Color and light, consistent with most visual phenomena in Madame Bovary, are more than mere descriptive tools: they actually serve as vehicles for Flaubert's characteristic use of symbolism. When taken cumulatively throughout the novel, the meanings ascribed to certain color and lighting effects often symbolize specific situations or a character's psychology, while at the same time reflecting a particular point of view. This dissertation initially examines the questions of point of view, major themes and Emma's psychology. Though most of the novel is recounted by an omniscient third-person narrator, he frequently takes a back seat so that Emma's point of view, for one, becomes the dominant manner of presentation. By shifting from one point of view to another, the narrator presents us with much conflicting symbolism--are we witnessing a scene and its color and light through Emma's dreamy gaze or perhaps in a more objective light shed by the narrator? An additional source of conflict is to be found in Emma's psychology and the major themes of Madame Bovary, as they both center around the heroine's inability to distinguish dreams from reality, with reality eventually gaining the upper hand and crushing Emma's dream world. Color and light symbolism naturally mirror all of these conflicts, with positive symbols often overshadowed by negative ones. There are three basic types of illumination present in the novel--(1) dim light reflecting Emma's romantic nature; (2) harsh, revealing brightness which, in the present, sheds light on an all-too pervasive reality; and (3) a lack of illumination emphasizing Emma's depression and leading ultimately to the utter darkness of death. Seven individual colors are explored for their symbolic aspects: blue, white, yellow, black, red, pale, and green. Blue symbolizes Emma's dreams and aspirations, her desire to attain an always nebulous higher state of being, which of course she will never reach. White can at times be interpreted along classical lines as representing innocence, naivete, and potential, or conversely emptiness and ennui, as in the case of this same potential remaining unfulfilled. Yellow signifies reality which is always ready to engulf Emma and her dreams and is seen as yellowing the whiteness of her potential. Black takes on several symbolic connotations, usually dependent upon the point of view of the person lending it symbolic value. It can be seen as a reflection of the Church, of mystery, or, for Emma, of the perfect romantic hero who must dress in black. As the narrator is aware, however, and communicates to the reader, all meanings of black in the novel merely culminate in its traditional connotation, that of death, in this case, Emma's of course. Red is another shade which can be divided into positive and negative aspects, with the positive signifying sensuality, voluptuousness, and by extension a certain erotic vision of love. On the negative side, we find many characteristics of red that Emma herself would consider disagreeable: a peasant origin, outlook or attitude, and a lack of sophistication sometimes coupled with crudeness or insensitivity. One or more of three basic meanings can be ascribed to pale in any given context; it can represent a dull uninteresting existence, a romantic ideal--for Emma--, or merely a pallor caused by illness or indisposition. Green, the final hue treated, is a secondary color on the artist's palette combining the blue of dreams and the yellow of reality, thus crating a feeling of malediction for Emma and a fatal mixture, since one cannot survive in the face of the other. In the end, Emma is forced to recognize the reality which had been so clearly illuminated throughout the novel by the narrator and, unable to face the light, she ironically turns instead to the total darkness of death.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Made available in DSpace on 2016-04-28T20:39:24Z (GMT). No. of bitstreams: 1 Thalita L Nobre.pdf: 573590 bytes, checksum: cb51e0187a0b882d25ae4a5fd5d18210 (MD5) Previous issue date: 2007-04-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this dissertation is to carry out a psychoanalytical reading concerning the protagonist of the literary composition Madame Bovary. This book, written by Gustave Flaubert and published in 1856 same year that Sigmund Freud was born caused a great repercussion in the French society, at that time. Because of that, the author was judged for offence to the public and religious moral . My objective using Ema Bovary as a study object, is because, principally, she presents some characteristics that can be understood, trough the Psychoanalysis like female hysteria. To become this agreement clearly, in this dissertation, I started with freudian´s theory and so I used the contribution from other authors about female psyche constitution and it accidents that cause the hysteric neurosis , after this, I present the Gustave Flaubert´s romance book with a psychoanalytical reading. Ema Bovary is not described by its author as a perfect, spotless and sufferer woman, but yes, she is described like a woman with real human beings characteristics. And these ones (of the protagonist) can have been determinative to this book became a workmanship cousin, until the current days / O objetivo desta dissertação é realizar uma leitura psicanalítica a respeito da protagonista da obra literária Madame Bovary. Este livro, escrito por Gustave Flaubert e publicado em 1856 ano do nascimento de Freud causou uma grande repercussão na sociedade francesa da época. Por causa disto, o autor foi julgado por ofensa à moral publica e religiosa . O meu intuito de utilizar Ema Bovary como objeto de estudo se deve, principalmente, pelo fato dela apresentar características que podem ser compreendidas, à luz da Psicanálise, como histeria feminina. Para tornar claro esse entendimento, nesta dissertação, parto da teoria freudiana e de autores que com ela contribuem sobre a constituição psíquica feminina e os desarranjos que ocasionam a neurose histérica , e após isto, apresento o romance de Flaubert com uma leitura psicanalítica do mesmo. Ema Bovary não é descrita, por seu autor, como uma mulher perfeita, impecável e sofredora, mas sim, com caracterísiticas humanas reais. E estas características da protagonista podem ter sido determinantes para que este livro seja considerado uma obra prima, até os dias atuais

