Turkey is an arena of social struggles for young people who have often been repressed, marginalized, invalidated,isolated and stereotyped by the dominant discourses that shape the existence of youth. This could be related to the rapidly changing circumstances that anticipate the milieu of frequent crises Turkey has been associated with. This thesis is an attempt to contribute to an understanding of the social patterns that are reflections of the mediated crisis and their role in identity formation processes of youth in the 1980s. It focuses on the post-1980 generation in Turkey. The study analyzes constructions and representations of youth in Turkey, particularly between 1980 and 1990. Institutional ethnography was used in order to understand the emergence of the post-1980 generation, as well as to draw a picture of politics and culture in the 1980s, focusing on identity politics to comprehend the public discourse in which this generation was represented.

This dissertation examines the problems of translation within the language ideological context of multilingual Singapore. On the basis of textual and paratextual data from published literary translations and with reference to the language power relation between the English language and the Chinese language in contemporary Singapore, the study raises questions about the relationship between literary translation and language ideology in Singapore. These questions are concerned with textual problems in translating heterolingual texts, interpretive problems facing the target readers of translated Chinese-language texts that deal with the Chinese identity crisis and the ideological functions that translation plays in the making of multilingual literary anthologies. In delineating the general character of cross-cultural communication in Singapore, the study combines various theoretical perspectives and employs both textual and contextual approaches of inquiry. The dissertation consists of three main parts. The first part discusses the textual problems involved in the translation of heterolingual Chinese literature thematically concerned with the ideological tension between English and Chinese in Singapore. Drawing on the theory of the metonymics of translation as well as code-switching theories, the identity function of heterolingualism in Chinese literary texts is first established as creating a metonymic link between the linguistic tension in the literary texts and the ideological tension between English and Chinese in Singapore society. It is then proposed that when a heterolingual text using Chinese as its matrix language code-switches into English as part of its textual strategy, the translation of this text into the English language necessarily creates a crisis of representation in which the English language paradoxically projects itself as the cultural “Other”. The second part of the dissertation examines the interpretive problems of Singapore Chinese literature in English translation based on the theory of the ethics of translation. Specifically, when a target text (TT) reader is construed as the cultural “Other” in a source text (ST), an interpretive paradox arises when the TT reader attempts to understand himself/herself as a cultural “Other” in his/her own language in order to achieve a positive ethics of translation. The TT reader faces an epistemological dilemma: he/she either betrays his/her own identity in favour of the identity function of the ST, thus setting on an ironic process of self-Othering, or adheres to his/her identity and betrays that of the ST, thus contradicting the intended objective of allowing the predominantly English-speaking Chinese community in Singapore to understand the cultural predicament of their Chinese-speaking counterparts. In the third part of the study, I explore the role of translation in the construction of language ideology in Singapore and the way in which this role has changed since the mid-1980s. Based on an analysis of the use of translation in the making of multilingual literary anthologies published between 1985 and 2008, it is found that the power relation between the English language and the mother tongue languages in Singapore has shifted over the past two decades. Central to this shift is translation, the discursive instrument in multilingual publications. While earlier anthologies adopt a “one-to-one” translation model, in which literary works written in the mother tongue languages are translated into English but not vice versa, more recent anthologies adopt a “many-to-many” translation model, in which various languages translate into one another. This shift leads to a subtle change in the relationship between English and the mother tongue languages, from an asymmetric one in favour of English as the language of power, to a balanced one that gives an equal “voice” to the mother tongue languages. The analysis shows that translation is the locus of complex language ideological struggles, and that it plays the conflicting roles of reinforcing the hegemony of the English language and of resisting such hegemony in Singapore. This study has three implications for translation studies. Firstly, it supports the case for the combination of textual and contextual approaches in the investigation of translation phenomena. Secondly, it suggests that translation practice in Singapore is a potentially paradoxical act whose efficacy is not unproblematic. Finally, the study enables translators and language policy makers in Singapore to become more aware of the ideological implication of translation in multilingual discourses, and to tap into the discursive power of translation in creating a truly balanced multilingual nation.

