I en nära samverkan med yrkesverksamma svensklärare utreder och prövar föreliggande studie hur undervisningen i litteraturhistoria kan utvecklas i praktiken. Med utgångspunkt i elevers och svensklärares uttryckta erfarenheter av arbete med litteraturhistoriska texter konstrueras en didaktisk design. Den didaktiska designen omsätter tidigare forskning rörande förkroppsligat lärande i en lektionsserie på sex lektioner där fokus ligger på bearbetning av en litteraturhistorisk text med hjälp av fyra fysiska komponenter: gester, röstläge-intonation, en visuell komponent samt en auditiv komponent. Iscensättningen av den didaktiska designen studeras med en triangulering som består av observationer, fokusgruppsamtal med elever och lärarintervjuer samt skriftliga exit tickets. Genom en tematisk analys visar resultatet att eleverna trots ett utmanande språk erövrar den litteraturhistoriska texten, engagerar sig i olika erbjudna livsvärldar, minns textinnehåll och inkarnerar nyvunnen kunskap med hjälp av kroppsliga representationer. Förklaringen spåras till kroppen och sinnets enhet samt det meningsskapande multimodala perspektivet, där föreliggande studie också visar den sociokulturella kontextens betydelse. Litteraturdidaktiska ställningstaganden diskuteras vidare och konstaterar att fysiska komponenter kan användas för att gynna en omfattande läsupplevelse, där både kropp och sinne förses med den litteraturhistoriska textens narrativ på olika sätt. Slutligen föreslås fysiska komponenter som en väg in i texten, vilket i sin tur potentiellt kan leda till ökad måluppfyllelse. / In collaboration with professional teachers who teach the Swedish language, this study explores how to develop teaching in history of literature within the field of design-based research. A didactic design is created and tried in an authentic learning situation. This didactic design refers to earlier studies of embodied learning. In a series of six lessons which focus on working with texts from the Enlightenment, four physical components are incorporated in the design: gestures, voices, a visual component and an auditive component. The staging of the didactic design is investigated through a triangulation consisting of observations, group conversations with pupils, interviews with the teacher and written exit- tickets by pupils. Through a thematic analysis the result shows that students, despite the challenging language, conquer the texts from the Enlightenment, engages themselves in different presented lifeworlds, remember contents and incorporates newfound knowledge while using bodily representations. The explanation is traced to the unity of body and mind and to the multimodal perspective that creates meaning. The presented study also shows the meaning of a sociocultural context while working with literature. Didactic literature positions are discussed further and state that physical components can be used as an entrance into texts from different time periods. All thanks to extensive reading experience, where body and mind are provided with narrative through multiply senses. The discussion continues and suggests that due to the fact that pupils are experiencing the narrative in the texts, they are able to perform more extensive analysis which is the focus of the curriculum.

Ce mémoire a pour ambition de comprendre comment et en quel sens l’idée de « classique » est repensée au XIXe siècle. Alors que l’Ancien Régime intégrait le classique dans un système de représentation relativement cohérent, au sein duquel sa fonction, son rôle et sa pertinence étaient clairement établis, la notion devient brusquement problématique aux lendemains de la Révolution. La France révolutionnée est marquée par une expérience du temps inédite et une nouvelle relation à sa mémoire culturelle qui font éprouver aux lettrés la nécessité de redéfinir leurs rapports au classique. Après avoir clarifié le sens général de la notion avant la Révolution, l’étude se penche sur trois grands « moments » de la dynamique de redéfinition du classique au XIXe siècle. Il s’agit d’abord de voir dans quelle mesure l’historicisation du passé dans les premières années du siècle conduit les lettrés à refuser la fonction de modèle à imiter traditionnellement associée au classique, et à l’envisager désormais en vertu d’une rupture entre le présent et l’« avant-soi ». La partie suivante s’attache aux reconfigurations du canon littéraire par la lancée romantique, et montre comment ces métamorphoses de l’horizon culturel amènent les lettrés à déterminer de nouvelles modalités d’appropriation du classique. Une dernière partie tente de voir de quelle manière la pertinence et la portée de la notion sont révisées une fois de plus dans le contexte de l’« institutionnalisation » de la distance critique entraînée par la scientifisation des études littéraires dans le dernier tiers du XIXe siècle. Inspiré à la fois par l’histoire des idées et l’histoire culturelle, ce mémoire se propose de saisir son objet dans une perspective de longue durée. Outre un large corpus secondaire délibérément éclectique, cinq auteurs sont interrogés plus spécifiquement : Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson. / This master’s thesis aims to understand how and in what sense the idea of "classic" was rethought throughout the 19th century. During the historical period of Old Regime in France, the classic was incorporated into a relatively coherent system of representation, within which its function, role and relevance were clearly established. However, the notion suddenly became problematic in the aftermath of the French Revolution. Revolutionized France was marked by an unprecedented experience of time and a new relation to its cultural memory which made literati feel the need to redefine their relation to the classic. After clarifying the general meaning of the concept before the Revolution, the study examines three major "moments" in the dynamics of redefining the classic in the 19th century. First, the analysis intends to determine the extent to which the historicization of the past, in the first years of the century, led the literati to refuse the classic its traditional function of a model to imitate and instead, to consider it in the perspective of a rupture between the present and the past. The following part explores the reconfigurations of the literary canon by the romantic movement and shows how these metamorphoses of the cultural horizon led the literati to determine new modalities of appropriation of the classic. The final part attempts to see how the relevance and scope of the notion are revised in the context of the "institutionalization" of critical distance brought about by the scientification of literary studies in the last third of the 19th century. Inspired by both intellectual history and cultural history, this dissertation sets out to grasp its subject matter from a long-term perspective. In addition to a large, deliberately eclectic secondary corpus, five authors are questioned more specifically: Ballanche, Stendhal, Sainte-Beuve, Renan, Lanson.

