Thesis (M.A.)--University of Wisconsin--Madison, 1964. / Title from title screen (viewed Oct. 1, 2007). Includes bibliographical references (leaves [97]-101). Online version of the print original.

Thesis (doctoral)--Université de Paris IV, 1976. / Includes chronology and index. Includes bibliographical references (v. 2, p. [1]-17).

Orientador: Guacira Marcondes Machado Leite / Banca: Wilma Patrícia Marzari Dinardo Maas / Banca: Adalberto Luiz Vicente / Banca: Luís Fernandes dos Santos Nascimento / Banca: Maria Suzana Moreira do Carmo / Resumo: O objetivo deste trabalho é mostrar como o romance de Denis Diderot (1713-1784), Jacques le fataliste et son maître (1778), discute no plano da obra propriamente dita as principais questões do gênero romanesco, colocando em prática uma série de procedimentos que propunham a renovação e evolução da forma do romance. Pretende-se mostrar como Diderot descreve em seus ensaios críticos essas técnicas e as utiliza em seu romance, desmascarando a ficcionalidade de qualquer relato romanesco através de um narrador realista e lúcido e de um protagonista de caracteres picarescos como Jacques. Trata-se, portanto, de demonstrar a importância de Jacques le fataliste para a evolução do próprio gênero ao colocar em evidência procedimentos e temas literários inovadores, transformando o falso - a ficção - em forma de declarar a verdade e de discutir os problemas históricos de seu tempo. Jacques le fataliste é um romance que, ao mesmo tempo em que reforça sua associação com a verossimilhança através do retrato dos costumes, indaga e procura dar uma resposta em sua própria estrutura sobre as perguntas-chave em relação ao romance enquanto gênero: o que é a ficção? O que vem a ser um romance? Nesse contexto, pode-se dizer que a obra de Diderot é o primeiro romance francês que alia radicalmente a discussão sobre a natureza do gênero com os problemas sócio-históricos da França. / Résumé: L'objectif principal de cette recherche est de demontrer comment le roman Jacques le fataliste et son maître met en discussion, dans la structure de l'oeuvre, les questions principales du genre romanesque. Le roman propose la rénovation et l'évolution du modèle romanesque. Nous voulons, ainsi, montrer comment Diderot décrit dans ses essais critiques les manières nouvelles qu'il utilize dans l'écriture d' un récit et comment il fait usage de celles-là, en démasquant la fictionnalité de tout récit romanesque à travers un narrateur réaliste et ludique et aussi un héros aux caractéristiques picaresques comme Jacques. Il s'agit, alors, de démontrer l'importance de Jacques le fataliste pour l'évolution du genre romanesque, surtout parce que ce roman met en évidence des procédures et des thèmes littéraires innovateurs, que transforment l'artificiel - la fiction - dans une forme de déclaration du vrai et de mise en question des problèmes historiques du dix-huitième siècle. Jacques le fataliste est un roman qui assure la vraisemblance au moyen du portrait de moeurs, et en même temps, cherche à donner une réponse aux quéstions-clé sur le genre romanesque: C'est quoi la fiction? C'est quoi le romanc? Dans ce contexte, nous pouvons dire que l'oeuvre de Diderot c'est le premier roman français qui allie de façon radicale le questionnement du genre avec les problèmes historiques de son époque. / Doutor

This thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.

This dissertation proposes the application of rarely-used epistemological and scientific lenses to the works of four authors spanning two centuries: Honoré de Balzac, Émile Zola, Raymond Queneau, and Michel Houellebecq. Each of these novelists engaged closely with questions of science and epistemology, yet each approached that engagement from a different scientific perspective and epistemological moment. In Balzac’s La Peau de chagrin, limits of determinism and experimental method tend to demonstrate that there remains an inscrutable yet guided excess in the interactions between the protagonist Raphaël and his enchanted skin. This speaks to an embodiment of the esprit préscientifique, a framework that minimizes the utility of scientific practice in favor of the unresolved mystery of vitalism. With Zola comes a move away from undefinable mystery to a construction of the novel consistent with Claude Bernard’s deterministic experimental medicine. Yet Zola’s Roman expérimental project is only partially executed, in that the Newtonian framework that underlies Bernard’s method yields to contrary evidence in Zola’s text of entropy, error, and loss of information consistent with the field of thermodynamics. In Queneau’s texts, Zola’s interest in current science not only remains, but is updated to reflect the massive upheaval in scientific thought that took place in the last half of the nineteenth and early part of the twentieth centuries. If Queneau’s texts explicitly mention advances like relativity, however, they often do so in a humorously dismissive manner that values pre-entropic and even early geometric constructs like perpetual motion machines and squared circles. Queneau’s apparent return to the pre-scientific ultimately yields to Houellebecq’s textual abyss. For Houellebecq, science is not only to be embraced in its entropic and relativistic constructs; it is these very constructs - and the style typically used to present them – that serve as a reminder of the abjection, decay, and hopelessness of human existence. Gone is the mystery of life in its totality. In its place remain humans acting as a series of particles mechanically obeying deterministic laws. The parenthesis that opened with Balzac’s positive coding of pre-scientific thought closes with Houellebecq’s negative coding of modern scientific theory.

