This dissertation examines Samuel Beckett's powerful legacy and influence on contemporary theater (on plays written and produced since 1980), and it defines this influence in both text and performance as gestures of emptiness and impotence. The plays selected for analysis here have been categorized at times as belonging to a tradition and legacy of the so-called "Theater of the Absurd," but, finding this category to be at once too restrictive and too loose, their relationship to the absurd is defined by their explicit use of and inspiration taken from Beckett's theater. Beckett's intentional and innovative use of emptiness and impotence, both spatially and textually, is decisively paradoxical: while emphasizing blank spaces and powerlessness, his plays find meaning in emptiness and unexpected control in what he called the "exploitation of impotence." In each of the plays analyzed in this dissertation, (Dans la solitude des champs de coton, Koltès; La secreta obscenidad de cada día, de la Parra; Blasted, Kane; and Laughing Wild, Durang), the explicit use of both emptiness and powerlessness are examined, and at the same time, I define what it is about each of these gestures that renders them particularly Beckettian as they relate to these works. In all of the plays examined here, gestures of emptiness and impotence become their opposites: significance and power. Four of Samuel Beckett's plays (Fragment de théâtre I, En attendant Godot, Fin de partie, and Happy Days) are compared and contrasted with the work of Koltès, de la Parra, Kane and Durang respectively. The parallels revealed, made both intentionally and unintentionally by their playwrights, demonstrate not only the certainty of Beckett's continued influence, but also reflect his persistent, widespread impact. What is shown, with broader implications for future study, is that Beckett's use of emptiness and impotence as theatrical, literary and artistic gestures have led to a new kind of hopefulness, and a new kind of artistic inspiration that is unique to our time. / text

La présente étude vise à examiner dans quelle mesure le sexe ainsi que les caractéristiques comportementales et relationnelles des agresseurs permettent de rendre compte de l’augmentation, sur une période d’un an, du sentiment de solitude chez les victimes de harcèlement par les pairs au secondaire. L’échantillon est composé de 538 élèves de secondaire I et II de la région de Montréal. Au cours de deux années consécutives, le niveau de victimisation des élèves ainsi que l’identité et les caractéristiques des agresseurs (i.e.: sexe, agressivité, popularité et victimisation) ont été évalués à partir de mesures auto-révélées et de procédures de nominations par les pairs. Les résultats démontrent, qu’au-delà de la fréquence à laquelle les élèves sont victimisés, le sexe des agresseurs permet de rendre compte de l’augmentation à travers le temps du sentiment de solitude chez les filles et les garçons. Plus spécifiquement, le nombre d’agresseurs féminins identifiés par les élèves constitue un facteur de risque étroitement lié au développement du sentiment de solitude. Par ailleurs, les caractéristiques des agresseurs ne sont pas associées à l’accroissement du sentiment de solitude à travers le temps. Cependant, le fait de se faire agresser par des élèves qui présentent des difficultés d’ajustement social importantes (i.e. : agressifs et victimisés) est associé de manière concomitante à un moins fort sentiment de solitude. La discussion aborde les processus intra- et interpersonnels permettant d’expliquer pourquoi les sentiments de solitude associés à la victimisation par les pairs sont susceptibles de varier en fonction des caractéristiques des agresseurs. / The goal of the present study is to examine to what extend bullies’ behavioral and relational characteristics account for changes over time in loneliness feelings among victimized middle school students. The sample was composed of 538 grade 7 and 8 students from two middle schools in Montreal. During two consecutive years, students’ level of victimization and bullies’ characteristics (gender, aggressive behaviors, popularity and victimization) were evaluated with self-reported measures and peer nominations. Results show that, beyond the frequency to which students are victimized, bullies’ gender was associated with an increase over a one year period in loneliness feelings for girls and boys. Specifically, the number of females bullies identified by the students, constitutes a risk factor closely linked to the development of loneliness feelings. Moreover, the behavioral and relational characteristics of the bullies were not associated with an increase over time of loneliness feelings. However, being bullied by students characterized by social adjustment difficulties (aggressive and victimized bullies) was negatively associated with concurrent loneliness feelings. The discussion highlights the intra- and interpersonal processes explaining why the loneliness feelings linked to victimization by peers are likely to vary according to the bullies’ characteristics.

