The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experience of modernity and on the medium of cinema. The thesis begins by considering the relationship between the theme of the double, born circa 1800, and the burgeoning visual regimes of modernity. Important aspects of this relationship are the abstraction of representation from stable referents in the aftermath of Kantian thought, the empirical study of the observing subject, and the development of new technologies of recording and projection. Nineteenth-century technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well as the itinerant showmen who displayed them, gave rise to doubles of the human body with uncanny effects of ontological uncertainty. These not only influenced the doppelgänger stories of German Romanticism and after, but also were ancestors of cinema’s doubles and their showmen. This study considers the “cinematic” themes of a set of stories and films of the double, including repeatedly performed scenarios of exhibition and voyeurism, visual pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema and media technologies. The central chapters of the thesis offer readings of five classics of German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926). Addressing the double as a reflexive theme of optical uncertainty, these readings focus on how moments of optical distress are depicted and how film language is used to construct a cinematic uncanny: an ontological problem arising from the ambivalent character of visual experience that affects the narrative and film form, characters and spectator alike. This perspective sheds light on the historical significance of the double theme, revealing its close relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.

"La Mise à mort" gehört der dritten Schaffensperiode Louis Aragons an. Sie folgt der surrealistischen Phase und der "wirklichen Welt"- Periode nach. Dieser Roman aus dem Jahr 1965 ist die Bilanz seines bisherigen Werkes. Aragon konzentriert sich auf Probleme seines Schaffens und entwirft eine Synthese seiner eigenen Entwicklung in fiktiver Gestalt. Er greift dabei auf die Hegelsche Dialektik zurück, die er in seiner Jugend intensiv studiert hat. Die Widersprüchlichkeit seiner Entwicklung stellt er in La Mise à mort durch die Doppelgänger Alfred (der Erzähler des Romans) und Anthoine (Autor der "Drei Erzählungen aus der roten Mappe"), und auch Christian, einen dritten Doppelgänger, dar. Das Grundthema des Romans ist die Suche nach der Wahrheit auf drei Ebenen: Nach der historischen Wahrheit in "Murmure", nach der Wahrheit des einzelnen Menschen in "Le Carnaval" und nach der Wahrheit in der Kunst in "Oedipe". Die drei Erzählungen aus der roten Mappe bringen die Vergangenheit Aragons ans Licht. Die Wiederentdeckung der surrealistischen Vergangenheit ist die Hauptantriebskraft für das Schreiben der drei Erzählungen. Das surrealistische Erbe muss dabei im Kontext der Romantik-Rezeption betrachtet werden (vor allem der deutschen Romantik). Von besonderer Brisanz für die Realismusdiskussion in La Mise à mort ist die Rezeption der im Roman behandelten romantischen Motive des Spiegels, des Schattens und des Doppelgängers. Sie tragen zu einer Öffnung des sozialistischen Realismusbegriffs bei, indem sie Werte der Phantasie und der Subjektivität darstellen und damit die Freiheit in der Wahl der Gestaltungsmethode erweitern. / "La Mise à mort" belongs to the third phase of Louis Aragon's literary creation after the Surrealist period and the "Monde réel" phase; this 1965 novel appears as a balance of his work. Aragon concentrates on the problems of his creative work and sketches a synthesis of its evolution in fictional form using the philosophical method that he had studied in his youth and applied in his early writings: the Hegelian dialectic. It is through the personae of Alfred, narrator of the novel, Anthoine, author of the "Trois contes de la chemise rouge", and also Christian, that he presents the contradictions of this evolution. The main theme chosen for this presentation is the search for truth, trying to show the complexity of the various aspects of reality: the search for historical truth in "Murmure"; the search for individual truth in "Le Carnaval"; and the search for truth in art in "Oedipe". The rediscovery of the surrealist past is the main driving force behind the writing of the three stories, and the surrealist heritage appears in the context of the reception of Romanticism, especially German Romanticism. Particularly important for the reception of German Romanticism will be the three motifs of the mirror, the shadow, and the double (Doppelgänger), illustrating a broad conception of socialist realism at this stage, distancing itself from dogmatic conceptions of realism and extending the concept to values of fantasy and subjectivity.

The motif of the doppelgänger has been present in literature and the visual arts, but also, more or less concealed, in music, from classical antiquity until today and may manifest itself in the most various forms, dependent on genre, epoch, and culture. This has led criticism to consider the motif of the doppelgänger as a genre in its own right and to propose, especially during the last years, numerous classifications of the ways in which this psychological and anthropological phenomenon is treated in the arts. In the present study I have concentrated my attention on creations in which the doppelgänger represents the disturbing aspects of the hero’s ego. This motif was especially prominent in German late romanticism and has considerably spread during the last decades in cinematography and in fantastic literature. Though there exists a large amount of criticism on the motif of the doppelgänger, what has hardly been analyzed up to now is the role of the characters’ and their doppelgängers’ names. Therefore the aim of my study was to exemplify by means of numerous examples from antiquity until present times the role the proper name has played in literature and other arts dedicated to the theme of the doppelgänger.

This thesis offers a syncretic, synoptic account of Palamedes from the Trojan War. It delineates three interpretive modes: (1) that Palamedes was present all along; (2) that later poets inserted him into the Trojan narrative, either as an archetypal intellectual figure, or as Odysseus’s double; (3) that Palamedes was present only as Odysseus’s imaginary Doppelgänger. The thesis accounts for Palamedes’s scarce attention in classical texts by way of Lacanian and—via Otto Rank—Freudian psychoanalytic theory, as well as by Slavoj Žižek’s adoption of the “vanishing mediator.” After tracing a potential textual genealogy from Palamedes to Malory’s Palomydes, the thesis concludes with a reading of Palamedes’s implied presence in Inferno 26.

