Doct. th.--Roma--Pontificia università gregoriana, 1997. / Bibliogr. p. 449-473. Index.

Texte remanié de: Th.--Lille III, 1995. / Bibliogr. p. 547-557. Index.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This study of narrative fragmentation concentrates on three major novels of Claude Simon's central period — La Route des Flandres, Le Palace and Histoire — though it also looks at the foreshadowing of their composition in the theme of fragmentary vision in Le Vent; a work which, while it does not fully realize its own stated aims, constitutes the novelistic credo of the central period. By narrative fragmentation is meant the discontinuity produced by dechronologization, abrupt sequence shifts, and other devices that disrupt the accustomed continuity of narrative. Only what Ricardou has called "la fragmentation majeure", that is, the major breaks between sequences, and not the minor interruptions or digressions within sequences, are dealt with in detail. It is considered first in the general context of the fragmentedness of much twentieth century fiction and art, with special reference to the parallel with Cubism. Some of the forms fragmented narrative may take are suggested, together with their possible functions and significance as well as the effect of fragmentation on the reading process. The fragmentedness of Simon's novels was viewed initially by many critics as a mimetic reproduction of mental processes, notably those of memory. One aim of this study is to examine narrative fragmentation in the light of that interpretation, showing how and to what extent it serves to evoke mental processes, but also how it often fulfils an anti-realist function, undermining the coherence of the recit. Analysis of the breaks in the narrative and the transitional devices connecting juxtaposed or interwoven sequences in La Route shows that far from imitating the workings of memory, they fulfill mainly thematic functions, serving to superimpose related scenes and figures in a spatial composition in which every element reflects the others. Narrative fragmentation in Le Palace is analyzed for its rendering of a certain experience of the passage of time (discontinuity, alternate slow-motion and lightning progression) through the alternation of two sequences in a rhythmic pattern of interruptions and reprises. In Histoire narrative fragmentation is shown to play a significant role in suggesting the fragmentariness and discontinuity of memory, but here, in this the most fragmented of the three novels analyzed, the exploration of the possibilities of fragmented form is carried to its furthest extent, resulting in a collage type composition of great inventiveness. Narrative fragmentation in the novels of Simon's central period is thus shown to contribute to a certain psychological realism in the twentieth century tradition of stream of consciousness fiction. But its thematic and formal role is shown to be of far greater importance and originality. The replacing of chronological order by a compositional method that juxtaposes or interweaves fragmented sequences emphasizes thematic relations between narrative elements and favours the creation of formal symmetries and patterns. Beneath the surface incoherence and disorder of fragmented narrative lies a tightly knit and formally rigourous composition, made possible by that very fragmentation. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

O romance de Claude Simon dialoga com muitos textos por meio de diversos procedimentos de composição, em especial devido à intertextualidade explícita em muitos casos. Ligado ao contexto estético do nouveau roman, o novo romance francês, o autor lida em sua escrita com aspectos linguísticos peculiares, dentre eles a perspectiva temporal, que evidenciam seu caráter literário. Evidencia-se, por consequência, para o crítico, a necessidade de entender como os diversos princípios de organização do texto se articulam em favor de sua unidade, feita de fragmentos que se colam e se deformam conforme as demandas do escritor, constituindo-se, assim, uma espécie de palimpsesto. O intertexto latino, ou seja, as relações entre um texto e a literatura romana antiga, tem papel fundamental na construção do texto simoniano, o que interfere também em nossa leitura de outros elementos que interagem com ele. Um dos romances em que se expõe com clareza esse fator intertextual na literatura de Simon é La Bataille de Pharsale (1969), nossa opção para objeto de estudo, dada à acentuação dos problemas postos pela presença da cultura clássica na obra por relações e transformações. Nesse romance, a guerra é um dos principais pontos de encontro derivados das relações entre antigos e modernos exercidas pela escrita, de modo que os outros aspectos composicionais do texto, como o tempo e a enunciação, parecem estabelecer uma interferência recíproca com o intertexto. Levando em conta esses fatores, nossa análise buscou se pautar na necessidade de reavaliar o percurso crítico feito sobre a obra do autor sob uma visão comparatista e multidisciplinar a fim de fornecer conclusões relevantes sobre nosso objeto. A partir desse estudo, fornecemos possibilidades de leitura do romance com base nessa discussão, bem como novas perspectivas para a compreensão da obra de Claude Simon e do romance moderno em relação à tradição clássica. / The novel of Claude Simon dialogues with many texts through various composition procedures, especially due to the explicit intertextuality in many cases. In the aesthetic context of the nouveau roman, the French \"new novel\", the author deals in his writing with peculiar linguistic aspects, including the time perspective, which demonstrate its literary character. Thus, there is a clear need to the critics to understand how the various text organizational principles articulate among themselves in favor of a unit, made of fragments that stick and deform according to the demands of the writer, being thus a kind of palimpsest. The Latin intertext, the relationship between a text and the ancient Roman literature, plays a key role in the creation of the Simonian text, which also interferes in our reading of other elements that interact with it. One of the novels which sets out clearly that intertextual factor in Simon\'s literature is La Bataille de Pharsale (1969), our option for object of study, given the rise of problems posed by the presence of classical culture in the work by relations and transformations. In this novel, the war is one of the main points derived from the relations between ancient and modern in writing, so that other compositional aspects of the text, as time and enunciation, seem to establish a reciprocal interference with the intertext. Taking into account these factors, our analysis had the aim of reassessing the critical path on the author\'s work in a comparative and multidisciplinary approach to provide relevant conclusions about our object. From this study, we provide reading possibilities for the novel based on our discussion, as well as new perspectives for the understanding of Claude Simon\'s work and the modern novel in relation to the classical tradition.

