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Mémoire numérisé par la Direction des bibliothèques de l’Université de Montréal / Dans ce mémoire, nous analysons la revue de création poétique Gaz Moutarde (1989-1995). Nous l'étudions à travers le prisme d'une notion : la «communauté», laquelle apparaît comme le leitmotiv sous-jacent aux trois parties qui composent ce mémoire. L'analyse institutionnelle, la philosophie, l''esthétique et la poétique ont constitué les principaux champs disciplinaires auxquels nous avons eu recours. Nous nous attachons d'abord au discours manifestaire de la revue. L'hypothèse, au premier chapitre, est que Gaz Moutarde met en crise la tradition du manifeste, se l'approprie pleinement. En tenant compte du contexte institutionnel et socio-littéraire dans lequel a émergé Gaz Moutarde à la fin des années 1980, nous essayons de montrer à quel point il s'est moins agi pour la revue de prendre et de défendre une position (dans le champ des revues) par l'intermédiaire du manifeste que d'en exploiter le potentiel expressif et poétique. Le second chapitre est central, et d'une importance capitale. Il permet de comprendre sur quelles prémisses et sur quelle éthique se fonde notre étude du périodique. Pour nous, line revue telle que Gaz Moutarde met en œuvre l'idée d'une «communauté» paradoxale, où l'«être-en-commun» et la «singularité» produisent une aporie constante. Par le biais du concept philosophique de «communauté», au sens que lui donne Jean-Luc Nancy, nous tentons de décrire la pratique contemporaine et particulière de la revue. L'hypothèse qui préside au troisième chapitre est celle-ci : s'il existe dans Gaz Moutarde une «communauté» au sens plus courant du terme, c'est-à-dire un partage fusionnel entre des êtres, c'est surtout virtuellement, fictivement et poétiquement, dans les poèmes eux-mêmes qu'elle se donne à lire (et non pas entre les poètes gazmoutardiens, non plus entre leurs poèmes). Ainsi, les poèmes de David Hince mettent en scène une communauté avant-gardiste; ceux de Mario Cholette une communauté de corps souffrants; ceux de José Acquelin une communauté apocalyptique.

Often overlooked, yet still a significant and visible social code, jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. Its transformation occurred alongside the newfound desire for women to be seen, perhaps as a direct result of patriarchal society's attempt to relegate them to the private sphere where they were to carry out their domestic duties. For women, the beginning of the century marked itself as an "[époque] stricte, corsetée, guindée et protégée," the fin-de-siècle was an era that promoted the sensual liberation for women whose existence had been relegated to the private sphere to perform only domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired. / Master of Arts / Jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th-century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. For women, the beginning of the century marked itself as a period of restrictions and protection while the fin-de-siècle promoted the sensual liberation for women whose existence had been relegated to the home to carry out their domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired.

This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliothèque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.

2024 / This dissertation investigates how the essay engages with historical and theoretical impasses related to the representation of traumatic memories in the wake of socio-political violence. Spanning several centuries, it encompasses the non-fiction texts exemplified by the sixteenth century works of Michel de Montaigne and Jean de Léry and essay films since the postwar era. Using close textual and visual analysis, I examine how the form of the essay, drawing from personal perspectives, moves between the exploration of individual trauma and the collective experience rooted in past traumatic events. The essay, I argue, presents formal innovations—from the use of subjective voice in literary form, transformed in the voiceover in essay films, to representation of animals—in the face of constraints on conveying historical trauma. With its tendency to emerge in times of crisis, the essay manifests itself as a critical response to historical violence. Michel de Montaigne’s Essais and the memoirs of Jean de Léry react to extreme events witnessed during the French Wars of Religion (1562–1598). The early essay film Le Sang des bêtes (1949) by Georges Franju, as well as later essayistic films by Chantal Akerman such as Dis-moi (1980) and No Home Movie (2015) grapple with traumatic memories of the Holocaust. My Friend Ivan Lapshin by Aleksei German (1985), a Soviet drama with essayistic elements, is haunted by the Great Terror under Joseph Stalin’s leadership. In attempt to re-write past individual trauma, the essay film Maison du bonheur (2017) by Sofia Bohdanowitz confronts oppressive patriarchal structures of societies. These divergent works share an urge to tell stories of traumatic experience from the margins of literature and cinema. In the studied texts, disturbance and cruelty as external forces relate uncannily to themes of consumption, where food becomes a locus of violence. Chapter one traces the origin of the genre of the essay film through analysis of Georges Franju’s short documentary film Le Sang des bêtes (1949) about animal slaughterhouses in the outskirts of Paris. Grappling with traumatic memories of the Second World War, Franju appeals to the origin of representation—the animal—to reinvent the form of documentary filmmaking and depict the trauma of witnessing French collaboration in deporting Jews during the Holocaust, alongside the dehumanization of war. The killing of horses for meat production brings to the fore the ambivalence of food tethered to ethical judgments of the self and others. Chapters two and three, based on close readings of Montaigne’s Essais and Jean de Léry’s memoirs, reconcile individual and collective trauma during a time of heightened violence of the Wars of Religion (1562—1598) and the colonization of the New World. In his Essais, Montaigne notably uses the shifting symbol of the horse and an errant figure of the author moving between personal experience and historical events to demonstrate the illusory line between “civilized” and “barbaric.” In Léry’s memoirs Histoire d’un voyage faict en la terre du Brésil (1578) and Histoire mémorable du siège et de la famine de Sancerre (1573), written in the wake of St. Bartholomew’s Day massacre, witnessing cannibalism and consumption of written records during extreme famine reflects his haunting fear of being unable to bear witness. Chapter four expands the notion of witnessing by accounting for an anxiety of transmission across generations. Introducing the question of gender in their works, filmmakers Chantal Akerman and Sofia Bohdanowitz explore individual and collective memory in post-Holocaust society through recourse to substitute grandmotherly figures. Scenes of cooking and non(eating) in their essay films become at once embodied representation of trauma and markers of new generation of filmmakers ignited by the second-wave feminism. / 2027-02-11T00:00:00Z

