Après un fléchissement, dans la décennie des Indépendances africaines, le thème de l'immigration a acquis, depuis les années 1980, une importante visibilité sur la scène littéraire francophone. Cette écriture de l'immigration s'accompagne de l'entrée en masse, sur la plan institutionnel, de femmes écrivaines dans les champs littéraires; principalement en Afrique subsaharienne et au Maghreb. Ces deux facteurs soulèvent des questions liées à la nécessité de la réécriture de cet exil qui avait déjà caractérisé les premiers textes des littératures africaine et maghrébine autour des am1ées 1950, ainsi qu'à l'impact de ces nouvelles écritures migrantes par rapport à la question de l'identité féminine des ex-colonisées dans les grandes métropoles occidentales. C'est à ces préoccupations que nous tentons de répondre dans cette thèse. / Master of Arts (MA)

p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px Times} span.s1 {font: 13.5px Helvetica} span.s2 {font: 15.5px Helvetica} span.s3 {font: 11.0px Times} span.s4 {font: 16.5px Helvetica} span.s5 {font: 18.0px Times} span.s6 {font: 12.0px Times} span.s7 {font: 9.0px Helvetica} span.s8 {font: 12.5px Times} Cette étude analyse s'interroge sur les fondements humaniste du cri d'injustice lancé au secours de la condition socio-économique désastreuse des Kabyles par Albert Camus dans la serie d'articles qu'il publia entre le 5 et le 15 juin 1939 dans Alger-Républicain. En nous basant sur les enseignements de la theorie postcoloniale, nous soutenons que Camus, sans peut-être s'en rendre compte, a perçu les Kabyles dans « Misère de la Kabylie} a travers le filtre deformant de la representation colonialiste. Sur la base d'indices trouves dans le texte et en référence a la typologie des acteurs de la scene coloniale établie pas Albert Memmi, nous avons déduit que Ie contenu de son reportage sur les Kabyles evoque l'attitude du colonisateur bienveillant. Le rapport d'enquete de Camus, selon nous, n'a pas échappé à l'attention de l'ecrivain kabyle Mouloud Feraoun. Dans Le Fils du pauvre, une oeuvre classique de la littérature kabyle d'expression franaçise, Mouloud Feraoun corrige la perception des Kabyles par Camus. Le Fils du pauvre se voulait une réplique indirecte à « Misere de la Kabylie. » / Master of Arts (MA)

In this thesis we propose to refute the idea frequently upheld by critics that L'Incubation is a “nouveâù roman”. We have attempted to point out the existence of an essentially psychoanalytic content in this novel to emphasize its classical aspects which are specifically rejected by Robbe-Grillet. / Master of Arts (MA)

<p>To show how the novels of Roch Carrier provide an evolving portrayal of some of the problems facing Quebec in the twentieth century, and to show how the characters in the novels struggle to survive in a positive way. To show how the imagery, especially of light and darkness, conveys the author's emphasis on life over death.</p> / Master of Arts (MA)

<p>Except in her relationships with Lancelot, Guinevere has hitherto been comparatively neglected by Arthurian scholarship, with the result that many links between extant romances, and many suggestions of links with earlier, now lost, romances, have remained uncommented upon. These links are important to the establishment of the extent of the various romances' dependence on their antecedents; whether extant or postulated, as well as the extent of their borrowings from older tradition, Classical or Celtic. While it seems as if rather too much emphasis has been placed (by the Celticist school of thought in particular ) on the dependence of the Lancelot legend upon ancient Celtic tradition rather than upon the contemporary mores which it so vividly reflects, certain other liaisons involving Guinevere, which have been neglected (her almost-certain one-time dalliance with Gauvain, and her abduction by Brun de Morois for example), are shown in the present study to have greater dependence on anterior tradition than has been allowed by some scholars.</p> <p>Guinevere's relationship with her husband Arthur is also discussed; as are the various other dalliances and abductions in which she is involved . Brief mention has had to be made of the non-French abductions and suits of Guinevere, as they demonstrate intricate links with the French versions and also suggest the one-time existence of a written and oral Arthurian tradition widespread before Chrétien de Troyes and of which we now possess but a small proportion.</p> / Master of Arts (MA)

