Thesis (M.A.)--Miami University, Dept. of French and Italian, 2006. / Title from first page of PDF document. Document formatted into pages; contains iv, 49 p. Includes bibliographical references (p. 49).

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 33-35).

Thesis (doctoral)--Université de Nantes, 1998. / Includes bibliographical references (v. 2, p. [830]-847) and index.

Thesis (doctoral)--Université de Nantes, 1998. / Includes bibliographical references (v. 2, p. [830]-847) and index.

Diss$--Literatur--Freiburg (Breigau)--Universität Freiburg, 1997. / Bibliogr. p. 195-207.

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Paris occupe une place centrale dans l’œuvre romanesque de Patrick Modiano. C’est sa ville natale, la ville de sa jeunesse et celle où il a passé presque toute sa vie. Il est resté irrémédiablement fasciné par elle. Plusieurs romans ont pour cadre spatial essentiel les rues, les boulevards et les quartiers parisiens. Le nom propre de la capitale française est le plus cité dans l’ensemble des textes modianiens. Aussi hétérogène que soit le cadre spatial, il évoque, dans la plupart des récits, le cadastre parisien. Comment Modiano appréhende-t-il la ville? Comment est-elle décrite dans ses récits? Modiano emprunte-t-il le regard d’un parisien, d’un urbain qui connaît mieux que quiconque cet espace ou celui d’un visiteur, d’un passeur? Paris est-il simplement un espace où le protagoniste vit et qu’il décrit ou existe-il un autre type de représentation de cette ville dans les textes de ce romancier? Comment l’espace réel se transforme-t-il en représentation ? Nous estimons qu’une recherche en géographie est indispensable en ce qui concerne l’œuvre romanesque de Patrick Modiano. L’espace modianien contient par excellence une dimension géographique qui saute aux yeux à la première lecture de ses romans. L’espace, chez Modiano, est d’abord et principalement réel. La capitale française est réellement conçue par cet écrivain, avec ses boulevards, ses carrefours, ses avenues et ses quartiers. Or, de ce lieu réel émerge une autre topographie purement imaginaire. / Paris occupies a central place in the Patrick Modiano of novels. It's his hometown, the city of his youth and one where he spent most of his life. He remained hopelessly fascinated by it. Several novels have essential spatial framework for streets, boulevards and Parisian districts. The proper name of the French capital is the most cited in all modianiens texts. As heterogeneous as is the spatial context, he mentioned, in most stories, the Paris Maps. Modiano how he apprehends the city ? How is it described in his stories? Modiano he borrows the look of a Paris, a city that knows better than anyone that space or that of a visitor, a smuggler ? Paris is it simply a space where the protagonist lives and it describes or is there another type of representation of the city in the texts of the novelist ? How real space he turns into representation ? We believe that a geographic research is needed regarding Patrick Modiano of novels. The space contains modianien excellence by a geographical dimension that jumps to the first reading of his novels. The space, in Modiano, is first and foremost real. The French capital is actually designed by this writer, with its boulevards, intersections, avenues and neighborhoods. But this real place emerges another purely imaginary topography.

Is it possible, indeed, is it legitimate to write about the Shoah when one is born after the war, when one hasn't experienced the horrors of concentration camps, and when survivors themselves are questioning the representability of the genocide? Which idioms can one use, what language can one invent in order to speak of this tragic event when it is necessary to do so, because it defines one's Jewish identity? / By its density and its specificity, Patrick Modiano's work answers these difficult questions. In a confrontation with collective history, which is at once strange and familiar to them, his narrators explore writing in order to find the right way to define the parametres and, more significantly, the limits of their identity. Their integrity allows them to transform their weaknesses into strengths: by accepting the distance between himself, the Shoah, and collective history, Modiano situates himself with respect to one of the most important events of the twentieth century.

Mémoire (M.E.L.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

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