Pendant une trentalne d’années de la parution de son premier roman "Voyage au bout de la nuit" en 1932 jusqu'a sa mort en 1961, Louis—Ferdinand Celine a contribue de facon remarquable au renouvellement du genre romaneaque. Or, plusleurs etudes ont deja ete consacrees au style celinien et, en particulier au vocabulaire argotique et a l'emploi du francais populaire dans les premiers romans de l'auteur. Toutefols, les innovations de Celine ne se volent pas moins dans le domaine des structures et des techniques narratives que dans celui du langage. Cette these a done pour but d'examiner non pas l'histoire ni meme le langage employe, mais plutot les structures du recit narratif autrement dit la facon dont Celine organise le recit. Afin de ne pas alter sur les brisees d'autres chercheurs, la presente etude s'appuie sur "Nord" le dernier roman publie du vivant de l'auteur et s’inspire de la methode structurale elaboree par Gerard Genette et appliquee a l'analyse de la "Recherche du temps perdu" dans son Important essai "Discours du recit" (figures 111. Paris: Seuil* 1972, pp. 65-282). Cette these reprend donc l'analyse du dlscours narratif sous cinq rubriques: I'ordre, la duree la frequence, le mode et la voix. Chacune de ces rubriques forme le sujet d'un chapitre. Les trois premiers cencernent les transformations que subit la temporalite lorsque l'histoire devient recit; le quatrieme concerne la perspective et la quantite d'information que fournit le recit sur l'histoire; et le cinquleme, l'acte narratif lui—meme et le role du narrateur et du narratalrc. Afin de permettre une etude a la fois systematique et exhaustive, cette these se fonde sur une analyse informatique de tous les verbes de "Nord", et des elements d'information grammaticale, stylistique et narrative qu'ils proposent. Grace a l'analyse informatique il est possible d'identifier avec plus de precision les structures narratives qui caracterisent le recit de "Nord". En axant son roman sur le decalage entre Celine—narrateur et Celine—heros, Celine—auteur reussit effectivment a lui donner une forme typiquement cell— nienne. L’independance du narrateur a pour resultat de dedoubler le recit en deux niveau parallèles: celui d'un recit 1944 et celui d'un recit 1960 L’interaction des deux recits aboutit a son tour a un effet tres marque de fragmentation au plan de l'ordre narratif. Le role exceptionnel du narrateur se reflete aussi dans l'absence de pauses descriptives et dans l'importance inattendue des ellipses (effets de durée ), ainsi que de la repetition (effet de frequence). Le mode et la voix narrative mettent egalement en relief la predominance du narrateur. En fait c'est lui qui assume fort souvent le discours ou les recits des personnages d'ou l'empioi tres fréquent dans "Nord" du style indirect libre et du discours pseudo—diégétique. En plus de ses fonctions proprement narratives, le narrateur remplit toute une serie de fonctions extra—narratives. Loin de se contenter de narrer l'histoire, il ne cesse de commenter sa narration, d'interpeller le narrataire et d'exprimer ses propres reflexions sur l'histoire qu'il raconte et sur le monde en general. Quant au narrataire, tel que mis en scene par Celine, il ne se contente pas d'etre le destlnataire passif de ces effusions, il les provoque. L’ analyse informatique permet aussi de cerner avec rigueur les techniques narratives de Celine qui donnent a son recit son étonnante modernité. Car en depassant la visee romanesque traditionnelle centree essentiellement sur l'histoire contée Louis—Ferdinand Céline se place plutot dans la position du narrateur qui se raconte en train de raconter l'histoire. II s'est ainsi assure une place importante parmi les innovateurs du roman. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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The diploma thesis "The Chotek Family and Sophie Chotek" deals with the development of a traditional Czech noble family from the first historical record to the last members of the family who died in 70's of 20th century. Central person of the thesis is Sophie Chotek, the best known woman of the family, who lived from 1868 to 1914. We can read about her life of a single young noblewoman during her service in Bratislava, where she was as a maid-of-honour and where she met her future husband archduke Francis Ferdinand d'Este. They got married on 1st July 1900. The last part of the thesis speaks about fourteen years of marriage. The greater part of this happy time they spent in the Konopiště Castle in Central Bohemia. Sophie and Francis Ferdinand also had three children Sophie, Maxmilian and Ernst of Hohenberg, whose life stories are included, too.

