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

In this thesis I have attempted to show the differences in themes, attitudes, subjects, and poetic techniques that exist between two succeeding generations of modern French Canadian poets. Alain Grandbois and Anne Hebert (born in 1900 and 1916), respectively) constitute, in my study, the elder generation, while Gatien Lapointe , Fernand Ouellette, and Paul Chamberland (born in 1931, 1930, and 1939, respectively) are the more youthful poets. I have divided my thesis into chapters corresponding to the areas of comparison that were mentioned above and within every chapter I consider, as much as possible, each one of the five poets. I have found that, with regard to "subject," the older poets are especially concerned, in their poetry, with the "je" and its rare pleasures and its more frequent woes while the younger poets move away from this restricted concern with the "self" and its private and difficultly penetrated world towards a. wider involvement in the affairs of all men. Seeing and experiencing reality with the eyes and the sensibilities of all men, of whom they consider themselves to be the brothers, they speak less of "me" and more of "us" and "you." Their subject is no longer the private and highly personal "je" but is instead, the more universal and objective "we" or "them." Attitude evolves between the two generations as well. The classical despair and the defeatism of the elder writers stiffens into optimism and challenge among the more recent poets. The two themes considered, love and nature, are treated in dramatically varied fashion by the two sets of writers. Alain Grandbois and Anne Hebert see nature as antagonistic and menacing and love as either impossible or deceiving while Gatien Lapointe, Fernand Ouellette, and Paul Chamberland glory in the solace and comfort of a peaceful natural order and sing praises of the marvels and the promises of love and the loving and loved woman. Technical practices also change considerably from one generation to the next, ranging from the conservatism of the elder poets to the creative daring of the more recent poets. The poetic works examined in this thesis are Grandbois’ Les lies de la Nuit (1944), Rivages de l'Homme (1948), and L'Etoile Pourpre (1957), all of which are collected together in the compound edition Poèmes of 1963, Les Songes en Equilibre (1942), Le Tombeau des Rois (1953), and Poèmes (1960)* of Anne Hebert, Le Temps Premier (1962) , Ode au Saint-Laurent (1963), and Le Premier Mot (1967) of Gatien Lapointe, Ces Anges de Sang (1955), Séquences de l'Aile (1958), and Le Solell Sous la Mort (1965) of Fernand Ouellette and Paul Chamberland’s Terre Quebec (1964) and L'Afficheur Hurle (1964). I do not study Lapointe's Jour Malaisé (1953) nor his Otages de la Joie (1955) because in them the poet expresses with much less skill the same general ideas that he voices in his later volumes. Genèses (1962) of Paul Chamberland could not be examined because its predominately religious bent keeps it outside of the thematic area that I have restricted myself to. *Poemes contains a re-edition of Le Tombeau des Rois (1953) as well as the most recent collection of Anne Hebert’s poetry, Mystère de la Parole (1960). / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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

Cette thèse a pour but l'examen des influences de la poésie française sur la poésie canadienne-française entre 1850 et 1895, dates qui représentent la période de l'essor de la poésie romantique à Québec. Puisque le romantisme au Canada a été traité en profondeur, cette étude vise plutôt a faire ressortir l'influence d’autres mouvements importants en France à cette époque. Le premier chapitre examine le milieu d'où jaillit l'Ecole de Québec pour établir dans quelle mesure les conditions économiques, politiques et commerciales tendaient à décourager l’épanouissement d'une littérature indigène et à rendre l'influence, une fois accessible, des lettres françaises d'autant plus inévitable. Bien qu’il soit nécessaire des l'abord d’établir cette accessibilité, le procédé principal de cette étude consiste en l'examen de l'évidence interne des influences françaises dans les écrits des poètes les plus importants pour le développement de la poésie canadienne-française vers l'autonomie. Cet examen cherche à préciser non seulement les sources en soi mais aussi leur caractère, leur étendue, et leur prédominance relative vis-à-vis de l'originalité créatrice dans ces écrits. Il est impossible de ne pas reconnaître l’importance des emprunts conscients et voulus, puisés dans le fond d'un tel poète français, surtout dans le cas dfun grand nombre d’imitations qui font partie de l'oeuvre canadienne-française a ses debuts. Mais, croyant avec G. Bessette (Les Images en Poésie Canadienne-française) que les emprunts inconscients, automatiques, sont les plus signifiants pour l’investigateur de sources, l'auteur de cette étude s'appuie sur l'analyse objective de la forme - lexique, images, prosodie - pour mettre en relief les inspirations profondes qui influèrent sur la poesie de l'Ecole de Québec. Cette thèse affirme, selon le témoignage de la poésie d’Octave Crémazie, Pamphile Lemay et Nérée Beauchemin, l'éclectisme répandu de la poésie canadienne au xixe siècle, un éclectisme qui, malgré la ténacité de l'école romantique, fit appel aux precédés poétiques des mouvements parnassien et post-parnassien dans une mesure jusqu'ici négligée. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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