Les formes du temps chez Albert Cohen ont montré qu'il existe une interaction entre le temps chronologique romanesque et l'histoire écrite en filigrane l'ensemble des œuvres. Les différentes formes et modes d'expression du temps chez Cohen constituent le socle d'une écriture plurielle en contradiction avec son temps. L’œuvre de Cohen dépasse tous les clivages de la temporalité poétique, romanesque, lyrique, théâtrale, autobiographique, profane et sacrée pour atteindre une dimension universelle d'une construction du temps fondé sur la différence. Le récit a précisément pour rôle de permettre le décryptage du temps par l'homme à travers une expérience intime dont les différentes manifestations les plus fréquentes dans les romans cohéniens sont l'attente, la solitude, l'ennui et la mélancolie. Le moment intime est non seulement illimité mais il reste ouvert à plusieurs horizons ce qui permet d'ailleurs la cohabitation de multiples séquences spatio-temporelles. Avec l'Histoire, le temps admet deux réalités parallèles : une première, terrestre, à partir de laquelle l'homme commence à évaluer le temps chronologique et linéaire ; une seconde, mythique regroupant la première en lui donnant un ancrage dans le temps d'antan que l'écrivain régénère avec l'avènement d'un nouvel Adam. / Forms at the time Albert Cohen showed that there is an interaction between chronological time and history novels written between the lines of all works. Different forms and modes of expression of time in Cohen are the foundation of a plural writing in contradiction with the times. Cohen's work transcends all divisions of temporality poetic, romantic, lyrical, dramatic, autobiographical, profane and sacred dimension to achieve a universal construction based on the time difference. The History is precisely to allow the decryption part time by man through an intimate experience with the various manifestations common in novels cohéniens are waiting, loneliness, boredom and melancholy. The intimate moment is not only unlimited but it remains open in several horizons thereby also the coexistence of multiple spatio-temporal sequences. With history, time admits two parallel realities : first, land, from which he begins to evaluate the chronological time and linear second, involving the mythical first giving it a foothold in the time of old regenerates the writer with the advent of a new Adam.

The purpose of this study is to demonstrate Jane Austen’s illumination of Samuel Johnson’s moral precepts in seeking harmony in choice of life. Austen explores the various decisions of her characters and the effects of those choices on happiness through the use of free indirect discourse. Austen and Johnson both contend that marriage is a potential source of great happiness in an individual’s choice of life, and concordia discors between spouses offers the highest form of contentment in marriage. Johnson believed that the novelist had a moral duty to his or her reader to present characters with attainable virtue. Austen’s illumination of Johnson’s moral precepts and philosophies fulfills the standards Johnson set forth for the novel genre. This study traces the relationship between Johnson’s precepts in Austen’s Emma, Persuasion, Pride and Prejudice, and Sense and Sensibility.

[pt] O primeiro objetivo desta tese é a descrição, a análise e a interpretação dos procedimentos narrativos utilizados por João Ubaldo Ribeiro em seus nove romances até agora publicados. Isto significa identificar, na sua maneira de contar as histórias, uma específica relação que o narrador estabelece com os seus personagens, ao levar às últimas conseqüências a prática do discurso indireto livre. A representação ficcional desse narrador - aqui nominado o narrador sem cabeça - é um personagem-chave do escritor: a almazinha cuja história é relatada logo às primeiras páginas do romance Viva o povo brasileiro, de 1984. Comportam-se ambos, um de cada lado, como seres errantes, figuras sem feitio e em constante processo de incorporação de linguagens alheias. O segundo objetivo é demonstrar que esse mesmo narrador, tão íntimo de seus personagens, se revela no entanto ainda mais apegado ao próprio escritor, com ele partilhando crenças, idéias e experiências. Para tanto, com base numa pesquisa de imprensa que remonta ao início da carreira de João Ubaldo Ribeiro como escritor e avança até o ano de 2005, a tese articula o seu universo ficcional à sua biografia ainda não escrita - o que contribui para uma compreensão mais ampla da sua obra. / [en] The first purpose of the thesis is the description, the analysis and the interpretation of the narrative procedures used by the Brazilian writer João Ubaldo Ribeiro throughout his nine novels published up to now. That means to identify, in his way of telling stories, a specific relation established by the narrator with his characters, stretching to the limit the usage of the so- called free indirect discourse (the FID). This narrator´s fictional representation - herein called the headless narrator - may be found in a Ribeiro´s key character: the little soul whose lifestory is told right on the first pages of the novel Viva o povo brasileiro (An invincible memory), published in 1984. They both behave - the little soul and the narrator, side by side, in and out the story - as errant beings, shapeless figures in an on-going process of incorporating someone else´s speaches. The second purpose is to demonstrate that this same narrator, though very close to his characters, appears, nevertheless, even more attached to the writer himself, sharing with him believes, ideas and experiences. In order to demonstrate such relation between the author and the narrator, the thesis links the fictional universe of the novels and the author´s nonwritten biography. Such relation is established on the basis of a printing-press research that covers the period beginning in the 1960´s until the 2005´s, thus allowing a more comprehensive understanding of the author´s work.