Thesis (MA (English Studies))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: As existent beings, we identify with the world through our thoughts and perceptions. Man is driven to seek meaning by the very complexities and contradictions of existence. As self-conscious beings, we cannot live without a sense of awareness and understanding. Creativity allows an individual to develop a unique understanding of the nature and destiny of man. This study draws attention to writers who were able to transcend their external environment and immerse themselves in a setting where man’s individuality is fundamental to living an authentic life. Camus, Dostoevsky and Kafka made every effort to live consciously and authentically. They believed that inwardness was not to be defined by an external, social setting, but rather through an intimacy of consciousness. This awareness and unveiling of being enables us to create meaning. These authors removed their social mantles and were willing to sacrifice acceptance in the pursuit of this cause. They believed that every man has a responsibility to live an individual and authentic life. This psychological and even physical isolation is not easy, however, and often causes much suffering. Using existentialism as a framework, this thesis will focus on solitariness, suffering and creativity, all of which point to the importance of individual consciousness rather than living a life of societal pressures and conformity. / AFRIKAANSE OPSOMMING: As lewende wesens identifiseer ons onsself met die wêreld deur middel van gedagtes en waarnemings. Die mens word gedryf deur die soeke na betekenis in die kompleksiteit en teenstellings van sy bestaan. As wesens met selfkennis kan ons nie leef met ‘n gebrek aan bewustheid en begrip nie. Kreatiwiteit laat die individu toe om ‘n unieke begrip van die aard en lot van die mens te ontwikkel. Hierdi verhandeling vestig die aandag op skrywers wat verby hul uiterlike omgewings kon uitreik en hulself kon indompel in ‘n mileu waar die mens se individualiteit grondliggend is om ‘n onvervalste lewe te lei. Camus, Dostoevsky en Kafka het alles in hul vermoë gedoen om bewustelik en suiwer te lewe. Hulle het geglo dat die innerlike nie gedefinieer kan word deur die uiterlike, sosiale omgewing nie, maar eerder deur ‘n intimiteit van bewustheid. Hierdie bewustheid en openbaring van bestaan laat ons toe om betekenis te skep. Hierdie skrywers het hul sosiale mantels afgewerp en was bereid om sosiale aanvaarbaarheid op te offer in hul strewe na hierdie doelwit. Hulle het geglo dat elke mens oor ‘n individuele en onvervalste lewe beskik. Die sielkundige en selfs fisieke afsondering is egter nooit maklik nie en het dikwels groot lyding tot gevolg. Met eksistensialisme as raamwerk sal hierdie tesis focus op afsondering, lyding en kreatiwiteit.

O presente trabalho de doutoramento em Literatura Brasileira, intitulado Graciliano Ramos: a dor e a náusea, consiste na análise dos quatro romances de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) e Vidas Secas (1938) - à luz de alguns preceitos básicos do expressionismo alemão, com o objetivo de propor um deslocamento de perspectiva em relação ao discurso hegemônico da historiografia e da crítica literária tradicional, que vêem essas obras como a expressão máxima de uma determinada região, em uma determinada época, limitando-as, portanto, a um contexto sócio-histórico e cultural bem definido. Para a leitura que aqui se propõe, no entanto, esses romances iluminam, numa linguagem enxuta e prenhe de significados intemporais, a força de convicção moral desse escritor que ostenta, através da deformação da realidade, uma emoção intensa, com toda uma carga de prospecção da dor humana. / The present doctorate work on Brazilian Literature, entitled Graciliano Ramos: the pain and the nausea, consists on the analysis of four novels by Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) and Vidas Secas (1938) - at the light of some basic precepts of the German Expressionism, with the aim of purposing a perspective's displacement with regard to the hegemonic speech from the historiography and the traditional literary criticism which see these works as the maximum expression from a certain region on a certain period, restraining them, therefore, to a sharp-cut cultural and socio-historical context. To the reading purposed here, however, these novels enlighten, on a concise language full of timeless meanings, the force of moral conviction of this writer who exhibits, through reality's deformation, an intense emotion with a whole burden of human pain prospection. / El presente trabajo de doctorado en Literatura Brasilera, intitulado Graciliano Ramos: a dor e a náusea, consiste en el análisis de las cuatro novelas de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) y Vidas Secas (1938) - a la luz de algunos preceptos básicos del expresionismo alemán, con el objetivo de proponer un desplazamiento de perspectiva en relación al discurso hegemónico de la historiografía y de la crítica literaria tradicional, que ven esas obras como la expresión máxima de una determinada región, en una determinada época, limitándolas, por lo tanto, a un contexto socio-histórico y cultural bien definido. Para la lectura que aquí se propone, esas novelas alumbran, en un lenguaje enjuto y lleno de significados intemporales, la fuerza de convicción moral de ese escritor que ostenta, a través de la deformación de la realidad, una emoción intensa, con toda una carga de prospección del dolor humano.