Orientador: Claudia Fernanda de Campos Mauro / Banca: Ivair Carlos Castelan / Banca: Fernanda Aquino Sylvestre / Banca: Erika Bergamasco Guesse Borges / Banca: Márcia Eliza Pires / Resumo: A presente proposta de pesquisa objetiva realizar um estudo da memória e criação nos romances: Le Château de ma Mère, La Gloire de mon Père do escritor Marcel Pagnol. Com base na hipótese de que a memória, nestes textos, é imaginação de possibilidades do devir que não se esgota em quadros fixos. A tese focalizará as dominantes técnicas e temáticas de construção da narrativa por meio do uso feito pelo autor do motivo da viagem, dos diferentes espaços e na composição dos quadros da memória. O estudo desses dois romances permitirá a análise da memória como princípio da elaboração das obras a forma como é utilizada na elaboração do discurso de narradores e personagens. A importância de estudar esse tema nos romances de Pagnol se dá pelo fato de que o escritor elabora suas narrativas num espaço de misturas e de conflitos, onde a família é um elemento fundamental nas relações sociais, fazendo confluir a memória individual e coletiva. Em seus romances a memória é um lugar de criar mundos possíveis pela capacidade de sonhar do pensamento: a memória criativa. / Abstract: The present proposal of research aims to carry out a study of memory and creation in the novels: Le Château de ma Mère, La Gloire de mon Père by the writer Marcel Pagnol. Based on the hypothesis that memory, in these texts, is an imagination of possibilities of becoming that does not end in fixed frames. The thesis will focus on the technical and thematic dominants of narrative construction through the use made by the author of the motif of the trip, of the different spaces and in the composition of the pictures of memory. The study of these two novels will allow the analysis of memory as the principle of the elaboration of works as it is used in the elaboration of the discourse of narrators and characters. The importance of studying this theme in Pagnol's novels is because the writer elaborates his narratives in a space of mixtures and conflicts, where the family is a fundamental element in social relations, bringing together individual and collective memory. In his novels, memory is a place of creating possible worlds by the capacity to dream of thought: the creative memory. / Doutor

Orientador: Guacira Marcondes Machado Leite / Banca: Fani Miranda Tabak / Banca: Márcia Eliza Pires / Banca: Norma Domingos / Banca: Silvana Vieira da Silva / Resumo: Esta tese tem por objetivo realizar um estudo comparado entre os escritores Guy de Maupassant e Villiers de L'Isle-Adam (1838-1889), importantes escritores franceses da segunda metade do século XIX. Ao aproximar esses dois escritores, com estéticas tão distintas (Villiers é comumente associado ao Simbolismo/Decadentismo, enquanto Maupassant é relacionado ao Realismo/Naturalismo), buscamos observar como eles desenvolvem, de forma pessoal e única, a temática da ilusão e do amor em suas obras, especialmente nos romances L'Ève future (1883), de Villiers, e Fort comme la mort (1889), de Maupassant. Nestas duas obras, o amor e a ilusão associam-se à figura feminina, central no mundo civilizado, a qual é vista com desconfiança. Além disso, encontramos nos dois romances a crítica à sociedade francesa contemporânea e a seus valores. O artista, em meio a esse mundo ilusório e superficial, depara-se com o desdobramento do ser amado, aspecto que permite entrever a fratura entre o eu e o mundo e pensar a questão da existência humana e de sua finitude. / Abstract: This thesis aims to conduct a comparative study between the writers Guy de Maupassant and Villiers de L'Isle-Adam (1838-1889), important French writers of the second half of the nineteenth century. By approaching these two writers, with so distinct aesthetics (Villiers is commonly associated with symbolism/decadent, while Maupassant is related to realism/naturalism), we seek to observe how they develop, in a personal and unique way, the thematic of illusion and love in their works, especially in the novels L'Ève Future (1883), De Villiers, and Fort comme la mort (1889), of Maupassant. In these two works, love and illusion are associated with the female figure, central to the civilized world, considered with suspicion. In addition, we find in both novels criticism of contemporary French society and its values. The artist, in the midst of this illusory and superficial world, finds himself confronted with the doubling of the beloved, an aspect that suggests the fracture between the self and the world and the question of human existence and its finitude. / Résumé: Cette thèse vise à réaliser une étude comparative entre les écrivains Guy de Maupassant et Villiers de L'Isle-Adam (1838-1889), d'importants écrivains français de la seconde moitié du XIXe siècle. En réunissant ces deux écrivains, avec des esthétiques si distinctes (Villiers est souvent associé au Symbolisme / Décadentisme tandis que Maupassant est lié au Réalisme / Naturalisme), nous cherchons à voir comment ils développent, de manière personnelle et unique, le thème de l'illusion et l'amour dans ses œuvres, notamment dans les romans L'Ève future (1883), de Villiers, et Fort comme la mort (1889), de Maupassant. Dans ces deux œuvres, l'amour et l'illusion sont associés à la figure féminine, centrale au monde civilisé, considérée avec suspicion. En outre, nous trouvons dans les deux romans la critique à la société française contemporaine et à ses valeurs. L'artiste, au milieu de ce monde illusoire et superficiel, se trouve face au dédoublement du bien-aimé, aspect qui laisse entrevoir la fracture entre le soi et le monde et penser la question de l'existence humaine et de sa finitude / Doutor