Cette thèse se propose d’étudier le style indirect libre dans l’œuvre de Pier Paolo Pasolini à travers un axe de recherche qui peut, schématiquement, se rattacher à deux champs: le champs poétique, concernant l'activité littéraire et cinématographique de l'auteur et le champs théorique, où le problème de la forme esthétique devient l'occasion pour l'étude des principes linguistiques etsémiotiques qui en permettent la réalisation. Ce double parcours s'articule à son tour en quatre phases de développement: la phase de la « régression » théorisée dans les années quarante pour expliquer divers processus relatifs à l’emploi du dialecte en littérature ; celle de la « connexion sentimentale », notion tirée des Cahiers de prison de Antonio Gramsci pour décrire le rapport entre les intellectuels et les classes subalternes ; celle du discours indirect libre en tant que tel, qui se trouve à la base de lapoétique des romans romains des années cinquante, et qui est également présent dans d’autres œuvres élaborées plus tard ; et finalement la phase de la subjective indirecte libre, théorisée dans les années soixante pour décrire le style indirect libre au cinéma.La régression, la connexion sentimentale, le discours indirect libre, la subjective libre indirecte constituent le point de contact entre le parcours poétique et dans le même temps théorique de l'auteur. La régression dans la parole de l’autre, ou, comme au cinéma, dans le regard de l’autre, représente en dernière instance la tentative de l’auteur de traduire sur le plan littéraire et cinématographique la réalité de conflits historiques et existentiels. / This doctoral thesis studies the free indirect style in Pasolini's works through a double path of research. On one hand it takes into account his literary and cinematic production; on the other it studies the linguistic and semiotic principles on which its free indirect style hinges. This double path has been crossed in the light of four notions that Pasolini developed in his theoretical essays along his artisticactivity. The first one is the “regression”, elaborated in the 40s in order to describe the usage of the Friulian dialect of his early poems. The second one is the “sentimental connection”, which Pasolini discovered in Gramsci's Prison Notebooks and he employed to analyse the relationship between intellectuals and subaltern classes. The third one concerns the free indirect discourse used in Pasolini's Roman novels of the 50s and studied from a linguistic and semiotic point of view in some essays. The last one is the free indirect subjective theorised in the 60s to describe the cinematic adaptation of the free indirect style.Regression, sentimental connection, free indirect discourse and free indirect subjective are the most important notions of Pasolini's free indirect style. They show how the author established itslinguistic, political and sentimental relationship with the subalterns that populates his literary works aswell as his movies.

Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Simone Aparecida Lino da Silva.pdf: 591717 bytes, checksum: 84f94ac694e513dc088f7dc7b56af427 (MD5) Previous issue date: 2008-10-10 / This dissertation interprets the novel Vidas secas according to the perspective of the dialogism, derived from the consciousness sketched by rudimentary characters and the Graciliano Ramos interest of revealing the perception of these characters not only by themselves, but also by the surrounding reality. For this reason, the studies of Mikhail Bakhtin constitute the theoretical basis of this research because Vidas secas presents the principles of the polyphonic novel: reality s information, lack of conclusion, dialogism, and polyphony. Our object of study Fabiano character has an interior conflict, asking himself about his identities and his action in the world. It is an aspect of the dialogic character because, to Bakhtin, the consciousness begins where the dialogue begins. Moreover, Fabiano is not the interpreter of the author, he has independence and freedom to expose the opinions and to take decisions. Vidas secas is constituted basically by interior monologue and the dialogic character is formed by a process of interactive communication. How is going to happen the Fabiano s consciousness of himself? We understand that the narrator uses the free indirect discourse to stage the thoughts of the character in an authentic way because by this double-voiced word it was possible to offer the voice to the one without it but indicating the tonal a difference between the point of view of the narrator, owner of the word, and the character, that has not that word. In the novel, we face this ambivalent and dialogical discourse in which we listen to two voices the Fabiano s one and narrator s one that build dialogic relations, sometimes in consonance, sometimes in dissonance, and it turns Vidas secas a plurilingual spectacle / Esta dissertação interpreta o romance Vidas Secas sob a perspectiva do dialogismo, em decorrência da consciência esboçada por personagens tão rudimentares e do interesse de Graciliano Ramos em revelar a percepção dessas personagens não apenas sobre si mesmas, mas também sobre a realidade circundante. Por isso, os estudos de Mikhail Bakhtin constituem fundamentação teórica de base desta pesquisa, pois Vidas Secas apresenta os mesmos princípios do romance polifônico: realidade em formação, inconclusibilidade, dialogismo e polifonia. Nosso objeto de estudo - a personagem Fabiano - trava um conflito interior, questionando-se sobre sua identidade e sua atuação no mundo. Um aspecto da personagem dialógica, porque, para Bakhtin, onde começa a consciência inicia-se o diálogo. Além disso, Fabiano não é um intérprete do autor, tem independência e liberdade para expor suas opiniões e para tomar decisões. Vidas Secas é constituído basicamente por monólogo interior e a personagem dialógica é construída por um processo de comunicação interativa. Como ocorrerá a construção da autoconsciência de Fabiano? Entendemos que o narrador se pauta pelo discurso indireto livre para encenar os pensamentos da personagem de forma autêntica, já que por meio dessa palavra bivocal foi possível dar voz a quem não tinha, porém, marcando a diferença tonal entre o ponto de vista do narrador, detentor da palavra, e o da personagem, que não a possui. Durante todo o romance, nos defrontamos com esse discurso ambivalente e dialogal no qual ouvimos o ressoar de duas vozes - a de Fabiano e a do narrador que tecem relações dialógicas entre si ora por consonância, ora por dissonância, fazendo de Vidas Secas um verdadeiro espetáculo plurilíngüe

