Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates the significance of stop motion puppetry as an artistic device that enables illustrators to explore the notion of the ‘grotesque’. Mikhail Bakhtin and Wolfgang Kayser’s theorisation of the grotesque provides the foundation for my analysis of the manifestation of the grotesque in the puppets and stop motion techniques utilised in Jan Švankmajer’s Something from Alice (1988) and a selected film from my own work entitled Bad Man He Comin’ (2011). A comparative study of these two films demonstrate that stop motion puppetry is an apt medium for facilitating and exploring forms of the grotesque. / AFRIKAANSE OPSOMMING: Die klem in hierdie tesis val op die belangrikheid van stop-aksie poppespel as ‘n artistieke toestel wat kunstenaars kan gebruik om idees van die groteske weer te gee deur die gebruik van objekte sowel as die destruktiewe aard van die animasie proses. Mikhail Bakthin en Wolfang Kayser se idees rondom the groteske, vestig die grondslag vir die studie, om karaktereienskappe van die groteske te ontbloot in die poppe en metodes wat gebruik is in Jan Švankmajer se film Something from Alice (1988), sowel as ‘n geselekteerde film van my eie werk genaamd Bad Man He Comin’ (2011). ‘n Vergelykende studie, weerspieël dat groteske karakteruitbeelding verkry kan word deur sekere materiale te gebruik om poppe-liggame te skep. Die studie ontul verder dat die groteske geïdentifiseer kan word in die animasie proses waarin die verwronging en afbreking van objekte, tyd, spasie en beweging plaasvind.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Honoré de Balzac est aujourd’hui connu pour être le père du roman moderne et l’écrivain de La Comédie humaine. Mais nous oublions souvent qu’entre 1830 et 1832, au début de sa carrière, l’auteur a écrit, comme plusieurs écrivains de son temps, des contes. De multiples facteurs peuvent expliquer cet intérêt : les Contes fantastiques d’Hoffmann sont traduits de l’allemand en français et leur succès est immédiat. De plus, les nouveaux modes de publication littéraire, dans les revues et les journaux, favorisent la prolifération du genre. Un corpus retiendra notre attention : Les Cent Contes drolatiques, un projet, impopulaire en son temps, avec lequel Balzac souhaite « restaurer l’école du rire » en France. Au milieu du dix-neuvième siècle, l’auteur recrée des contes comme ceux que Rabelais, Verville et la reine de Navarre écrivaient en leur temps, trois ou quatre siècles auparavant. Pour ce faire, Balzac invente un langage qui simule le vieux français et crée des personnages grotesques. Qu’est-ce, dans l’écriture balzacienne, que l’esthétique du rire, et comment l’auteur exprime-t-il ce concept dans ses Cent Contes drolatiques? Pour répondre à ces questions, nous étudierons les manifestations du grotesque dans l’ensemble de l’œuvre de l’auteur. Aussi, selon Mikhaïl Bakhtine, dans L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance , le grotesque, uni au rire, est relié au corps : « Le trait marquant du réalisme grotesque est le rabaissement, c’est-à-dire le transfert de tout ce qui est élevé, spirituel, idéal et abstrait sur le plan matériel et corporel. » Par conséquent, ce sont les représentations du corps que nous examinerons dans ce travail. Finalement, l’étude du corps grotesque dans Les Cent Contes drolatiques montrera une autre facette de l’écriture balzacienne, souvent ignorée par les chercheurs : l’importance du rire et la vision du monde que celui-ci communique à travers la littérature. / Honoré de Balzac is mostly acknowledged, today, as the father of the novel and as the writer of La Comédie humaine. But we often forget that between 1830 and 1832, at the beginning of his career, the author wrote, mainly and like many writers of his time, short stories. Multiple factors can explain that interest, for example, Hoffman’s Contes fantastiques had been translated from German to French and their success was immediate. Moreover, the new mediums of literary publication, in magazines and newspapers, favoured the proliferation of the genre. One corpus will keep our attention through these pages: Les Cent Contes drolatiques, a project, unpopular in his time, with which Balzac aimed to « restaurer l’école du rire » in France. In the middle of the nineteenth century, the author recreated short stories like the ones that Rabelais, Verville and the reine de Navarre have written in their time, three or four centuries before. To do so, Balzac invented a language that simulated the old French and created grotesque characters. What is, in Honoré de Balzac’s work, the aesthetic of laugh, and how does the author express that concept in his Cent Contes drolatiques? To answer these questions, we will study the manifestations of the grotesque in the entire production of the writer. Also, according to Mikhaïl Bakhtine, in L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance , the grotesque, linked to laugh, is related to the body : « Le trait marquant du réalisme grotesque est le rabaissement, c’est-à-dire le transfert de tout ce qui est élevé, spirituel, idéal et abstrait sur le plan matériel et corporel. » Consequently, it is the representations of the body that, in a further reflection, we will examine. Finally, the study of the grotesque body in Les Cent Contes drolatiques will show another facet of Balzac’s writing, often ignored by researchers : the importance of laughter and the vision of the world that it communicates through literature.

