Diss.--Katholisch-Theologische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 1998. / Résumé en anglais. Bibliogr. vol. I p. 305-329, vol. II p. 299-309. Index.

A study of the considerable literature written around L'Etranger makes clear that its wide range of approaches and methodologies raises interesting and important questions of a theoretical nature. In the particular area of language-oriented studies, the disparity of the models proposed or presupposed and, in the case of very similar models, the notable disparity of the conclusions drawn call for further examination of the theory behind them. Most such models are seen to revolve around the role of the narrator and his relation to events recounted in the text. Unlike most linguistic models, these are performance-oriented - a fact that is seen as crucial, raising the question of the nature of a putative performance theory and its relation to models based on competence/lanpnqe. Consideration of these questions establishes the need for elaboration of the study of enonciation (or "allocution") and more particularly of the "aspect indiciel du langage" in order to elucidate time and tense in relation to performance. The method adopted, involving a detailed analysis of the prevailing models in this area (Benveniste and Weinrich), shows the binary elegance of their schemes to be misleading and at variance with numerous examples of literary usage. The proposal is made that the dlsoours/recit contrast "be regarded as belonging to the area of illocutionary forces in general and as such capable of being marked by various devices in addition to tense-forms and "shifters". A particular set of devices, the presententials, is proposed: founded on the syntactic notion of the higher S, they mark both the force and the time of utterances. A related class, the interruption sentences, is examined and expanded and, along with a third class, the commentary forms constitutes an important addition to the markers of sui-reference. Finally, a detailed inspection of L'Etranger reveals the importance of these devices in the text and, in connection with the oft-discussed "moments de narration", gives rise to a different perspective based on a clearer understanding of the relation of "le temps linguistique" and "le temps chronologique" in the novel and a more precise explanation of the role of the reader. In the light of this, various subsidiary aspects are then explained in relation to Camus's intentions and his artistic achievement in L'Etranger. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Even though parallels between the philosophy of Albert Camus and The Big Lebowski have been drawn repeatedly, a sustained enquiry into several possible dimensions of the matter is yet to have been conducted.This dissertation makes an attempt to conduct the aforementioned enquiry in some detail. In doing this, the study will try to analytically compare Camusian philosophy and Dudeism and bring out the similarities between them. This does not imply that there are no differences between the two; but the focus of this study is the similarities and not the differences. Dudeism, for the purpose of this study, will not be restricted to The Dude and the literature written on The Dude and Dudeism. It will also be expanded to accommodate certain other parts of the larger discourse of Ethan and Joel Coen’s filmography as well as a few other parts of The Big Lebowski itself. It is crucial, however, to “draw a line in the sand” (Walter, The Big Lebowski) at the very outset. In embarking on a comparative analysis between Camusian philosophy and Dudeism, this study does not intend to propose that one of them is influenced by the other and “what-have-you” ("The Editorial Preface" 12). Instead, it simply attempts to point out some of the discursive elements that they share with each other as well as with several of the sub-discourses they comprise of. The analysis in the dissertation that follows is split into three major chapters: 1. ‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference. 2. ‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism. 3. ‘Somebody this square community won’t give a shit about’: Camus’ Absurd Man and Dudeism The first chapter, “‘Well, I’ll tell you what I’m blathering about’: An analytical frame of reference”, provides an analytical framework for the discussions that follow in the rest of the dissertation. It is further divided into three sections. The first section lays out a basic understanding of a few fundamental ideas of Dudeism for the readers. The second section discusses a few important aspects of the philosophy of Albert Camus. The third section briefly establishes the connections between Dudeism and the philosophy of Camus which are examined in greater detail later in the study. The second chapter, “‘You can’t be worried about that shit, life goes on, man’: Life, Death and Absurdity in Camus and Dudeism” looks at Camus’ takes on Life, Death and Absurdity while also pointing out the parallels they seem to strike with Dudeism. The chapter is further divided into four sections. The first section examines strands of Camusian thought, especially the Absurd in the other films of Ethan and Joel Coen before establishing a connection to The Big Lebowski. The second section explores the attitudes towards Death in Camusian philosophy and Dudeism. The third section compares the ideologies of Life in the works of Camus and Dudeism. The fourth and final section explores parallels between Camus’ novel The Stranger and The Stranger: the cowboy narrator of The Big Lebowski. The third chapter picks up on the Camusian trope of the Absurd Man and its relation to Happiness in both: the works of Camus as well as the discourses of Dudeism. It comprises of three sections. The first section explores the notion of Alienation in Camusian philosophy and Dudeism and looks at how it eventually leads to the trope of the Absurd Man in Camus. The second section explores Camus’ creation of the Absurd Man through the Cycle of the Absurd and looks at how it fits into Dudeism. The third and final section delves into a comparison of the Absurd Man’s quest for Happiness in Camus and Dudeism. / M.A. Honours with Research in English

Univ.-Gesamthochsch., Diss.--Essen, 1998.

Teilw. zugl.: Kiel, Universiẗat, Diss., 2003.