This thesis argues, contrary to Gilles Deleuze’s critique of method and disavowal of textuality, that there is a re-constructive textual method at work in Deleuze’s 1968 treatise Différence et répétition. It is a method not for interpretation, representation, or deconstruction but for prolonging and reactivating historical and contemporary texts into the present and for the future. It is demonstrated how Deleuze’s method synthesises temporally and thematically heterogeneous texts and make them resonate with each other. The analysis is conducted, first, through a notion of telling stories as a complementary device to Deleuze’s definition of philosophy as the creation of concepts. Second, by showing how Deleuze – instead of offering solutions – connects, develops, and repeats problems from which the new is drawn. Third, by discussing his positive and re-constructive concept of critique and by arguing that his use of free indirect discourse should be understood as a metaphysical and political tool. Finally, by claiming that Deleuze’s concept of multiplicity can be viewed as a synthetic and methodological device that brings a heterogeneous given together. In concluding, it is proposed that Deleuze draws on tools and technics developed in literature and mathematics, specifically differential calculus and geometry, to develop methods for philosophy. Studying Deleuze’s method in Différence et répétition not only offers a prism for throwing new light on Deleuze’s philosophy through his understudied methodology, but also contributes to the development of innovative philosophically inspired methods for re-constructing the present. In addition, this study shows that while Deleuze pushed continental philosophy beyond its hermeneutic, structuralist, and existentialist heritage, he also contributed to the development of novel methodologies. (For a copy of the full text, do not hesitate to contact me: emet.brulin[at]gmail.com)

Text in English, Tswana and siSwati / This dissertation examines the multiplicity of social positions within which African women in the postcolonial era find themselves. It focuses on how the dramatic dialogue depicts the positions of women in Zakes Mda’sThe Nun’s Romantic Story, And the Girls in their Sunday Dresses and You Fool, How can the Sky Fall. The study is intended to explore the dramatic dialogue in these plays and to show whether there is any evidence of change in women’s positions. It seeks to demonstrate the extent to which the positions of women have changed and also how the dramatic dialogue in the selected plays of Zakes Mda indicates the change in women’s positions. / Thutopatlisiso eno e tlhatlhoba maemo a loago a mantsintsi a basadi ba maAforika ba ba tshelang mo motlheng wa morago ga puso ya bokoloniale ba iphitlhelang ba le mo go ona. E tota ka moo puisano ya terama e bontshang maemo a basadi ka gona mo The Nun’s Romantic Story, And the Girls in their Sunday Dresses le You Fool, How can the Sky Fall tsa ga Zakes Mda. Maikaelelo a thutopatlisiso ke go sekaseka puisano ya terama mo metshamekong eno go bontsha gore a go na le bosupi bope jwa diphetogo mo maemong a basadi. E batla go bontsha ka moo maemo a basadi a fetogileng ka gona le ka moo puisano ya terama mo metshamekong e e tlhophilweng ya ga Zakes Mda e bontshang diphetogo mo maemong a basadi ka gona. / Ledisetheshini ihlolisisa tikhundlanyenti tetenhlalo bomake base-Afrika labatitfola bakuto ngemuva kwesikhatsi sembuso webukolonali (umbusobucalu). Igcile ekutsini inkhulumomphendvulwane emidlalweni yaZakes Mda itikhombisa kanjani letikhundla tabomake; i-The Nun’s Romantic Story [Indzaba yelutsandvo yemasisitela], ne-Girls in their Sunday Dresses [Emantfombatana etingutjeni tawo teLisontfo] ne-You Fool [Wena Silima], How can the Sky Fall [Singawa kanjani Sibhakabhaka]. Lolucwaningo lwentelwe kuhlolisisa inkhulumomphendvulwane kulemidlalo kanye nekukhombisa kutsi ingabe bukhona yini bufakazi bengucuko etikhundleni tabomake. Ifuna kukhombisa kutsi tikhundla tabomake tigucuke kangakanani kanye nekutsi inkhulumomphendvulwane emidlalweni lekhetsiwe yaZakes Mda ikukhombisa kanjani kugucuka kwetikhundla tabomake. / English Studies / M.A.(Theory of Literature)