Emily Dickinson and Christina Rossetti, born just five days apart in 1830, wrote similarly on love, restriction, identity, and death. Their similarities arose not because one poet influenced the other, but because both poets shared the identity of single women in strong patriarchal societies. Although shared lifestyles as single and relatively secluded women who remained in their parents' homes do not provide a shared outlook, their biographies support the theory that both grappled with the problem of a woman's place. Both poets are too ensconsed in male tradition to disregard outworn beliefs, particularly those beliefs concerning a woman's place in nature and in love, but both begin deceptively to change sexual connotations within traditional stereotypes. Dickinson presents this change in women positively, while Rossetti presents non-conforming women as failures. But they picture the destructiveness of stereotypes that obliterate a woman's identity in love. Walls, masks, and other enclosures abound in both women's poetry. In Rossetti's verse, walls and self-imposed masks protect women against punishable indulgences, but these enclosures confine and deaden. The freedom from this imposed imprisonment characterizes many of her religious poems. In Dickinson's poetry, barriers induce imaginative questing and desires for escape, just as punishment affirms the promethean artistic self. Both women reveal the confinement of restrictions upon women, but where Dickinson advocates the breaking of boundaries, if only through secret imaginative flight, Rossetti reinforces the validity of boundaries and conformity. Both poets convey a woman's anxiety of loss over place, sexuality, and integrated identity when she fails to fit into expected roles. Their poetry enacts the similar characteristics of psychic fragmentation and existential reality, particularly through the recurrence of mirroring pronomial structures and negative or empty metaphors. But these aspects of multiplicity proliferate a linguistic freedom beyond the boundaries of conventional femininity. Finally, both poets examine the precepts of consolation literature and attempt to reconcile the problems of a woman's earthly place with the proposed triumphs of her heavenly place. But while Rossetti paradoxically provides women only with the metaphoric perfection of their earthly positions, Dickinson discards the consolation of a heavenly place and envisions the rewards of an androgynous poetic voice.

Gil Courtemanche's A Sunday at the Pool in Kigali, Bapsi Sidhwa's Cracking India and J.M. Coetzee's Disgrace depict periods of intense violence: the Rwandan genocide, the Partition of India, and post-apartheid South Africa. While these authors bring rape to the foreground as they explore massive social change and systemic brutality, Courtemanche, Sidhwa and Coetzee differ significantly in their treatment of sexual violence. Courtemanche decries physical violence but fails to acknowledge more subtle forms of abuse, constraining the voice of the raped female character. Examining Partition from a child's perspective, Sidhwa exposes some of the injustices faced by a survivor of rape, yet this survivor never talks about her experience. Coetzee's protagonist suppresses the voice of the woman he abuses, but insists that his daughter speak up when she is assaulted: her silence complicates the idea that speech about rape is necessarily progressive. An examination of these texts' treatment of speech and silence surrounding rape will test the possibilities for pro-survivor narratives of sexual violence within a rape culture. / Un dimanche à la piscine à Kigali, de Gil Courtemanche, Cracking India de Bapsi Sidhwa et Disgrâce de J.M. Coetzee illustrent des périodes de violence intense : le génocide rwandais, la partition de l'Inde et l'Afrique du Sud après l'apartheid. Les trois auteurs mettent en scène le viol en explorant le changement social intense et la brutalité généralisée, mais Courtemanche, Sidhwa et Coetzee diffèrent dans leur traitement de la violence sexuelle de manière significative. Courtemanche dénonce la violence physique mais ne reconnaît pas les formes d'abus plus subtiles, astreignant ainsi la voix du personnage féminin violé. En examinant la partition de la perspective d'un enfant, Sidhwa expose les injustices auxquelles fait face une survivante de viol, mais la survivante ne parle jamais de son expérience. Le protagoniste de Coetzee réprime la voix de la femme dont il abuse, mais insiste pour que sa fille parle lorsqu'elle se fait agresser : son silence complique l'idée que le discours sur le viol est nécessairement progressif. Un examen du traitement du discours et du silence autour du viol dans ces textes mettra en question les possibilités de narrations sur la violence sexuelle d'un point de vue pro-survivant dans une culture du viol.

