Mémoire (M.E.L.)-- Université du Québec à Chicoutimi, 1994. / Document électronique également accessible en format PDF. CaQCU

Diss.--Universität Münster, 1989. / Bibliogr. p. 241-260.

In 1973, Emile Ajar published his first novel, Gros-Calin, and his very unusual style drew public attention. In fact, the name of Emile Ajar conceals a famous writer, Romain Gary. He endeavours to escape from the iron grip of criticism and attempts to renew his writing by resorting to an assumed name. This thesis is based on the fictitious world of Emile Ajar and the rejection of societal norms. A close study of the composition of this fictitious universe permits the reader to unravel its particular nature. The first chapter explains the structure of the various tales and their characteristics such as the relationship between the narrator and the narrative, between the narrator and the reader, and between the subject and the means used by the hero to relate his experience. This analysis discloses how the author conceals the threads of his tale to captivate his audience more successfully. The second chapter presents society as it is; its characteristics, symbols and the hero's response to this environment. The last chapter explores the characteristics, symbols and the behaviour of the hero in a world characterized by antisocietal values. It reveals the importance and the meaning of this "antisociety" and Emile Ajar's rejection of the status quo.

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Gros-Calin, La Vie devant soi, Pseudo and L'Angoisse du roi Salomon, the four books written and published by Romain Gary under the name Emile Ajar, clearly stand out from the author's other works. They can be distinguished by their unusual style which presents a multitude of literary devices that closely resemble mistakes and are seldom found in Gary's other writings. / The present study attempts to explain this particular style by the author's desire to create a truly "total novel" as discussed in Pour Sganarelle, an essay that presents Romain Gary's approach to the art of writing. The greater part of this analysis is dedicated to the examination of Ajar's style and will expose the lexical, logical and syntactic characteristics of the four works, in an effort to establish how these literary devices not only contribute to the creation of a particular literary style, but bring forth what can be defined as an entirely new form of literary language.

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Akademisk avhandling--Stockholm, 1994. / Bibliogr. p. 194-200. Index.

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Beginning with the premise that all literary texts are rhetorical in nature, this thesis explores the impact of the persuasive function in Romain Gary's Le grand vestiaire from the perspective of his poetics, defined in Pour Sganarelle. The analysis of typical narrative, descriptive and dialogal techniques used by the author brings to the fore at once the textual sites in which Gary's central precept, the univocity of meaning, is upheld, and the presence of ambiguities that undermine it. Likewise, the analysis of the novel's socio-historical context highlights its ideological dimensions, which is both inherent to the work and responsible for certain indeterminacies that foreclose the possibility of a unique meaning. Finally, it is shown that the rhetorical figures in Gary's text, which are designed, by their overwhelming presence, to forcefully reconfirm the univocity of meaning, also generate a series of equivocations. This thesis demonstrates that while Le grand vestiaire is indeed based on literary techniques that ensure its effectiveness, the novel is at odds with Gary's poetics and ultimately represents its functional ineffectiveness.

The first part of this Master's thesis is a story presented as an inner monologue where three periods of the narrator's life (the winter when she was nine years old, a recent trip to Ireland and her return to Montreal) interlace as three parallel miscarried lives. At times through entire episodes, at times through the echo of sentences once spoken or heard, Pamela's past lives contaminate the story of her forced return to Montreal to attend her father's funeral. They intermingle in a duplicate narrative, a fabled dialogue between times. / In the second part, we intend to analyse the theme of the double in two of Romain Gary's novels: Au-dela de cette limite votre ticket n'est plus valable and Gros-Calin. The study demonstrates that the subject uses doubling to engender his self so that he can avoid the determinism that condemns him to a non-existence. Gary's hero refuses any god other than the one within himself: an infinite and immortal double from whom he has become seperated against his will at birth. He reinstates his unlimited potential as a creator by returning to a time before this world, a time not determined by external forces. He then undertakes to give life to his divine double by projecting him on others. The hero hopes that he will thus be endlessly reborn. The embodied ideal double, however, soon turns into the original which the hero imitates, becoming a double himself.