The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The manifestations that took place in Brazil throughout June 2013 have made their way into the history of the country. Protests called by virtue of the increase in public transport fares, specially in the city of São Paulo, spread to hundreds of cities, leading millions of people to the streets, with the expansion of the demand for guidelines. Politicians, state institutions and politics itself were targeted by protesters who have clearly shown they do not feel represented by elected politicians. These manifestations of rejection lead to the conclusion that the crisis of representation, faced by many democracies around the globe, is felt daily by people. Besides, a deficit of participation is also notable, i.e., there is no place or encouragement for people to participate in state decisions. In this context, politicians were surprised by the magnitude of the protests, not knowing how to interpret the claims from the streets in first place. It was necessary to provide answers, and President Dilma Rousseff interpreted the events as a request for greater participation. Less than a year after the June events, the Presidency of the Republic published Act 8.243/2014, which established the National Policy for Social Participation and the National Social Participation System. The Act has been criticized, but also supported. In the same sense of criticism, Legislative Act Projects with the Congress were presented in order to halt the effects of the Presidential Act. Hence, this research is inserted in the context of the crisis of representation and the expansion of popular participation channels within the state institutions. The objective is to verify whether and to what extent Act 8.243/2014 was influenced by the events of June 2013, as well as to evaluate the projects that wish to overthrow the Act, in order to verify the constitutionality of such rule. Therefore, the hypothetical-deductive method of approach has been applied and regarding the procedure, the methods were the case study and the functionalist. It was concluded that the publication of Act 8.243/2014 has relationships with the events that occurred in June 2013. In addition, the debate established by the critics of the Act is political, since the legal arguments for restraining its effects do not thrive. It is fighting for positions of power instead of a strictly legal debate. / As manifestações ocorridas em junho de 2013 entraram para a história do Brasil. Os protestos convocados em virtude do aumento das tarifas do transporte público, com centralidade em São Paulo, espalharam-se por centenas de cidades, levando milhões às ruas, com a ampliação das pautas de reivindicação. Os políticos, a política e instituições do Estado foram alvo dos manifestantes, dos quais muitos demonstraram claramente não se sentirem representados pelos políticos eleitos. Essas manifestações de repúdio levam à conclusão de que a crise de representatividade, atravessada por diversas democracias ao redor do globo, é sentida diariamente pelas pessoas. Além disso, constata-se também um déficit de participação, isto é, faltam espaços e incentivo para as pessoas participarem das decisões do Estado. Nesse contexto, os políticos surpreenderam-se com a magnitude dos protestos, não sabendo como interpretar as reivindicações das ruas, em um primeiro momento. Era preciso dar respostas, e a Presidente Dilma Roussef interpretou as manifestações como um pedido por maior participação. Após menos de um ano dos acontecimentos de junho, a Presidência da República editou o Decreto 8.243/2014, o qual instituiu a Política Nacional de Participação Social e o Sistema Nacional de Participação Social. O Decreto foi alvo de críticas, mas também conta com defensores. No mesmo sentido das críticas, foram apresentados Projetos de Decreto Legislativo junto ao Congresso com vistas a sustar os efeitos do Decreto presidencial. É no contexto da crise de representatividade e da ampliação dos canais de participação popular no seio das instituições estatais que a presente pesquisa se insere. Objetiva-se verificar se e em que medida o Decreto 8.243/2014 foi influenciado pelas manifestações de junho de 2013, bem como avaliar os projetos que querem derrubar o Decreto, para verificar a constitucionalidade ou não dessa norma. Para tanto, utilizou-se do método de abordagem hipotético-dedutivo e quanto ao procedimento, os métodos foram o estudo de caso e o funcionalista. Concluiu-se que a edição do Decreto 8.243/2014 tem relações com as manifestações ocorridas no mês de junho de 2013. Além disso, o debate estabelecido pelos críticos do Decreto é político, uma vez que os argumentos jurídicos apresentados para a sustação dos seus efeitos não prosperam. Trata-se de luta por espaços de poder antes de um debate estritamente jurídico.

