Cette thèse porte sur le rêve et le récit de rêve dans les romans d’Anne Hébert, figure majeure de la littérature québécoise. Ses objectifs sont d’identifier une typologie de rêves à partir de la place du phénomène onirique au niveau du corpus et d’analyser les particularités de la transposition des rêves dans le discours, soit leur fonctionnement, afin de démontrer l’existence d’un discours onirique hébertien encadré par le discours romanesque. Une étude narratologique portant sur le contenu, l’instance narrative, le temps de la narration et la structure des récits de rêves dans les romans d’Anne Hébert sous-tend cette recherche et conduit à plusieurs résultats. Ainsi, le rêve comme moyen de révélation du surnaturel, le rêve prémonitoire, le rêve comme forme d’exil, la rêverie, le rêve remémoratif, le rêve comme reflet de la réalité et l’hallucination sont-ils autant d’expériences qui situent le personnage hébertien dans l’entre-deux, en provoquant des ruptures dans sa perception de la veille. Le discours romanesque illustre ces scissions par une grande fragmentation et par les relations complexes qu’il entretient avec le discours onirique au niveau du contenu, de l’instance narrative, du temps de la narration et de la structure du récit onirique. / This thesis focuses on the study of dreams and recollection of dreams in Anne Hébert's novels, an important Quebecois writer. The aims of this paper are to identify a dream pattern following the importance of the oneiric phenomenon as presented in the corpus and to analyze the particularities of dream transposition into the discourse and their purpose, in order to prove the existence of a Herbertian oneiric discourse framed by the Romanesque discourse.A narrative study of the content, the narrative instance, the narrative tense and the structure of the recollection of dreams in Anne Hébert novels underlie this research and lead up to various results. Thus, the dream as manner of supernatural revelation, the premonitory dream, the dream as a way of exile, the recalling dream, the dream as a reflection of reality and imagination are all experiences that place the Hebertian character between the two of them, causing breaches into his perception of wakefulness. The Romanesque discourse shows these scissions by a wide fragmentation and through the complex relations with the oneiric discourse within the content, the narrative instance, the narrative tense and oneiric structure.

The aim of this thesis is to show the current Italian authors work specifics who are asserted as journalists as well as writers and their journalistic and prosaic outputs is devoted to organized crime in today's Sicilian society. Roberto Alajmo, Gaetano Savatteri and Salvo Sottile and their literaty outputs È stato il figlio, Tempo Niente. La breve vita felice di Luca Crescente, Gli uomini che non si voltano, I ragazzi di Regalpetra, Maqeda and Più scuro di mezzanotte were chosen for an analysis. The criterion in choosing works was particularly a time span of its formation - for the first time they were published after 2005 and at the same time they are mostly the newest literary outputs of selected authors meeting the requirements. Particular authors are presented after an opening which is describing logical interrelationship between writers and journalists in history of Italian literature ever since the unification of Italy in 1870 and deals with history of Sicilian Mafia and Sicilian literature concerning a phenomenon of Mafia. Part of the following analytic section is devoted to work of particular writers-journalists. Emphasis is put on analysis of prosaic texts considering authors journalistic outputs. Watched is particularly a thematic line of their work and a possible reflection of events...

