Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être. / This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal.

In this paper, I analyze and compare the novel The Sun Is Also a Star by Nicola Yoon with the filmscript by Tracy Oliver for the 2019 movie adaptation. First, I demonstrate how the narrative in The Sun Is Also a Star deals with the literary ideas of fate and destiny and how scholars have defined the concepts. Secondly, I argue that the filmscript is a literary text that can be equated to the novel in a literary analysis of their narrative features. I claim that the narrative features of the novel and the filmscript embody fate and destiny in different ways because of the differences in their narrative situations and thought representations. I argue that the narrative situation of the novel, with its authorial narrator and narrative levels, embodies a relationship between fate and destiny as different perspectives are put into focus in the narration. However, the filmscript embodies these concepts as distinct because the narrative situation of the heterodiegetic narrator does not represent the same connectedness. I then maintain this argument as the filmscript in its thought representation and replacement of it with images and speech representation continues to portray the concepts as separate. In contrast, the thought representation of the novel embodies the relationship between the concepts because the thoughts represent connectedness and cause and effect. In my concluding remarks, I look at possible areas of future research.