Denna studie ämnar att fastställa huruvida Gaston Lerouxs gotiska roman Le Fantôme de l’Opéra även skulle kunna klassas som en del av faktionsgenren och, i så fall, vilken typ av faktion den skulle vara. För att möta syftet bygger studien på ett antal faktionsteorier från olika författare och litteraturvetare. Studien innehåller tre huvudsakliga analyspunkter: den första punkten behandlar romanens stil och narrativ; den andra punkten diskuterar dess innehåll i relation till verkliga historiska händelser, personer, platser och dokument och den tredje punkten jämför fynden från de ovan nämnda punkterna med de olika faktionsteorier som studien bygger på. Studien visar att Le Fantôme de l’Opéra möjligen skulle kunna betraktas som en del av faktionsgenren, men att den inte fullt ut passar in i någon av de redan befintliga kategorierna som studien presenterar. Studien reser därför frågan om det finns anledning till att introducera en ny typ av faktion? / This study aims to determine whether Gaston Leroux’s gothic novel Le Fantôme de l’Opéra also could be classified as part of the faction genre and, if so, what type of faction it would be. To meet this purpose, the study builds upon a number of faction theories from different authors and literary scholars. The study contains three main points of analysis: the first point deals with the style and narrative of the novel; the second point discusses its contents in relation to real-life historical events, people, places and documents and the third point compares the findings of the aforementioned points with the different faction theories on which the study builds. The study shows that Le Fantôme de l’Opéra could potentially be considered as part of the faction genre, but that it does not quite fit into any of the preexisting categories presented in this study. The question is therefore raised if there might be reason to introduce a new type of faction?

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2007. / This study compares Etienne Leroux’s Die eerste siklus and Jaco Fouché’s Die avonture van Pieter Francken. In Chapter 1, similarities between their works, as discussed by critics in reviews and articles, are examined. The different theories that exist about the field of comparative literature are also discussed, and a theory is formulated which can be applied to this study. Aspects of the novels that are going to be discussed are also set out. Chapter 2 deals with the socio-political as well as the literary-historical contexts in which Leroux and Fouché published their work. In the case of the socio-political context, a distinction is made between the time and place in which the works were published, and the context in which the narration of the novels are set. Chapter 3 deals with the figure of the outsider. The outsider figures in the novels are identified and compared to each other. Chapter 4 deals with the way in which the traditional knight tales function as an inter-text and how some of the characters are portrayed as the Jungian archetype of the “knight” or “hero”. In the conclusion the main points of the comparison are brought together.

Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis re-evaluates the writing of seminal Afrikaans modernist Etienne Leroux from a South African English perspective. The present author's new translation of Leroux's prizewinning novel Sewe Dae by die Silbersteins (1962) is the focal point of an enquiry into how “rewriting”, in translation theorist André Lefevere's coinage, has shaped the reception of Leroux's work outside the Afrikaans literary system. It is shown from a literary-historiographical viewpoint that translation played a crucial role in Leroux's rise to international prominence and subsequent eclipse. It is demonstrated that Leroux's standing within the English literary system rests predominantly on extant translations of his novels, without taking into account the cyclical quality of his fiction, especially the overarching nine-novel cycle – the basis of Leroux's renown in Afrikaans. The distortions produced by this fact are critiqued. In particular, the received idea of Leroux as an apolitical obscurantist is challenged, the work of J.C. Kannemeyer especially showing that Leroux's politics and art were much more integral and radical than previously (mis)understood. A case is made for Leroux's re-evaluation as a seminal contributor to modern South African fiction comparable to J.M. Coetzee, and for the production of fresh translations of his work to facilitate this re-evaluation. A detailed account of the translation process behind the present author's new translation of Sewe Dae by die Silbersteins follows. A series of close readings compares this new translation to the first translation by Charles Eglington (1964), shows how Eglington's translation obscured certain textual strategies vital to a full comprehension of Leroux's text, examines the difficulties inherent in restoring them, and argues for the new translation's success therein. A mise au point in which insights yielded by this process feed back into an assessment of Leroux's relevance today concludes the thesis. Leroux's technique is shown to have immunised his texts against the desuetude into which time-bound “committed” literature often falls. In particular, Sewe Dae by die Silbersteins, or its new translation, emerges as a satirical anatomisation of subjectivity under late modern capitalism entirely in tune with contemporary cultural representations of apartheid as metaphor for global capitalism. / AFRIKAANSE OPSOMMING: In hierdie tesis word die skryfwerk van die hoog-aangeskrewe Afrikaanse modernis Etienne Leroux vanuit 'n Suid-Afrikaans-Engelse oogpunt in heraanskouing geneem. Die kandidaat se nuwe vertaling van Leroux se beroemde roman, Sewe dae by die Silbersteins (1962 ), word as uitgangpunt gebruik vir vrae oor hoe Leroux se werk “herskryf” is deur kritici en vertalers. In verband hiermee word die vertaal-teoris André Lefevere se werk gebruik om die ontvangs van Leroux se werk buite die Afrikaanse literêre-sisteem in oënskou te neem. Uit n literêr-historiografiese standpunt word bewys dat vertaling 'n sleutel-rol in Leroux se internasionale beroemdheid en sy daaropvolgende verdwyning gespeel het. Leroux se status binne die Engelse literêre-stelsel berus tans hoofsaaklik op bestaande vertalings van sy romans, wat beperk in omvang en gehalte is. Leroux se “Engelse” reputasie neem as gevolg hiervan glad nie die sikliese eienskappe van sy fiksie in ag nie, bowenal sy oorkoepelende siklus van nege romans, wat die grondslag van Leroux se roem in Afrikaans vorm. Verskeie misvattings wat uit hierdie toestand voortspruit – veral die gedagte dat Leroux se skryfwerk apolities en “duister” is – word bevraagteken. Vernaamlik die werk van J. C. Kannemeyer wys daarop dat Leroux se kuns baie meer integraal en radikaal is as wat dit blyk binne die wanvoorstelling daarvan in Suid-Afrikaanse kritiek in Engels. ‘n Pleidooi word gemaak vir ‘n herwaardering van Leroux as 'n sentrale figuur in moderne Suid-Afrikaanse fiksie, vergelykbaar selfs met J.M. Coetzee. Verder word gepleit vir die behoefte aan nuwe vertalings van Leroux se werk, om sodoende 'n deeglike herwaardering moontlik te maak. Daarna volg 'n bespreking van die vertalingsproses van die kandidaat se nuwe vertaling van Sewe dae by die Silbersteins. 'n Reeks noukeurige beskouings wat die nuwe vertaling met die bestaande vertaling (Charles Eglington, 1964) vergelyk, wys daarop dat Eglington se vertaling kerneienskappe van Leroux se teks effektief verdoesel. Hierdie eienskappe, word aangevoer, is noodsaaklik vir 'n deeglike begrip van Leroux se teks. Die kandidaat bied ‘n wye analise oor hierdie eienskappe aan en voer ook aan dat sy nuwe vertaling die wese van Leroux se roman in ere herstel. Die tesis sluit af met 'n mise au point waarin die insigte wat bereik is deur die vertalingsproses voorgestel word as stof tot nadenke oor Leroux se belangrikheid in vandag se leefwêreld. Daar word vervolgens ook bewys dat Leroux se werk bestand is teen die onbruik waarin tydgebonde littérature engagée dikwels verval. Veral Sewe dae by die Silbersteins, en die nuwe vertaling wat hier aangebied word, bied 'n satiriese beskouing van subjektiwiteit onder apartheid-kapitalisme wat strook met huidige voorstellings van apartheid as metafoor vir globale kapitalisme.

L’objet de la présente étude est le personnage principal dans l’oeuvre Le Fantôme de l’Opéra de Gaston Leroux. Le but de cette analyse littéraire est de mettre en évidence l'ambiguïté et la complexité psychologique et morale de ce personnage.L’analyse est basée sur les théories de Vincent Jouve à propos de la perception du personnage romanesque. Le résultat de l'analyse montre que l'ambiguïté du personnage principal peut être déduite de ce que Jouve appelle le « système de la sympathie » constitué de trois codes : le code narratif, le code affectif et le code culturel. / The object of this study is the main character in the novel Le Fantôme de l’Opéra by Gaston Leroux. The purpose of this literature analysis is to highlight the ambiguity and complexity surrounding this character based on a psychological and moral point of view.The analysis is based on the theories of Vincent Jouve about the perception of a fictional character. The result of the analysis shows that the ambiguity of the main character can be deduced from what Jouve calls the "system of sympathy" consisting of three codes : the narrative code, the affective code and the cultural code.