À sa mort, accidentelle et tragique, Albert Camus, qui n'a alors que 47 ans, laisse derrière lui une oeuvre inachevée. Trois ans après la réception du prix Nobel de littérature de 1957, l'écrivain croyait que son oeuvre était encore à faire.À preuve, quelques mois avant sa mort, Camus avait amorcé ce qu'il entrevoyait comme le troisième cycle de son oeuvre. Après l'avoir fait pour l'absurde et la révolte, Camus comptait consacrer un essai, une pièce de théâtre et un roman à la thématique de l'amour (les cycles étant ainsi constitués). Le premier homme, manuscrit publié par sa fille Catherine en 1994, soit 34 ans après sa mort, est malheureusement la seule trace concrète de ce qu'aurait pu devenir ce troisième cycle. Ce silence, trop précoce, laisse de nombreuses questions sur le cours nouveau qu'auraient pris les écrits d'Albert Camus.À défaut d'en connaître un jour la substance, il est possible d'en deviner les préoccupations et les intuitions contenues entres autres dans les notes laissées par l'écrivain et dans le développement même de l'oeuvre camusienne. Au moment de bâtir son troisième cycle, Camus s'était déjà attaché à l'amour. Dès sa jeunesse, l'écrivain, fidèle à quelques intuitions fondatrices de sa pensée, avait déjà reconnu en l'amour une racine essentielle. Nous avons tenté, à travers ce mémoire portant sur l'amour dans l'oeuvre d'Albert Camus, de réfléchir à la place qu'a occupée cette thématique dans ses écrits. Reprenant trois définitions tirées du lexique grec, Éros, Philia et Agapè, nous avons cherché dans l'oeuvre de Camus les multiples manifestations de l'amour. La lecture qui a découlé de cette"grille" d'analyse, souple, mais selon nous pertinente, donne un aperçu éclairant des questionnements qu'a eus l'écrivain en regard de l'amour tout au long de sa vie et plus particulièrement dans les dernières années de celle-ci (le récit du roman Le premier homme, bien qu'il soit inachevé, le confirme). L'amour maternel, l'amour du monde, l'amour des femmes, la solidarité et l'amitié sont autant de visages que Camus a donnés à l'amour dans ses écrits. Nous nous sommes employés dans ce mémoire à distinguer ces différentes formes d'amour et à les replacer dans leur contexte particulier.

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, February 1983. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH / Vita. / Bibliography: leaves 160-166. / This is a study of all the published writings on art by the Symbolist poet-critic G.-Albert Aurier, intending to elucidate the systematic theory of art that underlies all his criticism. It includes a brief biographical account of Aurier's career as an art critic as well as a Symbolist poet and publisher, with emphasis on his involvement in the Decadent phase of literary Symbolism, as it relates to the development of his particular tastes in art. While Aurier's theory is Symbolist, and therefore self-consciously modern, it is here analyzed from a traditional point of view, in order to place Aurier and Symbolism in the context of the preceding tradition of Frerch art theory. The major themes explored include: the possibility of a definition of Beauty in art; the relationship of art to nature and the question of representation; the discovery of the Ideal and its expression in art; the aesthetic emotion, its character, sources, and means of expression in art; the meaning of artistic "genius"; art considered as a "language" and the implications for style. / by Margaret Rauschenbach Lunn. / Ph.D.

[No Abstract]

<p>Den här uppsatsen handlar om historieförmedlingen i den historiska romantrilogin om Tore Gudmarsson som Albert Olsson skrev mellan åren 1939 och 1945. Då den historiska romanen behandlas som en kvarleva kan den sägas berätta någonting både om den tid som skildras och den tid då den skrevs. I analysen studeras hur Olsson skildrar danskt och svenskt, herrar och bönder, manligt och kvinnligt samt lag och rätt i sina romaner. Dessa teman analyseras både mot bakgrund av den verkliga historieskrivningen så som den såg ut 1940 samt författarens verklighet. Min metod, som är lånad från språk- och litteraturvetenskapen, är en kvalitativ textanalys och innehåller begreppen den textinterne läsaren/författaren och den textexterne läsaren/författaren. Efter att ha studerat dessa teman har jag kommit fram till att Olsson delvis måste ha använt sig historieböckerna, eftersom hans historieförmedling ibland stämmer så väl överrens och han även placerat romankaraktärerna i verkliga händelser och pendlar mellan fiktion och verklighet. Man hans historieförmedling säger även någonting om författarens egen tid och paralleller till andra världskriget återfinns i tolkningen.</p>

Den här uppsatsen handlar om historieförmedlingen i den historiska romantrilogin om Tore Gudmarsson som Albert Olsson skrev mellan åren 1939 och 1945. Då den historiska romanen behandlas som en kvarleva kan den sägas berätta någonting både om den tid som skildras och den tid då den skrevs. I analysen studeras hur Olsson skildrar danskt och svenskt, herrar och bönder, manligt och kvinnligt samt lag och rätt i sina romaner. Dessa teman analyseras både mot bakgrund av den verkliga historieskrivningen så som den såg ut 1940 samt författarens verklighet. Min metod, som är lånad från språk- och litteraturvetenskapen, är en kvalitativ textanalys och innehåller begreppen den textinterne läsaren/författaren och den textexterne läsaren/författaren. Efter att ha studerat dessa teman har jag kommit fram till att Olsson delvis måste ha använt sig historieböckerna, eftersom hans historieförmedling ibland stämmer så väl överrens och han även placerat romankaraktärerna i verkliga händelser och pendlar mellan fiktion och verklighet. Man hans historieförmedling säger även någonting om författarens egen tid och paralleller till andra världskriget återfinns i tolkningen.