Master of Arts (MA)

The purpose of this thesis is to examine the development of the artist's personality and his reactions when confronted with both the reality of his talent and the realities of society. The process of artistic creation itself and the problems of understanding and communication that confront the artist will also be examined. Finally, some comment will be made about how Gabrielle Roy herself, as a creative person, has confronted some of the problems that have arisen in her own life. / Master of Arts (MA)

<p>In reading the romances of the Vulgate Cycle, one becomes accustomed to the role of Morgain la Fée, Arthur's sister, as a major villainess, usually plotting revenge against Lancelot and Guenevere. Therefore, this reversal of her role at the end of La Mort le Roi Artu, wherein she comes to take her wounded brother Arthur to Avalon, can seem out of keeping with the rest of her portrayal. In reality, though, this latter representation is the criginal one in Celtic legend. Thecries as to how she could have evolved into two such different personalities have given rise to three schools of thought on the matter. One group, the folklorists, traces the roots of Morgain's personality back to the Celtic goddesses, especially to the Morrigan. Another group believes her representation is due entirely to author's imagination and that each romancer contributed with time perhaps one incident or episode, or perhaps merely a detail, that was enlarged upon by his successors, or even omitted, as they saw fit for their story. The third group,the moderates, compromises between these first two by acknowledging that the frontiers of tradition and imagination are difficult, if not impossible to delineate. Their theory is that the romancers probably used both tradition and imagination as they created and that the ratio occurring in any one romance, besides being difficult to measure, is a matter of the individual author's taste. The theory of the moderates seems the most tenable and is the one to which this study will adhere, all the while, of course, never dismissing the importance of the contributions of the other two groups. While considering the ideas of these groups, this study will attempt to evaluate all their suggestions as to influences on the portrayal of Morgain la Fée in the Vulgate. Among these influences are Celtic and Latin traditions, the Christian religion, and the imaginations of the romancers already more sophisticated than the creators of the original legend of the fay of Avalon. It is hoped that a systematic study of these influences will then demonstrate that the development of Morgain's character in the Vulgate was a logical rather than a haphazard process.</p> / Master of Arts (MA)

The purpose of this paper will be to analyse some of the forces that motivate the characters in Henry-Réné Lenormand's drama between 1914 and 1942 and to discuss their dramatic merit; subsequently an attempt will be made to relate our findings to the author's thought and personality and to account for the relative lack of attention that his work has undergone in recent years. / Master of Arts (MA)

<p>The influence of the Tristan romances upon the love story of Lancelot and Guenievre in the Prose Lancelot has been established to some extent, but until now no attempt has been made to examine the textual parallels between the two stories. A detailed comparison of these parallels reveals that not only are there significant similarities between the texts of Béroul's Tristan and the Mort Artu of the Vulgate Cycle, but that there is also evidence of close textual parallels between the Mort Artu and Eilhart von Oberge's Tristrant. In addition, the study has revealed more similarities between Thomas' Tristan and the Mort Artu than have previously been allowed.</p> <p>As regards the Prose Tristan, a later romance than the Prose Lancelot, the role of the source material has been reversed, so that the love story of Lancelot and Guenievre has had consider able influence on the romance of Tristan and Yseut as portrayed in the Prose Tristan. Two episodes have been selected for examination to illustrate this influence in terms of textual parallels: the abduction of Queen Yseut, and the madness of Tristan. The resultant observations, which include the study of structural as well as textual similarities , provide conclusive evidence in support of the theory that the Prose Lancelot served as source material for the Prose Tristan, and that episodes in this latter romance concerning Tristan and Yseut alone have clearly been modelled upon similar episodes in the Prose Lancelot.</p> / Master of Arts (MA)