"Thèse en cotutelle, doctorat en études littéraires, Université Laval, Québec, Canada, Philosophiæ doctor (Ph. D.) et Université Lumière Lyon 2, Lyon, France"poupé. / Gaston Leroux (1868-1927) a été chroniqueur judiciaire et grand reporter au journal Le Matin avant d’écrire des romans populaires publiés en feuilletons dans la presse. Sa carrière et son oeuvre sont profondément marquées par l’influence de l’univers médiatique, qui a constitué pour Leroux un laboratoire d’écriture, une source d’inspiration (son reporter Rouletabille est devenu un symbole de cette profession en pleine ascension) et un support de publication privilégié. Au travers de cette étude monographique interdisciplinaire (elle mêle histoire, géographie, sociologie littéraire et ponctuellement philosophie et recourt à plusieurs courants critiques tels que la sociocritique et la géocritique), il s’agit de s’intéresser de plus près à une culture médiatique redécouverte à la faveur de l’immense entreprise de numérisation de la presse dans les années 2000. Mais les deux pans de sa production sont également unis par l’importance de la problématique spatiale : reportages comme romans proposent en effet des représentations élaborées de l’Ailleurs. Travaillé par une hybridité générique, l’espace tel qu’il apparaît dans les textes de Leroux présente un ancrage marqué dans l’actualité qui le pare d’une forte référentialité tout en s’ouvrant à des influences imaginaires telles que celles du conte merveilleux ou fantastique, du roman gothique ou policier, ou encore du mélodrame. Au travers d’un corpus regroupant ses grands reportages les plus importants (en Russie, en Italie, au Maroc…) et certains de ses romans d’aventures qui reprennent ces cadres étrangers, (Rouletabille chez le Tsar, Les Ténébreuses, Rouletabille à la Guerre, La Reine du Sabbat…), il s’agit d’étudier les différentes stratégies utilisées pour mettre en scène un espace qui constitue l’un des enjeux centraux du récit. En effet, chez Leroux, l’espace ne joue pas qu’un rôle de décor exotique rapidement oublié au profit de l’action car il assume également des fonctions politiques dans une époque historique qui connaît de grands bouleversements (colonisation, Première Guerre mondiale, révolution russe…). Explicitement, les écrits de Leroux s’inscrivent parfaitement dans le discours social de leur temps : ils opposent des empires de perte de vitesse (qui servent de terrain de jeu à des héros qui les maîtrisent mieux que leurs dirigeants officiels) à un modèle de l’Etat-nation dont la France de la IIIe République est présentée comme le meilleur exemple. Le patriotisme du corpus s’accentue à la faveur de la Première Guerre mondiale : Leroux publie alors des romans qui relèvent de la propagande antiallemande (Rouletabille chez Krupp, Le Capitaine Hyx). Cependant, au sein de cet espace référentiel présenté avec un certain manichéisme, Leroux ménage, grâce à la fiction, des lieux différents où s’exprime une contestation du modèle spatial dominant : îles utopiques et hétérotopies carnavalesques permettent à Leroux d’introduire du jeu dans une conception de l’espace apparemment doxique, d’interroger la mondialisation en cours et de proposer d’autres formes d’organisation spatiale et géopolitique / As a reporter, Gaston Leroux (1868-1927) covered many trials as well as the international news for Le Matin. He then went on to write paraliterary novels, published as serials in the press. Both his career and his works are heavily influenced by the media, which served as his main publication outlet, as a writing laboratory and as a source of inspiration (the fictional reporter he created, Rouletabille, has become a symbol of this developing profession). Through this monographic and interdisciplinary study (mixing history, geography, literary sociology, philosophy, as well as geocriticism and sociocriticism), we will focus on the media culture, as it was discovered anew during the massive digitization of the press in the 2000s. However, both sides of his work are connected by the attention he gives attention to space as a problematic: his newspaper articles as well as his novels offer complex representations of far away places. Because of this strong genre hybridity, space in Leroux's novels is deeply connected to the news, which adds an important sense of referentiality, but it is also influenced by fictional genres such as fairy tales, fantastical works, gothic novels, detective novels and even melodrama. Through a body of works encompassing both his main newspaper stories (in Russia, in Italy, in Marocco, etc.) and those of his adventure novels which take place in foreign countries (Rouletabille chez le Tsar, Les Ténébreuses, Rouletabille à la guerre, La Reine du Sabbat...), we shall study the various strategies implemented to represent space as an important concern in the narrative. Indeed, for Leroux, space is not only an exotic background to be quickly forgotten in favor of action. It also has a political role during agitated times (the colonisation, the First World War, the Russian Revolution, etc.). Superficially, Leroux's works fit in with the social representations of his time: they oppose weakening empires, which serve as playgrounds to heroes who have mastered them better than their own rulers, to the model of the nation-state, exemplified by the French Third Republic. The body of works becomes more chauvinistic during and after the First World War. At this time, Leroux's novels are in line with the anti-German propaganda (Rouletabille chez Krupp, Le Capitaine Hyx). And yet, within this referential and quite Manichean space, he creates, through fiction, different places in which a contestation of the dominant model is expressed. For instance, utopian islands and carnivalesque heterotopias allow Leroux to introduce playfulness in an apparently conventional conception of space, to question globalization as it develops and to offer alternative forms of spatial and geopolitical organisation. / Résumé en espagnol