This dissertation attempts to show that the phenomenon of loneliness is written into Michael Ondaatje’s The English Patient. The Introduction offers a description of the origins of loneliness as a field of study, presents key instances of loneliness in literature, and investigates the nature of loneliness. In the first chapter, the Villa is introduced as a figural and conceptual framework for analysis. The second chapter focuses on the patient’s room and the library, leading to a discussion of personal and existential loneliness, identity and naming. The third chapter investigates social loneliness with reference to the kitchen, garden and hallway, addressing notions of race and othering, home and family. The fourth chapter discusses the body and embodiment, as well as emotion and metaphor. The dissertation argues that the stylistic, thematic and structural features of The English Patient suggest and reflect the complexities and characteristics of loneliness. / English / M. A. (English)

The study makes an analysis of Charles Mungoshi's Shona works from a Modernist perspective. In this study, Modernist literature is shown as full of change and adventure that has seen characters failing to catch up with the speed at which their social lives are going. The change is continuos and has resulted in many characters continuously failing to cope, which in turn has resulted in continuous frustrations, here described as despair. The study also shows how the despair is being nurtured in the circumstances of crumbling social institutions which, in the past, had acted as the haven for devastated individuals. The crumbling social institutions are shown to be triggering the despair and the characters are given no room to recuperate. The study makes an analysis of what brings this despair and how in the end, particular individual characters fight to ward off the despair. / African Languages / M.A. (African Languages)

O presente trabalho de doutoramento em Literatura Brasileira, intitulado Graciliano Ramos: a dor e a náusea, consiste na análise dos quatro romances de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) e Vidas Secas (1938) - à luz de alguns preceitos básicos do expressionismo alemão, com o objetivo de propor um deslocamento de perspectiva em relação ao discurso hegemônico da historiografia e da crítica literária tradicional, que vêem essas obras como a expressão máxima de uma determinada região, em uma determinada época, limitando-as, portanto, a um contexto sócio-histórico e cultural bem definido. Para a leitura que aqui se propõe, no entanto, esses romances iluminam, numa linguagem enxuta e prenhe de significados intemporais, a força de convicção moral desse escritor que ostenta, através da deformação da realidade, uma emoção intensa, com toda uma carga de prospecção da dor humana. / The present doctorate work on Brazilian Literature, entitled Graciliano Ramos: the pain and the nausea, consists on the analysis of four novels by Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) and Vidas Secas (1938) - at the light of some basic precepts of the German Expressionism, with the aim of purposing a perspective's displacement with regard to the hegemonic speech from the historiography and the traditional literary criticism which see these works as the maximum expression from a certain region on a certain period, restraining them, therefore, to a sharp-cut cultural and socio-historical context. To the reading purposed here, however, these novels enlighten, on a concise language full of timeless meanings, the force of moral conviction of this writer who exhibits, through reality's deformation, an intense emotion with a whole burden of human pain prospection. / El presente trabajo de doctorado en Literatura Brasilera, intitulado Graciliano Ramos: a dor e a náusea, consiste en el análisis de las cuatro novelas de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) y Vidas Secas (1938) - a la luz de algunos preceptos básicos del expresionismo alemán, con el objetivo de proponer un desplazamiento de perspectiva en relación al discurso hegemónico de la historiografía y de la crítica literaria tradicional, que ven esas obras como la expresión máxima de una determinada región, en una determinada época, limitándolas, por lo tanto, a un contexto socio-histórico y cultural bien definido. Para la lectura que aquí se propone, esas novelas alumbran, en un lenguaje enjuto y lleno de significados intemporales, la fuerza de convicción moral de ese escritor que ostenta, a través de la deformación de la realidad, una emoción intensa, con toda una carga de prospección del dolor humano.

