Bibliographical footnotes.

Thesis (doctoral)--Universität Zürich, 1891. / Vita. Bibliographical references included in "Anmerkungen" (p. [83]-90).

Orientador: Guacira Marcondes Machado Leite / Banca: Brigitte Monique Hervot / Banca: Márcio Natalino Thamos / Resumo: O escritor francês Guy de Maupassant (1850-1893) é comumente associado às Escolas realista e naturalista. Acreditamos, todavia, diante de sua abertura para todas as formas de fazer poético, que seu romance Bel-Ami (1885) apresenta características que permitem uma aproximação com a estética impressionista. Tal relação pode ser pensada a partir de alguns aspectos caros aos impressionistas, como o olhar e o ponto de vista subjetivo, os quais são projetados em um momento e de um determinado lugar. Nessa perspectiva, a ideia do movimento torna-se relevante, tendo em vista que as coisas mudam, transformam-se com o tempo e, por conseguinte, o modo de olhá-las. Como se trata de pontos de vista subjetivos, o que vemos é a apresentação de sensações e impressões, as quais monstram-se insuficientes para expressar o todo complexo que é o objeto, aliás, inapreensível. Na construção desse objeto, sua relação com as coisas que o circundam também deve ser levada em consideração, pois evidencia ainda mais sua complexidade. As cores, igualmente, correspondem a outra característica impressionista relevante. Acreditamos, pois, que é possível observar o mundo em Bel-Ami, a partir dessas questões, embora seja necessário o distanciamente para que se possa reconstruí-lo / Résumé: L'écrivain français Guy de Maupassant (1850-1893) est généralement associé aux Ecoles réalistes et naturalistes. Nous croyons, cependant, devant son ouverture à toutes les formes du faire poétique, que son roman Bel-Ami (1885) présente des caractéristiques qui permettent de l'approcher de l'esthétique impressionniste. Cette relation peut être considérée par certains aspects chers aux impressionnistes comme le regard et le point de vue subjectif. De ce point de vue, l'idée de mouvement devient importante, em gardant à l'esprit que les choses changent et se transforment avec le temps et, par conséquent, la façon de les regarder. Comme ce sont des points de vue subjectifs, ce que nous voyons, c'est le résultat de sensations et d'impressions qui se révèlent insuffisantes pour exprimer la complexité de l'objet, en effet, insaisissable. Dans la construction de cet objet, sa relation avec les choses qui l'entourent doivent également être prise en considération, parce qu'elle manifeste encore plus sa complexité. Les couleurs correspondent aussi à une autre caractérististique impressionniste pertinente. Nous croyons donc qu'il est possible d'observer le monde dans Bel-Ami à partir de ces questions, malgré la nécessité d'une distance qui permette de le reconstruire / Mestre

This study has attempted to show that, in her récit Le Soleil et la terre (Paris: Société Nouvelle des Editions J.-J. Pauvert, 1977), the contemporary French woman writer Chantal Chawaf has, through her use of language, created female-defined symbolic imagery. The sources of such imagery draw upon the depths of female experience expressed in a female collective unconscious silenced within both the female mind itself and the interpretive cultural body. At the very core of such imagery - and that upon which focuses the author is the primary presence of the sexual body as the very key defining mode of existence and weltanschauung. The introduction briefly discusses Chantal Chawaf's sensuous and sensual use of language to convey the bodily source of her imagery and words. The focus, however, remains - throughout the study - on how the author is bringing to the foreground the bodily presence and experiences of woman left essentially unacknowledged, in woman's own terms, in the general social fabric. The first chapter examines imagery arising in the female imagination when the self confronts the self as female revealing to woman the sisterhood of all females through ties of body and a primordial affinity with Mother Earth as giver and sustainer of life. The second chapter discusses the cathartic process of freeing woman from the shackles of self-denial arising from an implicit and blind acceptance of male-dominated visions and experiences. The search for female identity in a male-dominated world necessitates fleeing from established and universally accepted symbolic forms by distorting them through imaginative powers. The third chapter examines the gradual attempt to ground woman's identity through a (re)conquest of the female self. The process of (re)birth entails the recognition and acceptance of the self's primary motivating force: the female body and how it relates to its biological truth of giving life. Thus, bodily-defined, life ultimately derives meaning through the human interconnection of man, woman and child as expressed in the time-worn word - Love - to which Chantal Chawaf gives a new, life-pulsating and all-encompassing cosmic meaning. An integral, if not perhaps paramount, part of considerations of content in this study has also been that of form. The very form of this study attempts to duplicate, as a mimetic echo, Chantal Chawaf's image of the woman writer as a lacemaker (la dentelliére) searching to find and make meaning apparent through the transparent or barely visible medium of words. An attempt was made to show (by means of layout, blanks, spacing, oblique quotations...) how explanatory analysis need not follow the path of logical discursive thought, but can also arise from the interplay or associative capacity of abstract intelligence, memory and imagination; i.e., to arrive at intellectual meaning through the concept known in the visual arts as «negative space». / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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In The Secret Museum: Pornography and Modern Culture, Walter Kendrick demonstrates that whilst the term pornography remains a battleground of ideas and representations, its origins are to be found long before the word itself was invented in the nineteenth-century. At the beginning of the twenty-first century, pornography's influence on all forms of popular-culture is seen to have dramatically increased, but academic work on the representation of sex has thus far avoided attempting to draw any links between what Kendrick refers to as the different “pornographic eras”, choosing instead to analyse examples in isolation. This thesis is an attempt to fill that gap and analyses patterns of influence between eighteenth-century French libertine literature and the contemporary hard-core pornographic film. Concentrating on the libertine novels of the Marquis de Sade (1740-1814), it studies how his work demonstrates rules and structures in relation to the representation of sex that are still visible in modern pornography. By focusing on four examples of Sade's work – Les Cent Vingt Journées de Sodome, Justine, La Philosophie dans le Boudoir and l'Histoire de Juliette – it isolates patterns of influence in relation to three key elements: narrative, practices and philosophy. It therefore looks at both the representation of sex and the narrative structures that surround it. This is a key element of any study of modern pornography, as it can take on a range of narrative forms, with some hard-core films appearing to omit storylines completely. This thesis will therefore consider a range of examples from contemporary hard-core, but will focus primarily on the American producer The Evil Empire and the work of its founder, the director John Stagliano. Drawing on theoretical material from the study of narratology (`) it studies the relationship between the two forms through the way in which they frame, structure and pace the sexual performance, as well as analysing how they attempt to authenticate such representations. It concludes with a study of the hard-core initiation film, through which the political and philosophical meaning of such representations is assessed.