In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.

Student Number : 0318162X - MA research report - School of Literature and Language Studies - Faculty of Humanities / This Research Report comprises the preface to an opera libretto based on the English translation by Charles Eglington (1964) of Etienne Leroux’s novel Seven Days at the Silbersteins (1962), and the libretto itself. In the preface I discuss the genre of operatic libretto and the literary and personal context in which Leroux worked, by way of explaining why Seven Days made such a compelling challenge to adapt as libretto. I consider some of the issues involved in transposing a rambling allegorical narrative produced in Afrikaans in the 1960s in the lineage of the plaasroman, into a tighter postapartheid discourse in English in the 2000s, one that creates space for live music, singing, acting, staging, setting and pre-recorded audio-visuals – some of which take over the ‘layered’ significations of Leroux’s earlier literary discourse. A work of great poetic resonance in the original language (beautifully captured by poet and critic Charles Eglington in translation), this surrealist novel, so rooted in cultural and ideological tropes unique to Leroux’s time and yet presented by him as if they belonged to a timeless world, presents opportunities for a new kind of realisation as an operatic text in our own time.

In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.

133 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-03-22T15:16:11Z No. of bitstreams: 1 Natássia Guedes Alves.pdf: 18714876 bytes, checksum: ee953fb8fedc337a256a2731b357aeac (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-03-22T20:11:20Z (GMT) No. of bitstreams: 1 Natássia Guedes Alves.pdf: 18714876 bytes, checksum: ee953fb8fedc337a256a2731b357aeac (MD5) / Made available in DSpace on 2013-03-22T20:11:20Z (GMT). No. of bitstreams: 1 Natássia Guedes Alves.pdf: 18714876 bytes, checksum: ee953fb8fedc337a256a2731b357aeac (MD5) / Esta pesquisa busca analisar as traduções intersemióticas do romance Le Fantôme de l’Opéra, de Gaston Leroux (1910), para o cinema. Para isso, foi feita uma extensa pesquisa bibliográfica a respeito do referencial teórico que envolve o tema, como também com relação ao material já publicado sobre o romance referido e suas adaptações. O objeto de estudo escolhido foi amplamente traduzido para diversos meios, sendo esta uma das razões que impulisonou o desenvolviemnto deste trabalho. No meio cinematográfico, existem mais de vinte adaptações. Nesse estudo serão contempladas a versão de Rupert Julian (1925), um filme de horror, mudo e em preto e branco; assim como a de Joel Schumacher (2004), um musical, produzido pelo mesmo idealizador da peça musical de 1986, Andrew Lloyd Webber. Essa pesquisa visa entender os caminhos que levaram cada obra a culminar em gêneros tão distintos (tendo em vista que ambos partem do mesmo romance) e as transformações pelas quais passou o personagem do Fantasma para que ele se encaixasse em cada nova produção. Assim, é levado em conta, na análise, o fato de se tratar de um processo semiótico no qual a interação sígnica pode ser vista como uma tradução; debruçamo-nos também sobre o estudo da importância da interpretação, que age em conjunto com esse processo. Desse modo, na tradução intersemiótica, além dessa interpretação, deve-se adicionar como característica da prática tradutória a manipulação intencional do tradutor, que enxerta ou realiza cortes de acordo com sua visão, sua necessidade (para adaptação ao gênero) ou para adaptar às exigências do meio ou da recepção. Portanto, as versões cinematográficas são vistas como reescrituras, como qualquer outra tradução, como afirma André Lefevere (2007). Dessa maneira, o estudo verifica como as reescrituras suplementam o texto de partida. A pesquisa revela que a intertextualidade é mais um recurso utilizado pela manipulação,assim como revela que sem suas traduções, O Fantasma da Ópera talvez não ficasse tão conhecido como o é hoje. / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2011.

In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.