L'étude examine comment la narration historique colombienne du XIXe siècle s'insère dans les différents débats qui ont eu lieu dans le processus complexe de construction du pays en tant qu'État moderne. Elle part de l'idée que la production d'identités nationales comporte des éléments sociaux, politiques et culturels, raison pour laquelle il est fondamental de considérer la place de cette production dans les débats concernant : 1) les rapports entre l’Église catholique, l’État et la tradition chrétienne; 2) la place de l’héritage hispanique dans la culture nationale et du sujet autochtone dans la société; et 3) l’histoire récente de la République émergente. Nous partons de l’idée que divers projets de nation ont été proposés par les intellectuels en fonction de leurs intérêts idéologiques pluriels, voire même de leurs préoccupations existentielles. La rencontre entre les différentes perspectives sur la construction d’une nation moderne a créé des conflits politiques, sociaux et culturels qui se sont soldés par des confrontations fratricides. Or, le caractère conflictuel du contexte de construction de la nation a été reproduit par les intellectuels dans les récits historiques. Dans ce travail, nous adoptons une perspective sociocritique et explorons la façon dont les contradictions historiques d’un processus colonial ont produit des sujets problématiques; sujets qui ont essayé de résoudre, dans la production discursive historique, ces mêmes contradictions dont ils étaient issus. L’exploration de ces hypothèses est faite en quatre temps. D’abord, nous partons des rapports entre les discours historique et littéraire de l’époque pour comprendre la nature hybride de la production étudiée. Cette réflexion nous permet d’observer les fonctions didactique, identitaire et critique que les intellectuels ont attribué au récit historique. En somme, nous analysons en premier lieu comment la littérature de type historique répond à des dynamiques et normes esthétiques produites par le croisement des sphères littéraire et sociopolitique. Les trois dernières parties de cette thèse consistent en une revue des débats de société susmentionnés depuis la production de récits historiques. La deuxième partie examine comment la narration historique est insérée dans les débats sur la religion catholique dans le pays. À travers la narration historique et en affirmant le christianisme comme symbole de civilisation, les intellectuels ont débattu de la place de l'Église catholique dans la structure sociale. Le troisième chapitre analyse les positions sur le passé hispanique et le passé indigène. Malgré la découverte de positions marquées en faveur et contre la tradition hispanique, les oeuvres reproduisent les contradictions historiques dans les deux. Tandis que les premiers devaient considérer le bain de sang et le pillage de la Conquête, les seconds devaient affronter le poids de la tradition hispanique dans le processus de civilisation. En ce qui concerne le passé indigène, l'instrumentalisation discursive du passé pour favoriser les intérêts présents de chaque groupe est considérée. Le quatrième chapitre se concentre sur les oeuvres qui analysent le présent républicain, y compris la transition connue sous le nom d'Indépendance. Bien que cela soit reconnu comme un geste héroïque, l'accent est mis sur le chaos du présent du pays. Les intellectuels avaient tendance à se positionner de manière critique face à un présent instable, soulignant l'impossibilité de développer une véritable république, selon les idéaux du mouvement d'indépendance. Il faut préciser toutefois que notre intention n’est pas de reconstituer les débats à travers les ouvrages, mais bien de comprendre les enjeux soulevés par les intellectuels à partir du discours historique et esthétique. Les oeuvres étudiées expriment autant les contradictions historiques elles-mêmes que la position des intellectuels par rapport à celles-ci. Nous proposons un axe de recherche centré sur l’analyse des récits historiques. En effet, ces derniers demeurent en grande partie inconnus, ce qui pose un frein à la compréhension complète des processus sociaux, historiques et littéraires de la Colombie. / The study investigates how 19th-century Colombian historical narrative is embedded in the various debates that took place in the complex process of constructing the country as a modern state. It starts from the idea that the production of national identities involves social, political, and cultural elements, which is why it is essential to consider the place of this production in debates concerning: 1) the relationship between the Catholic Church, the State, and Christian tradition; 2) the Hispanic legacy’s place in national culture and the Indigenous subject’s position in society; and 3) the recent history of the emerging Republic. This thesis starts with the idea that there were different nation-building projects proposed by intellectuals based on their various ideological interests or even existential concerns. The convergence of these different perspectives on the construction of a modern nation led to political, social, and cultural conflicts that resulted in fratricidal confrontations. The polemical nature of the historical context was reproduced by intellectuals in historical narrative. From a sociocritical perspective, this study examines how the historical contradictions of the colonial process produced problematic subjects who tried to resolve these contradictions within historical discursive production. The exploration of these hypotheses is conducted in four parts. We first analyze the relationship between the historical and literary discourses of the time to understand the hybrid nature of the examined works. This reflection allows us to observe the didactic, identity-building, and critical functions that intellectuals attributed to historical narrative. In