Notre étude de doctorat se focalise sur une minutieuse analyse des rencontres organisées autour de l'oeuvre et la personne de Marguerite Yourcenar, sur une base théorique bien précise : d'une part, la métacritique de l'Italien Gianbattista Vico, de l'autre, la théorie de la réception littéraire de l'École de Constance, en particulier de son élève Hans Robert Jauss.Notre analyse essaye de mettre de l'ordre dans le dédale des théories à ce sujet, en montrant que toute approche sur la réception doit situer son objet dans une triple dimension du processus herméneutique : la compréhension, l'interprétation et l'application du texte à la situation historique de l'interprète.Selon la méthodologie de la réception de Jauss, qui fournit des outils pour une relecture critique de tout produit littéraire, nous avons étudié les actes des colloques sur la base de différents genres d'analyse :l'édition du texte, l'analyse thématique, lexicale et sémantique, herméneutique, génétique, pragmatique,psychocritique, sociocritique, l'étude du paratexte (épitexte et péritexte) et l'étude comparatiste.Sur la base de cette théorie, nous avons fourni un véritable dossier de toutes les expériences de lecture de l'oeuvre yourcenarienne, exposées au cours de plus de quarante-quatre rencontres. Une riche annexe est offerte, composée par des fiches déductives pour chaque rencontre organisée depuis 1984, pour essayer de montrer les approches préférées par la plupart des critiques de l'oeuvre yourcenarienne. À la fin de cette analyse, nous sommes animée par la conviction que le lecteur, voire la lecture, sont bien l'objet central de la communication yourcenarienne et nous ne sommes donc pas surprise que le thème fasse l'objet de très nombreux travaux et approches différents, qu'ils préfèrent s'intituler recherches sur la réception ou sur le récepteur, l'un et l'autre recouvrant en définitive les mêmes questionnements. Les récepteurs de l'oeuvre yourcenarienne jouent donc un rôle déterminant dans le travail de décodage des messages qui leur sont proposés par l'écrivaine, mais sans pour autant que le contenu soit indifférent ou neutre.Ce travail esquisse la ligne de notre lecture personnelle, qui, d'une part, se voit comme une tentative de bilan des études produites à l'occasion des colloques yourcenariens, et qui, d'autre part, ouvre la voie à d'autres lectures possibles de ces écrits épitextuels.Nous espérons pouvoir stimuler d'autres horizons d'attente chez d'autres lecteurs, "différemment"intéressés aux colloques yourcenariens. Et nous espérons, aussi, que notre recherche donnera à plusieurs le goût d'une meilleure connaissance de Marguerite Yourcenar et le plaisir de la recherche littéraire, pour que la littérature soit un domaine de jouissances esthétiques, voire un accès à la connaissance intérieure de l'homme.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-05T20:16:58Z No. of bitstreams: 1 DissJFTC.pdf: 7709892 bytes, checksum: 7e28e1361f79a2ec5ace276d65a15381 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T13:41:56Z (GMT) No. of bitstreams: 1 DissJFTC.pdf: 7709892 bytes, checksum: 7e28e1361f79a2ec5ace276d65a15381 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T13:42:03Z (GMT) No. of bitstreams: 1 DissJFTC.pdf: 7709892 bytes, checksum: 7e28e1361f79a2ec5ace276d65a15381 (MD5) / Made available in DSpace on 2016-10-20T13:42:11Z (GMT). No. of bitstreams: 1 DissJFTC.pdf: 7709892 bytes, checksum: 7e28e1361f79a2ec5ace276d65a15381 (MD5) Previous issue date: 2016-04-04 / Não recebi financiamento / In this study we articulate and analyze Nicanor Parra’s critical fortune, published in Chile before and after the success achieved by the Chilean writer, having as parameter the Chilean National Prize of Literature, which he won in 1969. We point out to the reception aspects registered by real readers, that give life and dictate the history of Nicanor Parra’s literary Project, by taking over te text. Such critical impressions took place between 1939 and 2011. We observed the Horizon of Change passing through the critical fortune collected, by Robert Jauss Reception Theory. / Neste estudo articulamos e analisamos a fortuna crítica de Nicanor Parra publicada no Chile em momentos anteriores e posteriores ao êxito alcançado pelo escritor chileno, tendo como parâmetro o Premio Nacional de Literatura do Chile conquistado em 1969. Evidenciaremos os aspectos recepcionais registrados por leitores reais, que ao apoderarem-se do texto dão vida e ditam parte da história do projeto literário de Nicanor Parra. Tais impressões críticas se situam entre 1939 e 2011. Observaremos a mudança de horizontes que transitam nesta fortuna critica coletada, a partir dos conceitos da Teoria da Recepção encabeçada por Robert Jauss.