This thesis explores Hogg's interpretation of indeterminacy both throughout his career and in Justified Sinner, especially in the character Gil-Martin. Hogg seems to reject the tradition of choosing one side over another in such a dichotomy, and instead chooses to look at both extremes as equally co-present. Hogg wrote Justified Sinner within the framework of the literary Gothic tradition and used Gothic tropes to create ambiguity throughout his novel, as is the case throughout his body of works. Many of the ambiguities in Justified Sinner center on the character Gil-Martin. My interpretation of Gil-Martin's ambiguity complicates the traditional scholarship on Justified Sinner. / Master of Arts

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-26T20:27:29Z No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-26T21:15:48Z (GMT) No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-26T21:15:48Z (GMT). No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-12-14 / The myth of the double is part of a set of the most antique human myths which permeate man`s imaginary since his own existence. It has as its main manifestations the cases of persons resembling one another, identical twins, the fact that someone sees himself in another one, the duality. The term used to designate the double, coined by German writer Jean-Paul Richter, is doppelgänger, and it means the one who walks by the side or close by, the travelling companion or fellow traveler. It has to do with one‘s experience of him/her in alterity or otherness. Some examples of occurrences of the myth of the double in literatures can be, among other: Shakespeare‘s A Comedy of Errors, Plato`s The Banquet, Robert Louis Stevenson‘s Dr. Jekyll and Mr. Hyde, Mary Shelley‘s Frankenstein, Dostoyevsky‘s The Double. This thesis has as the object of its analysis the recurrence (and reoccurrence) of the myth of the double in literature and in order to do that it concentrates on the examination of four works which are similar through the manifestation of the double in portraits. Three of them are short stories and the last one is a novel: Nathaniel Hawthorne‘s ―The Prophetic Pictures,‖ Edgar Allan Poe‘s ―The Oval Portrait,‖ Nikolai Gogol‘s ―The Portrait [Портрет],‖ and Oscar Wilde‘s The Picture of Dorian Gray. The theoretical support for the thesis concentrates on a larger use or presence of the idea of the double, as in the Romanticism, and in the development of some themes dear to the 19th Century, such as the fragmentation of the self, the new notions of myth, the idea of the double and specifically the myth of the double. The main theoreticians or theorists used where, among others, are Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, and Jean-Pierre Vernant. / O mito do duplo faz parte de um conjunto de mitos dos mais antigos, que permeiam o imaginário do homem desde a sua própria existência. Tem por principais manifestações os casos de sósias, gêmeos idênticos, o ver a si mesmo em outro, a dualidade. O termo consagrado para designar o duplo, cunhado pelo escritor alemão Jean-Paul Richter, é doppelgänger, e significa aquele que caminha ao lado, o companheiro de estrada. Tem a ver com uma experiência de si na alteridade. Alguns exemplos de recorrência ao mito do duplo na literatura, entre outros, podem ser: A comédia dos erros, de Shakespeare, O banquete, de Platão, O médico e o monstro, de Stevenson, Frankenstein, de Mary Shelley, O duplo, de Dostoiévski. Esta dissertação tem o objetivo estudar a recorrência do mito do duplo na literatura e, para isso, foram selecionadas quatro obras, que se assemelham pela manifestação do duplo em retratos. São três contos e um romance: ―Os retratos proféticos‖, de Nathaniel Hawthorne, ―O retrato oval‖, de Edgar Allan Poe, ―O retrato‖, de Nikolai Gogol, e O retrato de Dorian Gray, de Oscar Wilde. O suporte teórico da dissertação se concentra no maior uso ou presença da ideia do duplo, como no Romantismo e no desenvolvimento de temas caros ao século XIX, como a fragmentação do sujeito, as novas noções de mito, de duplo e especificamente do mito do duplo. Os principais teóricos são, entre outros, Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, Jean-Pierre Vernant.

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English abstract To understand why the doppelgänger, or the phenomenon of double personality, developed such literary presence in the fin-de-siècle Victorian Britain we must look to the dramatic social changes which had taken place since the beginning of the Industrial Revolution, as well as to the nascent science of psychology and its preoccupation with the subconscious in relation to consciousness. The doppelgänger typically emerges where one component of personality is suppressed due to supra-individual requirements and expectations. The doppelgänger is, therefore, closely linked to its environment. It is not so much a literary figure as an intense dialectical relationship between two sides of personality. The doppelgänger frequently constitutes a flight from the conscience, which in itself is a social construct. Both Dr Jekyll and Dorian Gray are fully conscious of the possibilities open to them through their alter egos - they may ignore the dictates of the public opinion as well as other institutions whose goal is effect a certain degree of conformity in society. The doppelgänger enables the subject to realise its unconscious ambitions. The doppelgänger may also be analysed in the context of the artist and their creation. Dorian Gray, Lord Henry Wotton, Basil Hallward and Dorian's portrait, leaving aside...

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

(in English) The topic of this master thesis is a character of the double in Spanish short stories focused on 20th century. Firstly, we describe the historical context of this literary theme and we observe its changing through the time, its transition from a tragic tone to absurdity or a comic tone. The aim of this work is to observe Freud's concept of "unheimlich" feeling applied to the topic of the double and to investigate what literary tools can intensify this feeling in the reader. After this, we focus on repeating motives in selected short stories and we contemplate constituent aspects of this topic in the context of humanities.