undergirded by something far more elusive and irrational than verisimilitude or social commentary. To demonstrate, I will examine a body of contemporary American films that I will cast—perhaps provocatively—as realist. I rely heavily upon Deleuze to discuss how free indirect discourse and the disjunction of sound and image open realism to an oneiric and/or intersubjective realm.

The Romantic era, from roughly the middle of the eighteenth century to the middle of the nineteenth century, was a period of rapid and revolutionary social change. Progressing in parallel was the form of the novel, which rose from relative disrepute to the foremost literary genre. While neither a prolific writer nor one that was very popular during her lifetime, I argue that Jane Austen and her inimitable style can be figured at the nexus of these two transitions. This dissertation presents a comprehensive study of Austen’s style across her body of work, from her early manuscripts through her published novels and ending with her unfinished draft. Using historical, digital, sociological, and narratological methods, I interrogate Austen’s style on three interrelated levels—moving from the most insular effects to the broadest applications of her narrative technique. First, I explore the progression of Austen’s style across her canon, particularly focusing on the development and maturation of her free indirect discourse. Second, I locate Austen’s style in the evolution of the novel. I begin with constructing her literary lineage, which I argue is tied to female writers of the late eighteenth and early nineteenth centuries, and move towards understanding how her use of free indirect discourse was necessary for the emergence of the novel’s modern form. Third, I consider Austen’s style as a means of imagining and critiquing the changing social spaces of her contemporary moment, specifically in terms of how the layered vocality of her narrative technique reflected Britain’s movement from the rigid structures of rank and honour to the fluid categories of class and dignity. / Graduate

Les formes du temps chez Albert Cohen ont montré qu'il existe une interaction entre le temps chronologique romanesque et l'histoire écrite en filigrane l'ensemble des œuvres. Les différentes formes et modes d'expression du temps chez Cohen constituent le socle d'une écriture plurielle en contradiction avec son temps. L’œuvre de Cohen dépasse tous les clivages de la temporalité poétique, romanesque, lyrique, théâtrale, autobiographique, profane et sacrée pour atteindre une dimension universelle d'une construction du temps fondé sur la différence. Le récit a précisément pour rôle de permettre le décryptage du temps par l'homme à travers une expérience intime dont les différentes manifestations les plus fréquentes dans les romans cohéniens sont l'attente, la solitude, l'ennui et la mélancolie. Le moment intime est non seulement illimité mais il reste ouvert à plusieurs horizons ce qui permet d'ailleurs la cohabitation de multiples séquences spatio-temporelles. Avec l'Histoire, le temps admet deux réalités parallèles : une première, terrestre, à partir de laquelle l'homme commence à évaluer le temps chronologique et linéaire ; une seconde, mythique regroupant la première en lui donnant un ancrage dans le temps d'antan que l'écrivain régénère avec l'avènement d'un nouvel Adam. / Forms at the time Albert Cohen showed that there is an interaction between chronological time and history novels written between the lines of all works. Different forms and modes of expression of time in Cohen are the foundation of a plural writing in contradiction with the times. Cohen's work transcends all divisions of temporality poetic, romantic, lyrical, dramatic, autobiographical, profane and sacred dimension to achieve a universal construction based on the time difference. The History is precisely to allow the decryption part time by man through an intimate experience with the various manifestations common in novels cohéniens are waiting, loneliness, boredom and melancholy. The intimate moment is not only unlimited but it remains open in several horizons thereby also the coexistence of multiple spatio-temporal sequences. With history, time admits two parallel realities : first, land, from which he begins to evaluate the chronological time and linear second, involving the mythical first giving it a foothold in the time of old regenerates the writer with the advent of a new Adam.

The purpose of this study is to demonstrate Jane Austen’s illumination of Samuel Johnson’s moral precepts in seeking harmony in choice of life. Austen explores the various decisions of her characters and the effects of those choices on happiness through the use of free indirect discourse. Austen and Johnson both contend that marriage is a potential source of great happiness in an individual’s choice of life, and concordia discors between spouses offers the highest form of contentment in marriage. Johnson believed that the novelist had a moral duty to his or her reader to present characters with attainable virtue. Austen’s illumination of Johnson’s moral precepts and philosophies fulfills the standards Johnson set forth for the novel genre. This study traces the relationship between Johnson’s precepts in Austen’s Emma, Persuasion, Pride and Prejudice, and Sense and Sensibility.