I vacillate between all extremes, beauty vs. ugly, internal vs. external, micro vs. macro. It is these disparate notions that inspire what I make. We cannot ever see ourselves objectively, but does that mean we shouldn’t try? This thesis is my attempt to dissect what I created in my 2 years at Virginia Commonwealth University, my exploration of the illness within and the psychological nature of how we go about hiding our insecurities.

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière. / Diverse pieces of modern and contemporary poetry offer representations of a lyrical subject’s attitude towards the act of writing. Studying such an issue in the works of Patrice Desbiens offers a distinctively interesting perspective, especially in the case of some of his publications from the 1990s and the 2000s wherein such representations appear quite clearly. Yet the treatment of the act of writing in his work has received very little research attention. The aim of this Master’s thesis is to shed further light on how Patrice Desbiens’s works deal with representations of writing and poetry. The thesis focusses on two of his published works, La fissure de la fiction (1997) and Désâmé, (2005), with greater emphasis placed on the former, as it is in my own perspective a key piece in his poetic legacy. To begin, my work puts forth the concept that the protagonists in La fissure de la fiction and Désâmé are both characterized by precariousness, but in different ways. In La fissure de la fiction, the character of the poet is understood from the perspective of an ironic revival of the literary curse myth. The meaning this myth confers to the main character of this poetical story is also discussed. Secondly, the thesis argues that the coherence and the plausibility of the universes of La fissure de la fiction and Desâmé are undermined. In light of these analyses, one can envision the role of a poetry which, ultimately and despite everything, bears a consolatory character. It does so in spite of, or perhaps precisely because of, its grotesque aesthetic, sometimes comic, sometimes tragic, in which it is written.

La question abordée dans ce mémoire concerne le problème de la représentation que pose l’inscription du corps sourd et de la surdité dans l’écriture. Les exemples choisis et comparés sont l’autobiographie Le Cri de la mouette d’Emmanuelle Laborit et The Heart is a Lonely Hunter de Carson McCullers. Dans son roman, cette dernière met en scène, sous l’esthétique grotesque, un Sourd gestuel recelant un monde potentiel et autre de par son dire utopique, empreint de matérialité. Emmanuelle Laborit est Sourde et conséquemment, son écriture est soumise à de nombreuses contraintes, dont l’une est celle de la double traduction: du geste à la voix et de la voix à l’écrit. Pour légitimer son propos, elle doit émuler une voix et la reproduire métaphoriquement dans un texte. Le langage entendant participe d’un monde dont il contient les traces. Lorsqu’il représente un corps sourd, c’est l’inadéquation engendrée qui ouvre l’accès à un monde sourd dans ce qui déborde la transcription, dans la nécessaire traduction. C’est là, aux limites du langage et de sa matière, que la trace du corps apparaît, lieu d’une possible rencontre révélant l’entendant à lui-même. / This master’s thesis addresses the problems that the inscription of deafness and the deaf body in writing pose to representation. The Cry of the Gull, an autobiography by Emmanuelle Laborit and The Heart is a Lonely Hunter by Carson McCullers are the works compared. McCullers, through a grotesque esthetic, shows how a signing Deaf person reveals another world in potential via utopian utterances imbued with materialism. Emmanuelle Laborit is Deaf. Her writing is therefore subject to many constraints, amongst which is the problem of double translation: gesture to voice and voice to script. Laborit, to legitimize her discourse, emulates a voice and must reproduce it in text through metaphor. The traces of the hearing world are contained in its language. When hearing language represents a deaf body, in the ensuing inadequacy a way into a deaf world is opened where transcription, in the necessary translation, is overwhelmed. The trace of the body appears at the limit of language and its matter, locus of a possible encounter, revealing the hearing person’s world.

O termo Bildungsroman foi empregado pela primeira vez associado ao romance de Goethe, Os anos de aprendizado de Wilhelm Meister (1795-1796). Desde então, tornou-se uma linhagem literária de longa permanência na literatura. Na produção dos escritores brasileiros do século XIX, diferentemente do que ocorreu nos países europeus, o romance de formação não encontrou ressonância. Todavia, a obra O Coruja, de Aluísio Azevedo, alinha-se em tal categoria, e de forma muito particular. É o que pretende defender a presente dissertação, ao procurar entender a composição do texto e das personagens à luz do grotesco e da tradição deformante que essa perspectiva oferece. No percurso de análise, são utilizados conceitos de Mikhail Bakhtin, George Lukács e Marcus Mazzari, entre outros, com o intuito de verificar em que medida a história de André e Teobaldo pode ser lida como \"um romance de formação às avessas\", expressão última do meio social em que se desenvolve. / The first time the term Bildungsroman was used it was connected to Goethes novel, Wilhelm Meisters Apprenticeship (1795-1796). Since then, it has become a lasting literary lineage. Differently from what happened in European countries, the formation novel has not found resonance in the works of 19th century Brazilian writers. The novel O Coruja (The Owl) by Aluísio Azevedo, falls into that category, although in a peculiar fashion. Stating such an argument is the main task this dissertation tries to undertake, by means of capturing the text and characters composition through the lens of the grotesque, and of the deforming tradition perspective thus associated. Throughout the analysis we shall draw on concepts of Mikhail Bakhtin, George Lukács, and Marcus Mazzari in order to ascertain in what measure the story of André and Teobaldo can be read as a \"reverse formation novel\", ultimate expression of the social framing within which it takes place.