summary, we investigate how historical narrative responds to dynamics and aesthetic norms that arise from the intersection of the literary and sociopolitical spheres. The last three parts of this thesis review the aforementioned debates based on the production of historical narrative. The second part reviews the way historical narrative is inserted into debates about the Catholic religion in the country. Through historical narrative and affirming Christianity as a symbol of civilization, intellectuals debated the place of the Catholic Church in the social structure. The third chapter analyzes the positions on the Hispanic past and the indigenous past. Despite finding marked positions in favor and against the Hispanic tradition, the works reproduce historical contradictions in both. While the former had to consider the bloodshed and looting of the Conquest, the latter had to face the weight of the Hispanic tradition in the civilizing process. Regarding the indigenous past, the discursive instrumentalization of the past to favor the interests in the present of each group is considered. The fourth chapter focuses on works that analyze the republican present, including the transition known as Independence. Although this is recognized as a heroic act, emphasis is placed on the chaos of the country's present. Intellectuals tended to position themselves critically in front of an unstable present, pointing out the impossibility of developing a true republic, according to the ideals of the independence movement. Our intention is not to reconstruct the discussion based on the works, but rather to understand the issues put forward by intellectuals through historical and aesthetic discourse. The studied works express both historical contradictions themselves, and the intellectuals' stance in relation to them. We propose a line of study focused on the analysis of historical narrative, as most of it remains unknown, which hinders a comprehensive understanding of Colombian social, historical, and literary processes. / El estudio indaga en cómo la narrativa histórica colombiana del siglo XIX se inserta en los diferentes debates que tuvieron lugar en el complejo proceso de construcción del país como un estado moderno. Se parte de la idea de que la producción de identidades nacionales comporta elementos sociales, políticos y culturales, por lo cual es fundamental considerar el lugar de esta producción en los debates tocantes a 1) la relación entre la Iglesia Católica, el Estado y la tradición cristiana, 2) el lugar del legado hispánico en la cultura nacional y el del sujeto indígena en la sociedad, 3) la historia reciente de la emergente República. Se parte de la idea de que existían distintos proyectos de nación; estos habían sido propuestos por los intelectuales en función de sus diversos intereses ideológicos o incluso de sus preocupaciones existenciales. El encuentro de estas diferentes perspectivas sobre la construcción de una nación moderna creó conflictos políticos, sociales y culturales que resultaron en confrontaciones fratricidas. El carácter conflictivo del contexto histórico fue reproducido por los intelectuales en la narrativa histórica. Desde una perspectiva sociocrítica, se estudia cómo las contradicciones históricas del proceso colonial produjeron sujetos problemáticos que intentaron resolver estas contradicciones en la producción discursiva histórica. La exploración de estas hipótesis se realiza en cuatro capítulos. En el primero, se parte de las relaciones entre el discurso histórico y el literario de la época para comprender la naturaleza híbrida de esta producción. Esta reflexión permite observar las funciones sobre la búsqueda de los orígenes, las didácticas y las críticas que los intelectuales atribuyeron a la narrativa histórica. En síntesis, se analiza cómo la serie literaria de corte histórico responde a dinámicas y normas estéticas que surgen del cruce de la esfera literaria con la esfera sociopolítica. La segunda parte revisa la inserción de la narrativa histórica en los debates sobre la religión católica en el país. Por medio de la narrativa histórica y afirmando el cristianismo como símbolo de civilización, los intelectuales debatieron sobre el lugar de la Iglesia Católica en la estructura social. El tercer capítulo analiza las posturas sobre el pasado hispánico y el pasado indígena. A pesar de encontrar posiciones a favor y en contra de la tradición hispánica, las obras reproducen las contradicciones históricas de ambas tendencia y mientras la primera debe evaluarel derramamiento de sangre y el saqueo de la Conquista, la segunda no puede obviar el peso de la tradición hispánica en el proceso civilizatorio. En cuanto al pasado indígena, se considera la instrumentalización discursiva del pasado para favorecer los intereses en el presente de cada grupo. El cuarto capítulo se concentra en las obras que analizan el presente republicano, incluyendo la transición conocida como la Independencia. Aunque se reconoce esta como una gesta heroica, se hace hincapié en el caos del presente del país. Los intelectuales tendieron a posicionarse críticamente frente a un presente inestable, señalando la imposibilidad del desarrollo de una verdadera república, según los ideales independentistas. Las preguntas que han guiado el análisis no han considerado la reconstrucción de la discusión a partir de las obras, sino la comprensión de los problemas propuestos por los intelectuales a partir de los discursos histórico y literario. Las obras históricas expresan tanto las contradicciones históricas como la situación de los intelectuales frente a estas. El trabajo propone una línea de estudio que se concentre en el análisis de la narrativa histórica, puesto que la mayor parte de ella permanece desconocida, lo cual obstaculiza la cabal comprensión de los procesos sociales, históricos y literarios colombianos.

This thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice. From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.

This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.

No description available.

Qu’ils mettent en avant une figure historique ou un personnage fictif, les Mémoires de Courtilz de Sandras, publiés entre 1687 et 1758, marquent l’essor d’une forme romanesque fondée sur le simulacre de l’écriture mémorialiste. Ces romans empruntent l’aspect de mémoires dont les signataires fictifs sont des acteurs du règne de Louis XIII ou des contemporains parfois célèbres de Courtilz ; cependant, loin d’induire en erreur le lectorat, l’origine fictive de ces récits, qui justifie le qualificatif d’apocryphes, n’a pas empêché les critiques des XVIIe et XVIIIe siècles de déceler derrière les auteurs supposés la présence d’un romancier anonyme. Entre illusion et vérité, ces pseudo-mémoires à la première personne, qui mêlent véracité biographique, exactitude historique et invention romanesque, invitent à redéfinir les notions d’authenticité et de fiction, à la lumière du pacte tacite qui s’établit entre l’auteur et le lecteur, unis dans une conscience commune du simulacre. L’examen des rapports complexes que ces textes entretiennent avec les mémoires et l’histoire permet de les situer dans l’évolution des formes romanesques à l’âge classique. Enfin, la fiction de l’écriture mémorialiste autorise un brouillage des voix dont l’analyse révèle la pluralité des discours mis en œuvre par Courtilz : à la voix du mémorialiste fictif se superpose et souvent s’oppose la voix du romancier, qui, à travers les faits du récit, formule en filigrane un discours satirique sur le monde, incompatible avec celui des personnages. Véritable instrument polémique, la rencontre de ces discours contradictoires participe d’un univers romanesque pessimiste où transparaît l’échec existentiel des héros. / Whether they highlight a historical figure or a fictional character, the Memoirs of Courtilz de Sandras, published between 1687 and 1758, mark the emergence of a type of fiction based upon the pretence of memorialist writing. These novelistic works assume the form of memoirs whose fictitious authors are individuals from the reign of Louis XIII or well-known contemporaries of Courtilz. Far from misleading the readers, the fictional origin of these narratives, which justifies their being called apocryphal, did not prevent the literary critics of the seventeenth and eighteenth centuries from detecting behind the purported authors an anonymous novelist. Between illusion and truth, these so-called memoirs written in the first person, mixing biographical veracity, historical accuracy and fictional invention, urge to redefine the notions of authenticity and fiction, in the light of the tacit pact between the writer and the reader, united in a common awareness of pretence. Studying the complex relationship that these novels share with authentic memoirs and history permits to situate them in the evolution of the works of fiction in the French classical age. The fiction of memorialist writing allows the mixing of the voices, which reveals the plurality of the discourses used by Courtilz: to the voice of the fictitious memorialist, the voice of the novelist is superimposed if not opposed. Through the narrative, the novelist implicitly expresses a satirical speech about the world, irrelevant with the one of the characters. A real instrument of controversy, the interweaving of the two discourses partakes of a pessimistic fictional world which emphasizes the existential failure of the heroes.

瘋狂是人類文明的產物，一直被視為另類、邊緣，與理性對立，因而受到排斥。然而，文學上的「瘋狂」卻有其寶貴的價值，往往是反思與批判固有價值與主流意見的工具，據此發出異議聲音。本文關注這種書寫策略在當代台灣文學場域中的出現方式、文學價值與文化意義，因此以分析小說作品與文學脈絡來說明「瘋狂」的文學脈絡，闡釋當代台灣文學的現象與特色。 / 解嚴(1987 年)是台灣近三十年來的重大事件，亦是近年來台灣文化與本土論述的焦點所在。其影響不獨改變了政治與社會生態，亦為台灣的藝術文化帶來巨大衝擊。戒嚴成為台灣民眾不能磨滅的歷史記憶，各種異議的思想與言論遭受壓抑，直至解嚴才出現新局面，自九十年代開展多元文化思潮。當時，不少作家藉著「瘋狂」書寫另闢膜徑，重新構想歷史，揭藥文化霸權下的種種不安。台灣文學己藉由不同形式搖動一元論述的霸權，加上西方後現代、後殖民思潮的引入，學院的主動引介和翻譯，民間白發的社會運動等，皆為解嚴後的文化現象埋下種種伏線。從文學史脈絡而言，台灣的文學生產的確迅速回應了政治解禁，並以獨特的方式透露社會文化上的騷動。 / 為了掌握上述的歷史脈絡，本文以解嚴為時間標竿閱讀當代台灣小說，藉此分析解嚴與文學現象的互動關係，指出文學如何展示解嚴前後的歷史想像。因此，本文以「瘋狂」為切入點，分析以瘋狂為題材的書寫如何與解嚴前後己解放的議題對話，包括性別認同、身分與族群認同，挑戰政治霸權以及後工業經濟環境下的都市文化等，目的在於驗證「瘋狂」對後解嚴文學所起的作用和價值。 / 本文共分為七章。