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The stereotypical figure of the femme fatale as irresistible seductress, who inevitably brings about death, is well known. This figure is nevertheless strangely absent from Afrikaans literature. This is what makes the appearance of the character of Nicolette in André Brink’s novel, The Ambassador (1963), so remarkable. Not only is she a complex femme fatale, she also adds a new dimension to the cliché. The striking similarities between Nicolette and Kathe, the female protagonist in Henri-Pierre Roché’s novel Jules et Jim (1953), justify a comparative study between these two novels. Although both of them bring about death, it seems that the presence of these femme fatale characters has positive rather than negative consequences. Contrary to the stereotypical evil temptress, Nicolette and Kathe are more natural, spontaneous and unpredictable – apparently free from the constricting qualities of the bloodthirsty femme fatale. In this comparative study, the image of the femme fatale is investigated through the close examination of its role and function in Jules et Jim and The Ambassador. By examining the philosopher René Girard’s theories on mimetic desire, violence and sacrifice as well as Georges Bataille’s ideas on eroticism and death, the nature of the femme fatale in these two novels is analysed in order to determine to what extent the image of the femme fatale as negative archetype could be reconsidered. / AFRIKAANSE OPSOMMING: Die stereotipiese figuur van die femme fatale as onweerstaanbare verleidster wat noodwendig die dood teweegbring, is alombekend. Tog blyk daar 'n opvallende afwesigheid van dié gevaarlike karakter in die Afrikaanse letterkunde te wees. Dit is waarom die verskyning van die karakter van Nicolette in André P. Brink se roman, Die Ambassadeur (1963), so merkwaardig is. Nie net is Nicolette 'n komplekse femme fatale karakter nie, maar bring sy ook 'n nuwe dimensie tot die geykte stereotipe. Dit is dan veral die treffende ooreenkoms tussen Nicolette en Kathe, die vroulike protagonis in Henri-Pierre Roché se roman Jules et Jim (1953), wat 'n vergelykende studie tussen hierdie twee romans regverdig. Alhoewel albei die dood teweegbring, blyk dit dat die teenwoordigheid van hierdie femme fatale karakters eerder positiewe as negatiewe gevolge het. Anders as die stereotipiese bose verleidster, is Nicolette en Kathe meer natuurlik, spontaan en onvoorspelbaar – oënskynlik vry van die beperkende eienskappe van die bloeddorstige femme fatale. In hierdie vergelykende studie word die beeld van die femme fatale ondersoek deur die rol en funksie daarvan in Jules et Jim en Die Ambassadeur in diepte te bestudeer. Deur die filosoof René Girard se teorieë oor mimetiese begeerte, geweld en offergawe asook Georges Bataille se idees oor erotisme en die dood te ondersoek, word die aard van die femme fatale in hierdie twee romans vergelykend ontleed om sodoende te bepaal tot watter mate die beeld van die femme fatale as negatiewe argetipe heroorweeg kan word. / RESUME: La figure stéréotypée de la femme fatale comme séductrice irrésistible et malfaisante qui entraîne inévitablement la mort, est bien connue. Néanmoins, nous constatons une absence frappante de cette figure dans la littérature de langue afrikaans. Voilà ce qui rend d’autant plus remarquable et surprenante l’apparence du personnage de Nicolette dans le roman L’Ambassadeur d’André Brink (1963). Non seulement est-elle une femme fatale complexe, mais Nicolette apporte aussi une nouvelle dimension à la figure rebattue. Ce sont surtout les similarités évidentes entre Nicolette et Kathe, la protagoniste féminine du roman Jules et Jim d’Henri-Pierre Roché (1953), qui justifient une étude comparée de ces deux romans. Bien que ces deux personnages féminins provoquent la mort d’un homme, il semblerait que la présence de ces femmes fatales ait des conséquences positives plutôt que négatives. Contrairement au stéréotype de la séductrice maléfique, les personnages de Kathe et de Nicolette sont plus naturels, spontanés et imprévisibles – apparemment libres de toute étiquette restrictive attribuée à la femme fatale assoiffée de sang. Dans cette étude comparée nous nous pencherons sur l’image de la femme fatale en examinant son rôle et sa fonction dans les romans Jules et Jim d’Henri-Pierre Roché et L’Ambassadeur d’André Brink. En considérant les théories sur le désir mimétique, la violence et le sacrifice que propose René Girard ainsi que les idées de Georges Bataille sur l’érotisme, nous essayons enfin d’établir dans quelle mesure on pourrait reconsidérer la définition étriquée de la femme fatale comme archétype négatif.