Julien Green a avoué avoir recours à l’art pour y enfermer tout ce que le monde lui offrait de déplaisant, voire d’inquiétant. Son équilibre mental dépendait de cette démarche créative et cathartique. Une telle expérience a fait surgir un univers tourmenté, dominé par des forces maléfiques dont l’influence voue les êtres au tragique. Dans une logique tout d’abord conventionnelle, les figures féminines apparaissent comme l’image la plus visible d’influences néfastes. Leur drame provient de l’obsession extrême d’un corps porté à les trahir. Qu’elles soient laides ou belles, l’attachement à leur image mine l’existence des héroïnes et les voue à la déchéance, car elles deviennent le champ de bataille où les forces du bien et du mal s’opposent. Elles sont alors pour Green le support privilégié d’une réflexion qui sonde la profondeur de l’imprégnation tragique des récits de fiction.L’encadrement social et religieux apparaît comme une forme de protection de la femme face au mal auquel elle semble promise. Mais la soumission aux normes bourgeoises s’avère pernicieuse : elle enferme les êtres sur eux-mêmes et nourrit fatalement en eux les caractéristiques propices au développement d’un mal dont l’évolution se révèle incontrôlable. En dépit de la charge négative attribuée à nombreuses de ses héroïnes, Green dépasse la représentation misogyne première. La femme bénéfique, souvent imparfaite mais purifiée par les peines endurées, par son besoin de vivre dans la vérité, devient le signe discret d’une ouverture face au tragique. Par sa présence Green parvient à introduire subtilement dans ses romans l’espérance chrétienne, sans rendre son œuvre édifiante. / Julien Green admitted turning to art to encompass everything in the world he found unpleasant or even worrying. His mental well-being depended on this creative and cathartic practice. It brought to the forefront a tormented universe dominated by malevolent forces, with tragic consequences for those involved.In accordance with conventional logic, female characters are portrayed as bearing the brunt of these harmful influences. Their drama springs from an obsession with their bodies which is destined to betray them. Be they ugly or beautiful, their attachment to their image undermines them as heroines and dooms them to failure, for they become the battlefield on which the forces of good and evil are opposed. For Green they are the preferred medium through which he fathoms the depths of the tragic in his works of fiction. The social and religious setting of the novels may appear to be a form of protection for women in the face of the evil which awaits them. But their compliance to the norms of the bourgeoisie proves to be harmful: it imprisons them within themselves and, fatally, engenders characteristics which lead to the development of an evil which proves to be out of control.In spite of the negative charges against numerous of his heroines, Green rises above simple misogyny. The altruistic woman, often far from perfect, but tempered by hardships endured, becomes, by her need to live the truth, a discreet sign of hope in the face of tragedy. It is through his female characters that Green succeeds in introducing subtly the notion of Christian hope in his novels, without making his work 'edifying'.

De tous les auteurs français du XIXe siècle, Balzac fut le plus connu en Europe centrale et orientale. Sa réception fut moins marquante avant 1918, tranquille en 1918-1948 et glorieuse en 1948-1989. Pourquoi Balzac a-t-il obtenu ce quasi monopole ? Pourquoi Balzac et non Flaubert, Zola ou Maupassant ? Nous avons analysé les postfaces et les critiques de ses chefs-d´œuvre ainsi que le contexte historique et culturel. Après 1948 le pouvoir communiste cherche quelqu'un sur qui s´appuyer en littérature et Balzac en sort victorieux. Son époque forte arrive pour tous les pays alliés de l´URSS. Son œuvre fait l´objet de dizaines de milliers de tirages, les maisons d´édition nationales se l´arrachent, subventionnent sa promotion littéraire en le liant avec Lénine ou très souvent avec Marx, Engels qui servent de caution pour lui ouvrir une grande voie. En quarante ans, Balzac est partout. Après 1989, la littérature classique est déjà installée mais c´est aussi sa fin. Balzac n´est plus nourri par les maisons d´édition : celles-ci étant devenues privées, publient ce qu´elles veulent. Que cinq livres de Balzac sont édités. Point d´intérêt pour l´auteur de La Comédie humaine, pourtant, la culture slovaque est imprégnée de son souvenir. / Of all the French authors in the XIXth century, Balzac was the best known in Central and Eastern Europe. His reception was less remarkable before 1918, quiet in 1918-1948 and glorious in 1948-1989. Why did Balzac obtain this almost monopoly? Why Balzac and not Flaubert, Zola or Maupassant? We analysed the postscripts and the criticisms of his masterpieces as well as the historical and cultural context. After 1948 the communist power is searching for someone who they can lean on in literature and Balzac emerged victoriously. His powerful era is visible in all the allied countries of the USSR. His work is the subject of ten thousand of the prints, the national publishing houses compete for him, subsidize his literary promotion by linking him with Lenin or very often with Marx, Engels who serve as a surety to open a great way for him. In forty years, Balzac is everywhere. After 1989, the classical literature is already installed but it is also its end. Balzac is no longer fed by the publishing houses: they become private and publish what they want. Only five books are edited. Point of interest of the author of the Human Comedy, however, the Slovak culture is impregnated in his memory.

