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This thesis examines the model(s) of reading proposed by J. Poulin's novels. On the one hand, a phenomenological analysis enables us to observe textual strategies, such as intertextuality and photographs, which guide the empirical Reader through his readings. On the other hand, the representation of fictional Readers' act of reading, another textual strategy, is also analyzed. / As the phenomenological approach to the act of reading has not often been put into practice, our essay allows us to evaluate the reliability of different contemporary theories of the act of reading, particularly that of Iser in his The Act of Reading.

Elie Wiesel, a Holocaust survivor, confronts a tragic dilemma: he must bear witness in order to pay respect to the memory of victims and perhaps help prevent a repetition of history. But are there words that can express the horror of the Holocaust? Would silence not be more appropriate in respect to the victims? / Elie Wiesel is not the first to confront such a dilemma. Throughout Jewish history, tragedies and catastrophes have forced Jewish writers to face the issue. Many literary schools have emerged, particularly in the "modern period" (1850-1945), which have dealt with the question of how to best respond to the tragedy. It is therefore fitting to try and consider Elie Wiesel's works in light of these various literary currents. / However, the Holocaust is not just another tragedy, not even another catastrophe. The event has no precedent; it is unique; it represents the ultimate evil. How to come to terms with it? What is the way between the powerlessness of language and the impossibility of silence? Elie Wiesel must find the delicate art of making silence be heard beyond the noise of words. He will suggest rather than tell the event. He will maintain a distance to protect the secret of the victims in front of the horror. Survivors who share the secret, express themselves with a code, which is not transmissible. Language has been devalued and words have lost their meaning. But to remain silent might also be a form of treason. / From Night, his first book, and throughout all his works, Wiesel assiduously develops his way of bearing witness in the name of the victims. He rejects the silence which would be synonymous with passive acceptance. He identifies with Job and demands account from God for His absence and His silence, while evil was committed. He distrusts language but must find the way to translate the uniqueness of the Holocaust. He finds his inspiration in the tales and legends of the literature of the Bible, the Talmud and the Hassidism. He evokes, suggests and tells while trying to respect the blanks between the words. In language and in silence, Wiesel developed a certain art of suggesting for what cannot be told otherwise.

This study is about Michel Morin's opera omnia, a contemporary Quebec essayist and philosopher. The first part analyzes Morin's work with a sustained attention given to the question of the essay as a specific literary and philosophical genre (with references to Vigneault, Lukacs, Adorno, Barthes). Morin's work is for us the occasion to develop a reflection on the relationship between literature and philosophy (with references to Nietzsche, Kierkegaard, Bergson, Heidegger). Finally, going forward, we elaborate the concept of philosophy as Ideational Novel to read Morin's work, a concept that describes Morin's intellectual adventure and involvement in the reflexive text. The second part proposes a more detailed analysis of Michel Morin's reflexive adventure through four distinct moments. All Morin's essays will be studied. Issues and beacons-ideas will be analyzed without ever losing sight of the genuine style of his writing.

This study aims (1) to document and classify the materials and techniques of persuasive speech in Euripidean drama, and (2) to develop an understanding of the ways in which the balanced arguments and abstract speculations of Euripidean characters contribute to the construction of plots, themes and characters. The results are intended to be useful both as a contribution to criticism concerned with the "tone" of Euripidean tragedy and as a resource for the study of early oratory and argumentation in the period of the Sophists. The first two chapters classify and analyse speeches and scenes according to dramatic context. In Chapter I, single speeches of several types are shown to rely on similar techniques of presentation and argument. Chapter II analyses patterns of correspondence between the speeches of a scene. The debate scenes of Alkestis and Hippolytos are discussed with a view to determining how stylised and conventional rhetorical material affects our view of the characters involved. Analysis is next offered of some common techniques for the presentation of arguments. Chapter III discusses the "probability argument" and related forms involving the use of rhetorical questions and conditional formulations. Chapter IV examines Euripides' use in argumentative contexts of gnomic material and so-called "utopian reflections". Chapter V considers the use of rhetorical techniques and scenes in three plays. Phaidra's monologue in Hippolytos 373-430 is discussed in terms of its rhetorical purpose and its contribution to important themes and formal relationships in the play. The rhetorical confrontations of the first half of Suppliant Women are seen to contribute to the delaying and highlighting of the action that follows while exploiting an opportunity for abstract moral and political debate. The play-long rhetorical preparation for the sacrifice of Iphigeneia in Iphigeneia at Aulis similarly is shown to serve the purpose of enhancing the importance and value of the girl's death, while involving an intricate formal balancing of scenes and speeches that should be appreciated in its own right.

Often designated as "le poete de la parole parlee", Jacques Brault, author of a substantial and rigourous work dealing with poetry, language, writing and art, is one of the most significant modern writers of Quebec. In our literature, rare are the figurative expressions inventing their own trajectory and rarer still is the emblematic used to evoke simultaneously the essence of a generation, a work, a writer, a style. The expression "la parole parlee" says it all. / This figure of speech, intimately linked to though and writing, has progressed from a rhetorical to a living expression throughout the eleven years on which our study focuses. In the analysis of this period, "la parole parlee" stands out as the obscure leitmotiv which favours a dialogue between the critical and the creative in the act of writing. Finding its own way, the work discovers a refrangible and versatile universe and the unique voice of Jacques Brault.

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This thesis explores the form, meaning and development of the escapist theme in Euripides' tragedies. The dramatist's corpus reveals an intense preoccupation with escapism and exhibits it in a wide range of escape wishes and escape choral odes. Most of these, because they fail of their objective, point to the inability of the tragic hero to escape his or her fate as determined by the dark forces of tragedy. Escapism intensifies the well-known Euripidean element of pathos, but in some of the plays its use becomes quite sophisticated evoking irony, ambiguity and paradox. In this way, it sheds light upon the tragic event from a different perspective. In the end, however, the Euripidean oeuvre betrays a strong affirmation of reality in spite of its escapist tendencies. Euripides' innovative use of escapism is, in fact, an ingenious modification and adaptation of older poetic, and as this thesis argues, ritual forms. Finally, the pervasive presence of escapism in Euripides is not irrelevant to the wider political and social atmosphere of late fifth-century Athens.