首章為緒論交代研究動機及方法;第二章為文獻回顧與述評，點出當前的研究成果;第三章旨在交代後解嚴時期小說場域狀況的概述，並界定「瘋狂」的文學意義，藉此論證台灣當代文學與文化的互動關係。第四章題為「國族瘋言與都市病」，借助張大春、李渝與黃凡的作品，切入認同政治與都市化問題對文學書寫的影響。第五章為「虛幻實景與不存在之存在」，旨在察看兩位小說家賀景演與紀大偉，如何藉書寫科幻來展示對未來世界與歷史景觀的想像，以展望當下發展中的文化議題。第六章為「神聖瘋狂與不可能之可能」， 旨在檢視兩位將「瘋狂」書寫演繹得淋漓盡致的作家駱以軍與舞鶴，如何在作品中借助敘述肉體與心靈的瘋狂，探討在多元文化認同觀的氣氛下重思自我主體的問題。末章結論，以總結全文與展望將來的研究方向。 / 本文認為，後解嚴時期小說每以「瘋狂」的視角重新認知變動的世惰。這些作品透過創造各種怪誕場景與行為，呈現個體與權力之間的角力，反省語言與書寫策略的局限，以及批判自我主體的意識，因而為台灣當代文學場域帶來豐富的收獲。 / Madness has its own history among civilizations. From time to time, madness is not only simply a kind of pathological disorder, but also takes a significant cultural role to represent the voiceless, the minorities. As in contemporary Taiwan literature,madness gradually becomes a medium to express different opinions to the society. It inquires from margin to centre which is empowered by the political establishment. It is not only a common topic to be discussed, but also an important writing strategy forwriters to proclaim their historical imagination about the past, present and future. / In 1987, a significant political issue, the Martial Law, was put to an end in Taiwan. After that, due to the liberation of freedom of speech, a booming trend of multiculturalism appeared and brought out great influences to all parts of the society, especially the field ofliterature. Many writers started to change their narration style and inclined their focus on minorities. In order to have a good grasp of this forming trend, hence, this study aims to trace back to the development of Taiwan literature after 1987, and examine how novel writers make use of the narratives of madness to state their own opinion on several topics, including the relationship between the subjectivity of one-self and the identity of the communities. / There are seven chapters in this paper. The introduction states the framework and methodology of the study. In chapter two, a literature review gives an insight into the direction in current research and discussion on the post-Martial Law era, in addition to the narrative of madness. Chapter three investigates the field of Taiwan literature after 1987 in order to discuss the interaction of culture and literature. In the fourth chapter, it studies on the fictions written by Li Yu (李渝, 1941- ), Chang Ta-chuen (張大春, 1957- ) and Huang Fan (黃凡, 1950- ), related to the issue on national identity and their ironic practices. In chapter five, it discusses the science fiction by He Jing-bing (賀景濱, 1958- ) and Chi Ta-wei (紀大偉, 1972-), to find out the projection about future based on the up coming and shifting cultural trend. The sixth chapter focuses on how the writers such as Wu He (舞雀, 1951- ) and Luo Yi-jun (路以軍, 1967- ) contributes to sanctification and internalization of madness, as well as enhance its value for a reflexive purpose. The last chapter concludes the overall findings and projects further research directions of the relevant topics. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄺梓桓. / Sumitted date: 2011年11月. / Sumitted date: 2011 nian 11 yue. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 203-222) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Kuang Zihuan. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究動機與目的 --- p.1 / Chapter 第二節 --- 研究範團與方法 --- p.6 / Chapter 第三節 --- 篇章概述 --- p.15 / Chapter 第二章 --- 文獻回顧及評述 --- p.18 / Chapter 第一節 --- 前行研究述評 --- p.18 / Chapter 第二節 --- 相關文獻述評 --- p.25 / Chapter 第三章 --- 世紀末的瘋狂-解嚴後台灣小說場域的狀況 --- p.37 / Chapter 第一節 --- 何謂瘋狂 --- p.37 / Chapter 第二節 --- 解嚴後台灣小說場城的狀況 --- p.42 / Chapter 第四章 --- 國族瘋言與都市病 --- p.48 / Chapter 第一節 --- 張大春論:國族瘋言與譜妄 --- p.50 / Chapter 第二節 --- 李渝論:都市病 --- p.71 / Chapter 第三節 --- 黃凡論:政治躁鬱症 --- p.87 / Chapter 第四節 --- 小結 --- p.93 / Chapter 第五章 --- 虛幻實景與不存在之存在 --- p.94 / Chapter 第一節 --- 後解嚴時期的科幻小說 --- p.94 / Chapter 第二節 --- <李伯夢三部曲>的敘事實驗 --- p.101 / Chapter 第三節 --- <膜> 的性別與生命辯證 --- p.116 / Chapter 第四節 --- <去年在阿魯吧>的虛擬實境 --- p.128 / Chapter 第五節 --- 小結 --- p.138 / Chapter 第六章 --- 神聖瘋狂與不可能之可能 --- p.141 / Chapter 第一節 --- 駱以軍論:回歸自我之不可能 --- p.141 / Chapter 第二節 --- 舞鶴論:走在不可能的邊緣之上 --- p.167 / Chapter 第三節 --- 小結 --- p.196 / Chapter 第七章 --- 結論 --- p.197 / Chapter 第一節 --- 總結:讓瘋狂說話 --- p.197 / Chapter 第二節 --- 研究反思與前瞻 --- p.199 / 參考書目 --- p.203

