Thesis (Ph.D.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Bibliography: leaves 252-272.

Proefschrift Göteborg. / Met samenvatting in het Engels.

Le corps, objet d’analyse duel pris dans une série de dichotomies souvent qualitatives [nature vs culture, discursivité vs expression inédite de soi], entretient des liens étroits avec le langage. Centrée sur les mécanismes de « corporalisation » [Judith Butler], qui sont abordés à travers le prisme de la différence sexuelle, cette étude comparative interroge certaines oeuvres écrites par deux auteures autrichiennes contemporaines : Evelyn Schlag et Elfriede Jelinek. Leurs écritures, bien que nourries par une évidente critique du langage, laissent apparaître de profondes divergences qui dénotent une conception différente du masculin et du féminin. Favorisant une approche heuristique et critique des théories féministes énoncées dans les années 1970-1980 avant d’ouvrir une réflexion sur les fondements textuels de la culture [Kulturwissenschaften] et, surtout, sur leurs implications au sein des études de genres [Gender Studies], ce travail s’attache aux processus de « mise en texte » du corps. La méthode adoptée se situe en effet à l’intersection d’une analyse des genres sexuels [psychanalyse, déconstruction, métarécit] et d’une analyse des genres littéraires [romans, pièces de théâtre, poésie, etc.] afin d’éprouver, dans une perspective plus large que ne le serait la stricte corrélation entre féminité et subversion du logos, les stratégies de confirmation, de détournement ou d’abolition des frontières génériques auxquelles obéissent les poétiques de chacune des deux auteures. Parallèlement sont étudiés les effets provoqués par de tels maniements textuels dans l’optique d’une « resémantisation » [non-essentialiste] du corps féminin par le littéraire. / Analysing the body often entails a series of – often qualitative – dichotomies [nature vs. culture, discourse vs. novel self-expression], and invariably intertwines with language. This comparative study centres on “embodiment” mechanisms [Judith Butler], and broaches them through the prism of sexual differences, in books by two contemporary Austrian authors: Evelyn Schlag and Elfriede Jelinek. Their writing self-evidently criticises language but likewise unveils deep divergences that denote different conceptions of male and female. This work favours a heuristic approach, which critiques the feminist theories from the 1970s and 1980s before homing in more specifically on the textual foundations of culture [Kulturwissenschaften] in general, and their implications for gender studies in particular. This study zooms in on the process of producing text about the body. The method is at the crossroads between an analysis of gender [psychoanalysis, deconstruction and metalanguage] and of literary genres [novels, plays, poetry, etc.]. It probes strategies to cement, twist or eliminate the generic frontiers that each of these authors’ poetic angles follow, from a wider perspective than the strict correlation between femininity and logos subversion. It simultaneously questions the effects of literates handling text with a view to “re-semantising” the feminine body in a non essentialist manner.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Texte remanié de: Rozprawa doktorska--Wydział polonistyki--Varsovie--Uniwersytet Warszawski, 2001. Titre de soutenance : Od hodoeporikonu do eposu peregrynackiego. Studium z genologii historycznej. / Bibliogr. p. 249-264.

Dissertation--Innsbruck--Leopold-Franzens-Universität, 2005. / Bibliogr., webliogr. p. 92-100.

Reproduction de : Thèse de doctorat : Etudes germaniques : Lyon 2 : 2003. / Titre provenant de l'écran-titre. Bibliogr. Index.

No description available.

This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.

Theorists who endeavor to take sociality seriously have made substantial strides, but the phenomenological immediacy of experience has not been well explored or sufficiently addressed. This dissertation proposes an approach to cultural psychology that accounts for such experience. It addresses how authors such as Hubert Hermans, James Wertsch, Ken Gergen, Derek Edwards, and Jonathan Potter have tended to propose visions of cultural psychology that do not do justice to such experience, partly because they have different analytic interests. Regardless, there is a need in current theorizing in cultural psychology to address culturally orchestrated action in a way that includes experience. This dissertation attempts to address this need. To provide an alternative view on cultural psychology, this dissertation turns to the Russian thinker, Mikhail Bakhtin, and his notion of speech genres. The inherent sociality of embodied experience that is part of Bakhtins notion of speech genres is presented in contrast to the views of above-mentioned authors. This work presents a view of Bakhtins discussion of realism in relation to experience and sociality. This discussion leads to an alternative sociocultural understanding of individual agency that is central to the ontogenetic development of selfhood. The discussion then progresses to examine what Bakhtin can contribute to a psychology embroiled in postmodernism. Where self has been treated as socially constructed and changeable such that notions like faithfulness to oneself, which is generally thought to belong in the domain of a true core self, are rendered futile Bakhtin offers a view of embodied self that both requires and clarifies these notions. The proposed alternative concludes by addressing how research could be conducted for those interested in extending the proposed cultural psychology in an empirical direction.