Made available in DSpace on 2016-04-28T19:58:45Z (GMT). No. of bitstreams: 1 Adriana Ingrid Anfora.pdf: 629267 bytes, checksum: a904037940bc92d6404af9397dd4f61e (MD5) Previous issue date: 2012-04-17 / This analysis aims to study drama Macário of Álvares de Azevedo, in order to point out each of the concepts of the grotesque, irony and trangression, utopia and spleen, and see how each element composing the text structure azevediana, taking into view of the relationship of antagonistic terms that permeates the opposing aspects of reality and dream, enabling thus a macabre atmosphere, the irruption of the supernatural in terms of imbalances of the man who lives below the dilemma in moral precepts established by society in which he lives or let nature guide their principles and values. The grotesque being investigated in this dissertation in the romantic who seeks, above all, the revolto of the individual against the reality that we can live fully and for that reason, it creates a parallel world that their aspirations to take part in this process / A presente análise tem por objetivo o estudo do drama Macário de Álvares de Azevedo, com o propósito de assinalar cada um dos conceitos relativos ao grotesco, ironia, transgressão, utopia e spleen, e verificar como cada elemento compõe a estrutura textual azevediana, tendo em vista a inter-relação entre esses mesmos componentes. A base fundamental da dissertação será a relação entre termos antagônicos que permearão os aspectos contrapostos do real e do onírico, possibilitando deste modo, uma atmosfera macabra, a irrupção do sobrenatural em função dos desajustes do homem que vive o dilema em seguir preceitos moralmente instituídos pela sociedade na qual vive ou deixar-se então guiar por sua natureza, seus princípios e valores. O grotesco, que está sendo investigado nessa dissertação, é o romântico, que visa, sobretudo, à revolta do indivíduo frente à realidade, que não lhe permite viver plenamente e, por essa razão, acaba criando um mundo paralelo, para que suas aspirações tomem parte em todo esse processo

Este estudo da presença de Victor Hugo em A Pata da Gazela, de José de Alencar, objetiva analisar como o conceito de grotesco, teorizado pelo escritor francês no prefácio de Cromwell, experimentado e trabalhado em Han dIslande, Notre-Dame de Paris e Lhomme qui rit, teria sido adaptado por Alencar, escritor de relevante importância para a formação da Literatura Brasileira que faz menção em seu romance a duas criaturas monstruosas de Victor Hugo: Gwynplaine e Quasimodo. Para isso, propomos um olhar para a sociedade francesa e brasileira do século XIX, no intuito de verificar como se deu a contribuição hugoana. / This study of Victor Hugos presence in A Pata da Gazela by José de Alencar, aims to analyze how the concept of grotesque, that was theorized by the French writer in the preface of Cromwell, experienced and worked in Han dIslande, Notre-Dame de Paris and Lhomme qui rit, would have been adapted by Alencar, an important writer for the formation of the Brazilian Literature, who mentions in his novels two monstrous creatures of Victor Hugos: Gwynplaine and Quasimodo. In order to do that, we propose a look to the French and Brazilian societies of the nineteenth-century, to check how important Hugo\'s contribution is.

Seres insólitos estiveram presentes no cordel europeu, especialmente entre os séculos XVIII e XIX, alimentando debates sobre verossimilhança, fé, ciência e política. Mais de um século depois, o fenômeno do cordel arrefece na Europa, mas tem vida no Brasil. Parte desses folhetos trata de criaturas insólitas, especialmente transformações, ou nascimentos extraordinários, abordados como curiosidade ou, mais frequentemente, relacionados à intervenção divina. Ainda que nem sempre datados, é possível presumir que os exemplares coletados para este trabalho tenham sido publicados entre as décadas de 1960 e 1980. Neles, a aparição de monstros é frequente e se situa principalmente entre o satírico e o religioso / Uncanny beings were present in European chapbooks, especially during the eighteenth and nineteenth centuries, stimulating debates concerning verisimilitude, faith, science and politics. Over a century later, the chapbook phenomenon loses strength in Europe but gains life in Brazil. Some of these brochures deal with uncanny creatures, mainly metamorphoses, or bizarre births, considered as curiosities or, more frequently, as results of divine intervention. Even though they may not bear a date, it can be presumed that the chapbooks analyzed in this dissertation were published from the 1960s to the 1980s. Monsters appear quite frequently in this material, in registers that are situated mainly between the satirical and the religious