本文以「彝族的源流史詩」做為研究對象，透過這個研究，然後更進一步重新省視「彝族」能否歸類為一個「民族」的民族理論上的根本概念。 一、Approche: 文獻大彙整與地圖套疊 源流史詩，內容著重在神話、英雄、族源、遷徙、祭祀等等，其內容非娛樂性質，更因演唱的場域（年節祭祀、喪禮）而有其莊嚴性，也能得到群體的認同。本論文選用源流史詩文本來觀察與解釋彝族，就是基於相同民族應該會有共同的文本，產生共同的感受，包括「創世」的哲學觀、「族源」的歷史認同、「祭祀」的宗教經驗。 首先，從零散文獻裡整理出108篇的文本，並加以體系化。這種體系化，對於目前的民族學/人類學的田野觀察，或文學史/民族史的整體敘述，都是更為宏觀的整合。其次，本論文共繪製21張地圖，並歸納三種套疊形式，讓史詩文本的呈現，多了一項「空間」的概念，製造與彝族的「語言」和「支系」相遇的「空間」，讓我們有機會可以在空間中尋找三者關係的意義，這是前人研究上未能釐清的概念。 三個物件套疊圖：分別是「彝族支系VS六語別VS創世史詩分佈圖」、「彝族支系VS六語別VS創世史詩三大敘事系統分佈圖」、「彝族族源史詩VS六語別VS六祖分支分佈圖」。我們可以看到北部彝語、東部彝語的作品、語言、支系三者可以重疊，但在雲南這三者套疊後，顯得凌亂無法重疊。造成三張圖無法套疊，支系的複雜應該是主因，反映出作品、語言的歸屬問題，而這個問題其實就是本論文想探討的彝族究竟是「一個民族有多個支系」，還是「一個民族集團有多個民族」？ 二、源流史詩的價值與意義 源流史詩包括創世史詩、族源史詩、祭祀史詩三種。它們都反映出彝族祖靈崇拜的宗教根底，也跟民族史緊扣相連。本論文依據108篇的源流史詩作品，做全面性體系化的整理。 （一）創世史詩分成三大敘事系統 本文以自創「情節板塊」的單位來分析39篇創世史詩文本，據此，劃分三個具有特色的敘事的傳統：四川的勒俄特衣系統、貴州的宇宙生成變化系統、雲南的換人種系統。在彝族的多元敘事裡，看到許多不一樣的風格與特色，對一個民族而言，要同時具備所有的特色，誠屬困難。創世史詩的三種敘事系統，可以推論，彝族至少可以再區分三個不同的民族。 （二）族源史詩是以家族史為中心 彝族族源史詩是建立在彝族因父子連名制度而形成的譜系基礎上，由畢摩編纂記錄而產生的作品。整理確定的21篇的族源史詩，集中分佈在貴州畢節與雲南武定。族源史詩以六祖分支故事為核心，在雲南可能受到傳播的影響，故事不夠完整而呈現凌亂的狀況。從集中發展的角度來看，篤慕與六祖分支的故事，是東部彝語區獨有的文本。本文以當代7本彝族史著作來檢驗，可以看出「篤慕與六祖」已經脫離「傳說」而蛻變成「歷史」的一部份。 （三）祭祀長詩充分展現祖靈信仰 彝族宗教類的典籍文獻的重心是在祭經，祭經的內容以祭祀為主，祭祀長詩即是祭經的內容。全面整理後，確定有64篇的祭祀長詩，其中「指路經」文本佔多數，共有36篇。本文試圖從「祖靈觀」、「喪禮葬儀」、「祭祀」三個面向來看各語別彝族之間的差異性？筆者認為，靈魂不滅的觀念是全族所共有的，返祖意識北部彝語區最明顯，東部彝語區只有部分地方有，其他彝語區的返祖意識幾乎沒有，但是從部分儀式內容來看，還保留返祖意識的痕跡。 三、「彝族」傾向為由「多民族」組成的一個「民族集團」 創世史詩的三套疊地圖，證明彝族的支系與語言的關係混亂，因此作品是無法和支系對應。其中最複雜的地區在雲南，北部彝語的四川與東部彝語的貴州，還能產生對應的關係。 族源史詩的三套疊地圖的案例，卻是作品與支系與語言可以三者對應。檢驗結果，可以對應的關係是在東部彝語區的諾蘇、納蘇支系的彝族，其他語別區並沒有族源史詩作品，進而提出該支系已發展為彝族的主體支系，其家族史也成為彝族民族史的主要依據。 祭祀長詩則是在時間的觀念中去釐清彝族的歷史認同記憶，透過「父子連名」與「指路經」的連結，以及祖靈信仰的宗教觀，藉由畢摩的穿針引線，彝族的支系們似乎又可以在「宗教」的影響下，連結在一起。 源流史詩展現民族的歷史觀，足以反映及代表民族的思維，因此源流史詩可以說是文學史與民族史交集下的結晶。因此，筆者將「源流史詩」做為檢驗「彝族」的一種標準。經過這麼多層的討論後，證據是傾向「彝族」是「由多民族組成的一個民族集團」而非「擁有眾多支系的一個民族」。這一個結論，可以讓我們重新拿來檢驗現有的關於「彝族」的「民族史」與「文學史」，同時可以用來檢驗「彝族民族識別」之後的「彝族認同」過程。 / The focus of the thesis is on the “epics of Yi’s origin” By studying them, we may have a closer examination of whether the Yi can be categorized as one “ethnos.” A. The approach: Compiling documents and putting maps together The contents of an ethnos’ epics of origin are mainly legends, heroes, ethnic origin, immigration and ancestor veneration, which are not entertaining. The occasions to chant the epics, such as seasonal worshiping and funerals, make the epics solemn. That lets a group of people identify themselves with their own epics. The thesis observes and explains Yi via its epics of origin since people of a same ethnos are supposed to have the same texts which make them feel the same. The texts include the philosophy view of “creation,” identification with the history of one’s “ethnic origin,” and religious experience of “ancestor veneration.” First, I reorganized 108 epics out of scattered documents and systemize them. Both for ethnological or anthropologic field observations and for the overall description of an ethnos’ history of literature or ethnohistory, the systemization is of broader consolidation. Second, the thesis produces 21 maps and puts them together in three map overlay modes. That adds the concept of “space” to the presentation of the epics and creates the “space” in which Yi’s “language varieties” and “branches” can meet, letting us able to search for the meanings of the relationships among the three – epics, language varieties, and branches – in the space. These are what the forerunners on the study haven’t given any definition for. The three map overlay modes are “Yi’s branches vs six language varieties vs distribution of Yi’s epics of creation,” “Yi’s branches vs six language varieties vs distribution of three main narrative systems of Yi’s epics of creation,” and “Yi’s epics of ethnic origin vs six language varieties vs distribution of the branches from the six forefathers.” We can see the distributions of the epics, language varieties and branches of Northern Yi and Eastern Yi match. But in Yunnan, the result of map overlay appears in a state of disarray. The main cause may be Yi’s branches in Yunnan are complicated, which underlines the belonging issues in the epics and language varieties. Actually, these issues are something the thesis wants to explore to find out if Yi is “an ethnos with many branches” or “an ethnic group made up of several ethnos.” B. The values of the epics of Yi’s origin and history: The epics of Yi’s origin