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The problem contained in this study was Stendhal's use of the Napoleonic myth in his novel The Red and the Black. This study dealt primarily with Stendhal's purpose in using the myth as a basis for his novel and with the extent to which the principal character, Julien Sorel, patterned himself after the myth.

There are two general approaches to myth, the literal and the symbolic. The literal method considers myth a record of man's responses to factors external to himself, while the symbolic approach evaluates myth as the externalization of internal conflicts. The purpose of this paper is to examine several examples of each type of scholarship and to show the efficacy of both in gaining a complete understanding of the Oedipus myths.

The subject of Mann's early fiction is a very modern one, dealing almost exclusively with the problems of the artist in bourgeois society. His work can be divided generally into two parts: the early writings, which examine the different aspects of the dilemma of the artist and the search for a unifying myth, and the later works, which explore the "lived myth" as a way to life and art.

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Throughout its history, the American film industry has produced films about women and for women, and three distinct phases may be identified within it: the “woman’s film,” the “new” woman’s film, and the “chick flick.” I assert that the recurring themes and images within the films operate as a mythic framework that intuitively resonates with audiences. In this thesis, I argue that despite seeming progress, women in film remain constrained by traditional mythic archetypes. As mediated images influence the culture, archetypal images of women in film potentially further constrain women’s social progress. This study explores feminine mythic archetypes in films from each phase and demonstrates that first, the era of the woman’s film presents traditional archetypes such as the Mother and the Wife; second, representation becomes more progressive in the new woman’s film of the 1970s through the influence of the women’s movement; third, representations regressed in the chick flick with the onset of postfeminism in the late 1980s; and finally, through the rhetorical function of myth, the films serve a persuasive and explanatory function for audiences.

Thesis (M.A.)--York University, 2008. Graduate Programme in Études Francaises. / Typescript. Includes bibliographical references (leaves 134-143). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38841

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