Quel est le statut du corps aujourd’hui ? Quel est le rôle du sensible à une époque où la pensée de l’artificiel fait bouger les lignes de la communauté académique ? Cette thèse vise à déterminer comment les écrits de Proust ont pu contribuer à une culture contemporaine centrée autour du corps vécu et de ses modalités. L’écrivain, en tant que témoin privilégié de son époque, décrit la façon dont les dispositifs techniques affectent le « voir » du sujet à une époque d’urbanisation progressive des villes. Certains auteurs se sont intéressés à la dimension philosophique de la 'Recherche', la concevant successivement comme initiation (Deleuze, 1964), quête de vérité (Descombes, 1987) ou phénoménologie du sujet (Breeur, 2000). Si ces études ont le mérite d’explorer une « théorie du sujet qui articule de façon nouvelle et cohérente differents aspects de l’être-au-monde » (Leriche, 2004), elles se limitent néanmoins aux termes d’une identité impossible et semblent passer à côté de la présence d’un monde intracorporel si fondamentale dans l’écriture de la 'Recherche'. Ce projet entend interroger cet impensé, en partant de l’hypothèse selon laquelle nous assistons avec Proust à l’émergence d’une nouvelle pensée du corps. En s’appuyant sur les lectures successives du corps au XXe siècle (réflexion sur la technique à l’époque contemporaine, l’ontologie tardive de Merleau-Ponty, les sciences cognitives au début des années 1990), nos analyses s’inscrivent dans une histoire précise. Dans un premier chapitre, il sera montré comment la crise de la représentation contribue à l’émergence d’un espace corporel. Il s’agira ensuite de déterminer dans quelle mesure l’apport de la phénoménologie dans la France de l’après-guerre contribue à une refonte de l’expérience corporelle. Nous verrons en particulier comment certains détails sensibles (l’incarnat, le visage humain, la palpation tactile du regard) esquissent la voie d’une intercorporéité. Le troisième chapitre nous permettra d’intégrer différents corps de savoir dans nos analyses en soulignant comment l’opacité de l’expérience corporelle peut profiter d’un éclairage épistémologique. Enfin, il nous faudra dans un dernier temps élargir notre enquête au problème de l’expression et au rapport entre corps et énonciation. / What is the status of the body today ? What is the role of the sensible world at a time when the thought of the artificial is shifting the lines of the academic community ? This thesis aims to determine how Proust’s writings have contributed to a contemporary culture centred around the lived body and its modalities. The writer, as a privileged witness of his time, describes how technical devices affect the subject’s “seeing” in a period of overwhelming urbanization. Some authors have taken an interest in the philosophical dimension of 'Remembrance of Things Past', conceiving it successively as initiation (Deleuze, 1964), search for truth (Descombes, 1987) or phenomenology of the subject (Breeur, 2000). If these studies have the merit of exploring a “theory of the subject that articulates in a new and coherent way different aspects of being in the world” (Leriche, 2004), they are nevertheless limited to the terms of an impossible identity and seem to miss the presence of an intracorporeal world that is so fundamental in Proust’s writing. This project intends to question this unthought, based on the hypothesis that we are witnessing with Proust the emergence of a new way of thinking about the body. Building on the successive readings of the body in the 20th century (reflection on technique in the contemporary era, Merleau-Ponty’s late ontology, cognitive sciences in the early 1990s), our analyses have a precise history. In a first chapter, it will be shown how the crisis of representation contributes to the emergence of a corporeal space. It will then be a question of determining the extent to which phenomenology in post-war France contributes to a recasting of bodily experience. We will see in particular how certain sensitive details (incarnateness, the human face, the tactile palpation of the gaze) sketch the way to an intercorporeality. The third chapter will allow us to integrate different bodies of knowledge in our analyses by underlining how the opacity of body experience can benefit from an epistemological lighting. Finally, we will have to extend our investigation to the problem of expression and to the relationship between body and enunciation.

