Inaug.-Diss.--Münster. / Vita. Bibliography: p. 1-34 (2nd group).

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Esta dissertação investiga a representação do espaço em duas obras do escritor francês Antoine de Saint-Exupéry: O pequeno príncipe e Terra dos homens. O objetivo da pesquisa é observar as descrições do deserto do Saara nas cartas escritas por Exupéry aos familiares e, posteriormente, compará-las às formas de representação desse espaço na narrativa infanto-juvenil e no livro de memórias. Para tanto, analisa-se o deserto com base nos estudos sobre região cultural, a partir dos quais se pode compreender como esse espaço se transforma e adquire diferentes significados. Conclui-se que, nas narrativas analisadas, o espaço do deserto é representado na forma de um ciclo e desperta alguns sentimentos que o piloto utiliza constantemente para descrevê-lo, sendo eles: solidão, plenitude, redenção, ameaça da morte, identificação da beleza e equilíbrio entre liberdade e perigo. Utiliza-se como aporte teórico os estudos de Berumen (2005) sobre região cultural, de Michel de Certeau (1994; 1995) e Luis Alberto Brandão (2007; 2011; 2013), sobre o espaço, e de Rachel de Bouvet (2006; 2013), acerca das interpretações do deserto. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES / Ce mémoire étudie la représentation de l'espace dans deux oeuvres de l'écrivain français Antoine de Saint-Exupéry: Le petit prince et Terre des hommes. L'objectif de la recherche est d'observer les descriptions du désert du Sahara dans les lettres écrites par Exupéry aux proches et, postérieurement, les comparer aux formes de représentation de cet espace dans le récit pour les enfants et les jeunes et dans le livre des mémoires. Pour cela, le désert est analysé à partir des études sur la région culturelle et peut être compris comme un espace qui se transforme et qui acquérit differéntes significations. On conclut que, dans les récits analysés, l'espace du désert est représenté sous la forme d'un cycle et éveille des sentiments que le pilote utilize constamment pour le décrire: solitude, plénitude, rédemption, menace de mort, identification de la beauté et équilibre entre la liberté et le danger. On utilise comme contribution théorique les études de Berumen (2005), sur la région culturelle, de Michel de Certeau (1994, 1995) et de Luis Alberto Brandão (2007, 2011, 2013), sur l'espace, et de Rachel Bouvet (2006; 2013), sur les interprétations du désert.

ABSTRACT This dissertation, “The Past is Perfect”: Leonard Cohen’s Philosophy of Time, analyzes the concept of time and aspects of temporality in Leonard Cohen’s poetry and prose, both published and unpublished. Through imagination and memory, Cohen continuously explores his past as a man, a member of a family, and a representative of a culture. The complex interconnection of individual and collective pasts constitutes the core of Cohen’s philosophy informed by his Jewish heritage, while its artistic expression is indebted to the literary past. The poet/novelist/songwriter was famously designated as “the father of melancholy”; it is his focus on the past that makes his works appear pessimistic. Cohen pays less attention to the other two temporal aspects, present and future, which are seen in a generally negative light until his most recent publication. The study suggests that although Cohen’s attitude to the past has not changed radically from Let Us Compare Mythologies (1956) to Book of Longing (2006), his views have changed from bitterness prompted by time’s destructive force to acceptance of its work and the assertion of the power of poetry/art to withstand it; there is neither discontent with the present nor prediction of a catastrophic future. Time remains a metaphysical category and subject to mythologizing, temporal linearity often being disregarded. Although Cohen’s spiritual search has extended throughout his life, his essential outlook on time and the past is already expressed in the early books; his latest publications combine new pieces and selections from previous books of poetry and prose works, confirming the continuity of ideas and general consistency of his vision.

This dissertation treats the subject of temporality in Ovid’s exile poetry. I argue that the post-exile texts feature a systematic distortion of time that cannot be conveyed by conventional chronometry. I read this phenomenon as a testament to the condition of the displaced person: the trauma of exile fosters a dissonance between interior (subjective) and exterior (objective) temporality, whereby time becomes stagnant, retrospective, or compulsively circular. The object of this thesis is to chart the evolution of this relationship between dual temporal schemata—and the schism in representations of time that occurs between Ovid’s pre- and post-exilic works. The distinct temporal aesthetic that emerges is a constitutive element of a textual portrait of exilic consciousness. This unique temporality, moreover, is consistently defined against the temporal prescriptions of the Augustan regime. The ordering of the Augustan subject’s existence through temporal regulations—such as the Caesarian calendar and the myth-enshrined teleology of the Julian imperial line—codified imperial ideology. Although Ovid was, in one sense, a prime participant in this program as author of the Metamorphoses and Fasti, much of Ovid’s elegy ran afoul of Augustan moral codes due to its erotic content and celebration of an individualistic ethos, the emblems of which—such as inborn poetic ingenium and the private and subjective experience of the individual—feature so prominently in his poetry. In the context of Augustan-age incursions of public mores into private life, Ovid put himself at odds with the Augustan value system in his art and actions, which likely occasioned (or was a catalyst for) his exile. He thus had a vested interest in (i) resisting the dominant teleology of the Augustan regime and the self-legitimating semiotic system of which it was a part and (ii) mounting opprobrium against the regime that ousted him. The poet’s alternative vistas of temporality militate against the Augustan program by (a) reclaiming time as a subjective experience that cannot be delimited by the parameters of an official time scheme, and (b) evacuating Augustan time of its meaning within the fictional world of the poetry, thereby exposing it as a socially-constructed, rather than an absolute, reality.

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Thèse (M.A.)--Université Laval, 2000. / Comprend des réf. bibliogr.

The works of Lewis Carroll show an abiding interest on the part of the author in the relationship between education, language and authority. In particular, the Alices are the story of a young girl who must learn to deal with a variety of characters in dream-worlds where the power of language reigns. It is therefore necessary for Alice to learn how language is used for authoritarian purposes and to discover ways of defending herself against it. It is the purpose of this thesis to investigate, in many cases for the first time, the ways in which Alice is able to find "spaces" in language where authority breaks down, places where the fundamental nature of language is unable to support authoritarian use. In this way, "space" will become both a metaphor and a figurative model for Alice's growing knowledge of and resistance to authority.