Text in French / No abstract available / Classics & Modern European Languages / M.A. (French)

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Arts. / "Why do women read the romance?" cannot be answered by Anglo-American feminist literary criticism; a critique is brought against feminist definitions of gender and genre, and the question, "Why did women begin to write (novels)?" Gender definition and genre formation are integrally interrelated in the modern period; this can be traced through textual analyses of textual practices in early nineteenth century texts. Analyses of Wuthering Heights, Emma, and Madame Bovary enable critique to be brought against tenets central to feminist criticism: the figure and function of the female author; the definitions of gender, desire and sexuality; the social and the sexual contracts; and the role of Oedipus in feminist-psychoanalytical debates. Moi's Sexual/Textual Politics provides a. critique of feminism, Armstrong's Desire and Domestic Fiction a feminist history of the novel, and Radway's Reading the Romance a feminist account of romance fiction. / Andrew Chakane 2018

Partant du principe qu'une machine ne sait pas qu'elle est une machine et du présupposé selon lequel un robot n'a pas de conscience, ce travail étudie le parallèle entre la fabrication des créatures de roman et la fabrication des machines. Parmi ces figures, Madame Bovary est un archétype. Comme tout autre machine, Emma Bovary ne sait pas qu'elle en est une. Emma est une machine à texte, elle est faite de livres. Pourtant, elle ne peut pas avoir lu Madame Bovary. Parce qu'Emma n'est pas consciente qu’elle est l'appareil de Flaubert, nous l'avons rapproché des fonctionnements et des disfonctionnements du Monstre de Frankenstein, encore écervelé avant l'épiphanie des livres qu'il découvre au creux d'un chemin. Après avoir défini les enjeux stratégiques de ses lectures, Emma est présentée comme une machine homéostatique, d'une part du point de vue de la thermodynamique, et d'autre part, du point de vue de l'entropie, une résultante du bovarysme, causée par les distorsions entre la vie et la lecture. Dans un premier temps Emma perçoit, puis ressent, par les feedbacks de ses lectures. Elle se transforme alors en une mécanique à émotions, gouvernée par son bovarysme. Ce sentiment renvoie à toutes ses perceptions et ses appétits. Par ses désirs, Emma démontre une capacité à comparer et à se projeter, formulant les prémices d'une conscience autobiographique. De la même manière qu'il représente l'inconscient social à partir d'automates déambulatoires, tels la figure du pied-bot ou de l'aveugle, Flaubert réussit à induire une idée de conscience dans sa créature machine / According to the fact that a machine does not know that it is a machine, and to the supposition that a robot has no conscience, this work explores parallels between the creation of the characters of a novel and the fabrication of machines. Among these figures, Madame Bovary is an archetype. Like any other machine, Emma Bovary does not know that she is one. Emma is machine created from text. She is made from the stuff of books. However, she could not have read the book Madame Bovary. Because Emma is not aware that she is a device of Flaubert, there are some similarities between her and the functions and malfunctions of the Monster of Frankenstein that didn't have a conscience until the moment of epiphany with the books he discovered in the woods. After the definition of the strategic challenges of her readings, Emma is presented as a homeostatic machine, first from the viewpoint of thermodynamics, and secondly from the viewpoint of entropy, a result of the bovarysme caused by distortions between life and reading. Emma's perceptions and feelings depend of the feedback of her readings. She becomes an emotional device, governed by her bovarysme. This feeling is present in all her perceptions and her appetites. Through her desires, Emma demonstrates an ability to compare and project herself, formulating the beginnings of an autobiographical conscience. In the same way as he represents social unconsciousness with ambulatory automatons such as the figure of the club-footed Hippolyte or the blind man, Flaubert is able to induce an idea of consciousness in his machine-creature

In this study, I explore four representations of the Devil as a fallen angel in nineteenth century France in order to better understand the way in which the artists at this time used the symbol of the Devil to express their viewpoints on the various social, political and cultural changes in France. In the first chapter, I provide a survey of the artistic development of the Devil, from his angelic roots in the Old Testament to his near disappearance during the Enlightenment. I examine the semantic difficulties when discussing the Devil, as well as the current literature on his philosophical, theological and cultural significance. The second chapter is dedicated to an in-depth analysis of the four works in which I situate the image within the artist’s larger body of work and then examine the physical representation of the Devil, the landscape in which he is found and the transitory moment of the fall depicted. In the third chapter I provide a historical context for these representations and demonstrate the way in which they reflect the political and cultural agitation in France at the time due to the multiple revolutions, changes in governing structure and advances in science and technology. Through this exploration of these four representations, I propose that the Devil provides unique insight as to the ongoing artistic conceptualisation and perceptions of the state of humanity in an increasingly modern world. / Graduate / walkerem@uvic.ca

Zugl.: Berlin, Freie Univ., Diss., 2007

Text in French / No abstract available / Classics and Modern European Languages / M.A. (French)