O presente trabalho de doutoramento em Literatura Brasileira, intitulado Graciliano Ramos: a dor e a náusea, consiste na análise dos quatro romances de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) e Vidas Secas (1938) - à luz de alguns preceitos básicos do expressionismo alemão, com o objetivo de propor um deslocamento de perspectiva em relação ao discurso hegemônico da historiografia e da crítica literária tradicional, que vêem essas obras como a expressão máxima de uma determinada região, em uma determinada época, limitando-as, portanto, a um contexto sócio-histórico e cultural bem definido. Para a leitura que aqui se propõe, no entanto, esses romances iluminam, numa linguagem enxuta e prenhe de significados intemporais, a força de convicção moral desse escritor que ostenta, através da deformação da realidade, uma emoção intensa, com toda uma carga de prospecção da dor humana. / The present doctorate work on Brazilian Literature, entitled Graciliano Ramos: the pain and the nausea, consists on the analysis of four novels by Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) and Vidas Secas (1938) - at the light of some basic precepts of the German Expressionism, with the aim of purposing a perspective's displacement with regard to the hegemonic speech from the historiography and the traditional literary criticism which see these works as the maximum expression from a certain region on a certain period, restraining them, therefore, to a sharp-cut cultural and socio-historical context. To the reading purposed here, however, these novels enlighten, on a concise language full of timeless meanings, the force of moral conviction of this writer who exhibits, through reality's deformation, an intense emotion with a whole burden of human pain prospection. / El presente trabajo de doctorado en Literatura Brasilera, intitulado Graciliano Ramos: a dor e a náusea, consiste en el análisis de las cuatro novelas de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) y Vidas Secas (1938) - a la luz de algunos preceptos básicos del expresionismo alemán, con el objetivo de proponer un desplazamiento de perspectiva en relación al discurso hegemónico de la historiografía y de la crítica literaria tradicional, que ven esas obras como la expresión máxima de una determinada región, en una determinada época, limitándolas, por lo tanto, a un contexto socio-histórico y cultural bien definido. Para la lectura que aquí se propone, esas novelas alumbran, en un lenguaje enjuto y lleno de significados intemporales, la fuerza de convicción moral de ese escritor que ostenta, a través de la deformación de la realidad, una emoción intensa, con toda una carga de prospección del dolor humano.

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

En ce début du XXIème siècle, un nombre d’auteurs sans cesse plus important développe un véritable enthousiasme pour des thématiques féminines. Plus précisément, il s’agit pour eux de mettre en exergue la quête identitaire des femmes dans notre société. Cette littérature révèle une omniprésence du corps et de la sexualité en lien étroit avec la société et les schémas culturels imposés tenant ainsi un discours novateur sur les femmes. Le but de cette recherche est de montrer comment un discours littéraire, en reprenant les discours socioculturels, féministes et psychanalystes du moment, conçoit la question de la femme et quelle représentation de la femme il produit. Face à cette réflexion sur la question de la femme et son identité, cette thèse centre son étude sur les romans de trois auteurs, Virginie Despentes, écrivain français, Lucía Etxebarria, écrivain espagnol et Maïssa Bey, écrivain algérien francophone. L’être femme est représenté dans un rapport avec la violence masculine mais aussi avec sa propre violence, dans son rapport au corps et à la sexualité, par des relations humaines conflictuelles ainsi que par une aliénation sociale et culturelle. Le personnage féminin est un personnage seul, enfermé dans une identité dans laquelle il ne se reconnaît plus et qu’il rejette. La quête de soi et de la reconnaissance de soi laisse apparaître leurs aspirations, en contradictions avec leurs attributions. A la fin de chaque roman, l’individualisation de la femme est envisagée par la reprise de parole. La reconstruction de soi ne peut être permise que par la maîtrise de la parole sur soi, et la quête d’individualisation doit se poursuivre / In our early 21th century, an increasingly number of writers gets a real enthusiasm for woman-related themes. More precisely, their purpose is to underline the identity quest of women in our society. This kind of literature uncovers a constant involvement of body and sexuality closely linked to society and to cultural schemes that society imposes - thus leading these authors to hold an innovative discourse about women. Our research aims to show how a literary discourse, drawing from actual sociocultural, feminist and psychoanalytic discourses, conceives the Woman issue and which representation of woman it can create. At the hands of this reflection about the Woman issue and her identity, the study focuses on three female authors’ novels, Virginie Despentes, a french writer, Lucia Extebarría, a spanish writer and Maïssa Bey, an algerian French-speaking writer. The woman being is portrayed in her relations with male violence but also with her own violence linked to her relation to body and sexuality, and through human struggles and a social and cultural alienation. The female character is lonely, confined to an identity in which she does not recognize herself anymore and that she rejects. The quest for self-knowledge and for self-recognition lets its longings emerge, in contradiction with their remit. In the end of each novel, woman’s individualization is imaged through a takeover of speech. Self-reconstruction can only be possible thanks to a control of speech about oneself and the individuation quest has to keep going