[pt] O primeiro objetivo desta tese é a descrição, a análise e a interpretação dos procedimentos narrativos utilizados por João Ubaldo Ribeiro em seus nove romances até agora publicados. Isto significa identificar, na sua maneira de contar as histórias, uma específica relação que o narrador estabelece com os seus personagens, ao levar às últimas conseqüências a prática do discurso indireto livre. A representação ficcional desse narrador - aqui nominado o narrador sem cabeça - é um personagem-chave do escritor: a almazinha cuja história é relatada logo às primeiras páginas do romance Viva o povo brasileiro, de 1984. Comportam-se ambos, um de cada lado, como seres errantes, figuras sem feitio e em constante processo de incorporação de linguagens alheias. O segundo objetivo é demonstrar que esse mesmo narrador, tão íntimo de seus personagens, se revela no entanto ainda mais apegado ao próprio escritor, com ele partilhando crenças, idéias e experiências. Para tanto, com base numa pesquisa de imprensa que remonta ao início da carreira de João Ubaldo Ribeiro como escritor e avança até o ano de 2005, a tese articula o seu universo ficcional à sua biografia ainda não escrita - o que contribui para uma compreensão mais ampla da sua obra. / [en] The first purpose of the thesis is the description, the analysis and the interpretation of the narrative procedures used by the Brazilian writer João Ubaldo Ribeiro throughout his nine novels published up to now. That means to identify, in his way of telling stories, a specific relation established by the narrator with his characters, stretching to the limit the usage of the so- called free indirect discourse (the FID). This narrator´s fictional representation - herein called the headless narrator - may be found in a Ribeiro´s key character: the little soul whose lifestory is told right on the first pages of the novel Viva o povo brasileiro (An invincible memory), published in 1984. They both behave - the little soul and the narrator, side by side, in and out the story - as errant beings, shapeless figures in an on-going process of incorporating someone else´s speaches. The second purpose is to demonstrate that this same narrator, though very close to his characters, appears, nevertheless, even more attached to the writer himself, sharing with him believes, ideas and experiences. In order to demonstrate such relation between the author and the narrator, the thesis links the fictional universe of the novels and the author´s nonwritten biography. Such relation is established on the basis of a printing-press research that covers the period beginning in the 1960´s until the 2005´s, thus allowing a more comprehensive understanding of the author´s work.

Le discours indirect libre (DIL) en russe contemporain est envisagé dans le double rapport qu’il entretient avec, d’une part, d’autres formes du discours rapporté et, d’autre part, les formes de représentation des pensées dans le texte narratif appelées ici « à effet de DIL ». L’étude établit une gradation du DIL, qui s’étend de la forme subordonnée jusqu’à la forme non subordonnée qui fusionnant avec le récit. Divers marqueurs sémantico-syntaxiques sont étudiés et comparés avec l’expression du DIL en français. Un panorama large du DIL subordonné est esquissé, qui met en évidence la nécessité du concept de continuum dans le système du discours rapporté. Pour identifier le DIL, nous proposons d’examiner si les paroles peuvent vraisemblablement faire l’objet d’une verbalisation et si celle-ci peut se présenter sous cette forme dans l’énoncé d’origine. Pour le DIL non subordonné, les marqueurs expressifs sont étudiés en comparaison avec les formes « à effet de DIL », avec lesquelles il est souvent confondu. La position centrale de la thèse consiste à dire que, dans le DIL, il existe toujours une trace de la présence du narrateur : si cette présence ne se trouve pas dans le choix des termes de l’énoncé rapporté, elle se signale dans la disposition de cet énoncé au sein du récit, par le jeu des énoncés primaires et/ou des connecteurs qui peuvent jouer un rôle définitoire dans la stratégie narrative du récit. / Free indirect speech (FID) in Russian is compared, on the one hand, with other forms of reported speech and, on the other hand, with the representation of reported thought in narration. The dissertation draws up a gradation of FID. FID can be represented by subordinate and non-subordinate forms that can be integrated in the narration. Different semantic and syntactic markers in Russian are studied and compared with the markers in French. An outline of subordinate FID shows the necessity of the concept of continuum in the system of reported speech.The enunciation-centered description of FID is proposed : it is necessary to test if the utterance representing the reported speech or thought can be verbalised. If so, the test of transposition into the direct speech is implemented in order to discover whether or not this reported speech would be actually pronounced in the way it is reported. In the section which deals with non-subordinated FID, the expressive markers are studied and compared with other forms called « FID-effect forms », which are often confused with FID. The main point of the dissertation is about showing that FID always contains a trace of the narrator which can be seen in the choice of a term in the utterance, or by the disposition of the FID-utterance in the structure of the text. This trace can also be designated by the utterance clauses and (or) by the connectors that can have an important function in the narrative strategy of the text.

