A poet and a movie director, Jean Cocteau brilliantly manifested surrealist inspiration in his poetry, in the performative art of his theatrical representation, and in his cinematography. His work is the best example to follow when asking the question how much the new art of cinematography inherited from other artistic expressions, especially from literature. This dissertation seeks to provide new and interdisciplinary inside into precisely those ways in which film, as an artistic expression, is intimately related to literature. The thesis begins with an examination of the development of Cocteau's art from his first lyrics to his production of abstract films, showing how cinema can be directly related to his personal poetical mythology already manifested in literary works. I introduce the syncretism of Cocteau artistic expressions, examine the importance of literature in the later production of cinematography, and consider the main constructions in Cocteau's re-creation of the mythological and legendary figures of the poet. In this later endeavor I discuss myth, symbol and allegory, poetics that will be further defined in the second chapter. The second part suggests that within the heterogeneous art of Cocteau, there is a profound relationship between his poetry and his films. His unique perspective goes beyond traditional genre frontiers in the lyric, in theatre, and in narrative, making for a singular representation of the very notion of artistic intuition and the role of the artist. Whether perceived as a form of art or an aesthetic debate, the creation of art movies become for this French poet and cineaste a perfect way to interrogate his destiny and to define his artistic personality. His visual work is populated by his literary characters and haunted by his obsession with death and sacrifice. The artistic expression he would invent by means of the cinematic image was a way, moreover, in which to attract a timeless public attention. As Cocteau explored what it might mean to be a poet and the kind of destiny that a poet might secure, he raised the question of the artist's liberty, exemplifying this most fully in self-portrait we find in his re-construction of the Orpheus character in movies like The blood of the poet, Orpheus, and The Testament of Orpheus. Creating in this way a mask for the artist's identity he also establishes an intimate link between his artistic expression in the domain of poetry and his creation in the field of dramatic representation. Although focused on the artist's ongoing concern with artistic identity, this second part of the thesis recognizes cinema as a longstanding art and analyzes its instruments and technique. Many of these are inspired by the other arts. As with literary texts cinema must attend to narrative creation, to the construction of plot and to the unfolding of character. As in theatre it involves declamation and the art of decorations. As in dance performance it relies on music, sound and animation. There are of course ways in which cinematography through special effects, for example, finds its own path as it provides a means for the poet to express his intuitive inspiration. In this Cocteau has been recognized as one of the most creative directors of all time.

Walter's Scott's novel Waverley depicts Scotland as a picturesque country, which produces a distinctive and romantic picture with incorporating the local elements: Scottish natural landscape, the heroic Jacobites, the bardic tradition and Gaelic culture. Scott¡¦s picturesque representation of a romantic Scotland, built upon the mixture of romance and history, achieves two goals: it offers the Scots an idealized Scottish nation while making Scotland¡¦s participation in the Union with England palatable to both the Scots and the English, giving the Scots an authentic image of their own country and the English a tourist destination of picturesque beauty. Chapter one defines the term ¡§picturesque,¡¨ discusses its changing meanings as an aesthetic category, and introduces the general picturesque experience of Scotland. Chapter two discusses Scott¡¦s use of the picturesque in Waverley and its concomitant paradoxes in Scott¡¦s idealization of a British nation. Chapter three focuses on the romanticizing of the Scottish landscape as well as on how the image supported Romantic nationalism. That romantic picture of a Gaelic Scotland then turned into the set picturesque view that tourists had of Scotland, even before they actually traveled there. The illustrated editions of Scott¡¦s novels played a major role in turning Scotland into ¡§Scott-land,¡¨ a country made up of a novelist¡¦s ambition and imagination.