There is no consensus on the relationship between working memory resources and mind wandering. The purpose of the current study is to investigate whether mind wandering requires working memory resources to be sustained. The resource-demanding view is that mind wandering requires working memory resources to sustain an internal train of thought (Smallwood, 2010). The resource-free view is that mind wandering is a result of executive control failures and this internal train of thought proceeds in a resource-free manner (McVay & Kane, 2010). Participants were presented with thought probes while they performed a Simon task in single and dual task conditions. From the resource-demanding view, individuals with high WMC should experience more Task unrelated thought (TUT) in single and dual task conditions compared to those with low WMC. From the resource-free view, individuals with high WMC should experience fewer TUT compared to low WMC individuals. Results indicated that, WML eliminated the Simon effect for high WMC and reduced it for low WMC group. Mind wandering was decreased in dual task conditions however there was no effect of working memory capacity on mind wandering. Also, mind wandering correlated with task performance measures for the low WMC but not high WMC group. The results of the current study do not provide strong support for either a resource-demanding or resource-free view and are discussed in terms of a context dependent relationship between WMC and mind wandering

Thèse : Lettres : Uppsala : 1991. / Résumé en Anglais.

Mémoire (M.A.)--Université du Québec à Trois-Rivières, 2004. / Comprend des réf. bibliogr.: f. 104-111. Également disponible en format microfiche et PDF.

O romance de Claude Simon dialoga com muitos textos por meio de diversos procedimentos de composição, em especial devido à intertextualidade explícita em muitos casos. Ligado ao contexto estético do nouveau roman, o novo romance francês, o autor lida em sua escrita com aspectos linguísticos peculiares, dentre eles a perspectiva temporal, que evidenciam seu caráter literário. Evidencia-se, por consequência, para o crítico, a necessidade de entender como os diversos princípios de organização do texto se articulam em favor de sua unidade, feita de fragmentos que se colam e se deformam conforme as demandas do escritor, constituindo-se, assim, uma espécie de palimpsesto. O intertexto latino, ou seja, as relações entre um texto e a literatura romana antiga, tem papel fundamental na construção do texto simoniano, o que interfere também em nossa leitura de outros elementos que interagem com ele. Um dos romances em que se expõe com clareza esse fator intertextual na literatura de Simon é La Bataille de Pharsale (1969), nossa opção para objeto de estudo, dada à acentuação dos problemas postos pela presença da cultura clássica na obra por relações e transformações. Nesse romance, a guerra é um dos principais pontos de encontro derivados das relações entre antigos e modernos exercidas pela escrita, de modo que os outros aspectos composicionais do texto, como o tempo e a enunciação, parecem estabelecer uma interferência recíproca com o intertexto. Levando em conta esses fatores, nossa análise buscou se pautar na necessidade de reavaliar o percurso crítico feito sobre a obra do autor sob uma visão comparatista e multidisciplinar a fim de fornecer conclusões relevantes sobre nosso objeto. A partir desse estudo, fornecemos possibilidades de leitura do romance com base nessa discussão, bem como novas perspectivas para a compreensão da obra de Claude Simon e do romance moderno em relação à tradição clássica. / The novel of Claude Simon dialogues with many texts through various composition procedures, especially due to the explicit intertextuality in many cases. In the aesthetic context of the nouveau roman, the French \"new novel\", the author deals in his writing with peculiar linguistic aspects, including the time perspective, which demonstrate its literary character. Thus, there is a clear need to the critics to understand how the various text organizational principles articulate among themselves in favor of a unit, made of fragments that stick and deform according to the demands of the writer, being thus a kind of palimpsest. The Latin intertext, the relationship between a text and the ancient Roman literature, plays a key role in the creation of the Simonian text, which also interferes in our reading of other elements that interact with it. One of the novels which sets out clearly that intertextual factor in Simon\'s literature is La Bataille de Pharsale (1969), our option for object of study, given the rise of problems posed by the presence of classical culture in the work by relations and transformations. In this novel, the war is one of the main points derived from the relations between ancient and modern in writing, so that other compositional aspects of the text, as time and enunciation, seem to establish a reciprocal interference with the intertext. Taking into account these factors, our analysis had the aim of reassessing the critical path on the author\'s work in a comparative and multidisciplinary approach to provide relevant conclusions about our object. From this study, we provide reading possibilities for the novel based on our discussion, as well as new perspectives for the understanding of Claude Simon\'s work and the modern novel in relation to the classical tradition.

Justification of Neil Simon's credibility as a comedic playwright by examining established principles of comedy and humor from Aristotle to Bergson to Bier, and their prevalence in The Star Spangled Girl, Last of the Red Hot Lovers, Promises, Promises, and Chapter Two.