No description available.

Gros-Calin, La Vie devant soi, Pseudo and L'Angoisse du roi Salomon, the four books written and published by Romain Gary under the name Emile Ajar, clearly stand out from the author's other works. They can be distinguished by their unusual style which presents a multitude of literary devices that closely resemble mistakes and are seldom found in Gary's other writings. / The present study attempts to explain this particular style by the author's desire to create a truly "total novel" as discussed in Pour Sganarelle, an essay that presents Romain Gary's approach to the art of writing. The greater part of this analysis is dedicated to the examination of Ajar's style and will expose the lexical, logical and syntactic characteristics of the four works, in an effort to establish how these literary devices not only contribute to the creation of a particular literary style, but bring forth what can be defined as an entirely new form of literary language.

No description available.

The objective of this research is to provide an account of literary expertise by examining literary experts and students in English Literature as they describe a fictional narrative. The experimental text is a complex narrative conveyed by means of character dialogue. / To investigate expert performance this study developed a model of text description that identified semantic units in the description protocols as a set of possible "discursive patterns." A discursive pattern identifies the text unit being described along with the point of reference of the description, that is, from the point of view of the reader, the author, or simply the text. / The results indicate that students' descriptions closely paraphrased the text, repeating either the narrative events or the characters' speech, while experts' descriptions reflected higher-level references to narrative structure or the function of the dialogue which were derived either from the text or from prior knowledge. Experts relied on specific information in the text as a support for more inferential statements. In addition, experts commented more extensively on the language of the text. Experts also included references to the author, the reader and the relationship between the two. It seems that experts view the text as the result of deliberate linguistic and conceptual choices made by an author and awareness of these choices appears to guide their descriptions.

A carnival can not be stopped! A design pedagogical study of children and norms   In Basel, the only Protestant carnival in Europe takes place. The carnival is called Fasnacht. For three days, there is a wild and uninhibited play with tradition, crossing borders and social criticism. The aim of this thesis is to expand the understanding of the concept of the carnival, and how to use it for an educational purpose. Three children from Basel have been involved in an workshop where they designed and talked about norms and power structures through the carnivalesque principle. The study is based on the questions: How can you use the carnival as a starting point for designing and talking about norms and power structures together with children? And; How can the design process support such a project? To spot this, I made arrangements for a design educational project. Based on the carnival and through the design educational project, the three children got the opportunity to let Barbie dolls go on their own carnival. The methods underlying the project is transforming design and a concept the pedagogue Paulo Friere called a Visual Voice. The workshop with the Barbie dolls became the children's visual voice - a designed figure that the children could talk about, and reflect about how they for example create their gender identity, and why the colour pink is a girl colour. During the project, the empirical material was collected in the form of field notes, log books, photographs and the children's self-designed Barbie dolls. The empirical data were then analysed and interpreted through a queer theory and by Mikhail Bakhtin's carnivalesque concepts. The study also opinions that children's play is an important factor for children's learning, and the children's play is later discussed through the carnevalesque principle. The study is portrayed at Konstfack, in the room Biblioteksgången, between 2014-01-13 and 2014 - 01-17. The artistic representation tries to highlight the children's experience of the carnival, my experience of Switzerland, and show something I found in the study, namely that the colour pink is loaded with various notions that can be linked to girls' identity..

The essential goal of this study is to expose the complex nature of the connections between Milan Kundera's theory and practice of literature and philosophy. Through a brief investigation of his essays and novels, this thesis attempts to demonstrate that Kundera maintains a relation of both proximity to and distance from certain of the "great" thinkers from the world of philosophy (Nietzsche, Husserl, Heidegger). This study's succinct examination of the evolution of contemporary philosophy allows a better grasp of the influence of philosophy on the structure and intentions of Kundera's work, while its reflections on the form of Kundera's interrogation caste in relief the degree to which Kundera's art moves beyond the strict limits of philosophical discourse and seizes upon the paradoxes of our existence and our epoch.

This thesis is made up of two distinct parts. The first part is a translation of Valeria Narbikova's text B sc HOHMOCTb Hac. The second is a commentary constituted of a presentation of the author, of her work and of the characteristics distinctive of her work and of the characteristics distinctive of her writing, as well of a reflection on the process of translation. The approach developed for this translation of literary translation is presented; it is inspired mainly by the conception of two authors: Antoine Berman and Henri Meschonnic. The concepts of openness and respect of the source language and source culture are two fundamental aspects of this approach. The approach is illustrated through the examination of the problem of cultural references. A classification of the references found in Valeria Narbikova's text and a discussion of the different methods used to translate them is also presented.

Martin Amis remains on the outer fringes of the modern literary canon because his novels have not been appreciated in the context within which they were written. This is, basically, a postmodernist experimental mode which self-consciously tests (but does not abandon) the boundaries of form and content in the traditional English novel. The principal contention here is that Amis "challenges" but does not "change" the human subject as it exists in literature. Hyper-self-consciousness, the signature mark of postmodernism, does not mean simply that Amis's characters are just one-dimensional pawns of literary gamesmanship, even though this is a valid point of inquiry (examined in Chapter One). Rather, the presentation of subjectivity allows for a polyphonous critique and affirmation of literary and moral value. Such critiques and affirmations can be analysed when one examines Amis's inscription and parody of past value systems (such as modernism, described in Chapter Two), and those of the present, nuclear age (described in Chapter Three). As these three inquiries show, Amis does offer a portrait of the human subject, but it is bruised and abused by both the author and the world. Value, in other words, exists here, but its packaging is distinctly different. Amis is therefore not an immoral pop-cultural icon, but a serious postmodernist writer that deserves to be judged accordingly.

Jacques Ferron, Quebecois writer famous for his incisive and polemic style, has created his literary works with numerous genres of great diversity. Although the author has never published any poetic works, the manuscripts found at the National Library of Quebec demonstrate all the interest Ferron had for the poetic genre. In fact, the Jacques-Ferron Archives contain over fifty poetic texts, which are being edited for this study. The first part, which presents Ferron's unpublished poems, also exposes the editorial principles that guided the task of transcribing the manuscripts. In the second part of this study, I reflect upon the idea of "conscience generique " (generic conscience), priorly established by Michal Glowinski. Once having demonstrated that Jacques Ferron used his poetic material to write some of his tales or plays, I build upon the hypothesis that his profound knowledge of poetry reading and writing modes influences him to change his literary approach to this genre. (Abstract shortened by UMI.)

Presently, most aesthetic discourse focusses primarily upon questions of beauty and ugliness. Yet, this rather limited approach to aesthetics overlooks all work that does not belong to either of these two categories. More precisely, most contemporary debate fails to consider the important category of ambivalence. What might it mean to both love and hate a given work of art? The following essay examines the complex emotion of ambivalence as a category of aesthetic experience. Drawing upon the work of British filmmaker Peter Greenaway, it will be argued that ambivalence encourages a new, dynamic approach to the work of art. Ultimately, this new approach will be looked to as a possible means of challenging the hegemony of the Modernist/Postmodernist divide.