A study on the Law of Retribution concept and the literature skills of ¡mXing-Shi Yin Yuan Chuan¡n Abstract ¡mXing-Shi Yin Yuan Chuan¡nis a vernacular fiction mainly about human feeling and events in Ming and Ching dynasties¡CAlthough the term ¡uYIN YUAN¡v usually refers to romance and marriages¡Athe novel portrays not only love affairs and matrimony but also the reality of family life in the feudal society¡Ageneral observation of gentlemen¡Bgovernment officials¡Bbusinessmen¡Band servants¡Acan also be found in the book¡Areflecting various aspects of real life and the complicacy of human natures¡C This paper is divided into six chapters¡GChapter One brings out the study motivation¡Adirection¡Aand scope¡Aas well as general introducing the present related references to describe the current study situation¡CChapter Two collects and studies who the author is¡HTime background and the orientation of the book¡CChapter Three talks about the author¡¦s ideas on ¡ucausality¡v¡AThe thought of ¡ucausality¡vcover the ideologies of Buddhism¡BTaoism¡Band Confucianism¡Areflecting the miscellaneous¡ucausality¡vvalues in the book¡C Chapter Four extends the various¡ucausality¡vvalues¡Aand points out the conflicts between the¡ucausality¡vpresentations¡Awhich reveal the author¡¦s internal contradiction towards the values¡CChapter Five analyzes the character molding skills¡Awhich draw a lot of interest¡CIt praises the portraying of the characters and the outstanding polishing skills as each typical role is vividly presented¡CChapter Six concludes and outlines the varied values and meaning¡AIt also mentions the short-comings and the researcher's suggestions on future related study directions¡Ain order to draw more academic attentions¡C ¡mXing-Shi Yin Yuan Chuan¡nis based on a chaotic family¡Aironically describing the fallen morality and disordered ethnics during Ming and Ching dynasties¡CThe nearly sick brutality between the couple shows the family violence at that time¡Athis is definitely an earthly novel worth recommending¡C Keywords¡Gromance¡Bcausality¡Bfamily violence¡Bearthly novel¡C

Thèse--Lausanne. / Bibliography: p. [ix]-xiii.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 265-270).

In this dissertation I focus on the cultural transformations and renewal apparent in the films of Godard, Resnais, Varda and Tati in the period 1954-1968. I contend that the Algerian Revolution (1954-1962) – also known as the Algerian War of Independence – contributed to eroding the myth of Résistancialisme and engendered, especially in the generation young enough to be drafted, an initially confused but nevertheless sincere quest for a cause or a Revolution to believe in. This is depicted in the films of Godard, Resnais and Vautier chosen for study here. I also maintain that the aforementioned quest and related cultural, societal and ideological transformations contributed to the events of May 1968. While May 68 is generally considered to have been unforeseen, it was, with hindsight, clearly foreshadowed in the films I have chosen to study. During this period it was not only Algerians but also women who were engaged in a struggle for equality and civil rights, not least of all the right to corporal freedom through fair and legal access to contraception and abortion. Momentous changes in laws governing women and their social status was achieved through sustained challenges to dominant power structures and ideology: therefore, I complement the aforementioned theses by deploying sexual-linguistics and Luce Irigaray and Julia Kristeva’s challenges to Lacanian psychoanalysis in an analysis of Varda’s films to portray these transformations and argue that women are not excluded from the Logos, but rather can be considered to be the very point of origin of the symbolic order and language itself. Moving towards May 68, I conclude by applying Bakhtin’s theories on the role of laughter and Rabelaisian carnival to four of Jacques Tati’s films of this era, which, I argue, offer representations of a growing collective folk movement and are redolent with the symbolism of historic renewal, therefore also pointing forward to the solidarity and rebellion that typified May 68. Finally, I conclude that the films included in my dissertation, when considered together, have the distinct advantage of portraying an insight into the many momentous cultural and societal transformations taking place in a chapter of modern French history more commonly described as ‘quiet’.

The philosophers of the Enlightenment base their ideas on reason while attracting public attention on the futility of religion. The concept of the universe inherited from Antiquity is rejuvenated by contemporary sciences and, at first sight, we would think that nature governs the supernatural. A number of philosophical works, which would today be considered anthropological, deal with the customs and manners of different countries of the world, inevitably describing the religious cults and ceremonies practiced throughout the centuries. To what extent are these rituals kept, neglected or transformed in the century of Enlightenment? What is the connection between the ceremonies of Antiquity and the rituals practiced in the confined space of modern secret societies? Speculative Freemasonry, introduced to France at the beginning of the 18 th century, counts among its members a number of well-known philosophers. Do these enlightened minds, most of whom are adversaries of religion, practice the rituals based on sacred and incommunicable mysteries? These are some of the questions which this dissertation tries to answer in analyzing the philosophers' (i.e. Voltaire, Dupuis, Boulanger, Demeunier) anthropological views; the origins of Freemasonry and the ancient sacred tradition; the founding murder and the sacrificial ritual; freemasonic and initiatory symbols in Ramsay's Voyages of Cyrus (1727); Ramsay's quest and the mysteries in his Discourse (1736); Casanova's Icosameron (1788), a freemasonic utopia, hermetic allegory and symbolic fable. This dissertation attempts to demonstrate that the denial of the mystery and the supposed domination of the world by reason are only the well-known and visible aspect of the 18 th century.