This study concerns school reform in Malta. Under the policy framework ‘For All Children to Succeed’ (Ministry of Education, Youth & Employment, 2005) [henceforth referred to as FACT], Maltese state schools embarked on the process of being organized into networks called ‘colleges’. These consisted of primary and secondary schools according to geographical location, under the leadership of the Principal – a newly-designated role hierarchically above that of the individual Heads of School. The purpose of my research is to explore relations of power in a Maltese college. My study gives prominence to both theory and methodology. The theoretical research question investigates how networking unfolds among the various leadership hierarchies in school governance in a Maltese college. This is explored through the performance of policy-mandated collegiality; the circulating relations of power; and leadership distribution. My study is framed within a postmodern paradigm and adopts a Foucauldian theoretical framework, more specifically his concepts of power, discipline, governmentality, discourse, and subjectification. Data for my case study are collected through semi-structured, in-depth interviews; observation of a Council of Heads meeting; and a documentary analysis of FACT. Narrative is not only the phenomenon under exploration, but also the method of analysis, and mode of representation. Thus, I attempt to answer my methodological research question that investigates the ways a researcher negotiates the methodological tensions and contradictions in the conduct of qualitative inquiry in order to construct knowledge differently. The Maltese college is viewed as a surveillance mechanism by both the Principal and the Heads, with collegiality being regarded as a straitjacket imposed by the State through a policy mandate. However, there is unanimous agreement on conscription being the only way forward for Maltese state schools. Different degrees of ‘support’ and empowerment exist, according to the directives of the Principal and the State. College setup is problematized on geographical clustering and college streaming, due to which it may end up defying the primary aim of networking by clustering students from particular areas in isolation, resulting in social injustice and educational inequality. This study exposes a strong sense of sectoral isolation among the Heads – a situation being mirrored at macro-level with very few opportunities for inter-networking among colleges. There is an asymmetrical power flow among the college schools, both within the same level and across different levels. Despite the policy FACT mandating distributed leadership, hierarchical forms of accountability are still inherent within the system, bringing out a tension between autonomy and centralization.

In dieser Dissertation werden 13 wichtige Werke Giorgio de Chiricos (1888 Volos, Griechenland – 1978 Rom), Filippo de Pisis’ (1896 Ferrara – 1956 Mailand) und Giorgio Morandis (1890 Bologna – 1964 ebenda) eingehend beschrieben und analysiert. Als Ergebnis ergibt sich die zum Teil unerwartete Entdeckung, dass die „noch“ figurative, teilweise als rückgewandt angesehene Kunst der drei untersuchten Künstler eine moderne, immer noch aktuelle Frage nach der besonderen Qualität des Bildes stellt. Ihre Skepsis gegenüber einer festgelegten Art der Wahrnehmung entfaltet sich in einer produktiven Auseinandersetzung mit den Bildern und mit einer Gattung – das Stillleben - einer tradierten Kunsttradition und zeigt Kunst in ihrer Fähigkeit ein besonderes, anderes Sehen anzuregen. Dabei zeigt sich in der Analyse der Bilder die unzertrennliche Beziehung von Sichtbarkeit und Unsichtbarkeit als einen zentralen Moment in der künstleri-schen Produktion. Diese Thematik wird unter anderem in der Verbindung de Chiricos, de Pisis’ und Morandis zu den Schriften Arthur Schopenhauers, Friedrich Nietzsches und Giacomo Leopardis erörtert und speziell mit der Auflösung des klassischen Realitätsbegriffs konfrontiert. Die aus dieser Auflösung resultierende „Krise der Repräsentation“ hat auch die Kunst der Moderne veranlasst, sich kritisch mit dem „Realen“ auseinanderzusetzen und nach neuen Formen der Darstellung, aber auch der Betrachtung zu suchen. Wesentlich ist dabei der Gesichtspunkt, dass die bewusste Reflexion des Sehens und des Wahrnehmens selbst zum Bild werden. Dieser Aspekt wird mithilfe einer phänomenologischen Perspektive und Fragestellung weiter ausgeführt und diskutiert. Der Fokus und die Struktur dieser Dissertation liegen in der konkreten und direkten Auseinandersetzung mit den Werken der drei bildenden Künstler aus denen auch der begriffliche Horizont der Arbeit immanent erschlossen wird. / This study describes and analyses in detail a total of 13 important works by the Italian painters Giorgio de Chirico (1888 Volos, Greece – 1978 Rome), Filippo de Pisis (1896 Ferrara – 1956 Milan) and Giorgio Morandi (1890 Bologna – 1964 Bologna). Its findings include the partially unexpected discovery that the “yet-figurative” aesthetics of these works, which may be valued as backward and even reactionary raise a very modern and relevant question about the special quality of pictures. The works’ scepticism of a fixed kind of perception also emerges in their productive confrontation with canonical, more traditional pictures and in their affirmation of art’s ability to encourage a special, “other” way of seeing. The argument of this study is based on the investigation of the unavoidable relationship between visibility and invisibility as a central moment in de Chirico’s, de Pisis’ and Morandi’s artistic production, and proposes a dialogue with the theories of Arthur Schopenhauer, Friedrich Nietzsche and Giacomo Leopardi, whose influence on the tree painters was of great importance, especially in conjunction with the dissolution of classic concepts of reality. The crisis of representation resulting from this dissolution led in the visual arts to a critical confrontation with the concept of the “Real”. As a consequence of this confrontation news forms of representation and observation emerged. Essential to this transformation is that conscious reflexions about sight and perception became themselves the subjects and objects of pictures. This aspect is also considered from the perspective of phenomenology and its tools of enquiry. The dissertation’s focus and structure derive from the direct confrontation with the pictures, which also informs its conceptual horizon.

