This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

'Immediate Passage: The Narrative of Joel H. Brown' is an original work of fiction. The protagonist and narrator, Joel Brown, is preparing to set sail for a singlehanded circumnavigation. As he readies his boat and counts down the days until his departure, he reflects on his previous experience at sea, what he expects to see out there, and why he is even going in the first place. The story ends with his departure. It is set in the present day. The novel is supported by an analysis of the choices of form and style in first person sea voyage narratives, showing general trends and authorial choices in the areas of veracity, structure, point of view, voice, tense, direct speech, and the use of maritime language. A glossary of maritime words is provided as an appendix.

Résumé. En partant d’une description des nombreux changements de la pratique médicale depuis quelques décennies, la thèse étudie divers aspects constitutifs du malaise du médecin. L’accroissement de la puissance médicale qu’a permis la technoscience est analysée et remise dans un contexte plus large où les technologies de l’information ont une grande place. L’augmentation considérable des connaissances pose un problème de maîtrise de la science médicale. La multiplicité des observations fait qu’il y a discordance de certaines d’entre elles avec les théories médicales largement acceptées. De cette manière, le gain d’efficacité est associé à une perte de la cohérence du discours médical. Le rôle du médecin disparaît derrière la technique, qui semble pouvoir, seule, rendre tous les progrès accessibles. Le médecin devient alors un simple distributeur de services et, à ce titre, développe parfois des offres de pratiques sans fondement, voire dangereuses. Le pouvoir du médecin est évoqué, et se ramène in fine à la fourniture d’un diagnostic et d’une explication de sa maladie au patient. Le rôle des explications particulières que donne le médecin au malade est exploré à la lumière d’une conception narrative et évolutive de la vie humaine. Le rôle du médecin apparaît alors comme d’aider le patient à réécrire a posteriori le fil d’une histoire qui apparaît initialement comme interrompue par la maladie. Le rôle social de maintien de l’ordre de la pratique médicale est alors évoqué. Ensuite, par une approche descriptive du phénomène religieux, on montre que la médecine du XXIe siècle a les caractéristiques d’un tel phénomène. Entités extrahumaines, mythes, rites, tabous, prétention à bâtir une morale, accompagnement de la vie et de la mort, miracles, promesse de salut, temples, officiants sont identifiés dans la médecine « classique » contemporaine. Seule la fonction de divination de l’avenir d’un homme précis est devenue brumeuse, la technoscience permettant régulièrement du « tout ou rien » là où auparavant un pronostic précis (et souvent défavorable) pouvait être affirmé. L’hypothèse que la médecine est devenue une religion du XXIe siècle est confrontée à des textes de S. Freud, M. Gauchet et P. Boyer. Non seulement ces textes n’invalident pas l’hypothèse, mais la renforcent même. Il apparaît que le fonctionnement de l’esprit humain favorise l’éclosion de religions et donc la prise de voile de la médecine. La dynamique générale de la démocratisation de la société montre que la médecine est une forme de religion non seulement compatible avec une société démocratique, mais est peut-être une des formes accomplies de celle-ci, où chaque individu écrit lui-même sa propre histoire. Le danger qu’il y a, pour le patient comme pour le médecin, si ce dernier accepte de jouer un rôle de prêtre, est ensuite développé. Enfin, la remise dans le cadre plus général de l’existence humaine, l’évocation de la dimension de révolte de la médecine, de son essentielle incomplétude, l’acceptation d’une cohérence imparfaite permettent au médecin de retrouver des sources de joie afin de, peut-être, ne tomber ni dans un désinvestissement blasé, ni dans un cynisme blessant. Summary From a description of the many changes medical practice has undergone for a few decades, the work goes on to study many sides of the modern doctor’s malaise. The gain of power made possible by technoscience is put on a larger stage where information technologies play a major role. The abundance of knowledge makes health literacy more difficult. the great number of observations makes discrepancies with general theories more frequent. The gain in power is associated with a loss of coherence of the medical speech. The doctor’s role vanishes behind technology that seems to be the only access to all medical progresses. Doctors becomes mere service providers and go on to offer unvalidated or even harmful services on the market. Modern medical power resumes into the explanations and diagnosis given to the patient. The role of medical explanations is explored through an evolutive and narrative vision of human life. The duty of the doctors then appears to allow a new narration of the self that bridges the gap disease introduced into the patient’s life. The role of medicine in maintaining social order is mentioned. Through a sociological approach of the religious phenomenon, one can see that XXIst century medicine is such a phenomenon. Medicine knows of extrahuman entities, myths, rites, taboos, miracles, temples; priests are present in modern mainstream medicine. Some want to derive objective moral values from medicine, and it brings companionship to man from birth to death. The only departure from old religions was the weakened ability to predict the future of an individual patient: for some diseases for which survival was known to be very poor, the possibilities are now long-term survival with cure, or early death from the treatment. The hypothesis that medicine is a religion is confronted to texts from Freud S., Gauchet M. and Boyer P. Not only do they not invalidate the hypothesis, but they bring enrichment to it. Brain/mind dynamics is such that the appearance of religions is frequent, and makes the transformation of medicine into a religion easier. Society’s democratisation confronted to religion’s history shows that medicine is the most compatible form of religion within a truly democratic society, where each individual writes his own story. To become a priest brings some dangers for the patient, but also for the doctor. These dangers are discussed. This discussion is put into the larger context of human life. The revolt dimension of medicine is discussed, as is its never-ending task. Their acceptance, as that of a lack of total logical coherence can open the possibility for the doctor to enjoy his work, without being neither unfeeling nor cynical.

