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The aim of this thesis is at once simple and complex. It consists of explaining the modes of expression and the prevalent idioms of the experience of la promenade, the contemplative experience of a leisurely stroll, in the works and notebooks of Philippe Jaccottet. Far from focusing solely on the dynamic aspect of walking, the aspect to which the majority of literary critics have for so long limited themselves, it consists as well of defining the movement of la promenade as a practice of l'entre-deux (the in-between), through the sensorial dimensions of the work as well as through is writing practices. The objective of this thesis is to focus on the passage from the experience of movement to the experience of writing in the works of Jaccottet, in order to demonstrate that walking, in the context of la promenade, is not only an extra-diagetic experience, but that it possesses as well a diagetic status meant to be understood through the use of a particular form. / My analytical framework used here is founded on the hypothesis that la promenade, at least in the works of Philippe Jaccottet, is in fact an issue of the "in-between"; a problem which is first and foremost a way of formulating a vision of the world which comes from a particular poetic sense of measure, accuracy and balance. For Jaccottet, l'entre-deux denotes a way of inhabiting the outside world, of seizing the contrasts and contradictions in the tension between the known and the unknown, the near and the far, inside and outside, visible and invisible. In this sense, l'entre-deux denotes being at once within oneself and being in the world without, as if the poet himself wandered between two extremes, between two opposite poles of thought and knowledge. / In line with the procedures of traditional literary criticism, this thesis thus attempts to define the development of the poetic subject, its relation to the world, to writing and to language. (Abstract shortened by UMI.)

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Sharon Pollock's plays have made a significant contribution to Canadian drama over the last three decades; however, the majority of scholarly research on her work has concentrated on one particular play-Blood Relations-and for the most part these studies focus on feminism and metadrama. My thesis examines Pollock's use of the memory play and how within this genre the playwright metaphorically places one (or more) of her characters under investigation. The notion of memory is present in practically all of her plays, but to focus my argument I select dramatic works where a rememberer distinctly guides the audience from the play's present into the past. Because several of her memory plays are based on historical events I use an historiographical approach to illuminate her texts. In the six Pollock works that I examine a crime or social wrongdoing has taken place in the past, and one of the central characters needs to revisit the injustice from the play's present. Through memory, the past is restaged and the character who experiences the inquiry tries to understand, justify, and/or defend his or her position in the events. Instead of determining if the characters are legally responsible for the crime or wrongdoing, my investigation focuses on their level of moral responsibility in the social injustice. I propose to examine the moral inquiries within Pollock's work in the context of three types of memory plays, and these form the basis of my three main chapters: third-person memory (Walsh, The Komagata Mam Incident), first-person memory (One Tiger to a Hill, Moving Pictures), and multi-person memory (Doc, Fair Liberty's Calf).

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<p> This thesis provides a revisionist history of Dutch artist Jan Dibbets's early practice. Jan Dibbets has not yet, been credited in art historical scholarship for his contributions in foregrounding visual experience within Conceptual practice. This thesis offers an additional narrative by suggesting a comparison between his early practice and the work being produced by European artists working in a tradition of visual perception. By studying the contemporary reception of Dibbets's work and Perceptual Abstraction, I argue how traditional art historical boundaries have obstructed a possible reading of this artist's practice.</p>

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