<p> <b>Purpose.</b> The purpose of this phenomenological qualitative case study was to explore the experiences of advocates who represent organizations that engage in disability policy advocacy. The study investigated the strategies and activities used by disability rights advocates, including those used when advocating for deinstitutionalization of people with intellectual and developmental disabilities (I/DD), and the recommendations for advocates of the deinstitutionalization of individuals who live in large intermediate care facilities (ICFs).</p><p> <b>Methodology.</b> A phenomenological case study and semistructured interviews were used to explore the strategies and practices of organizations that engage in disability policy advocacy. The researcher used a purposeful sampling approach to interview 5 disability policy advocates with extensive experience for the study. Gen and Wright&rsquo;s (2013) policy advocacy framework was used to guide the development of the interview questions and resulting themes that emerged from the interviews.</p><p> <b>Findings.</b> Advocacy organizations identified three main activities used when advocating for individuals with I/DD: coalition building, information campaigning, and engaging decision makers. When advocating for the deinstitutionalization of people with I/DD, their strategies included coalition building, information campaigning, and reform efforts. The advocates consistently recommended reform efforts, and to a lesser extent, coalition building as strategies and activities to expedite the deinstitutionalization of individuals who reside in large ICFs.</p><p> <b>Conclusion.</b> Reform efforts (pilots, demonstrations, litigation) are consistently recommended for future advocacy efforts in support of expediting the community transition of individuals who reside in large ICFs.</p><p> <b>Recommendations.</b> Future research should explore the activities of advocacy organizations for other populations or in other geographies. This research study has direct implications for individuals who reside in large ICFs and want to move to community living. This study adds to the practice of advocacy in that it will aid the development of future advocates through training targeting practices of successful, highly experienced advocates. </p><p>

Le but de ce mémoire est de traiter des aspects majeurs du vaudou utilisés par René Depestre dans Hadriana dans tous mes rêves. Il se peut que ce roman soit la meilleure des œuvres de Depestre puisque c'est dans ce roman que Depestre a cristallisé tous ses usages du vaudou en tant que principe unificateur des différents thèmes qui y sont abordés. Dans ses premières œuvres en vers, on remarque que Depestre a déjà utilisé le vaudou comme un outil sociopolitique. Par exemple, dans Un arc-en-ciel pour l'occident chrétien, le vaudou est un moyen pour bouleverser le statu quo raciste dans le Sud des Etats-Unis. Après sa rupture avec le parti communiste et son exil de Cuba, Depestre est devenu déçu avec le marxisme et n'importe quelle autre machine politique. A la suite de cette rupture il a produit son premier roman, Le mât de cocagne. Ici, le vaudou devient un outil utilisé par le gouvernement pour contrôler l'esprit du peuple, un opium pour les gens simples, sans instruction. Ensuite, dans ses œuvres suivantes fictives en prose, le vaudou est lié désormais à une dimension érotique chez Depestre qui a proclamé lui-même qu'il a abandonné la politique. Par conséquent l'expression politique ne s'exprime guère dans ces œuvres. Enfin, plus tard dans sa carrière, la façon humoristique dans laquelle Depestre s'est exprimé atteint un sommet avec ses œuvres fantastiques en prose, surtout avec Hadriana dans tous mes rêves. Cependant, en ce qui concerne cette étude, on va essayer de montrer ce qu'on appelle les différents aspects ou plutôt avatars du vaudou qui se trouvent dans Hadriana. C'est-à-dire le vaudou dans ses rapports avec la vie politique, la dimension érotique et l'humour. Depestre s'est exprimé le mieux comme auteur complet et complexe en utilisant et combinant tous ces aspects du vaudou dans Hadriana. / A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts. / Summer Semester, 2005. / May 16, 2005. / Vaudou, Rene Depestre / Includes bibliographical references. / Antoine Spacagna, Professor Directing Thesis; Joseph Allaire, Committee Member; Erasmo Gerato, Committee Member.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, in partial fulfilment of the requirements for the Degree of Master of Arts, 1983. / Since his suicide in March 1945, Drieu la Rochelle has been accused of fascist, nazi, or ... communist tendencies. Furthermore, he has been considered until now in a purely political light. Most of the studies which have been devoted to him have dealt with the "political case" - his literacy work has been left in the dark. [Abbreviated Abstract. Open document to view full version]