Although various writers have made fleeting references to fairy-tale aspects found in the Marquis de Sade's libertine texts, no one has placed him squarely in the fairy-tale tradition. This thesis argues that Sade's Justine, his maiden libertine publication that appeared during the waning years of the French literary fairy-tale vogue (1690-1789), is in fact a tragic fairy tale. Using conventional motifs and narrative forms associated with the fairy tale, Sade transformed Justine into a tale that served to entertain and deliver a critical message of the mores and especially the institutions of his era. Sade borrowed elements from all three waves of the one-hundred year vogue to produce the darkest tale of all, which, placed in a socio-historical context, reflected the tumultuous final years of the Enlightenment. The fairy tales of the earliest writers, most of whom were women, served as models for other writers of the genre throughout the vogue. Like the conteuses (early female fairy-tale writers), Sade used the frame-tale device to communicate potentially subversive ideas. Justine resembles the Perraldian heroine in that she is physically and spiritually beautiful and survives victimization with courage and dignity. The influence of the second wave, characterized by the oriental tale, is felt in the exotic-erotic fantasy tableaux in Justine and in his designation of the heroine as the storyteller. Finally, Sade integrates satiric, parodic, and libertine features of the tales produced during the third wave. Justine is a mélange of fairy-tale elements from each wave transformed into an original work of dark extremes. Sade borrowed from past writers of the genre to create a story so provocative that it was at once banned and influential. He continued the tradition of using the fairy tale as a means of entertainment disguising social criticism. In the context of what many considered to be a frivolous literary form, he spoke about the nature of power and its association with evil. He used the fairy-tale format to portray crime and thus perpetuate evil through countless retellings. Although various writers have made fleeting references to fairy-tale aspects found in the Marquis de Sade's libertine texts, no one has placed him squarely in the fairy-tale tradition. This thesis argues that Sade's Justine, his maiden libertine publication that appeared during the waning years of the French literary fairy-tale vogue (1690-1789), is in fact a tragic fairy tale. Using conventional motifs and narrative forms associated with the fairy tale, Sade transformed Justine into a tale that served to entertain and deliver a critical message of the mores and especially the institutions of his era. Sade borrowed elements from all three waves of the one-hundred year vogue to produce the darkest tale of all, which, placed in a socio-historical context, reflected the tumultuous final years of the Enlightenment. The fairy tales of the earliest writers, most of whom were women, served as models for other writers of the genre throughout the vogue. Like the conteuses (early female fairy-tale writers), Sade used the frame-tale device to communicate potentially subversive ideas. Justine resembles the Perraldian heroine in that she is physically and spiritually beautiful and survives victimization with courage and dignity. The influence of the second wave, characterized by the oriental tale, is felt in the exotic-erotic fantasy tableaux in Justine and in his designation of the heroine as the storyteller. Finally, Sade integrates satiric, parodic, and libertine features of the tales produced during the third wave. Justine is a mélange of fairy-tale elements from each wave transformed into an original work of dark extremes. Sade borrowed from past writers of the genre to create a story so provocative that it was at once banned and influential. He continued the tradition of using the fairy tale as a means of entertainment disguising social criticism. In the context of what many considered to be a frivolous literary form, he spoke about the nature of power and its association with evil. He used the fairy-tale format to portray crime and thus perpetuate evil through countless retellings / A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2007. / Date of Defense: March 1, 2007. / French Literary Fairy Tale, Sade / Includes bibliographical references. / William Cloonan, Professor Directing Dissertation; Stanley E. Gontarski, Outside Committee Member; Aimée M.C. Boutin, Committee Member; Deborah J. Hasson, Committee Member; Lori J. Walters, Committee Member.

Thesis (Ph.D.)--Boston University / As indicated in the subtitle, this thesis is a study of miners, their problems and environment, their hopes and aspirations as portrayed in the field of belles lettres rather than in political, economic and social treatises. The task undertaken is a work of interpretation and synthesis. It is a study of French and Spanish literature dealing with mining and the circumstances which inspired it. This study is concerned with the accuracy as well as the artistry of the fictional portrayals. It endeavors to examine the reality of the social and psychological factors which they reveal. Literature divorced from reality creates an incomplete and false situation which Taine calls, "une illusion de bibliotheque." [TRUNCATED]

Doctor of Philosophy(PhD) / N/A