Enid Blyton and Agatha Christie were the most successful British women writers of their time. Christie and Blyton were contemporaries, living and writing in the United Kingdom during the first half of the twentieth century. This study takes into consideration these similarities in its examination of the depiction of dominant discourses in relation to emergent, alternative and oppositional discourses in their writing. This thesis suggests that while Enid Blyton and Agatha Christie offer alternatives to the dominant patriarchal discourses of the British Empire in the first half of the twentieth century, they show allegiance, too, to the dominant discourses of their time. Specific consideration is given to the portrayal of discourses concerned with gender, feminism, classism, British colonialism, racism, and xenophobia in their writing. The work of Enid Blyton and Agatha Christie was extremely popular in their time and still is today. Their important contribution to popular literature in England in the early twentieth century justifies a study of a selection of their work in relation to detective fiction and children’s literature as well as to studies of social history that include the investigation of how dominant discourse is both endorsed and challenged. / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted

Understanding Gilgamesh – brokenly – is to understand life brokenly. The Epic of Gilgamesh is the narrative of life. It records the full cycle of the nerve and aplomb of youth, of the doubt and crisis of midlife, of the acceptance and quiescience of maturity. Moreover, this understanding is a broken understanding. It starts with the clay tablets that are broken in a literal sense of the word. Further, the narrative is a narrative of broken-ness – the story ends in tears. A man has lost his last chance of obtaining life everlasting. Yet he manages to recuperate despite his failure. The first part of this thesis examined the world of Gilgamesh. Initially he was known as the Sumerian king Bilgames. He makes his appearance in the form of oral compositions that are recited or sung in the royal courts of kings during the Sumerian period: sheer entertainment, nothing really serious. At his side is his loyal servant Enkidu who supports his master in everything he does. Akkadian gradually ousts Sumerian as vernacular, yet the latter continues to dominate as the language of culture and court. Bilgames survives the reign of the Sargonic dynasty, and even revives during the glorious Ur III period of Shulgi and of Ur-Nammu. Sumerian Bilgames-poems are recorded in writing. However, by the time that Hammurapi draws up his legal codex, the Sumerian Bilgames is known as the vibrant Akkadian king Gilgamesh. His servant Enkidu is elevated to the status of friend. Together they defy men, gods, monsters. When Enkidu dies, Gilgamesh goes even further in search of life everlasting. He reaches Uta-napishtim the Distant in order to learn the secret of eternal life. The optimism of the Old Babylonian Kingdom is replaced by the reflection and introspection of the Middle period. Life is difficult. Life is complex. The Gilgamesh Epic is once again re-interpreted and supplemented by a prologue and an epilogue: both begin and end at the same place, at the walls of Uruk. Here Gilgamesh looks back and forward to his life and contemplates about the meaning of life in general. The second part of this thesis dealt more specifically with the story – the literary aspects of the Epic. Genette’s theory illuminated several interesting literary devices with regards to the rhythm and pace of the narrative. However, much of the reflective nature of the Epic was also revealed. There were moments of looking forward, and looking backward: after Gilgamesh broke down in tears at the end of the Epic, he suddely gained perspective on life. Somehow a broken narrative focused into a meaningful whole that may just make future sense. Jauss’s theory illuminated why Gilgamesh refuses to be forgotten, why he is once again alive and well in the twenty first century. Although he was buried in the ruins of Nineveh for a thousand plus years, he is suddenly back on the scene – and not for academic reasons only. Not only scholars of the Ancient Near East take an interest in the old Epic, but also people from all sectors of life. Somehow Gilgamesh seems to respond to questions that are asked even by those who understand nuclear physics – but who grapple with the paradox of living meaningfully. Understanding Gilgamesh – brokenly – understands life. / Thesis (DLitt)--University of Pretoria, 2006. / Ancient Languages / unrestricted

