Ce texte accompagne la création Fūkei [paysages], poésie sonore et scénographique adaptant le style littéraire du romancier japonais Haruki Murakami. La recherche porte un regard sur les structures narratives employées par l'auteur dans ses romans et s'intéresse à leur fonction dans le discours de l'œuvre et sa réception. À cet effet, une méthodologie est élaborée en deux phases. Premièrement, les structures narratives sont extraites par l'analyse de textes choisis de l'auteur. Deuxièmement, ces structures sont redéployées au sein du processus compositionnel de l'œuvre. Ce procédé d'adaptation comporte donc la particularité de transposer des structures et procédés littéraires dans une autre forme d'expression artistique. Par ailleurs, il se distingue par l'adaptation du style d'une œuvre littéraire plutôt que d'en adapter le texte. Fūkei [paysages] allie ces différents éléments dans une œuvre multidisciplinaire théâtrale, sans acteurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art, adaptation, allégorie, nouveau réalisme, réalisme magique, métafiction, fragment, collage, esthétique, poétique, poïétique, son, sonore, scène, théâtre.

The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires. The Introduction defines the Menippean satire and considers possible sources for this genre as found in the works of Hoban and Murakami. Parts I and II examine several novels by Hoban and by Murakami respectively, demonstrating how their works conform to the conventions of the Menippean satire. In examining Murakami's fiction, Part II also considers possible antecedents in Japanese literature for tropes and topoi that appear Menippean in the light of Western genre theory; there is a special emphasis on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru (1994-6, The Wind-up Bird Chronicles). The Conclusion examines why these two authors write Menippean satires. No claim is made that either author has chosen this genre in deliberate imitation of classical or Renaissance models. Rather, from the standpoint of cultural history, the thesis argues that the Menippean satire—or at least a form of postmodernist novel with notable affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on examples from the fiction of Murakami and Hoban, the conclusion demonstrates that central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres, invented languages, and the descent into hell—are particularly appropriate for the fictional treatment of life in a postmodern world. Moreover, these features are serviceable not only in a Western context. Murakami Haruki, despite his Japanese cultural background and his avowed intention to write about Japan, relies on many of the same generic strategies as does Russell Hoban.

The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires. The Introduction defines the Menippean satire and considers possible sources for this genre as found in the works of Hoban and Murakami. Parts I and II examine several novels by Hoban and by Murakami respectively, demonstrating how their works conform to the conventions of the Menippean satire. In examining Murakami's fiction, Part II also considers possible antecedents in Japanese literature for tropes and topoi that appear Menippean in the light of Western genre theory; there is a special emphasis on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru (1994-6, The Wind-up Bird Chronicles). The Conclusion examines why these two authors write Menippean satires. No claim is made that either author has chosen this genre in deliberate imitation of classical or Renaissance models. Rather, from the standpoint of cultural history, the thesis argues that the Menippean satire—or at least a form of postmodernist novel with notable affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on examples from the fiction of Murakami and Hoban, the conclusion demonstrates that central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres, invented languages, and the descent into hell—are particularly appropriate for the fictional treatment of life in a postmodern world. Moreover, these features are serviceable not only in a Western context. Murakami Haruki, despite his Japanese cultural background and his avowed intention to write about Japan, relies on many of the same generic strategies as does Russell Hoban. / Arts, Faculty of / English, Department of / Graduate

"Ce mémoire porte sur les réécritures du mythe d’OEdipe dans Kafka sur le rivage d’Haruki Murakami et Les Gommes d’Alain Robbe-Grillet. Plus spécifiquement, il vise à cerner les stratégies par lesquelles ces auteurs se réapproprient le mythe d’OEdipe, d’abord en explorant les liens hypertextuels qui associent ces romans avec OEdipe roi, leur texte fondateur, ainsi qu’avec la psychanalyse freudienne. Ensuite, il sera question d’examiner les modalités entourant la transposition de ce mythe en un contexte moderne, en mettant en lien les thématiques et motifs qui sous-tendent chaque réécriture. Le mémoire procède, en dernier lieu, à l’analyse d’une philosophie de la métaphore dans ces romans, philosophie qui semble dans les deux cas (malgré les divergences fondamentales de point de vue des auteurs sur la question) liée de près à la question du mythe dans leurs oeuvres respectives."