Thesis (Ph. D.)--Columbia University, 1925. / Vita. Published also without thesis note. Bibliography: p. 136-140.

There were two principal aims which inspired the writing of this thesis. The first was to fill a gap in English scholarship by presenting, in necessarily attenuated form, to English readers what scholars like Edouard Dolléans and Michel Ragon had provided for the French; namely, a description, in Part One, of the background to the proletarian involvement in literature and especially in novel writing which gathered rapid momentum during the quarter century before the First War. In so doing, this thesis attempts to analyse the connection between the proletarian novelists of the late nineteenth century, and middle class naturalist, realist, romantic and classical writers who had earlier made use of the j working class theme. It was the intention to demonstrate that, while offering new insights into the life of the indigent-masses, these writers often relied heavily for style and theme on those established by their predecessors. The comparison could only be made by treating in detail selected representatives of this new development in literature, and this was aided by examining the opinions of contemporary critics. The precise reasons for choosing the five authors who appear in the title and for subjecting them to greatly varying degrees of examination are given at the beginning of Part Two. In general, however, these five may be seen as the group which exhibited at once the greatest similarity to established literary conventions and also the most striking originality in the development of their subject. The second and predominant aim of this thesis was to present to an English readership the works of hitherto largely ignored novelists. Because of their obscurity, greater use of quotation and paraphrase was made than would have been necessary to discuss works of widely recognised authors. Part Two is a systematic evaluation of all the novels written by the five during the period 1890-1914. The limits of one thesis did not allow exhaustive treatment of any of the novelists and it is hoped that one of the results of this study will be to stimulate further research into them. To that end as extensive a bibliography as possible has been compiled and appears in two sections at the end of this work.

A partir de quatre romans sénégalais, MaTmouna d'Abdoulaye Sadji, O Pays mon beau peuple ! de Sembène Ousmane, Les Bouts-de-Bois-de Dieu du même auteur et de Buur Tilleen de Cheik Aliou N'dao, nous avons étudié la condition de la femme africaine telle que les auteurs la décrivent. Le choix des oeuvres a été guidé par le sujet d'étude, aussi avons-nous retenu les romans satisfaisant aux conditions suivantes : l'importance de la place de la femme dans l'oeuvre et le lieu de l'action limité en Afrique. Les femmes y apparaissent sous deux aspects distincts, d'une part les femmes attachées à la vie traditionnelle, d'autre part les femmes participant à la vie moderne. Entre les deux, se détachent les femmes traditionalistes en voie d'évolution qui indiquent que les romanciers s'intéressent à une société de transition. Il se dégage que les personnages féminins portent le reflet du conflit entre la tradition et le modernisme dans la société africaine en évolution constante au contact des sociétés européennes. Ce conflit s'incarne plus particulièrement dans l'aspect contradictoire du rôle de la femme en tant que mère et dans le rôle de la femme en tant qu'épouse. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 205-213). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Thesis (doctoral)--Université de Genève, 1994. / Includes bibliographical references (p. [753]-759) and index.

Thesis (doctoral)--Universté Paris 8, Vincennes-Saint-Denis, 2005. / Includes a one-page biography with port. of each of women authors considered. Includes bibliographical references (p. 510-550) and index.

Thesis (doctoral)--Université de Genève, 1994. / Includes bibliographical references (p. [753]-759) and index.

Thesis (doctoral)--Universté Paris 8, Vincennes-Saint-Denis, 2005. / Includes a one-page biography with port. of each of women authors considered. Includes bibliographical references (p. 510-550) and index.

This thesis focuses on a writer who was a constant presence in the French literary field for a large part of the 20^th Century and who, by the time of his death, had established himself as one of the major post-war intellectuals, yet who is increasingly typecast simply as a 'Catholic Novelist'. The thesis aim to counter this tendency by highlighting other, intriguing and overlooked aspects of his work and career : the pervasive presence of the body in his novels, his Sartrean sensitivity to the problem of intersubjectivity, or his post-war intervention over decolonisation, and the ethical questions this forced him to confront. The distinctiveness of the thesis lies in its stress on the need to resituate literary texts and other works of art in their socio-cultural contexts - that is to say, in the context of other discourses or representations of the world in circulation at the same time. Thus, Part 1 explores how both his artistic theory and practice are shaped, in unpredictable ways, by the ideological framework of Catholicism into which he is inserted in his early years. Part 2 argues that despite, or perhaps because of, his innate conservatism, Mauriac emerges as a writer who is sensitive to, and captures the nature of, the modern world, and the experience of living in that world. His modern sensibility is reflected in his preoccupation with intersubjectivity, one he shares with other writers of the period who are, perhaps, more recognisably modern. Part 3 examines how his political interventions, and his corresponding transformation from novelist to intellectual, are managed by L'Express magazine, and how in fact he came to collaborate with a journal whose politics were radically different from his own. Overall, through an approach which can be described as materialist and, from a religious perspective, agnostic, the thesis aims to demonstrate how Mauriac can still be seen to have relevant and interesting things to say to a contemporary audience.

La présente thèse explore les représentations de la femme dans des récits orientalisants de sept auteurs français du XVIIIème siècle, classés par ordre alphabétique : Caylus, Crébillon, Diderot, Mme de Genlis, Hamilton, Montesquieu et Voltaire. Les chapitres analysent cinq types de femmes regroupées selon leur rôle narratif. Dans le chapitre premier, j’étudie les figures féminines orientales dans Zadig et La princesse de Babylone de Voltaire. J’y tiens compte de la façon dont la voix narrative perçoit les femmes dans ces récits et quelle place elle leur attribue dans la narration. Dans le chapitre deux, je me penche sur la représentation des Orientales voilées dans « Aphéridon et Astarté », un récit inséré dans Lettres persanes de Montesquieu, et dans Nourmahal de Mme de Genlis. Je considère la femme voilée comme un personnage Autre, je relève ses caractéristiques principales, j’examine son rôle narratif, et j’identifie la valeur significative de son voile. Dans le chapitre trois, je tiens compte des personnages féminins orientaux dans Fleur d’épine de Hamilton et « Ibrahim et Anaïs », un autre récit enchâssé dans les Lettres persanes. Je m’interroge sur le rôle de la femme qui est représentée dans une situation inverse, je considère la place qui lui est attribuée dans le texte et son influence sur les autres personnages du récit. Dans le chapitre quatre, j’analyse les femmes interlocutrices dans Le Sopha de Crébillon et Les Bijoux indiscrets de Diderot. J’étudie la voix féminine dans ces récits et ses interventions dans la narration. J’examine ensuite l’effet de cet engagement sur le fond et la forme du récit. Dans le cinquième et dernier chapitre, j’étudie les femmes dans les Contes orientaux de Caylus. J’explore les différentes fonctions qu’elles remplissent ; je distingue alors entre les narratrices et les femmes objets du discours. Je m’intéresse particulièrement à montrer comment les personnages féminins qui se chargent de la narration utilisent le récit pour influencer le narrataire.