Since Celine's death, the pamphlets he wrote at the beginning of World War II always presented great difficulties for those who studied him. But in the last few years, for various reasons the pamphlets have stirred up researcher's interest. Following this movement, this thesis is an attempt to integrate these pamphlets to the prose of the author of Journey to the End of the Night in a general pattern of analysis. / In order to do this analysis, is developed an hermeneutic model of analysis which divides Celine's work into a poetical investigation and a polemic pursuit that demonstrate that these two genres use the same rhetorical strategies. / Part I of this thesis investigates the distinct rhetoric used by Celine in mixing poetry and polemic. Part II examines the poetic investigation and the polemic pursuit separately, Celine having separated these two genres after Journey to the End of the Night. / Without eliminating the differences between poetry and polemic, this thesis aims at demonstrating the continuity and coherence of Celine's work which is particularly well suited for putting an hermeneutic model of analysis to the test because it is a work that is torn more than any other between the ravishing and the horrific, between the beautiful and the terrifying. And that is where in this profound humanity Celine's work is so rich in interpretation.

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Thesis (Ph. D.)--Friedrich-Wilhelms-Universität zu Berlin, 1910. / Vita. Includes bibliographical references.

Inaug.-Diss.--Bern. / Includes bibliographical references.

Orientador: Maria Fausta Cajahyba Pereira de Castro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T12:08:33Z (GMT). No. of bitstreams: 1 Silva_KarenAlvesda_M.pdf: 1678036 bytes, checksum: a13a3de05bb5bce9a61e460162a07418 (MD5) Previous issue date: 2008 / Resumo: Se para os estudos lingüísticos anteriores a Saussure, o signo se fundava por uma relação de representação assimétrica - A representa B e, B não precisa representar A -, para o genebrino, o signo lingüístico é fruto de uma relação de associação recíproca entre significado e significante: A está associado a B e, isto implica que B esteja associado a A (cf. Milner, 2002, p. 27). Este deslocamento da representação assimétrica para a associação recíproca foi uma importante inovação de Saussure, pois assim a sua teoria, diferentemente dos estudos da época, pôde abdicar de qualquer compromisso para com a forma das coisas materiais (a conjuntura) a fim de focar estritamente as relações lingüísticas. Desse modo, como os objetos materiais não estariam abarcados na teorização saussuriana, a questão da referência não compareceria: a suposta ligação entre língua e mundo material não colocaria problema para a teorização de Saussure. Contudo, segundo Bouquet (1992), os manuscritos do genebrino permitem descobrir um Saussure, ao tratar da relação da língua com os objetos, que menciona a relação do signo a um terceiro termo. De fato, o próprio Saussure, pelo menos uma vez, evoca o modelo triádico de signo para tratar dos nomes geográficos e próprios. Então, teríamos de um lado, as articulações referentes à língua e, de outro, a possibilidade de que a referência compareça na teoria. Diante dessa aparente dicotomia, indagamo-nos se o comparecimento da questão da referência estaria relacionado à "reverberação" dos objetos materiais na teorização do genebrino. Até que ponto o mestre teria conseguido afastar a forma das coisas materiais de suas articulações, se assim objetivava fazer? Buscando entender esses questionamentos e refletir sobre a interferência dos objetos materiais na teorização de Saussure, tecemos algumas considerações, nesta dissertação de mestrado, sobre o momento histórico em que o trabalho do genebrino estava inserido e sobre os deslocamentos teóricos feitos pelo mestre (Capítulo I); sobre a questão do valor e sobre o toque oblíquo das palavras nos objetos materiais (Capítulo II); sobre como o mestre entenderia a questão do sentido lingüístico e sobre como a questão da referência permitiria refletir sobre a constituição das articulações de Saussure (Capítulo II). Sumariamente, nesta dissertação, buscaremos refletir - guiados pelos Escritos de Lingüística Geral (2004), pelo Curso de Lingüística Geral (2001[1916]), por Engler (1989), por Bouquet (1992; 2000), por Milner (2002) e por outros teóricos - sobre a possibilidade da questão da referência ser efetivamente ligada ao trabalho de Saussure ou desta questão ser tratada como uma das "incompletudes" do genebrino e como a problemática do sentido estaria relacionada a estas questões. / Abstract: If for language studies prior to Saussure the sign was established by an asymmetrical relation of representation - A represents B, and B does not need to represent A, for the Genevan, however, the linguistic sign is the result of a relation of reciprocal association between signified and signifier: A is associated with a B, and this implies that B is associated with an A (cf. Milner, 2002, p. 27). This displacement of asymmetrical representation to reciprocal association was an important innovation brought by Saussure. Therefore, unlike the contemporary studies, his theory could abdicate from any commitment to the form of material things (the conjuncture) in order to hold strictly to linguistic relations. Thus, as the material object would not be covered by Saussurian theory, the issue of reference would not appear: the supposed linkage between language and the material world would not pose a problem for Saussure. According to Bouquet (1992), however, the Genevan's manuscripts enable us to discover a Saussure that, when dealing with the relations of language to objects, pointed out a third term in relation to the sign. In fact, Saussure himself, at least once, evoked the triadic model of sign to deal with proper and geographical names. Moreover, in another manuscript, the master questioned himself about the fact that it is intrinsic to the functioning of languages to establish a connection to the world, and that the apparent solution to this conflict is to state that naming approaches the objects obliquely. On the one hand, we would have the joints concerning the language and, on the other, the possibility that the reference emerges at the theory. Facing this apparent dichotomy, we are drawn to question ourselves if the issue of reference would be related to the "reverberation" of material objects in the theory of the Genevan. / Mestrado / Linguistica / Mestre em Linguística

