Thesis (Ph. D.)--University of Birmingham, 1991. / Includes bibliographical references (p. 364-384).

Thesis (Ph. D.)--University of Birmingham, 1991. / Includes bibliographical references (p. 364-384).

This literary work has been chosen to focus on a novel called Fräulein Else and is written by Arthur Schnitzler. The author has chosen to focus the work on comparing the work with theera of the time the book was written and analyze the plot and character Else from apsychoanalytic perspective. The title of the paper is therefore ”Fräulein Else-Textanalyse aus epochentypischer Perspektive und Analyse der Hauptfigur auspsychologischer Sicht”. By collecting and reading student literature that touches on factsabout literature of the era: the millennium literature and literature on psychoanalysis, theauthor has been able to begin the analysis of the book, Fräulein Else and then be able toanswer her questions. The sources for the work come mainly from student literature but alsofrom copywriters who intend to spread knowledge. This study results in a deep characteristicanalysis of the main character as well as a comparison of the book and epoch-makingfeatures.

Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ANA PAULA RIBEIRO DE CARVALHO.pdf: 862129 bytes, checksum: 9893bcd7e62e6c3151909aae8a5d437f (MD5) Previous issue date: 2016-03-01 / This work aims to study the contemporary work, The hedgehog elegance , by Muriel Barbery, of renewing composition model, whose overall objective is to verify the compositional model of a specific mode of reception in this work, being that the reader is the subject to the reading process through a deductive and bibliographic study. The predominant theory to establish these modes of reception and your senses from the reader was the theory of reception, by Wolfgang Iser (1996). In Chapter 1, it was presented a brief history of the origin of the novel. Then, complementary theories were used, as the one of Norman Friedman (1967) and Ligia Leite (2002) that analyzed the narrative focus in the novel. In Chapter 2, it was commented on: contemporary critical currents; the narrative point of view, from Jean Pouillon (1974); the subject-reader and immersion of the senses, by Rita Costa (2003) and Mikhail Bakhtin (1992); the techniques of stream of consciousness, especially of the inner monologue, by Robert Humphrey (1954), and the adoption of the diary, by Philippe Lejeune (2008). In Chapter 3, there was a study of the symbols in the work, as it moves something common to the symbolic. The authors Jean Chevalier e Alain Geerbrant Chevalier (2009) served as a support for this chapter, besides Carl Jung (1954). The hedgehog elegance , so, is a renowned work of high value that reflects the new novel composition for the world literature. / Este trabalho visa ao estudo da obra contemporânea, A elegância do ouriço, de Muriel Barbery, de modelo de composição renovador, cujo objetivo geral é verificar o modelo compositivo ensejador de um modo específico de recepção nesta obra, tendo o leitor como sujeito do processo de leitura, por meio de um estudo dedutivo e bibliográfico. A teoria predominante para se estabelecer esses modos de recepção e seus sentidos a partir do leitor foi a teoria da recepção, de Wolfgang Iser (1996). No capítulo 1, apresentou-se um breve histórico sobre a origem do romance. Em seguida, fez-se uso de teorias complementares, como a de Norman Friedman (1967) e Ligia Leite (2002), que analisaram o foco narrativo no romance. No capítulo 2, comentou-se sobre: as correntes críticas contemporâneas; o ponto de vista narrativo, a partir de Jean Pouillon (1974); o sujeito-leitor e a imersão de sentidos, por Rita Costa (2003) e Mikhail Bakhtin (1992); as técnicas do fluxo da consciência, em especial do monólogo interior, por Robert Humphrey (1954), e a adoção do diário, por Philippe Lejeune (2008). No capítulo 3, fez-se um estudo sobre os símbolos na obra, em que se transita algo comum para o simbólico. Os autores Jean Chevalier e Alain Geerbrant (2009) serviram como suporte para a desenvoltura desse capítulo, além de Carl Jung (1954). A elegância do ouriço, assim, é uma obra renomada de alto valor que traduz a nova composição romanesca para a literatura universal.

Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être. / This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal.

TITLE Compositional-stylistic Unities in David Lodge's Changing Places AUTHOR Martina Felcmanová DEPARTMENT Department of English Language and Literature SUPERVISOR PhDr. Petr Chalupský, Ph.D. ABSTRACT The main aim of this diploma thesis is to focus on the forms in which heteroglossia manifests itself in the most widely known campus novel of David Lodge, Changing Places. The Theoretical Part explains the two crucial terms of Mikhail Bakhtin's literary theory, namely heteroglossia and dialogism, and describes the impact his ideas had on the critical writings of David Lodge. Moreover, it strives to combine Bakhtin's and Lodge's typologies of novelistic discourse with the terminology of Seymour Chatman, in order to create sufficient terminological framework for the subsequent stylistic analysis. Consequently, the Practical Part attempts to explore how the separate unities of heteroglossia are represented within the structure of Changing Places, what effect they have on the implied reader and how they influence the novel as a whole.

Cette recherche a pour titre Fonctionnement du triangle de la subjectivité intériorisée dans le roman moderne. Elle a pour but d’étudier la parole et les pensées intérieures du sujet de l’énonciation dans des œuvres romanesques souvent marquées par le décrochage et le "brouillage" des pistes énonciatives. Les trois procédés discursifs et narratifs ciblés sont le monologue intérieur (MI), le discours indirect libre (DIL) et le point de vue (PDV). L’examen des trois piliers du langage intérieur prend appuie sur les apports de la linguistique de l’énonciation, de la polyphonie et de la pragmatique. Cette recherche cible neuf œuvres romanesques que nous plaçons sous l’étiquette de "roman moderne". Ces romans appartiennent à trois auteurs français qui ont développé des récits dont la source locutrice et énonciatrice pose problème. La difficulté de traiter de l’énonciation romanesque dans un corpus choisi en l’occurrence est due essentiellement à l’effacement des frontières entre discours citant et discours cité. Marcel Proust, Claude Simon et Nathalie Sarraute n’appartiennent certes pas aux mêmes courants esthétiques et idéologiques, mais ils ont ceci de commun qu’ils offrent une configuration romanesque qui conduit à s’interroger sur le statut du locuteur et de l’énonciateur dans une forme d’expression qui n’est pas toujours verbalisée. / This research is entitled Functioning of the Triangle of Internalized Subjectivity in the Modern Novel. It aims at studying the speech and the inner thoughts of the subject of enunciation in fiction often marked by the "interference" in enunciation tracks. The three targeted discursive and narrative processes are internal monologue (MI), free indirect speech ( DIL) and the point of view (PDV) . The examination of the three pillars of the inner language relies on the contributions of linguistics of enunciation, of polyphony and pragmatic. This research targets nine novels that we can classify as belonging to the "modern novel" category. These novels belong to three French authors who have developed narratives in which the source of speaker and enunciator is a cause of ambiguity. The difficulty of dealing with the novelistic enunciation in a textual corpus chosen in this case is mainly due to the blurring of boundaries between reporting speech and reported speech. Marcel Proust, Claude Simon and Nathalie Sarraute do not belong to the same aesthetic and ideological trends, but what they have in common is that they all offer a novel configuration that makes us raise questions about the status of the speaker and the enunciator in a form of expression that is not always verbalized.