Les romans édifiants des XVIIe et XVIIIe siècles – des fictions narratives en prose qui affichent clairement leur volonté de transmettre des valeurs chrétiennes et d’influencer le comportement de leurs lecteurs dans le sens de ces valeurs – développent une poétique spécifique, basée sur la recherche et le dévoilement de la vérité chrétienne à travers la fiction mondaine. Ils posent ainsi de front une question qui a hanté les écrivains et les théoriciens de l’Âge classique, à savoir la conciliation du plaisir romanesque et de la moralité. La topique du roman édifiant (personnages, lieux et temps), sa matérialité (titres, divisions internes, ensembles d’œuvres) et sa voix (narrative et rhétorique) concourent à l’élaboration d’effets de sens qui servent la visée persuasive et religieuse des ouvrages tout en créant des récits et des imaginaires propres à satisfaire le goût du lectorat pour le roman. Cette étude vise à réintégrer dans l’histoire du roman un corpus d’œuvres négligées par la critique en faisant apparaître leur contribution à l’élaboration du roman : du roman d’Ancien Régime d’abord, mais aussi du roman à thèse moderne et, par extension, de toute la fiction idéologique. / Edifying novels of the seventeenth and eighteenth centuries - narrative prose fictions that clearly put forth their will to convey Christian values and influence the behavior of their readers in the sense of these values - develop a specific poetics, based on the research and the unveiling of Christian truth through mundane fiction. They therefore emphasize a problem that has haunted writers and theorists of the Classical Age, namely the reconciliation of novelistic pleasure and morality. The narrative topics of the edifying novel (characters, places and times), its materiality (titles, internal divisions, groups of works) and voice (narrative and rhetorical) contribute to the development of significations that serve the persuasive and religious aim of the works while creating stories and imaginary worlds capable of satisfying the taste of the audience for the novel. This study aims to reintegrate in the history of the novel a body of works neglected by literary critics by showing their contribution to the development of the novel: the novel of the Old Regime, but also the modern novel of thesis and by extension, the entire ideological fiction. / Réalisé en cotutelle avec l'université de la Sorbonne Nouvelle-Paris 3

Réalisé en cotutelle avec l'université de la Sorbonne Nouvelle-Paris 3 / Les romans édifiants des XVIIe et XVIIIe siècles – des fictions narratives en prose qui affichent clairement leur volonté de transmettre des valeurs chrétiennes et d’influencer le comportement de leurs lecteurs dans le sens de ces valeurs – développent une poétique spécifique, basée sur la recherche et le dévoilement de la vérité chrétienne à travers la fiction mondaine. Ils posent ainsi de front une question qui a hanté les écrivains et les théoriciens de l’Âge classique, à savoir la conciliation du plaisir romanesque et de la moralité. La topique du roman édifiant (personnages, lieux et temps), sa matérialité (titres, divisions internes, ensembles d’œuvres) et sa voix (narrative et rhétorique) concourent à l’élaboration d’effets de sens qui servent la visée persuasive et religieuse des ouvrages tout en créant des récits et des imaginaires propres à satisfaire le goût du lectorat pour le roman. Cette étude vise à réintégrer dans l’histoire du roman un corpus d’œuvres négligées par la critique en faisant apparaître leur contribution à l’élaboration du roman : du roman d’Ancien Régime d’abord, mais aussi du roman à thèse moderne et, par extension, de toute la fiction idéologique. / Edifying novels of the seventeenth and eighteenth centuries - narrative prose fictions that clearly put forth their will to convey Christian values and influence the behavior of their readers in the sense of these values - develop a specific poetics, based on the research and the unveiling of Christian truth through mundane fiction. They therefore emphasize a problem that has haunted writers and theorists of the Classical Age, namely the reconciliation of novelistic pleasure and morality. The narrative topics of the edifying novel (characters, places and times), its materiality (titles, internal divisions, groups of works) and voice (narrative and rhetorical) contribute to the development of significations that serve the persuasive and religious aim of the works while creating stories and imaginary worlds capable of satisfying the taste of the audience for the novel. This study aims to reintegrate in the history of the novel a body of works neglected by literary critics by showing their contribution to the development of the novel: the novel of the Old Regime, but also the modern novel of thesis and by extension, the entire ideological fiction.

