Issued also as Thesis (Ph. D.)--Columbia University. / Bibliography: p. [303]-340.

Thesis (Ph. D.)--Columbia University, 1934. / Vita. Published also without thesis note.

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by Wilma Waggoner Mayo / English, French and Old French text / The text of / Typescript / M.A. Florida State College for Women 1932 / Includes bibliographical references (leaves 153-155)

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For several reasons, translingual writers, defined here as authors who write in a language that is not their native one, have gained increased visibility in recent years. This is particularly true in the context of French literature where, more frequently than before, and with a more explicit recognition of their particular status, translingual writers have received important literary prizes and have been welcomed into the French Academy. Central to this recognition is their rich and diverse mobilisation of life writing, a corpus curiously neglected in the study of the phenomenon of literary translingualism. This thesis focuses on the writers Andreï Makine, Hector Bianciotti, Vassilis Alexakis, Nancy Huston, Agota Kristof and Katalin Molnár. It demonstrates that the translingual experience, in its capacity to question one's sense of self and provide novel tools for the exploration of one's personal history and subjectivity (conceived as an experience in language), appears eminently suited to the genre of life writing and that, in the current configuration of the French literary space, life writing is demanded from translingual authors. It proposes an original cartography of contemporary translingual literature in French, suggesting that more than any similarities in the conditions of their literary adoption of French, what creates family resemblance between translingual writers is the types of relation with their adopted language that are constructed in their autobiographical texts.

Master of Arts / Department of Modern Languages / Robert L. Clark / Medieval French literature provides the modern researcher with references to the healing arts in many passages that are incorporated into prose or poetic works. Because there was no clear separation of the genres into modern classifications, references to treatment of sicknesses of body, mind or spirit are woven into many literary works, providing us with a kind of snapshot of the state of the art healing practices of the day. Texts make reference to herbs and plants used to cure the ailments of the body, gardens and flowers that refresh the spirit, miraculous unguents, cures through the intercession of the saints and the Virgin Mary and surgical procedures. Texts examined here include Le Roman de la Rose, Erec et Enide, Aucassin et Nicolette, Les Lais of Marie de France, Le conte du Graal, Le chevalier de la charrette, La Condamnation de Banquet, Yvain, Cligès, La Chanson de Roland and Treize Miracles de Notre-Dame. The picture they provide of the medicine of the time has a certain charm and quaintness that many moderns seek in holistic treatments of today which hearken back to this more rustic medicine.

This comparative study of the theatre of Helene Cixous and Marina Tsvetaeva proposes a reading of their plays as a coherent corpus engaged specifically with the representation of poetic identity. Tsvetaeva's and Cixous' plays present a diverse range of characters who can be identified as poet-selves and who struggle to assert their identity in hostile environments. An inherent link is established between the thematic and the generic. Cixous' and Tsvetaeva's adoption of the theatre as genre in which to develop their conceptualisations of poetic identity is shown to be important to the thematic contexts in which the poet-selves are constructed. This study defines four elements: language, exile, sexual difference and Greek mythology, which are shown to be common to the representation of poetic identity in Tsvetaeva's and Cixous' plays. Each element is addressed in turn in Chapters Two to Five and its role in both writers' constructions of poetic identity in their individual plays is explored and problematised. The conclusion evaluates the radical nature of Cixous' and Tsvetaeva's dramatisations of poetic identity in the context of the representation of the female poet and discusses the evolution of this theme in a chronological approach to their theatre.