Made available in DSpace on 2015-04-11T14:02:59Z (GMT). No. of bitstreams: 1 Alex Sander Pereira Regis.pdf: 1558751 bytes, checksum: 87bb0f2e05a92c301f304aa753235b32 (MD5) Previous issue date: 2013-09-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação tem como horizonte temático a reflexão e análise de narrativas sobre a crise econômica mundial deflagrada inicialmente nos EUA em 2008, bem como sua articulação teórico-empírica com a ideia central da pesquisa, qual seja, a de que a ‗crise em questão está intimamente relacionada as implicações da Globalização, no quadro de uma ruptura teórico-epistemológica, cuja principal expressão é a crise generalizada de representações coletivas. Procurou-se no primeiro momento expor e problematizar a noção de Globalização a fim de privilegiar uma compreensão sobre globalização que sirva de pressuposto e soldo teórico para os fins do trabalho. No segundo momento apresento as diversas narrativas sobre a ‗crise , referidas, de um lado, em obras de teóricos ( Harvey, Boaventura, Touraine, Bauman), e de outro, em registros de análises extraídos de um arquivo digital construído a partir da sistematização de dados (artigos, entrevistas, dossiês etc) de três endereços eletrônicos (CartaMaior, IhuOnline e OutrasPalavras). Por fim, busca-se articular os momentos já referidos, tendo em vista operar as conexões de sentido entre a ‗crise econômica mundial , Globalização, Crise de representações coletivas e, portanto, apontar as implicações sociológicas daí oriundas, em outras palavras, no último momento afirmo que a crise evidencia, de um lado, as contradições e turbulências mais agudas de um período de ―ruptura histórico-epistemológica‖, de outro, a redefinição das representações coletivas clássicas através da intensificação de lutas , conflitos e resistências (Indignados, Occupy, Jornada de Junho etc) contra uma globalização totalitária que privilegia o mercado financeiro e, a favor de outras globalizações e formas de produzir e viver que valorizam a vida e suas populações. Conflitos e resistências que a longo e médio prazo determinaram o vir a ser do Estado-Nação e sua soberania; da Democracia e sua legitimidade, da globalização hegemônica face às globalizações contra e alter-hegemônicas. Estamos no interior de um parto histórico!

Au confluent de l’histoire des idées et de la poétique romanesque, cette thèse s’intéresse aux interactions textuelles multiples entre le genre romanesque et l’imaginaire musical tel qu’il s’est développé au fil du XXe siècle. Elle examine les modalités par lesquelles une idée de la musique, intronisée comme paradigme d’écriture par un certain nombre de romancières et de romanciers français entre 1900 et 1980, informe la composition du roman tout en infléchissant la production du sens, qui, à l’horizon du modèle musical, devient davantage signifiance que signification. Elle appréhende également l’évolution des pratiques romanesques à la lumière des discours sur la musique tels que les réfléchissent et les intègrent les œuvres, afin de dégager les différentes manières par lesquelles le musical, à entendre comme les propriétés dérivées de l’objet musique, s’impose comme le modus operandi de l’écriture, et invite le critique à interpréter l’œuvre sur le modèle herméneutique de la partition. Le récit-partition apparaît sur fond d’une crise de la signification et de la représentation, dont les ferments sont à chercher dans le fonctionnement sémiotique même du langage. La recherche entend montrer comment, dans l’optique de répondre à cette crise du langage et aux nombreuses répercussions qui confrontent la sémantique romanesque à une impasse, certains romanciers du XXe siècle ont envisagé la musique comme une fiction du roman et pour le roman, puis ont façonné à partir d’elle les paramètres d’une nouvelle écriture romanesque. Hérité du topos romantique de la « musique absolue », qui considère l’œuvre musicale comme un pur phénomène sonore, irréductible au langage verbal et, du fait de son autoréférentialité, le modèle de l’organon absolu, ce paradigme d’écriture aurait permis aux écrivains du XXe siècle d’abandonner les prémisses référentielles du genre romanesque et de penser ce dernier à l’aune de nouvelles configurations poétiques, fondées sur la résonance du sens, l’autoréflexivité du médium et une mémoire textuelle plus sensible que philosophique ou morale. La réflexion menée dans le cadre de la thèse interroge en premier lieu les conditions épistémologiques, métaphysiques et discursives qui concourent à l’avènement d’un paradigme musical, lui-même tributaire d’un régime du sensible particulier, qui pousse des générations entières d’écrivains