À partir du récit autobiographique de Dave Eggers, A Heartbreaking Work of Staggering Genius, notre mémoire entend éclaircir les rapports entre métafiction, écritures de soi et traumatisme. Ce récit publié en 2000 raconte comment, à l'âge de vingt-et-un ans, l'auteur a perdu ses parents, décédés tous deux du cancer à quelques semaines d'intervalle à peine, et relate son expérience de gardien légal de son jeune frère de huit ans. Nous verrons, à l'aide des théories de Patricia Waugh et de Linda Hutcheon, qu'Eggers fait un usage paradoxal de l'autoréférentialité littéraire : si les interventions métafictionnelles au sein de la narration remettent en doute la teneur référentielle de son récit, celles-ci, étrangement, sont conçues de façon à en renforcer la crédibilité. Les écrits de soi entretiennent également certains paradoxes; l'autobiographie, selon Lejeune, ne se définit pas par un rapport de ressemblance à son objet. Au contraire, les inexactitudes du récit constituent la voix autobiographique, c'est-à-dire l'expression personnelle de la vérité subjective de l'auteur; cette voix, qu'investissent entre autres les autofictionnistes se situant dans la lignée de Serge Doubrovsky, est en définitive ce que l'autobiographie offre de plus précieux à la lecture. Le témoignage s'occupe également de la question de la transmission de la vérité. Le témoin, selon Jacques Derrida, se voit dans l'obligation de donner en lieu de son récit une explication de son incapacité à se dire. Mais la transmission n'est pas qu'une question métatextuelle; en effet, comme le souligne Nancy K. Miller, le décès parental implique des questions d'héritage familial. La problématique de la passation ou du rejet de cet héritage constitue généralement le propos du récit de l'orphelin; celui-ci devient un dialogue avec les parents continué par-delà la mort, une consignation à la mémoire de leur apport à sa personnalité en même temps qu'une affirmation de son autonomie. En définitive, si Eggers exploite systématiquement ces caractéristiques de la métafiction et des écritures de soi qui sont propices à nourrir des dynamiques paradoxales, cette obsession prend ultimement racine dans le traumatisme tel que le conçoit la théorie psychanalytique. Eggers écrit à partir d'un incident traumatique, un événement violent et inattendu auquel la conscience n'était pas préparée et qui, selon Freud, la pousse à mettre en œuvre une compulsion de répétition par laquelle la victime se replonge perpétuellement dans des réitérations de l'événement initial afin de comprendre ce qui en est demeuré incompris. Mais le traumatisme ne peut être reproduit que dans sa nature inattendue, qui le définit; la victime n'apprend donc autre chose que l'existence de cette incompréhension même. C'est cette dynamique circulaire propre à l'événement traumatique qui détermine, selon notre analyse, l'usage paradoxal que fait Eggers des procédés littéraires principaux de son récit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Eggers Dave, A Heartbreaking Work of Staggering Genius, Littérature américaine, Métafiction, Postmodernisme, Autobiographie, Autofiction, Témoignage, Traumatisme, Deuil, Référentialité.

This dissertation studies understandings, definitions and uses of truth in autobiography, looking specifically at Jean-Jacques Rousseau's Confessions and Dave Eggers' A Heartbreaking Work of Staggering Genius. In order for a text to be considered an autobiography some concept of truthfulness is necessary; however, truth is not always objective and verifiable. Concepts of absolute truth, factual truth, personal truth and essential truth impede a simple understanding of the notion of truth. Furthermore, different circumstances and contexts may affect our understanding and application of concepts of truth. In his autobiography Rousseau claims he will tell the truth as best he can while Eggers states that part of his work is exaggerated or fabricated. Nevertheless, both are classified as autobiographical accounts, thus implicitly claiming that they are representing truths. As some concept of truth is necessary in order for a text to be considered autobiographical, readers' expectations of autobiography will include an expectation of how concepts of truth will be deployed. While readers may accept inadvertent inaccuracies due to faulty memory, deliberate misinformation will not be accepted. Readers expect that the information and events chronicled in the autobiography will be those that best depict the person of the autobiographer. In my dissertation I will look at how Rousseau and Eggers deploy the truth of themselves and their experiences and how this deployment of truth seeks to direct the readers' response to the texts. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

Thesis (M.A.)--Carleton University, 2003. / Includes bibliographical references (p. 117-121). Also available in electronic format on the Internet.

No description available.

Ce mémoire qui porte le titre «DM-Fabrique», est le texte d’accompagnement d’un projet en arts visuels qui a vu le jour en 2001, mais dont l’idée a germé en l’artiste bien auparavant. Cet ouvrage comporte la description du projet et des réflexions sur l’outil informatique en étroite relation avec les spécificités du champ d’exploration propre aux environnements de synthèse et à l’art numérique. / Québec Université Laval, Bibliothèque 2019

The three print series I completed within the past two years appear hardly related at first. However, these individual bodies of work, when examined chronologically, are continually informed by similar ideas. The most obvious of these is the act of piecing elements together to form something that had previously not existed, yet still influences the original source. In all three series, images are taken from an original source and re-contextualized. The idea of cultural or anthropological landscapes is also a theme throughout my work. Each individual series toyed with the idea of an imaginary or theoretical anthropological landscape in direct comparison to its pre-existing model. These humorous and oftentimes puzzling images are influenced by my over-active imagination, fueled by equal parts pop culture, playful cynicism, and desperate idealism.

The following thesis examines the development of the Louisiana Superdome from a concept that created division amongst the people of Louisiana, including those in the New Orleans metropolitan area, to a facility that would serve as, "a symbol of our recovery". This thesis begins with the fanfare and euphoria from the reopening of the Superdome in September 2006 following millions of dollars worth of damage from Hurricane Katrina and from those using it as a "shelter of last resort". It then introduces some of the major players in the Superdome's development from a divisive concept into a symbol of the community. This thesis examines the factors in the evolution of the meaning of the Superdome for those in the surrounding communities. The factors include political ideology, economic conditions, race relations, and entertainment.

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

This thesis focuses on Human Resources in a company, it' s strategic managing and measuring it's contribution to the business. In theoretical part the main source is foreign literature and it analyses traditional and new conceptions of HR. It focuses on a role of HR director, as a main element of strategic level of HR and his/her role in a relation to the rest of a company and HR department. In practical part the thesis analyses a research, made among Czech companies, and comes into a conclusion, that the main cause of an unsatisfactory HR management in these companies is it's poor measurability. In the final, key part of the thesis it designs a process, which a company should follow in order to adopt a strategic HR and it's measurement by goals of a company.