x, 215 p. A print copy of this thesis is available through the UO Libraries under the call number: KNIGHT PQ149 .A56 2004 / This dissertation project seeks to connect the thematic concerns of Francophone women's post-colonial fiction to broader issues of breaking cycles of violence and resisting the negative effects of globalization. An important part of the study will be a discussion of the historical trend towards the mechanization of nature to account for an ideology of domination that the West has exported to its colonies. Borrowing especially from Carolyn Merchant and the Frankfurt School of critical theorists but also from feminist object relations theorist Jessica Benjamin, I trace masculine culture's will to mastery over a weaker other to a primal fear of chaotic nature and the omnipotent Mother. Violence that is currently directed at nature, women and children, and that is a central theme in the narratives I consider, has a long history. Colonization in all its forms stands out as the main characteristic of this history that will continue to repeat itself if left unexamined. My project demonstrates how these particular post-colonial novels engage with the past in such a way as to diffuse the internal mechanism of abusive power. There are two principle components of this engagement: one is the bringing-to-light of a buried history, personal and collective, that Western, masculine culture strives to repress. The other is the creation of an aesthetic that offers a means to mourn a traumatic past, thereby initiating a process of emotional and social healing. Both phenomena serve as political resistance to a hegemonic system based on denial of loss. In these novels I refer to this aesthetic of mourning as a "feminine symbolic of loss" to distinguish it from a traditional male canon of melancholy literature which instead capitalizes on loss for its own advancement. Their representations of oft-tabooed subjects attest to a refusal to comply with the cultural mandate of silence, driving a wedge into that mechanism of power that perpetuates itself by the disavowal and repression of loss. / Committee in Charge: Karen McPherson, David Castillo, Linda Kintz, Wolf Sohlich

Cette thèse a pour objet l’ensemble des manifestations festives que donnent à lire trois romans de Victor Hugo : Notre-Dame de Paris, Les Misérables et Quatrevingt-treize. Son hypothèse générale est que la fête, lorsqu’elle est envisagée comme rite collectif, prend en charge les différentes tensions qui, au XIXe siècle, escortent l’évolution des statuts du citoyen, du devenir historique et des rapports entre le peuple et le pouvoir. La récurrence de certains motifs tend à montrer que la thématisation et l’écriture de la fête chez Hugo sont soumises à deux lois. La première consiste en la cohabitation sociale du sublime et du grotesque. La deuxième repose sur le détournement des ressources scripturales, formelles, rhétoriques du carnavalesque vers un tableau sinistre et funèbre. L’étude sociocritique de ces différentes scènes met en lumière les relations que les romans hugoliens entretiennent avec l’imaginaire social de la Révolution française, de la Restauration et du Second Empire, tout particulièrement à l’égard des débats sur la misère, sur le sens du pouvoir et sur la notion de progrès. / This thesis focuses on the festive events in three novels by Victor Hugo : Notre-Dame de Paris, Les Misérables and Quatrevingt-treize. Its general hypothesis is that the festival, when considered as a collective rite, takes charge of the different tensions in the nineteenth century that escort the evolution of the status of the citizen, of the historical future and of the relationship between the people and the power. The recurrence of certain motifs tends to show that the thematization and the writing of the festival in Hugo’s work is subject to two laws. The first consists in the social cohabitation of the sublime and the grotesque. The second is based on the detour of the scriptural, formal and rhetorical resources of the carnival towards a sinister and funereal picture. The sociocritical study of these different scenes highlights the links that novels maintain with the social imaginary of the French Revolution, the Restoration and the Second Empire, particularly with regard to the debates on misery, the meaning of power and the notion of progress.