à se tourner vers la musique pour ravitailler une matière romanesque dès lors perçue comme lacunaire. La démonstration se décline essentiellement en quatre temps : le premier chapitre entend prendre au pied de la lettre la métaphore de la partition, de manière à montrer comment les indices paratextuels et structuraux actualisent certains procédés d’écriture qui s’inspirent de la musique ; les deuxième et troisième chapitres interrogeront les modalités de « textualisation » de la musique à travers les prismes respectifs de la création et de la réception musicales représentées dans la fiction, en s’intéressant aux figures de compositeurs et de musiciens (chap. 2), puis aux ekphraseis musicales et aux scènes d’écoute (chap. 3) ; enfin, c’est sur les grands mythes de la musique que débouche notre enquête, mythes antiques mais surtout wagnériens, dont la réécriture plus ou moins conforme avec la matrice d’origine permet de diffracter un rapport complexe à la modernité par une ressaisie du sens, de la temporalité narrative et du discours romanesque au miroir des récits fondateurs et du langage premier et plénier dont ils portent la mémoire. / This dissertation strives to understand the various interactions between 20th-century fictional works and the contemporary musical imaginary that was developed and modulated throughout the century. Rooted in a dual approach – that of the history of ideas and of the poetics of the novel –, this study examines how a given idea of music, inducted as a writing paradigm by many French novelists between 1900 and 1980, models textual composition and becomes a means to rethink the creation of signification in narrative forms. It also traces the evolution of the French novel and its writing practices in the light of musical discourses and aesthetics as reflected by and integrated into novelistic works. To this end, the concept of “narrative score” (récit-partition), as a hermeneutic instrument or reading tool, is paramount in order to grasp the ways in which the musical – i.e. the properties derived from music as an objective or phenomenal reality – imbues the literary text and becomes the modus operandi of fiction writing for some French novelists. The “narrativescore” emerged in the context of an artistic crisis – stemming from the semiotic fabric of language itself – that questioned both the ideas of representation and meaning. The present work will show how this crisis of language and consequential impasse of the novelistic genre lead some 20th-century writers to conceptualize music as a fiction of and for the novel with the purpose of fashioning a new narrative framework by remodeling the genre’s parameters. Descending from the romantic trope of “absolute music” which considers the musical piece as an autoreferential structure comprised of pure sounds without intrinsic meaning thus irreducible to verbal speech, the idea of music as a writing paradigm allows novelists to relinquish the referential premises of the narrative genre to introduce new poetic configurations based on the resonance of meaning, the self-reflexivity of the medium and a textual memory, more engrained in the sensible than in the speakable (dicible) or the philosophical. We will first outline the epistemological, metaphysical and discursive landscape that lead to the advent of a musical paradigm in literature, which is dependent on a specific “partition of the sensible” (Rancière); here, we will explore what motivated several generations of writers to turn to music as a way to replenish the fictional material they perceived as deficient while fulfilling their ideal of an autotelic work of art. The textual analysis that follows will be divided into four parts: in the first chapter, we will consider the score not as a metaphorical notion, but as an actual model; indeed, some paratextual elements and structural configurations highlight the presence of writing techniques directly inspired and shaped by the musical; the second and third chapters will examine the textual actualization and representation of music respectively through the lens of musical composition (poïesis) and musical reception (esthesis) by analyzing fictional composers and musicians (chap. 2), then musical ekphraseis and listening scenes (chap. 3); lastly, we will focus on the great musical myths – ancient myths, but mostly Wagnerian ones – whose rewriting, more or less in line with the original stories, allow the writers to renegotiate their complex relationship with modern times, by re-capturing meaning, narrative temporality and novelistic discourse through the use of these founding myths and the unitary, almost pre-adamic, language.