D. Litt. et Phil. (German) / Conrad Ferdinand Meyer is, on the grounds of his stories, counted among the Realists in German literature, whilst many have also discovered symbolistic elements in his poetry. The questions upon which this thesis is based are, firstly, on how far the apparently merely realistic events and descriptions in Meyer's stories (most of which are based on historic facts) are of a metaphoric or symbolistic nature and, secondly, what can, as a result of this, be said about Meyer’s view of life and the human condition. In the Introduction certain aspects of the wide field of research on the concept of the ‘symbol’ , are raised, as well as the differences between 'metaphors' and ‘symbols’ pointed out. The larger part of this work is concerned with the detailed analysis of metaphors and symbols in three of Meyer's stories, "Das Amulett", "Der Heilige" and “Angela Borgia”. As the three stories comprise the whole of the poet’s creative life, possible variations and developments in his use of metaphors and symbols can be pointed out. By analysing them within the context of the individual story, the danger of destroying the unity of the work is avoided. The careful analysis of the stories showed that despite their richness and variety, there are certain spheres from which the poet time and again takes his metaphors. The most important of these are: nature, colours, art, mythology and Christian symbolism. Many of these metaphors are used mainly for the characterization of people, or to emphasize or relate certain events and situations, but the majority can be called symbols, as they show certain aspects of Meyer's view of life as a whole: the idea of the world as a stage, the conflict of reality and pretence, the basic ambiguity of all things, the close relation of life and death, the aspect of hunters and hunted and the depiction of the world mainly as an inner and outer hell in which paradise has but a very small room. The metaphoric richness in "Angela Borgia" compared to “Das Amulett” has increased largely, but nevertheless one cannot speak of a gradual increase throughout Meyer's creative life. In conclusion, certain aspects of Meyer's position within his own time have been outlined. In contrast to Romantic works in German literature one does not find unrealistic descriptions in Meyer's prose works - for this he can be called a 'Realist'. Yet the metaphoric and symbolic qualities of his work may be stronger than in that of the other Realists, although he has little in common with either the Naturalists or the Symbolists or the l'art pour l'art movement. 'Realistic' art is to Meyer the depiction of the ambiguity and suffering which characterize human life, but he still sees an ideal in humane behaviour and compassion which can bring about a certain redemption in a basically Christian sense.

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