This thesis is a study of William Gilmore Simms' novels that deal with the Revolutionary War.

Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre. / This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the young author and the cultural style of his novels. In the central part of this analysis the characters are studied in the perspective of their search for identity and of their way of coming to terms with the public and social systems with which they are confronted through events involving their civil status (marriage, death, etc.). Their relationship with the image and power of numeracy is another important dimension of the complex dynamics of this search for identity. The voices that one hears in the narration, public or private, individual or collective, consensual or dissenting, are examined for the clues they yield concerning the cultural tensions present within the communities represented in the novels. The last part of the thesis examines the conflict and convergence between literacy as a “habitus” and the living traces of orality as they appear in the novels of the corpus (Brûlebois, Aller retour, La Table-aux-Crevés). This study also aims at being open to the world of Marcel Aymé as a whole and at being attentive to the interrelations between all the publications of the author, including his newspaper articles and his plays.

The output of my studio thesis – redesign of a book called Zůstaňte s námi by Marek Šindelka, follows to the theoretical section titled Collage in contemporary Czech illustration and brings up the know-how of said issue. This fictional redesigned story book by contemporary Czech author deals with the current possibilities of the collage technique, its practical application in the field of graphic design and strives for its reconnection with modern Czech books.

MAAS / M. E. R. Mathivha Centre for Languages, Arts and Culture

This study examines the significance of reading aloud for work with values in school through an analysis of Pojken i randig pyjamas (The Boy in the Striped Pyjamas). The analysis considers the themes and narrative technique of the texts. In this study, reading aloud is viewed as an opportunity for the teacher to read aloud to pupils from a work of literature. The book Pojken i randig pyjamas was selected for study because it is a book that is often chosen for reading aloud and it can lead to many discussions in the classroom. The results show that this book is suitable in many ways for reading aloud in the classroom. The study also finds that this book functions well as a basis for work with values. Although the book deals with the Holocaust, a topic that can be difficult for teachers and pupils to deal with in a good way, the study shows that this book, when the reading is followed by a discussion, can contribute to a broader understanding of both the Holocaust and the outlook on humanity.

I detta arbete studeras hur relationen mellan skolans undervisning kring källkritik och hur elevernas möten med verk med sanningsanspråk ser ut. Detta studerades genom en halvstrukturerad forskningsintervju med både lärare och elever. Lärarna är verksamma gymnasielärare i svenska och eleverna läser sitt tredje år vid gymnasiet. Eleverna intervjuades i fokusgrupper medan lärarna intervjuades en och en. Intervjuerna genomfördes via distans, och varje fokusgrupp och lärare intervjuades en gång. Denna studie är en kvalitativ studie med didaktisk teori som teoretiskt ramverk. Den slutsats som kan dras utifrån undersökningens resultat är att relationen mellan skolans undervisning kring källkritik och hur elevernas möten med verk med sanningsanspråk ser ut är relativt liten. Undervisningen innehåller verk med sanningsanspråk men det är inte en del av arbetet med källkritik. / This thesis examines the relation between the school’s work on source criticism and how students encounter with works with truth claims looks. This was studied through a semi-structured research interview with both teachers and students. The teachers are active high school teachers in Swedish and the students study their third year at the high school. The students were interviewed in focus groups while the teachers were interviewed one by one. The interviews were conducted remotely, and each focus group and teacher were interviewed once. This study is a qualitative study with didactic theory as a theoretical framework. The conclusion that can be drawn from the results of the survey is that the relationship between the school's teaching about source criticism and how students' encounters with works with truth claims looks is relatively small. The teaching contains works with truth claims but is not part of the work with source criticism.