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Integrating a thematic perspective and textual analysis into the method, this Master's thesis proposes to study the theme and images of death in Madame Bovary. This essay analyses the representation of death, the relationships with the survivors and the links with the main character. It demonstrates the egoistic perception of death among the survivors and explains the thematic advancement in chapter VIII of the third part of the novel. The peripheral elements of death, such as the character Lestiboudois, the cemetery, the taboos and the generally accepted ideas, are studied in the first chapter. The second is devoted to Emma Bovary's romantic conception of death, through an analysis of artistic influences and inspirations, romantic mysticism, and complacency with regards to the idea of death. I will be studying the causes of her suicide, her desire to die, her distress experienced in love, her financial bankruptcy and her emotional and physical disequilibrium in the third chapter, which ends with the study of the thematic "spiral" in chapter VIII of the third section: the race, God, time, love, nature, anguish, emotional and physical disequilibrium and death, without neglecting the various interpretations of the Blind Man's ditty. In the fourth chapter, I study the mourning, suffering and social conventions, the influence from beyond the grave upon the survivors, the grave, the memories and immortality. Finally, the last chapter, so as to integrate the various notions explained in the preceding chapters, analyses the consequences of each death in the novel upon the survivors and their reactions.

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Nous traitons des écrits dans le roman flaubertien, en nous intéressant en particulier aux trois romans de Gustave Flaubert : Madame Bovary, L’Éducation sentimentale et Bouvard et Pécuchet. Cela nous conduit à examiner différents types d’écrits circulant dans ces œuvres. Ceux-ci sont très variés et peuvent aller de la lettre à l’affiche, en passant par les journaux, les dictionnaires, et la littérature bien sûr, tout autant de supports qu’il existe de fonctions et d’enjeux. Au XIXe siècle, l’écrit occupe une place croissante dans la société et dans les œuvres littéraires, notamment dans le roman réaliste balzacien où les billets mondains circulent en transmettant des codes sociaux. Mais les lettres et les œuvres y sont aussi introduites abondamment et peuvent être lues de manière polysémique mais toujours signifiante. Ces choix vont de pair avec le développement de l’écrit au XIXe, par le biais notamment des journaux et de l’avènement du roman-feuilleton. Les écrits peuvent d’abord être distingués selon leur visée utilitaire ou esthétique, ils sont très nombreux dans le roman flaubertien et revêtent de multiples fonctions comme celle consistant à mettre en relief ce qui est visuel, faisant naître une forme de théâtre par la graphie. Puis, ils peuvent aussi transmettre la voix officielle, comme lors de faits juridiques à valeur à la fois référentielle et romanesque. Leur statut est parfois même historique, surtout dans L’Éducation sentimentale où résonnent les événements révolutionnaires de 1848 qui ont marqué l’époque, mais cette polyphonie présente le plus souvent un enjeu métatextuel en transmettant la voix du romancier dans une mise en abyme ; donner à voir ou à lire l’écrit serait sans doute pour lui aussi un moyen de se représenter en tant qu’auteur ou peut-être aussi, à l’opposé, de se distinguer de tous les écrits utilitaires qui caractérisent cette nouvelle société démocratique. / We are dealing with the writings in Flaubert’s novels, especially in the three following novels : Madame Bovary, L’Éducation sentimentale and Bouvard et Pécuchet. There are different types of writings in those works ; indeed they are varied and they can be a letter, a poster, a newspaper or even a dictionary, they are as varied as the numerous functions and issues that exist. In the nineteenth century, writing had an increasing part in society and literary works, especially in the realist novels by Balzac in which social notes were spread passing social codes. But letters and works were also abundantly introduced and could be read in different but always significant ways. Those choices went hand in hand with the development of writings in the nineteenth century thanks to newspaper and the advent of serials. Writings can be first distinguished according to their useful or aesthetic goal ; they are numerous in Flaubert’s novels and have several functions as the one which underlines what’s visual, making appear a kind of play thanks to the written form. Then they can also spread the official voice as in legal facts that have both a fictional and reference value. Their status is even sometimes historical, mainly in L’Éducation sentimentale in which the 1848 revolutionary events resonate ; but this polyphonic narrative often shows what’s at stake, delivering the novelist’s voice in a mise en abyme ; seeing or reading what is written could also be a mean to introduce himself as an author, but also maybe, on the contrary, to distinguish himself from the useful writing that characterized that new democratic society.

Longtemps, on a reproché à Flaubert l’usage de métaphores médiocres (Proust). Or l’image flaubertienne est bien plus complexe que sa surface ne le laisse supposer. Notre étude cherche à lui rendre toute sa valeur. Mais comment l’image vient-elle dans le langage ? Comment agit-elle sur l’esthétique de la production et de la réception ? Que recouvre l’expression « image littéraire » ? Que signifie « visualité » dans le cadre de l’image poétique ?Ce travail cherche à approfondir l’étude de l’image poétique dans toute sa diversité. Il expose les formes d’images générées par les mots : d’une part les effets des tropes – les processus figuratifs –, d’autre part ceux des techniques descriptives évocatrices – des descriptions détaillées qui font naître des images mentales (« visuelles »). Les deux effets peuvent entrer dans un processus interactif fructueux que nous tentons de dévoiler en examinant le contexte de l’image littéraire : le terme aristotélicien « mettre sous les yeux », le rôle de l’icône dans la métaphore, les termes « quasi-visuel », « voir comme », la question du « moment de l’image », l’aspect de la sensibilité de la métaphore. Nous discutons aussi les notions de « métaphore vive », d’« image associée », d’image « liée », et le sujet de l’énigme en rapport avec la métaphore. Nous nous concentrons sur deux romans : Salammbô et Madame Bovary, et montrons la diversité, l’efficacité et le fonctionnement novateur des images littéraires. Flaubert était connu pour être un véritable iconophobe face aux images matérielles. Son but était de « faire image » et de « faire rêver » grâce aux mots. Nous montrons les techniques qu’il utilisait pour travailler avec l’image. / For a long time, Flaubert was criticized for the use of mediocre metaphors, at the level of his poor characters (Proust). In fact the Flaubert image is far more complex than one may suppose at first sight. This dissertation will try to restore all their value. But how does image arrive into language? In what way does it act upon the aesthetic of production and reception? What does the expression "literary image" embrace? What does "visuality" mean in the poetic image universe?This dissertation's finality is to go into detail in the subject of poetic image. It exposes the different forms of the images produced by words: on the one hand the effect of tropes, which means the figurative processes, and the effects of evocation and descriptive techniques in the other, which produce mental images in the reader's mind. Studying the literary image context, this dissertation will try to unveil the plenteous interactive process both effects may reach: the aristotelian notion "Bringing-Before-The-Eyes", the function of the icon in metaphor, the expressions "quasi-visual" and "to see like", the "image moment" matter, and the sensibility aspect of metaphor. The notions of "alive metaphors" (Ricœur), "associated image" (Le Guern), "linked image", and the enigma subject related to metaphor, will also be approached.Flaubert's novels Salammbô and Madame Bovary will be analyzed in the second part, focussing on the diversity, efficacy and innovating function of literary images. Flaubert was known as being a real "iconophobic" when confronted with material images. His goal was to "create images" and "generate dreaming" only throughout words. We will study the different techniques he used.

The study is a comparative analysis of Stendhal's romantic interpretation and Flaubert's realistic interpretation of outdated myths. The first purpose of the study is to reveal the linear development of Julien Sorel and Emma Bovary in quest of their respective myths. The second is to reveal technical devices used by the authors that lead to diverse interpretations of the myths. The sources of data used in the study are Le Rouge et le noir and Madame Bovary and secondary materials concerning the two novels. The study is divided into five chapters including an introduction, two chapters that develop Julien's and Emma's respective myths, a chapter concerning technical devices used in the novels and a conclusion.