Zugl.: Bayreuth, Universiẗat, Diss., 2005.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Dept. of French) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ph. D.)--University of Toronto, 2004.

Thesis (M.A.)--Boston University

More than poetry and theatre which were traditionally designed for public presentation, the novel is meant for private consumption by a solitary reader. It is also concerned with the stuff of private life, taking the reader to intimate settings, behind closed doors where unclothed or partially clothed bodies are revealed. The novel exposes the privileged space of the boudoir, the deathbed, the bath and the toilet, where scenes of passion, physical suffering, birth and death are played out. Quebec literature, and the novel, in particular, present an interesting site for a corporeally based study because of patriotic and religious roots of this literature. Is the body a taboo subject? When does it emerge as a central concern? It would seem logical to assume that the development of realism would bring with it an increased concern for the body. Indeed, if we look at the writings of nineteenth century early Quebec literature through the post-Quiet Revolution writings of Michel Tremblay, one might argue for a kind of literary striptease across two centuries in which more and more of the body is exposed as yet another layer of inhibitions is lifted. This is not to suggest that the aim of any national literature is titillation, but that a discussion of the body has at its core the ultimate question of identity. Beginning with Angeline de Montbrun (1881), which contains at its dramatic core the staging of a vital corporeal scene, I will demonstrate how Marie Calumet (1904), Bonheur d'occasion (1945), Une saison dans la vie d'Emmanuel (1965) and La Grosse femme d'a cote est enceinte (1978) depict different moments in the constitution of the body in its movement from object to subject. The variety of approaches I adopt for getting at the body, through discussions of food, clothing, sickness and pregnancy, speak to the body's amazing mutability and its particular usefulness as a means for understanding the novel of French Canada and Quebec.

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PhD (Translation), Faculty of Humanities, University of the Witwatersrand, 1998

The subject of this study is French-Canadian literature of the middle nineteenth century. This study effectuates an analysis starting with the very idea which constitutes the genesis of this national literature, that is, Messianism. This research consists of applying on a vast corpus of writing the principle concepts developed by the sociology of religions in the study of historical and contemporary Millenarist movements. / The first chapters consolidate the sources of the providencial mission of the French-Canadian people within the greater Catholic tradition of French literature. Bossuet, de Maistre, Chateaubriand, Rameau de Saint-Pere were the thinkers who aroused interest among the writers of French Canada, and are thus subject of consideration. / The second part of this study attempts to acknowledge the ripening of a local intellectual tradition, by considering diverse ideological writings which started by denying the specificity of literature, before eventually manifesting and incorporating literary qualities. / Finally, a study based on same concepts examines works of the period by Frechette, Casgrain, Tache, de Gaspe, Gerin-Lajoie and Buies; works that are clearly literary in nature. / The results of this study clarify within a global perspective the set of questions which have always been posed about French-Canadian literature while at the same time connect literature to the development problems of this society.

This study purports to explain why French Canadians, in spite of their heritage of French culture and literature, have failed over the past four centuries, to create one single masterpiece, to give birth to one literary genius. In examining the various productions of the literature of French Canada, whether they be poems, novels or plays, one cannot but notice that they are almost completely devoid of those analyses of love, of the great passions which constitute the basis of life, and consequently of the great world literatures. It is generally conceded that literature faithfully mirrors the customs and habits of a nation. The first French colonists, who settled along the Saint Lawrence River, had not brought to the New World only Civilization and Christian faith, but also French culture and literary genius. In spite of frontier conditions, there gathered together in Quebec a small, but witty, gay and brilliant society, and the masterpieces of Racine, Corneille and even Moliere were performed. The first works written about Canada appeared by and by, almost all of them of a considerable literary value. However, in spite of the strong influence of France and of the French spirit, there was another influence slowly growing in the scattered settlements and villages, and struggling with all its might and resolution to get control over the spiritual and temporal life of the population: the influence of the Church that was far more concerned with the souls of its flock than with a national literature, which, after all, might even become dangerous. The Catholic Church did not lose its dominating influence over the French Canadians after the British conquest; on the contrary, the Clergy became their virtual leader. Thus, for almost two centuries after the English victory on the Plains of Abraham, Quebec lived behind a spiritual and intellectual iron curtain dropped by the ecclesiastics who controlled the colony’s thinking, acting, writing until the first decades of the twentieth century. French Canadian literature, of course, bears the indelible imprint of this clerical domination, and nowadays, when the Church has lost a great deal of its former power and influence, the change in French Canadian literature, is obvious. Literature - for the Canadian Clergy - was nothing but a handmaid of their religion. It follows that history, the novel, poetry, criticism and drama, became a means, and a means only, for religious propaganda. History - less dangerous from the moral point of view - was, in consequence, the most popular. French Canadians can boast of many "Histoire du Canada", where their historians reveal with few exceptions, of course, their own philosophy which is essentially religious. The novel, so much read and admired in Europe, was considered in French Quebec as a "weapon forged by Satan himself to destroy Mankind". It was almost non-existent until the beginning of the twentieth century. Only two types were allowed: the historical novel and the "propaganda novel". Poetry was tolerated, yet the poets were not allowed to sing of anything else but of the soil, the race, the glorious past, God and the altar, simple piety, idyllic country and community life and nature... All other objects - love and passions generally, were condemned as immoral. The rôle of "criticism" - if we can speak of criticism - , was decidedly militants the Canadian "official" critics fought against "liberal ideas", against "Voltairiens", "philosophes"… A French Canadian National Theatre was allowed in Quebec but recently. Thus, the internal struggle between Free Thought and a rather narrow-minded "Canadian Catholicism" is perhaps one of the most interesting aspects of French Canadian literature, and can, to a certain point, give some inkling of its future development. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate