Thesis (M.A.)--University of Toronto, 2004. / Adviser: Jean Mason.

Thesis (doctoral)--University of Marburg. / Vita. Includes bibliographical references and index.

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Marvelous Realism is a continuous source of debate in the world of research. Restricted to latino-american literature for ones, open to all literatures for others, this style suffers from a lack of unanimity. This is the reason why I have chosen to begin my thesis with a panoramic view of this style and identify its founders. Subsequently, I will try to establish the distinctions between Magic and Marvelous Realism through the thesis of Charles Scheel and Ook Chung. / Those precisions made, I shall analyse the presence of Marvelous Realism in Ferron's Contes with the stylistic and/or structural traits of Mary-Ellen Ross, Charles Scheel, Cecilia Ponte and Irlemar Chiampi among others. / The second part of my thesis is composed of short stories that will enlightened, by the events, or by the narration, certain aspects of Marvelous Realism.

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Il peut sembler étonnant de consacrer une étude d’ampleur aux fortunes politiques d’une fée médiévale, d’une part parce qu’il est habituel de distinguer merveilleux et politique - alors que le recours au merveilleux est courant pour légitimer un pouvoir ou pour fonder une communauté politique -, et d’autre part parce que la branche maîtresse de la lignée desLusignan, dont Mélusine est l’ancêtre mythique, est éteinte depuis 1308. Pourtant, étonnamment, Mélusine, merveille suscitant des interprétations et représentations contrastées, entre dans des dynamiques politiques multiples. Dès le Moyen Âge, elle incarne des fortunes diverses, l’essor et le déclin de la lignée des Lusignan, qu’elle justifie.Instrumentalisée à des fins de domination, de légitimation et pour célébrer une mémoire lignagère dans les romans médiévaux de Jean d’Arras (1393) et Coudrette (c.1401), Mélusine s’impose au fil des siècles comme la Merlusine, la mère des Lusignan, mais aussi d’autres lignées aristocratiques, par le biais de textes littéraires, paralittéraires etd’armoiries. Parallèlement, dès le Moyen Âge, mais de façon accrue depuis le XXe siècle, cette figure lignagère est défigurée, ses enjeux sont déplacés, et Mélusine peut ainsi informer des questionnements identitaires divers, relatifs à une classe sociale ou à un individu, à la Nation ou à l’affirmation d’idées féministes. / It can seam surprising to dedicate such a consistent study to political sorts of a medieval fairy, on the one hand because it is common to differentiate fantasy and politics — whereas the appeal to fantasy is common to legitimate a power or to build a political community —, and on the other hand because the main branch of the Lusignan lineage, of which Mélusine is the mythical ancestor, has been exctincted since 1308. However, surprisingly, Mélusine, a marvel drawing contrasted understandings and representations, falls into multiple political dynamics. As early as the Middle Age, Mélusine incarnates diverse sorts : the expansion and the decline of the Lusignan lineage that she justifies. Manipulated for domination andlegitimation purposes, as well as to celebrate a lineage memory explored in medieval novels by Jean d’Arras (1393) and Coudrette (c.1401), Mélusine establishes herself over the centuries through literary and paraliterary texts and coats of arms as the Merlusine, the mother of the Lusignan, but also the mother of other aristocratic lineages. At the same time, from the Middle Age onwards, but in an increased way since the 20th century, this lineage figure has been disfigured, its goals have been displaced, and Mélusine can respond to multiple identity questionings related to a social class or an individual, to the Nation or to the assertion of feminist ideas.

This thesis is concerned with the "Americanity" of Quebec literature and the existence of a cultural formation specific to the New World, based on a context of renewal, distancing and rupture with respect to European influence. The "real maravilloso" is perceived as an inherent American mode of expression, and its presence is examined in the work of Yves Theriault and Alejo Carpentier. An analysis of the short stories, Contes pour un homme seul (1944) by Theriault and "Histoire de lunes" (1933) by Carpentier, and of the novels Agaguk (1958) and Le royaume de ce monde (1949), allows us to compare the evolution from primitivism to the "real maravilloso americano", revealed in the novel through the "figures of the Other" and the status of the character, characterized by duality (contrast between the primitive forces and civilized world), its quest, its integration with nature, and the importance of sacred ritual.

Habilitation - Universität, Stuttgart, 2007. / Includes bibliographical references and register.

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.

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