quesQuien mato a Palomino Molero? (1986) has received little attention by critics and scholars. What criticism does exist contributes to a panoramic, and in certain cases, fragmentary view of the novel, but little to an understanding of its deep structure, narrative functioning and content. This thesis attempts to fill the gap in existing critical approaches by proposing a new reading based on a reassessment of the author's conception of literary creativity (chapter I), an analysis of the detective genre and its use by the author to illustrate the socio-political condition of Peruvian reality (chapters II and III), and an examination of the novel's narrative functioning from a narratological perspective (chapter IV). The main conclusions of my study are as follows: First, Vargas Llosa, in this work, takes his personal experiences as the stimulus and substance (he calls them "the demons") for the novel's story and problematics. Second, both partially in adopting and transgressing the detective story structure, the author efficiently projects that story and the economic realities of the 1950s. Third, the world-vision that thus emerges is one of a society deeply fractured and divided. Fourth, in the case of quesQuien mato a Palomino Molero?, this world-vision is mainly conveyed through the focalization of the character-focalizer Lituma, and the appropriate use of a privileged, heterodiegetic narrator, mimetic discourse, and indirect free discourse. Fifth, both the adoption and the transgressions of the detective story structure, as well as the narratological components efficiently articulate the expression of the aforementioned world-vision by the implied author. quesQuien mato a Palomino Molero? thus constitutes a meaningful quest novel that convincingly shows that, in the world presented, all quest for truth by the underprivileged sectors of society, whenever it jeopardizes the interest of the privileged ones, inevitably ends in failure. (Abstract shortened by UMI.)

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According to modern criticism, one of the most interesting aspects of Conversacion en la Catedral (1969), is the use of narrative techniques, although very few critics have analyzed this aspect in detail. A central technique in the narrative semiosis of the novel is the interference--in some parts of the novel-of the voices of the characters on the voice of the narrator, and--in other parts--the partial or total avoidance of such an interference. This thesis attempts to fill the gap in the existing critical approaches by studying these interferences or avoidance, and also its contribution to the ideological expression that the narrator-implied author projects in the novel, as well as the reference to the historical reality of Peru (1948-56). The main conclusion of my study supports the proposed thesis: the interference of the voices, or its avoidance, effectively contributes to the expression of the text ideology, which in turn does not limit itself to the textual diegesis, but rather projects itself to the real world of the Peru Odriista. (Abstract shortened by UMI.)

A l'epoque de la Revolution tranquille, le Quebec assiste a l'emergence d'une nouvelle ecriture. Un aspect de la litterature de cette periode n'est toutefois pas suffisament pris en consideration: l'etude du lecteur devant et dans le texte litteraire. A travers un corpus restreint, les romans de Gerard Bessette publies entre 1958 et 1965, nous nous proposons d'etudier le lecteur de cette epoque. De La Bagarre, premiere tentative de roman realiste, a L'Incubation, veritable reprise de La Route des Flandres de Claude Simon, en passant par Le Libraire et Les Pedagogues, se manifeste une evolution tres nette du destinataire. Afin de rendre compte de cette evolution, l'etude s'appuie, en particulier, sur la sociopoetique d'Alain Viala. Cette sociopoetique vise a apporter une double contribution: d'une part, elle permet de lire la dimension sociale des romans de Bessette du point de vue de la reception; d'autre part, elle constitue une premiere tentative de reponse a la question suivante: a qui le roman de la Revolution tranquille s'adresse-t-il?

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