In On the Spiritual in Art, Wassily Kandinsky, one of the founders of abstract art, turns to the Symbolist playwright Maurice Maeterlinck in his quest for a new aesthetic language. Both the playwright and the painter, in breaking away from Naturalist aesthetics, seek to free the signifier and the signified, in literature and in painting, from their referential function. In particular, the painter considers Maeterlinck's treatment of a word: the components of a linguistic sign, that is, its acoustic imprint and its internalized visual image, conceived of and apprehended by a spectator's subjectivity, are now combined arbitrarily. As autonomous entities, they no longer refer to an external reality. The playwright and the painter aim to purify the signifiers, within their own oral and pictorial languages, to the point of dissolving the sound and the visual shape into silence and space. However, this process of purification does not lead to "nothingness", but rather to an "original plane", from which a new signifier, a primordial sound or internal visual image, is generated: at this point, this signifier serves to channel and transmit a true essence, emanating intuitively from man's inner life. / Dans Du Spirituel dans l'art, Wassily Kandinsky, un des fondateurs de l'art abstrait, se tourne vers le dramaturge symboliste Maurice Maeterlinck afin de concevoir un nouveau langage esthétique. Le dramaturge et le peintre, en rompant avec la tradition naturaliste, cherchent à délivrer la forme et le contenu du signe langagier et pictural de leur fonction référentielle. En particulier, l'attention du peintre est portée au traitement du mot dans l'œuvre de Maeterlinck : il constate que les composantes du signe, c'est-à-dire l'image acoustique comme l'image psychique, conçues et perçues par la subjectivité de l'être, s'associent arbitrairement, valent pour elles-mêmes et, par là même, ne servent plus d'indices évoquant une réalité extérieure. Le peintre et le dramaturge préconisent une renaissance du langage esthétique : ce travail s'effectue grâce à l'épuration radicale du signe sonore et de la forme picturale, dissolvant ces derniers dans le silence et l'espace. Cependant, ceux-ci ne correspondent pas au « néant », mais à un « plan originel », à partir duquel se régénère la forme sonore et visuelle : désormais, elle sert à canaliser une essence pure, éprouvée intuitivement dans la réalité intérieure de l'être.

Between 1957 and 1988, the contemporary French poet Yves Bonnefoy translated Shakespeare's Hamlet five times. This thesis is an in-depth analysis of these five translations and of their evolution: above all, it explores Yves Bonnefoy's poetics of translation. The first section examines Bonnefoy's articulated understanding of poetry, translation and their relationship, but also of Shakespeare and Hamlet, in order to contextualize the translations and define Bonnefoy's approach to the translation process (position traductive) and his translation project, according to the method proposed by Antoine Berman. / The second section provides a survey of Bonnefoy's translations through the study of two passages of the play, followed by a detailed analysis. The objective is to characterize Bonnefoy's translations at the lexical, syntactic and poetic levels. Questions addressed in this section include: Is Bonnefoy faithful to the original text, or does he translate creatively? Does he successfully combine the ethical and poetic dimensions of translation? We will explore Bonnefoy's translation poetics and practice through the hypothesis that the notions of dialogue and dialectics are the most appropriate conceptual tools for describing his translation practice as revealed in the five translations of Hamlet. These two concepts also involve the notion of voice, and one is moved to enquire whose is more audible in these five versions, Shakespeare's or Bonnefoy's. / The detailed analysis is followed by a critical examination of Bonnefoy's five versions of Hamlet by means of a forced confrontation between the poet's texts and his declared translation project. Here, the notion of re-enunciation is introduced in order to complement the ideas of dialogue and dialectic, and thereby re-define and better characterize the faithfulness and the creativity practiced by Bonnefoy. The creative aspect of translating is re-examined through the concepts of domesticating and appropriating. Finally, while exposing the gaps between theory and practice in Bonnefoy's oeuvre as a translator, this thesis aims at defining the general trend of Bonnefoy's translations while emphasizing his originality as a translator. / Entre 1957 et 1988, le poète français contemporain Yves Bonnefoy a traduit le Hamlet de Shakespeare à cinq occasions. Cette thèse se veut une analyse approfondie de ces cinq traductions et de leur évolution, dans l'objectif de caractériser la poétique de traducteur d'Yves Bonnefoy. Pour ce faire, nous examinons dans notre première section le rapport de Bonnefoy à la poésie et à la traduction, puis à Shakespeare et à Hamlet afin de contextualiser les traductions et de définir la position traduisante et le projet de traduction de Bonnefoy, selon la méthode proposée par Antoine Berman. / La seconde section est consacrée à l'analyse proprement dite, que nous entamons en donnant un aperçu des traductions de Bonnefoy à travers deux passages de la pièce, avant de nous lancer dans l'analyse détaillée des traductions. Dans le cadre de celle-ci, nous cherchons à caractériser les traductions de Bonnefoy au niveau lexical, syntaxique et poétique : Bonnefoy est-il fidèle au texte original ou davantage créateur ? Parvient-il à allier les dimensions éthique et poétique du traduire ? Nous avançons l'hypothèse selon laquelle les deux notions de dialogue et de dialectique sont deux outils conceptuels qui nous permettent de décrire la pratique traduisante de Bonnefoy telle qu'elle se manifeste dans les cinq traductions de Hamlet. Ces deux concepts mettent en jeu la notion de voix : qui de Shakespeare ou de Bonnefoy est le plus audible dans les cinq traductions ? / Enfin, l'analyse détaillée est suivie d'un commentaire et d'une critique des traductions, qui passe par une confrontation des traductions au projet du traducteur. Les notions de dialogue et de dialectique sont complétées par celle de ré-énonciation, afin de redéfinir et de caractériser plus avant la fidélité et la création telles que Bonnefoy les pratique. Nous réexaminons le pôle de la création à l'aide des notions traductologiques de domestication et d'appropriation. Finalement, tout en soulignant les écarts entre théorie et pratique, nous tentons de dégager le mouvement d'ensemble des traductions de Bonnefoy et de mettre en valeur l'originalité de sa poétique de traducteur.