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

The thesis discusses the development of nineteenth century responses to the United States. It hinges upon the premise that travel writing is narrative and that the travelling itself must therefore be constructed (or reconstructed) as narrative in order to make it available for writing. By applying narratology to the work of literary travel writers from Frances Trollope to Henry James I show the influence of travelling point of view and writing point of view on the narrative. Where these two points of view are in conflict I suggest reasons for this and identify signs in the narrative which display the disparity. There are several influences on point of view which are discussed in the thesis. The first is mode of travel: the development of steamboats and later locomotives increasingly divested travellers from the landscape through which they were travelling. I concentrate on Frances Trollope, Charles Dickens and Mark Twain travelling by boat, and Robert Louis Stevenson and Henry James travelling by rail to examine how mode of travel alters travelling point of view and influences the form of travel writing. The second is the frontier: writing from a liminal space creates a certain point of view and makes travel not only a passage but a rite of passage. I examine travel texts which discuss the Western frontier as well as the transatlantic frontier. As the opportunity for these frontier experiences diminished through the spread of American culture and developments in travel technology, so the point of view of the traveller changes. A third point of view is provided by European ideas of nature and beauty in nature. The failure of these when put against American landscapes such as the Mississippi, prairies, and Niagara forms a significant part of the thesis, the fourth chapter of which examines writing on Niagara Falls in guidebooks and the travel texts of Frances Trollope, Dickens, Nathaniel Hawthorne, Anthony Trollope, Twain and James. Other points of view include seeing the United States through earlier travel texts and adopting a more autobiographical interest in travelogues. In the final chapter the thesis contains a discussion of the nature of truth in travel writing and the tendency towards fictionalisation. The thesis concludes by considering the implications for truth of having various travelling and writing points of view impact upon constructing narrative out of travel.

Så säger en av romangestalterna i Sven Delblancs Samuelsvit ochger därmed uttryck – ett av många – åt något som skulle kunna benämnas ’vanmaktens makt’. Vanmaktens makt har också blivit titeln på denna undersökning av sekulariseringstematiken i Delblancs Samuelsvit och Änkan. – Hur framställs och bearbetas sekulariseringen i dessa texter? – Vilka bilder ger de av sekulariseringsprocessen och dess följder,av ett sekulariserat samhälle och en sekulariserad människa? Dessa frågor, bland andra, diskuterar Helene Blomqvist i denna studie.Delblancs fem romaner bearbetar två livsfrågor som tycks bli på ett särskilt sätt aktualiserade genom sekulariseringen: frågan omontologin och frågan om etiken. Det handlar å ena sidan om ett teoretiskt spörsmål – om hur man kan uppfatta tillvarons grundläggande beskaffenhet – och å andra sidan om ett praktiskt – hurman bäst skall leva sitt liv i denna värld. Såväl Samuelsviten som Änkan gör upp räkningen med en gammal monistisk allsmäktig-Gud-ontologi. Teodicéproblemet visar sig vara trons stötesten: föreställningenom en allsmäktig och allgod gud kan inte fås att rimma med allt det destruktiva i tillvaron, ondskans framfart,eget och andras lidande. Romanerna gestaltar alla ett sökande efter en mer hållbar ontologisk och etisk grund. Hur skulle ett sådant alternativ kunna se ut? Detta är frågor som är helt centrala för Delblancs romaner och således också för denna undersökning. / <p>Distrubution: Genom författaren</p>