and history can be categorized into epics of creation, epics of ethnic origin, and epics for ancestor veneration. All of them reflect Yi’s religion based on worshiping ancestral spirits and also connect closely with the history of Yi. The thesis tries to study 108 epics of Yi’s origin systematically. (a) Yi’s epics of creation can be divided into three narrative systems. With the self-made “scenario plates” units, I analyze 39 epics of creation and categorize them into three narrative systems – the Lewo Teyi System in Sichuan, the System of the Birth and Changes of the Universe in Guezhou, and the System of Changing Human Races in Yunnan. In Yi’s multi narrative systems, we can see many different styles and features. It’s very rare for an ethnos to have all of the characteristics. Thus, we can conclude that Yi can at least be divided into three different ethnos. (b) Yi’s epics of ethnic origin are centered on family histories. Yi’s epics of ethnic origin which are based on Yi’s family pedigrees built on the patronymic linkage naming system are recorded and edited by bimos. There are 21 well-organized epics of ethnic origin which mainly distribute in Bijie, Guezhou and Wuding, Yunnan. The core of the epics is the branching story of the six ancestries. In Yunnan, the story is not complete and also in a state of disarray. It might be caused by the communication factor. In terms of centralized development, the story of Dumu and the branching of the six ancestries is exclusive in the Eastern Yi region. The thesis explores seven contemporary works on Yi’s history and finds out that “Dumu and Yi’s six forefathers” has departed from Yi’s “legendry” and transformed into part of Yi’s “history.” (c) Long poetry for ancestor veneration sufficiently presents Yi’s beliefs of ancestral spirits. A big chunk of Yi’s ancient religious books are those for remembering the dead whose contents are mainly expressing veneration in the form of long poetry. After reorganization, there are 64 long poems for expressing veneration and most of them (36 in total) are the chi lu ching, scripture of leading the road. The thesis tries to find the differences among the groups of Yi’s language varieties in the aspects of the “concept of ancestral spirits,” “funerary and burial customs,” and “ancestor veneration.” I think that the concept of the immortal soul is prevailing among the Yi. The idea of returning to the ancestry is particularly obvious in the Northern Yi region and can be found in part of the Eastern Yi region. The idea is hardly found in other Yi regions but the traces of the idea are left in part of the rites there. C. Yi is more like an “ethnic group” made up of “several ethnos.” The three sets of overlaid maps of Yi’s epics of creation prove the relationships among Yi’s branches and language varieties are in a state of disarray, causing the epics not really match with the branches. The most complicated area is Yunnan. On the other hand, the epics and branches have some sort of correlation in Sichuan of Northern Yi and Guezhou of Eastern Yi. As for Yi’s epics of ethnic origin, the three sets of overlaid maps show that the epics, branches, and language varieties are related. The situation can be seen in Nori and Nasu groups of Eastern Yi. However, there isn’t any epic of ethnic origin in other language variety regions. Thus I assume Nori and Nasu groups have become main groups of Yi and their family histories have thus become important parts of Yi’s ethnohistory. Long poetry for ancestor veneration aims to clarify the common historical memories of the Yi in terms of the concept of time. Via the linking of the patronymic linkage naming system and the chi lu ching, based on the religious concept of ancestral spirits, and with the help of bimos, Yi’s branches seem to connect together under the influence of “religion.” An ethnos’ epics of origin demonstrate the historical view of the ethnos and represent the thoughts of the ethnos. Therefore, epics of origin of an ethnos can be regarded as something bred by the ethnos’ history of literature and its ethnohistory. Thus, I use “epics of ethnic origin and history” as a criterion to explore “Yi.” Through multi analyses, it is obvious that Yi is “an ethnic group made up of several ethnos” rather than “an ethnos with many branches.” This conclusion can be used to re-examine the existing issues on Yi’s ethnohistory and its history of literature and to review the ethnic identification process of the Yi after Yi was certified as an ethnos.

