Thesis (Doctoral)--Universität Basel, 1935. / eContent provider-neutral record in process. Description based on print version record.

Thesis (Ph.D.)--New York University, 2007. / Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4287. Adviser: Mikhail Iampolski.

Boys‘love (BL) is originated from the Japanese comics. The phrase ―”boy‘s love” first appeared as a proper noun in the comics at an approximate time of 1966 in Japan. Most BL comics depicted hopeless love of boys. Then, the 1990s saw the emergence of new type of BL comics, namely 耽美 (Tanbi). Tanbi is a Japanese word, it can be attributed the same meaning as aestheticism. Tanbi comics showed a perfect scene to audiences within beautiful boys’ love, pleasure stories also end up with a comedy. The boys‘ love or nature love between boys is different from the circle of gay. BL is a kind of emotion always can only be seen in literary output due to its strict conditions. BL ought to be explained like this, a beautiful boy is falling love with somebody else, by coincidence, it is a beautiful boy. BL is more like a Platonic love, BL always give a picture of spiritual experiences of boys‘love but fewer sex. In other word, BL is just a kind of comic form. The researchers in Japanese comics always concentrated on its social influences, characteristics, conditions, etc. There is scarce any research touching on the comic forms. BL comics are a special component of the comics, and this form demonstrates a series of phenomenon in sociology. With an informal research, BL comics is now turning into a common fashionable comic form among the Asia regions. However, with great exchanges with other areas, there also exists a large number of BL comic fans in Mainland China, and most of them are young ladies. Given this background, BL is treated as an exclusive form to the young ladies, and it largely reflects values and tastes of these ladies. The findings of this thesis might provide insights into a desire understanding males and an expectation of a fathfully lover. Undeniably, Japanese people attain amazing achievements in many fields, the success of circulating BL products is one of them. To some extent, researching the circulation and consumption patterns of BL comics may reveal the great achievement of Japan in culture transmission. / published_or_final_version / Modern Languages and Cultures / Master / Master of Philosophy

The thesis is divided into two main parts. The first part deals with the theatre in general, the second with the Comedie-Francaise in particular. The first chapters explain the reasons for the immense popularity of the theatre in Paris during the years of occupation, how the theatre was organised and how racial policies and material difficulties affected productions. Relations between the theatre and the press are examined in some detail as are those plays which either supported the ideals of the ''Revolution Nationale" or attacked them; reference is also made to the important part that the theatre played in prisoner-of- war camps, the effect that censorship had on certain plays, and how popular Joan of Arc was with both the Germans and the French as a theatrical heroine. The second part opens with a brief history of the Comedie-Francaise during other wars, an explanation of the role that the public expected of their national theatre up to the time of invasion, details of changes in the theatre's repertoire as a result of the declaration of war and an examination of the attitudes of two administrators, Copeau and Vaudoyer, to the invaders. The following chapters deal with the more important productions which were put on at the theatre during the occupation, and in Particular with plays by Montherlant, Cocteau and Claudel. The conclusions drawn are that although the theatre was important to Parisians during the years 1940 - 1944, there is no real case to be made for a theatre of resistance or collaboration, and that the Comedie-Francaise was not significantly affected by the German invasion.

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My dissertation uses close readings of four texts dealing with the actress, spanning the naturalist novel (Zola’s Nana, 1880, and Edmond de Goncourt’s La Faustin, 1882), autobiography (Sarah Bernhardt’s Ma double vie, 1907) and autobiographical fiction (Colette’s La Vagabonde, 1910), in order to examine late nineteenth-century representations (and self-representations) of the actress in relation to the discourse of hysteria. I argue that in late nineteenth and early twentieth-century France, pathology and performance came together in the stereotype of the hysterical actress. In the wake of the French Revolution, and the subsequent political upheavals of the nineteenth century along with the emergence of a consumer capitalist society, \(fin-de-si\grave{e}cle\) society was living a moment of particular anxiety. This anxiety found a focal point in the hystericised figure of \(la com\acute{e}dienne\), who came to embody a threatening blurring of gender and class distinctions. Actresses were pathologised in a discursive gesture which sought to identify and contain the threat which they were seen to pose, and which seemed to offer an objective narrative which re-established boundaries and identities. The discourse of hysteria, however, was by no means as secure or monolithic as it might seem. I argue that the discourse of hysteria is underpinned by a fundamental performativity which has the potential to be profoundly subversive. By examining different modalities of response to the phenomenon of the hystericisation of the actress, I show how in both male and female-authored texts the discourse of pathology is undermined and reappropriated in a way which foreshadows twentieth-century feminist theories. / Romance Languages and Literatures

