Thesis (doctoral)--Université de Paris, 1919. / Vol. 2 has title: Le Berry dans l'œuvre de George Sand. Vol. 1 has subtitle: Nohant, 1808-1876. Includes indexes. Includes bibliographical references (v. 1, p. [632]-657; v. 2, p. [356]-366).

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

George Sand est une écrivaine du XIXe siècle qui s’est engagée socialement au moyen de l’écriture. Pour elle, le journal est un instrument efficace de démocratisation. Elle a publié une quarantaine de romans-feuilletons dans différentes revues. Ainsi, le lectorat de l’auteure s’est vu élargi et elle a pu vivre de sa plume. Les articles qu’elle a écrits lui ont permis de diffuser ses idées sociopolitiques. Comme dans ses romans, Sand tente de donner une voix au peuple. Dans les années 1840, sur lesquelles ce mémoire se concentre à travers l’étude d’une série de six articles, ― parus soit dans un journal, soit en brochure ― la tension politique est palpable et Sand doit prendre ses précautions. Elle agit donc sous le couvert de personnages-narrateurs. Ce phénomène a particulièrement guidé notre sélection de textes. Le corpus est donc exemplaire et représentatif. Certes, l’auteure s’inspire du réel, mais ses textes portent la marque de l’idéalisation et du symbolisme. L’écrivaine-journaliste concilie donc les deux carrières sans amertume. Nous démontrerons que l’important pour l’auteure était de propager les valeurs républicaines.

Until now, for George Sand scholars, two main images of the Sand corpus have been dominant, “un grand fleuve d’Amérique” and “une grande oeuvre multiforme.” While both images evoke the strength and diversity of styles, approaches and genres in Sand’s literary production, they also suggest a certain vagueness in regards to the contours of this oeuvre. Moreover, when speaking about the author’s novelistic writing, scholars and the larger reading public alike often refer to her work as the “eighty or so” novels and short stories she wrote, giving the impression that her work knew no boundaries. In place of this relative sense of unruliness, I propose the vision of an oeuvre unified by a strong theory of the novel and suggest how this corpus is structured by both intertextuality and polyphony. For this purpose, I borrow from Riffaterrian theories of textuality while proposing my own theory of intertextuality in regards to its function in the Sand corpus. I explain how George Sand hands us an actual key to deciphering her entire literary production and how one can understand the theoretical implications of this literary gesture. This key is what I call the author’s “Jacques cycle,” the series of rewritings of her 1834 novel Jacques that she highlights in her 1866 novel Le Dernier Amour. There, the author speaks about Jacques and its rewritings as key novels that have followed the evolution of her thinking as a writer in addition to her reflections on societal concerns. Viewed from this perspective, Sand places intertextuality, rewriting, and metaliterary reflection at the very heart of her conception of literature on the same plane as her societal preoccupations. My dissertation consists of an Introduction, four chapters and a Conclusion. Chapter One presents George Sand's engaged stance in her "Essai sur le drame fantastique" theorizing on intertextuality. Chapter Two demonstrates how her rewriting of La Nouvelle Héloïse in Jacques enters in dialogue with the horizons d'attente associated with women's writing, while constructing what has been called a textual masculinity. Chapter Three analyzes Sand's defense of the autonomy of literature in Jacques and her article, "À propos de Lélia et de Valentine." Chapter Four theorizes on the concept of a Jacques cycle and investigates Sand's Valvèdre and Le Dernier Amour as novels rewriting Jacques in light of the movement of "l'art pour l'art." Theory is thus central in shaping the Sand corpus.

The topic of this thesis is the romantic "promenade" as a literary theme in the works of two 19th century authors: Gerard de Nerval and George Sand. / We have used Rousseau's Reveries du promeneur solitaire as foundation text in our research. Our corpus is comprised of two works by Gerard de Nerval: Sylvie and Promenades et Souvenirs, as well as George Sand's Lettres d'un voyageur; included also are some exerpts of her Correspondance. / We discovered that the experience of Nerval's "promenade" equates to a quest for the past, for freedom and for Nature. He also seeks to escape mental sickness, the burden threatening his inspiration. / In George Sand's works, the "promenade" becomes an activity allowing one to overcome familial and sentimental chagrin, a means of regaining a taste for life. / In the conclusion we compared the characteristics of the theme as illustrated by both authors, and brought to light their respective peculiarities.

Diss.--Mannheim--Universität Mannheim, 1997.

The thesis is a comparative study of George Eliot and George Sand. Numerous references to Sand in Eliot's correspondence, as well as in Lewes's criticism, show that the link between the two female authors was more profound than suspected. Lewes and Sand met and corresponded for a few years and his art theory is greatly indebted to Sand's novels. Sand also exerted a profound influence on Eliot's intellectual and artistic development before Eliot met Lewes. Sand was her "divinity." However, it is Lewes who encouraged Eliot to follow in Sand's footsteps. The thesis is thematic and compares first the impact of Sand's religious novels such as Spiridion and Lélia. Then their social thought is examined, with novels such as Le pêche de Monsieur Antoine and Felix Holt, the Radical. The third part deals with their conception of art, with special attention to the doctrine of Realism and to Sand's rustic novels. Their conception of women is also examined as well as their position on the question of woman's liberation. Finally, I compare their views of the complex relationship between femaleness and literature, in the light of recent feminist criticism.

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

The phenomenon of retranslation (the repeated translation of a given work into a given target language) is widespread in practice, and yet its motivations remain relatively underexplored. One very prevalent justification for this repetitive act is encapsulated in the work of Antoine Berman who claims that an initial translation is necessarily 'aveugle et hésitante' (1990: 5), while retranslation alone can ensure 'la « révélation » dřune oeuvre étrangère dans son être propre à la culture réceptrice' (1995: 57). This dynamic from deficient initial translation to accomplished retranslation has been consolidated into the Retranslation Hypothesis, namely that 'later translations tend to be closer to the source text' (Chesterman, 2004: 8, my emphasis). In order to investigate the validity of the hypothesis, this thesis undertakes a case study of the British retranslations of Flaubert's Madame Bovary and Sand's La Mare au diable. A methodology is proposed which allows the key notion of closeness to be measured on both a linguistic and a cultural axis. Given Flaubert's famous insistence on 'le mot juste', Madame Bovary serves as a basis for an examination of linguistic closeness which is guided by narratology and stylistics, and underpinned by Halliday's (2004) Systemic Functional Grammar. On the other hand, Sand's ethnographical concerns facilitate a study of cultural closeness: here, narrativity (Baker, 2006) informs an analysis of how Berrichon cultural identity is mediated through retranslation. In both cases, the thesis draws on paratextual material (Genette, 1987) such as prefaces and advertisements, and on extra-textual material, namely journal articles and reviews, in order to locate specific socio-cultural influences on retranslation, as well as highlighting the type and extent of interactions between the retranslations themselves. Ultimately, this thesis argues that the Retranslation Hypothesis is untenable when confronted with the polymorphous behaviour of retranslation, both within and without the text.