This study explores reasons for Enid Blyton’s vast popularity. Blyton and her life are discussed in terms of the production and reception of her texts in the light of changing dominant discourses in society and varying horizons of expectation. It has been found that selected aspects of reception theory (in particular the horizon of expectation posited by Hans-Georg Gadamer and developed by Hans Jauss) and the theories of Michel Foucault on power and discourse can be used to examine the influence of societal and literary discourses on both Blyton’s writing and on those who read her work, including adults and children. The study includes a discussion of Blyton’s personal life, her role in education and her success in business. Blyton’s horizons of expectation – shaped not only by the dominant discourses that surrounded her, but also her training in the Froebel method of education – are examined. Furthermore, a number of aspects of Blyton’s life and writing subvert dominant discourses and these are discussed in terms of Foucault’s ideas on power relations. Evidence of the influence of her life on her work has been found in her texts. The criticism of Blyton is discussed in terms of both literary criticism and social criticism. Blyton’s popularity as a storyteller is also considered and it has been found that, regardless of criticism by adults, she remained popular with children. Furthermore, Blyton used a number of specific techniques (such as fast-paced plots and simple language and style) and it has been found that her techniques can be linked to both formula writing, the oral tradition, and to her training as a teacher in the Froebel method of education. These techniques are examined in terms of their manifestation in her writing, particularly in her series books – including adventure stories and school stories. In conclusion, the place of Blyton’s writing in contemporary society is deliberated and recommendations for further research are made. / Dissertation (MA (English))--University of Pretoria, 2003. / English / unrestricted

This study strives to chart the occurrence of mystic and kabbalistic influences inthe textual liturgic material of Jewish prayer books - siddurim - in Stockholm,during the 19th century as well as of today. Two prayer books, both focusing onthe prayer service for sabbath and festivals, were studied and compared to amaterial corresponding to a more traditionally inclined ashkenaz liturgy. Alongsidethis comparative method, the study made use of the hermeneutics of Hans-GeorgeGadamer in order to gain a more thorough understanding of the backgroundleading up to the selection of materials within the Swedish siddurim. This involveda broad historical research of Jewish mysticism, Jewish liturgy and Jewish life inSweden. Furthermore, the reception history theory of Gadamer and Hans-RobertJauss was employed to analyze the reception of mystic and kabbalistic influencesupon the Swedish prayer books, taking in account the ways in which religioustexts are viewed within a certain tradition, depending on theological agendas,historical context, and the intercommunion between these, especially taking thereformist wave of Judaism in the 19th century under consideration. The results andanalysis came to show that, although there had been an extensive purge of explicitkabbalistic materials in the 19th century, texts with very clear connotations tomerkavah mysticism still remained. The siddur in use today has also reintroducedkabbalistic material to the liturgy. Through the lens of reception history theory,mystic and/or kabbalistic influences are shown to be a part of Jewish liturgy inStockholm, sometimes understood as an integral part of a wider liturgic tradition,sometimes as a devotional - but not explicitly esoteric - addition to the prayerservice.

Cette thèse porte sur la Trilogie du Futur du Théâtre du Futur, compagnie basée à Montréal. Ces trois pièces imaginent un futur où le Québec serait devenu indépendant et examinent, du même coup, les problèmes sociétaux qui resteraient à régler à la suite de la réussite d’un tel projet politique. Cette thèse pose que les problèmes sociétaux explorés dans la Trilogie du Futur sont liés à des réminiscences de l’ancienne survivance canadienne-française, dont les principales caractéristiques, telle que définies par Éric Bédard dans Survivance : histoire et mémoire du XIXe siècle canadien-français (2017), sont le récit sur soi, le messianisme compensatoire et l’évitement de la question du régime. Le récit sur soi désignerait la nécessité ressentie par un peuple perdant de l’Histoire de se créer un récit national où il se présenterait plutôt comme gagnant de l’Histoire. Le messianisme compensatoire, pour sa part, est ici compris comme la nécessité d’un peuple conquis à se trouver des guides (c.-à-d des figures messianiques), ceci afin de sauver la nation de la disparition. L’évitement de la question du régime, enfin, recouvre le fait d’empêcher d’envisager un état politique autre que le statu quo et d’ainsi éviter la question, toujours problématique, de la place de la francophonie dans une Amérique majoritairement anglophone. Pour mener à bien cette analyse, la thèse emprunte sa structure comme une partie de son cadre théorique à la triple mimèsis développée par Paul Ricœur dans le tome un du monumental Temps et récit (1991). Dans cet ouvrage, Ricœur examine la mise en intrigue du bagage culturel préalable nécessaire à la compréhension d’un récit ainsi que sa réception par le lecteur. Au terme de cette analyse, la thèse arrive à la conclusion que la trilogie chercherait à transcender ces réminiscences de la survivance canadienne-française par une série de renversements, souvent carnavalesques, des lieux de mémoire passés (hérités du Canada français) ainsi que des topoï québécois contemporains, souvent issus de la politique ou de la culture populaire, et qui sont disséminés à même ces récits du Théâtre du Futur.

La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.