Cette thèse se propose d’étudier le style indirect libre dans l’œuvre de Pier Paolo Pasolini à travers un axe de recherche qui peut, schématiquement, se rattacher à deux champs: le champs poétique, concernant l'activité littéraire et cinématographique de l'auteur et le champs théorique, où le problème de la forme esthétique devient l'occasion pour l'étude des principes linguistiques etsémiotiques qui en permettent la réalisation. Ce double parcours s'articule à son tour en quatre phases de développement: la phase de la « régression » théorisée dans les années quarante pour expliquer divers processus relatifs à l’emploi du dialecte en littérature ; celle de la « connexion sentimentale », notion tirée des Cahiers de prison de Antonio Gramsci pour décrire le rapport entre les intellectuels et les classes subalternes ; celle du discours indirect libre en tant que tel, qui se trouve à la base de lapoétique des romans romains des années cinquante, et qui est également présent dans d’autres œuvres élaborées plus tard ; et finalement la phase de la subjective indirecte libre, théorisée dans les années soixante pour décrire le style indirect libre au cinéma.La régression, la connexion sentimentale, le discours indirect libre, la subjective libre indirecte constituent le point de contact entre le parcours poétique et dans le même temps théorique de l'auteur. La régression dans la parole de l’autre, ou, comme au cinéma, dans le regard de l’autre, représente en dernière instance la tentative de l’auteur de traduire sur le plan littéraire et cinématographique la réalité de conflits historiques et existentiels. / This doctoral thesis studies the free indirect style in Pasolini's works through a double path of research. On one hand it takes into account his literary and cinematic production; on the other it studies the linguistic and semiotic principles on which its free indirect style hinges. This double path has been crossed in the light of four notions that Pasolini developed in his theoretical essays along his artisticactivity. The first one is the “regression”, elaborated in the 40s in order to describe the usage of the Friulian dialect of his early poems. The second one is the “sentimental connection”, which Pasolini discovered in Gramsci's Prison Notebooks and he employed to analyse the relationship between intellectuals and subaltern classes. The third one concerns the free indirect discourse used in Pasolini's Roman novels of the 50s and studied from a linguistic and semiotic point of view in some essays. The last one is the free indirect subjective theorised in the 60s to describe the cinematic adaptation of the free indirect style.Regression, sentimental connection, free indirect discourse and free indirect subjective are the most important notions of Pasolini's free indirect style. They show how the author established itslinguistic, political and sentimental relationship with the subalterns that populates his literary works aswell as his movies.

Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Simone Aparecida Lino da Silva.pdf: 591717 bytes, checksum: 84f94ac694e513dc088f7dc7b56af427 (MD5) Previous issue date: 2008-10-10 / This dissertation interprets the novel Vidas secas according to the perspective of the dialogism, derived from the consciousness sketched by rudimentary characters and the Graciliano Ramos interest of revealing the perception of these characters not only by themselves, but also by the surrounding reality. For this reason, the studies of Mikhail Bakhtin constitute the theoretical basis of this research because Vidas secas presents the principles of the polyphonic novel: reality s information, lack of conclusion, dialogism, and polyphony. Our object of study Fabiano character has an interior conflict, asking himself about his identities and his action in the world. It is an aspect of the dialogic character because, to Bakhtin, the consciousness begins where the dialogue begins. Moreover, Fabiano is not the interpreter of the author, he has independence and freedom to expose the opinions and to take decisions. Vidas secas is constituted basically by interior monologue and the dialogic character is formed by a process of interactive communication. How is going to happen the Fabiano s consciousness of himself? We understand that the narrator uses the free indirect discourse to stage the thoughts of the character in an authentic way because by this double-voiced word it was possible to offer the voice to the one without it but indicating the tonal a difference between the point of view of the narrator, owner of the word, and the character, that has not that word. In the novel, we face this ambivalent and dialogical discourse in which we listen to two voices the Fabiano s one and narrator s one that build dialogic relations, sometimes in consonance, sometimes in dissonance, and it turns Vidas secas a plurilingual spectacle / Esta dissertação interpreta o romance Vidas Secas sob a perspectiva do dialogismo, em decorrência da consciência esboçada por personagens tão rudimentares e do interesse de Graciliano Ramos em revelar a percepção dessas personagens não apenas sobre si mesmas, mas também sobre a realidade circundante. Por isso, os estudos de Mikhail Bakhtin constituem fundamentação teórica de base desta pesquisa, pois Vidas Secas apresenta os mesmos princípios do romance polifônico: realidade em formação, inconclusibilidade, dialogismo e polifonia. Nosso objeto de estudo - a personagem Fabiano - trava um conflito interior, questionando-se sobre sua identidade e sua atuação no mundo. Um aspecto da personagem dialógica, porque, para Bakhtin, onde começa a consciência inicia-se o diálogo. Além disso, Fabiano não é um intérprete do autor, tem independência e liberdade para expor suas opiniões e para tomar decisões. Vidas Secas é constituído basicamente por monólogo interior e a personagem dialógica é construída por um processo de comunicação interativa. Como ocorrerá a construção da autoconsciência de Fabiano? Entendemos que o narrador se pauta pelo discurso indireto livre para encenar os pensamentos da personagem de forma autêntica, já que por meio dessa palavra bivocal foi possível dar voz a quem não tinha, porém, marcando a diferença tonal entre o ponto de vista do narrador, detentor da palavra, e o da personagem, que não a possui. Durante todo o romance, nos defrontamos com esse discurso ambivalente e dialogal no qual ouvimos o ressoar de duas vozes - a de Fabiano e a do narrador que tecem relações dialógicas entre si ora por consonância, ora por dissonância, fazendo de Vidas Secas um verdadeiro espetáculo plurilíngüe