This study examines three novels, Bram Stoker's Dracula, Ivan Klima's Love and Garbage, and Nina FitzPatrick's The Loves of Faustyna, and their relation to the creation, and the propagation, of the discourse which surrounds Eastern Europe throughout the Cold War. In studying these texts I address the relation between postcommunist studies of Eastern Europe and the field of postcolonialism, which have traditionally overlooked one another. In doing so, I argue that the application of postcolonialism to postcommunist studies allows for a deeper understanding as to Eastern Europe's position throughout the twentieth century. The three writers I have chosen share similar themes with the postcolonial discourse and as such I have chosen to highlight these similarities in order to point to a new manner in which Eastern Europe's literary contribution to the twentieth century can be understood. / Cette étude examine trois romans, Dracula par Bram Stoker, Love and Garbage par Ivan Klima, et The Loves of Faustyna par Nina Fitzpatrick, et leurrelation à la création et la propagation du discours qui entoure Europe de l'Est pendant 'la guerre froide'. Dans l'étude de ces textes j'ai adressé la relation entre les études post-communiste de l'Europe de l'Est et le champ du post-colonialisme, qui ont traditionnellement négligé un l'autre. Ce faisant, je soutiens que l'application du postcolonialisme aux études post-communistepermet une meilleure compréhension de la position de l'Europe orientale tout au long du XXe siècle. Les trois auteurs que j'ai choisi soulève des thèmes similaires avec le discours postcolonial et à ce titre que j'ai choisi de mettre en preuve ces similitudes, afin de pointer vers une nouvelle façon dans laquelle la contribution littéraire de l'Europe orientale au XXe siècle peut être comprise.

Thesis (D.Sc.) -- University of Adelaide, Dept. of Environmental Biology, 1999. / Includes bibliographical references.

Programm--Staat-Gymnasium, Weidenau. / Includes bibliographical references.

Thesis (Ph.D.) -- University of Toronto, 2005. / Includes bibliographical references.

Thesis (Ph.D.)--George Mason University, 2009. / Vita: p. 120. Thesis director: Peter J. Boettke. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Economics. Title from PDF t.p. (viewed June 10, 2009). Includes bibliographical references (p. 112-119). Also issued in print.

Proefschrift--Amsterdam. / "Stellingen": 3 p. laid in. "Literaturverzeichnis": p. [160]-163.