It is undoubtedly one of Kafka's finest erotic scenes – the description of K.'s furtive tryst on the tap-room floor. – Wrapped in Frieda's arms, he rolls back and forth through small puddles of beer and rubbish, her small body burning in his reluctant hands. "Hours passed there," writes Kafka, "hours breathing together with a single heartbeart [gemeinsamen Herzschlags], hours in which K. constantly felt he was lost or had wandered farther into foreign lands [der Fremde] than any human being before him ..." What makes this passage so compelling is the manner in which Kafka, in four short lines, manages to distil everything ambiguous and terrifying about the erotic relation into a scene which, otherwise, could almost pass for sentimental.

This thesis shows to what extent the study of Italian children's literature can benefit from an attentive analysis of the parallel corpus of translated works and of the interaction between the two. The first chapter argues that ignoring translated literature means we are telling only half of the story, since translations have had a strong impact not only on the development, but also on the formation of Italian literature for children. The second chapter disputes the assumed internationalism which suggests children's classics can cross linguistic and cultural boundaries 'naturally', employing research tools offered by Translation Studies: the mechanisms of transfer which can be observed when classics for children move from one culture into another reveal the many changes and adaptations that these books have undergone in order to be accepted in the target cultures, and also their transformation over time within their own source cultures. The third chapter explores links between translation, women's writing and children's literature by looking at the work of a limited number of significant Italian women translators of children's literature, whose contribution to Italian literature is still largely ignored. The historical period of Fascism provides a context for the observation of norms applying to literature for children in the fourth chapter. The idea that children would be much more ideologically pliable than adults led the regime to try to impose on children's books a set of norms conforming to its political aims. Following a broadly chronological line brings us, in the last chapter, to look at the way in which the penetration of innovative literary models and ideas through translation greatly influenced the development of indigenous children's literature in post-war Italy, as well as at the impact of globalisation from the 1980s onwards, both on Italian production and on imported children’s books, their distribution and reception.

L’argument initial, le laboratoire romanesque, fait glisser la thèse de la perspective “le roman et la science” à celle de "la science du roman". En présentant la Recherche comme observatoire et laboratoire humain et littéraire, le roman émerge autant comme outil de perception que comme objet d’investigation. Le premier chapitre montre l’intérêt du roman pour la science et les innovations technologiques, ainsi que les similitudes entre l’écriture et la démarche scientifique. La place des objets du quotidien dans la confection de l’œuvre ouvre la porte à la partie subjective du réel, aussi cruciale pour le narrateur qu’une description objective ou scientifique de phénomènes tel le passage du temps. La Recherche explore les zones inconnues du temps par le biais du sensible, déstabilisant ainsi le postulat de la relativité temporelle comme intrinsèquement scientifique. Apparaît une matière temporelle dont la nature change en fonction de la subjectivité du narrateur. La Recherche dévoile une relativité temporelle proprement romanesque qui remet en question la primauté d’une réalité scientifique par rapport aux vérités se dégageant des interstices textuels, et amorce la disparition de la chronologie au profit de l’organicité de l’œuvre. Ce désencrage temporel doublé du désengagement de l’auteur permet à une neutralité productive de s’épanouir et d’offrir une vision du monde inattendue. Le choix du neutre est observable dans la peinture des entre-deux masculin-féminin, la description presque comique des amitiés remodelées par l’affaire Dreyfus, et la particularité du style proustien. C’est grâce à cette neutralité que l’œuvre atteint un morcellement épistémologique productif ouvrant la voie à un renouvellement du genre romanesque. Le dernier chapitre répond à la question «que reste-t-il de Proust?». La fragmentarité, la plasticité du roman et la place de la fiction dans la cohésion narrative de la Recherche ressortent d’œuvres qui adoptent également un mode d’écriture autobiographique métissé. Cette nouvelle voix autobiographique se délivre du carcan de la confession et de l’introspection grâce à l’imaginaire. En brisant le pacte autobiographique, le souci d’authenticité s’évanouit laissant s’épanouir au-delà du canon le démon romanesque, et ouvrant la boîte de Pandore ou sur des réalités dérisoires ou sur un mode de l’intériorité. / Romance Languages and Literatures