Dans son dernier roman achevé intitulé Persuasion, Jane Austen se sert fréquemment du style indirect afin de représenter la pensée du personnage principal, Anne Elliot. Ce roman fut traduit en français pour la première fois en 1821 par Isabelle de Montolieu, publié à Paris sous le titre de La Famille Elliot, ou l’ancienne inclination. Qu’est-ce que le style indirect libre devient dans la narration de la première traduction française de Persuasion ? La formulation de cette question, que nous envisageons à partir d’un corpus de textes théoriques, fait suite à un certain nombre de travaux consacrés aux relations entre la traduction et le discours rapporté qui ont mis en évidence le rôle du style indirect libre dans la traduction de Montolieu. On propose pour la première fois l’application des concepts narratologiques à l’analyse de cette traduction : notre étude s’appuie ainsi sur des notions opératoires susceptibles de saisir sa singularité narrative et le rapport entre le discours rapporté et la traduction. Le troisième chapitre de notre étude débute sur l’analyse de notre traduction. Grâce aux concepts issus de la narratologie surtout à tendance « énonciative », nous avons pu regarder au-delà de la phrase pour finir par remarquer que le style indirect libre est surtout très répandu dans la narration de La Famille Elliot. Nous souhaiterions ici combler une lacune en consacrant la présente étude à un phénomène souvent jugé « extraordinaire ». Pour autant, le présent ouvrage ne doit pas être considéré uniquement comme une étude spécialisée, car il a aussi l’ambition de contribuer à l’étude du discours rapporté au sein du texte traduit en général. / In Persuasion, Jane Austen uses this technique to present Anne Elliot’s consciousness. Persuasion, Austen’s posthumously published “late” novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l’ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu’s use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen’s fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine’s mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine’s point of view (PDV), demonstrating that the narration achieves this focus on the heroine’s consciousness through syntactically unmarked fragments of FID thought report.

This essays content is about a narratological analysis of “The Mist”, written by Stephen King, with a focus on who, how, and what in relationship with the story. It also contains a deeper analysis on chosen characters and the meaning behind them. The analysis also takes a look on why King has chosen to use them and their specific details. By mainly using Shlomith Rimmon-Kenan and Jimmy Vulovic I manage to find the voice of the story, how it’s told and what it contains. There is a deeper meaning behind the details that King has selected for his story, for example the colors is not randomly chosen but have a point and a deeper sense behind them. The characters all have a meaning, big and small. The three main characters becomes pillars of the story where they give it and eachother balance with the ir significant roles as hero, villain and helper. It also turns out that the extraterrestrial beings are not the biggest threat of the story, the humans are.

The writings of Göran Tunström (1937 – 2000) are closely linked with his birthplace, Sunne in Värmland. His four ’Sunne Novels’, De heliga geograferna (1973; ’The Holy Geographers’), Guddöttrarna (1976; ’The Goddaughters’), Juloratoriet (1983; The Christmas Oratorio, 1995) and Tjuven (1986; ’The Thief’) form the subject of this thesis. The focus is on the novels as an entity, an &apos;epic universe&apos;, a micro-/macrocosmos, examined from five different aspects: space, time, literary models, poetics and ethics. The first part of the thesis concentrates on Sunne, and both the inward and outward significance of place. Topographical descriptions and place-names use physical surroundings as their starting point, but here the analysis is structured phenomenologically, on what Gaston Bachelard calls ’topoanalysis’: i.e. Sunne is seen both subjectively and objectively. In the second part the significance of the time dimension in its epic configuration is examined. The hypothesis is that there is a typological structure in the Sunne novels corresponding to the Genesis and Apocalypse of the Bible. The third part looks at the significance of the work of two writers, Selma Lagerlöf and Lars Ahlin, whose production can be seen as literary models. The fourth part considers the poetics of the Sunne novels. The main issue is narratological and discusses the kind of prose used, the various literary patterns, genres, motifs and rhetorical figures that appear, and the sorts of meaning created thereby. An expression often used throughout the Sunne novels is &apos;turning round&apos;: a trope implying transgression, recognition, identification and perception, awareness, and knowledge. In these novels different literary and mythical traditions are interwoven using various narratological devices. The relation to tradition may be described as parody. The fifth and last part of the thesis looks at the narrator and the ethical discourse in the Sunne novels. It considers both the relation between the narrator and his creativity in terms of self-examination and identity, and the ethical question as to how one ought to live. Elements of the philosophy of existence can characteristically be related to the work of Lars Ahlin and Søren Kierkegaard. The ethical analysis is based, as with Martha Nussbaum, on the fundamental question as to how one becomes, and remains, a true and living person. By investigating the relation between subject and object in creative, artistic practice, contact with reality is obtained as well as truth and individuality. The confessional element in the narrative context points towards this and also contributes to the therapeutic character of the novels. The relation between imagination and reality resolves itself into an acceptance of &apos;both - and&apos;. &apos;Humour&apos; as an attitude to life means the ability to accommodate a &apos;both-and&apos; stance without losing perception and consciousness and also leads to self-fulfilment and fellowship. / Akademisk avhandling för avläggande av filosofie doktorsexamen fredagen den 21 november år 2003 kl. 13.15 i Lilla hörsalen, Humanisten, Göteborgs universitet, Renströmsgatan 6, Göteborg.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.