I locate my dissertation at the critical intersection of philosophy, medical discourse and literature, and anchor it around five intertwining concepts: modernity, subjectivity, masculinity, immunity and Frenchness. I contend that immunity, as a concept at which life and law converge, offers an alternative and largely overlooked episteme shaping contemporary French literary consciousness as a primary regulator/negotiator between health and sickness, belonging and not belonging, volition and involition, and, finally, self and other. I treat immunity metaphorically and scientifically, and then trace the episteme through the works of three French authors—Émile Zola, Albert Camus and Hervé Guibert—all of whom adopt the medical novel as a way of addressing the relationship of the individual to society and to the self. Anne-Marie Moulin frames the immunological revolution as an ever-evolving "semantic event." In this vein, I devote my first chapter to examining how immunity instituted itself as a common trope of "becoming" embraced—and left naturalized—by post-structural thinkers grappling with their corporal limits. This rhetorical turn culminates in Jean-Luc Nancy's characterization of the immune system as the body’s “physiological signature," inhibiting the potential of man to transcend his biology. In my second chapter, I move from the metaphor of immunity to a brief exposition of the history of the science, ending my survey with Elie Metchnikoff (and his legacy), the "father" of cellular immunology who envisioned the internal body as a dynamic, every-changing structure. I focus the next three chapters of my study on literary examples where the male protagonist’s immunity has been compromised. For my first two examples—Le Docteur Pascal by Emile Zola and La Peste by Albert Camus—I analyze the portrait of the supposedly immune doctor, considering what the “costs and benefits" of this immunity are and how this "exceptional status" is destabilized. Then, in my last chapter, I switch perspectives from the doctors to the patient, examining the texts of Hervé Guibert who, I argue, models his writing strategy on the retrovirus’s tactics, challenging literary conventions so as better to exteriorize his experience and “contaminate” (in the etymological sense as "touch together") his readers. / Romance Languages and Literatures

This dissertation examines the link between food and writing about food in French modernist texts in nineteenth and twentieth-century French novels, tracing the central role of food in realist fiction as an encoder of bourgeois discourse to its persisting, yet altered, role in modernist texts. While the propagation of gastronomy and culinary discourse through realist texts presupposes and relies on the seamless conversion of diners into readers and the meal into text, this dissertation has at its root the exploration of the narrative potential inherent in the creation of space in conspicuous "second-order" consumption, leaving the diner and the reader, and the meal and the text, side-by-side, in play. I reflect on how the deliberate alignment and co-staging of the meal and the word (or the diner and the reader), rather than their conflation and collapse, throws into relief not only the act of incorporating the meal, but also the extradiegetic moment of incorporating the text, or a (self-)consciousness of the meal as text. I explore how this shift in the staging of food and eating is not only a hallmark of the play that characterizes modernist novels, which inscribe self-conscious moments of their own creation and consumption within the narrative itself, but also a key element in understanding the shifts from realism to modernism, as the meal remains central to both while at the same time crystallizing key differences in how narratives are crafted in each. / Romance Languages and Literatures

While the themes of garbage and refuse pervade many of the most important works of Italian cinema from the era of Neorealism to the present, thus far no scholarly attempts have been made to examine the commonalities germane to their portrayal and their relationship to larger questions of Italian cultural trends. The present study explores how filmmakers' depiction of the residual is synecdochic of an artistic vision that endeavors to capture reality at its most unprepared and, subsequently, comes to represent the increasing complexity of the mimetic undertaking in an Italian society thrust rapidly into the late stages of capitalism. / Romance Languages and Literatures

Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation. / Romance Languages and Literatures