Les polémiques ont joué un rôle important dans la réception des romans de Mordecai Richler au Québec francophone. Contrairement à l’idée reçue voulant que cet antagonisme ait empêché la lecture de l’oeuvre richlérienne, c’est plutôt à partir de la publication des essais sur le nationalisme québécois que la critique commencera à s’intéresser à l’écrivain. En effet, que ce soit avant ou après les polémiques, c’est au nom d’un rapport de correspondance au collectif que sera jugée l’oeuvre de Richler. L’abandon d’une conception restreinte de l’identité québécoise ouvre la porte à la relecture contemporaine des romans de Richler, même si cette relecture ne fait pas pour autant l’économie d’un rapport au collectif et cherche plutôt à opposer une identité québécoise exclusivement francophone à une identité prête à inclure un auteur longtemps identifié comme un ennemi public. Les mécanismes de ce rapatriement peuvent être mis en parallèle avec les conflits identitaires qui marquent le personnage richlérien. Dans Son Of A Smaller Hero (1955), Noah Adler tente de se définir en tant qu’être humain et de trouver une morale qui lui est propre en fuyant ses origines. Toutefois, cette fuite ne peut se solder que par un échec et le héros apprend que son idéal d’émancipation passe par une réinterprétation de son héritage plutôt que par l’abandon de celui-ci. Barney’s Version (1997) est en partie le récit de formation d’un écrivain tardif. Si Barney Panofsky s’en prend aux impostures collectives dans le roman, son incapacité à être totalement honnête par rapport à lui-même et à plonger dans une création et une défense sincères de ce en quoi il croit le poussera à s’aliéner ceux à qui il tient véritablement. Cette situation laisse le narrateur avec une oeuvre inachevée qui ne pourra s’accomplir que par l’intervention de ses héritiers. Dans les deux romans, la définition du personnage passe par une réappropriation herméneutique de son héritage qui rappelle, dans son rapport à la trace, au collectif et à l’illégitimité, les relectures francophones de l’oeuvre richlérienne. / Polemics have played an important role in the reception of Mordecai Richler’s novels in French Quebec. Contrary to the common idea that this opposition has prevented Quebec’s critics from reading the novelist’s work, Richler’s articles and essays on nationalism are the starting point of its reception. Whether it has been published before or just after the polemics, Richler’s writing is evaluated for the accuracy of his depiction of communities. The progressive rejection of a strictly French conception of Quebec’s identity opens the way to contemporary readings of the writer’s production. Still, these new readings are mostly attached to a conception of the collective, opposing an inclusive portrayal of Quebec’s identity, ready to let in the old enemy, to a uniquely French perspective on the imaginary. The mechanisms of this repatriation can be read in parallel with conflicting identities in Richler’s novels. In Son Of A Smaller Hero (1955), Noah Adler tries to define himself as a human being and to find his own moral standards by rejecting his origins. However, this escape path can only lead to failure and the main character learns that his ideal of freedom can only happen by a reinterpretation of his heritage rather than by its denial. Barney’s Version (1997) is, in part, the story of the education of a late writer. If Barney Panofsky attacks every collective imposture in the novel, his incapacity to be completely honest with himself and to accept a sincere creative activity and defence of his beliefs leads him to be alienated from those he truly loves. This situation leaves the narrator with an unfinished story, which can only be told by his successors. In both novels, the self definition of the character’s identity can only happen by a hermeneutical re-appropriation of his heritage that is similar to francophone readings of Richler’s work by its relation to the trace, the collective and illegitimacy.