By studying the modes by which dialogue is inscribed in Le Cote de Guermantes, as well as the way it operates within the narrative discourse, we show that the sociolectal realism of this novel is derived mostly from the inscription and the circulation, within the fictional discourse, of pragmalinguistic and socio-ideological presuppositions obtaining in the "faubourg Saint-Germain" of the French III$ sp{ rm rd}$ Republic. Indeed, this novel absorbs and reproduces, in addition to a limited number of socially marked words or expressions, the role relationships, the power relationships, and, especially, the discursive strategies of the real world aristocratic ideology. Furthermore, this study demonstrates that if Proustian intratextual utterances undergo many systematisations, distortions and subjectivations promoting the insertion, within the dialogal component, of functional and structural characteristics of the description which modify the temporality of real dialogue and introduce pragmatico-structural modifications unthinkable in the real world, these systematisations, distortions and subjectivations partake of the text's aesthetic and ideological presuppositions, that is the anti-mimetism both of the characters' discourse in novels and of literature, the incapacity of language to reveal the truth directly.

In Proustian aesthetics, the act of reading constitutes a fundamental activity in the elaboration of Remembrance of Things Past. The representation of each art form which the novel proposes to synthesize (architecture, painting, and literature) is based on intertextual relationships that unite texts from non literary (Ruskin, Male), literary (Sand, Sevigne, Racine) and philosophical (Schopenhauer) sources, that contribute to a general conception of art that reintegrates the problem of the reception of art works in the context of an essentially literary experience. In accordance with Hans-Robert Jauss' theory, the presence of such texts enables the reconstitution of the reader's expectations, and provides the context for the multiple representations of the work of art. Consequently, the implicit and explicit interrelations between the Proustian text and its intertext, perceived as an indication of the readers liberty, introduce different strategies of reading into the novel. Not only does the narrative, through its characters, offers a series of examples that are didactic in nature, but the use of quotations creates dynamics that underscores the specificity of the Proustian act of reading and its interdependence on the act of writing. The reception of the text implied by the Proustian reading of the work of art therefore contributes in making Remembrance of Things Past, not a dogmatic exposition of a theory, but rather a long quest through literary creation for knowledge that transcends Plato's idea of the transmission of meaning through art and of communication through the act of reading.

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Marcel Proust and the Text as Macrometaphor proposes that metaphor may provide the key to understanding the structure and effect of some novels. Some literary works give rise to an inexpressible impression that transcends its component elements. This dissertation attempts to prove that such texts reflect on a macro-scale the structure of a poetic metaphor, and thus function as "macrometaphors". Because Marcel Proust established a connection in Le temps retrouvé between metaphor and a literary work, his investigation of the metaphorical process and the means by which it suggests to its reader the internal reality of things is utilized as the theoretical basis for a comparative analysis of six novels from the perspective of the metaphor-like structures that underlie their characterizations, organization, ideas, imagery, milieus, and symbols. The Introduction discusses the validity of using Proust's A la recherche du temps perdu as an illustration of the novel as macrometaphor, and considers other theoretical studies which also suggest a possible connection between text and metaphor. Chapter One analyzes Proust's theory of metaphor as set forth in Le temps retrouvé, elucidating first of all the meaning of the word "metaphor" as used by Proust. It then explores briefly how his usage fits into the history of the concept of metaphor from the time of Aristotle to the present day, and next explicates the steps taken by the narrator that culminate in his recognition of the metaphorical process and its relationship to art and life. Finally, it clarifies the structures and conditions that constitute metaphor as understood by Proust. Chapter Two demonstrates how the totality of the novel A la recherche du temps perdu reflects the structure of metaphor as defined in Le temps retrouvé. The similarities shared by the structure of the text and the structure of metaphor are the grounds for viewing the text as a macrometaphor. Chapter Three presents brief, comparative structural analyses of five other novels (Cervantes' Don Quixote, Diderot's Jacques le fataliste et son maître, Thomas Mann's Der Zauberberg, Julio Cortázar's Rayuela, and Gabriel García Márquez' Cien años de soledad) in order to demonstrate that these works reflect the structure of metaphor also. The Conclusion presents some general ideas about the relationship of thought, discourse, metaphorical structure, literary works in general and novelistic structure in particular. / Arts, Faculty of / English, Department of / Graduate

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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