Esta dissertação tem como objetivo principal analisar três personagens femininas na ficção de Eça de Queirós e Gustave Flaubert: Amélia, Luísa e Emma Bovary, relacionando as suas mortes ao conceito de melancolia na psicanálise. Através de pesquisa bibliográfica, estudamos os conceitos de Realismo e Naturalismo e suas características, bem como, a situação da mulher no século XIX. Utilizamos como suporte teórico a psicanálise de Sigmund Freud e Jacques Lacan, para, finalmente, analisarmos a estrutura melancólica presente nas três mulheres / This dissertation has the main goal to analyse three female personages in Eça de Queiróss and Gustave Flauberts fiction: Amélia, Luísa and Emma Bovary, reporting their deceasing to the concept of Melancholy in Psychoanalysis. Through bibliographic inquiries we studied Realism and Naturalism thoughts and their characteristics, as well as the woman position in the XIX th century. We utiulized as a theoretician support Sigmund Freud and Jacques Lacan Psychoanalysis in order to explain the melancholic frame in those mentioned women

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-04-11Bitstream added on 2014-06-13T20:23:03Z : No. of bitstreams: 1 milaneze_e_dr_arafcl.pdf: 893728 bytes, checksum: a55c243815c312118585d926704bcb17 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Inseridas no contexto da literatura francesa contemporânea, as obras de Jean-Marie Gustave Le Clézio transgridem as categorias de gênero: nem romances, nem poemas, nem ensaios ou tudo isso ao mesmo tempo. Dentre tais obras, Voyages de l’autre côté (1975), pode ser abordada como uma narrativa híbrida, em que a prosa e a poesia convivem simultaneamente, ora para exprimir a vida na sociedade moderna, ora o retorno a um paraíso perdido onde o homem encontra a paz e a inocência primitivas. Em Voyages de l’autre côté, o narrador viaja, guiado pela fada Naja Naja, em busca do ‘outro lado’, isto é, do absoluto sensível que se esconde em todos os elementos da realidade material diegética, representado por inúmeros países mágicos, onde atinge a totalidade e a liberdade. O texto lecléziano dialoga ainda com a tradição literária francesa e com a cultura popular e mítica, atualizandoas no contexto da literatura contemporânea. Partindo da proposta teórica feita por Jean-Yves Tadié, em Récit poétique (1978), a tese Viagens ao ‘outro lado’: o percurso poético lecléziano tem por objetivo a análise de Voyages de l’autre côté, como uma narrativa híbrida, em que cada um dos aspectos formais que a compõe – prosa e poesia – possui uma função específica na construção de um universo imaginário, que permite ao narrador recuperar o absoluto sensível. / Gustave Le Clezio break the gender categories: they are not novels, not poems, nor essays or all of it at the same time. Among his works, Voyages de l’autre côté (1975), can be seen as an hybrid narrative, where prose and poem live together simultaneously, for express life in a actual society at one hand as for a return to a lost paradise where man could find the primitive peace and innocence. At Voyages de l’autre côté, the narrator travels in company of the fairy called Naja Naja in search of the “other side”, or better, of the sensitive absolute that is hidden in every element of diegetic material reality, represented by for numberless magical countries, where reaches the his totality and freedom. The leclezian text dialogs with the French literary tradition and with the mythic popular culture either, updating them in the Contemporary Literature context. From the theoretic purpose made for Jean-Yves Tadié, in his Récit poétique (1978), the thesis Journeys to the ‘other side’: the Leclezian poetic way has as target the analysis of Voyages de l’autre côté, as an hybrid narrative, where each one of those elements that compose it – prose and poetry – has a specific function in the building of a imaginary universe, what would permit to narrator recover the sensitive absolute.

Esta dissertação tem como objetivo principal analisar três personagens femininas na ficção de Eça de Queirós e Gustave Flaubert: Amélia, Luísa e Emma Bovary, relacionando as suas mortes ao conceito de melancolia na psicanálise. Através de pesquisa bibliográfica, estudamos os conceitos de Realismo e Naturalismo e suas características, bem como, a situação da mulher no século XIX. Utilizamos como suporte teórico a psicanálise de Sigmund Freud e Jacques Lacan, para, finalmente, analisarmos a estrutura melancólica presente nas três mulheres / This dissertation has the main goal to analyse three female personages in Eça de Queiróss and Gustave Flauberts fiction: Amélia, Luísa and Emma Bovary, reporting their deceasing to the concept of Melancholy in Psychoanalysis. Through bibliographic inquiries we studied Realism and Naturalism thoughts and their characteristics, as well as the woman position in the XIX th century. We utiulized as a theoretician support Sigmund Freud and Jacques Lacan Psychoanalysis in order to explain the melancholic frame in those mentioned women

This thesis discusses the philosophy of positivism in nineteenth century France. Based on an empirical vision of society, positivism advocated values of rationality, progress, and secularization. In that way, it stood as one of the defining systems of thought of the modern era. I discuss, however, an undercurrent of anxiety about those same values. Positivism's founder, Auguste Comte, argued that all sciences would become unified and organized under universal principles and empirical standards. He viewed the human mind as becoming more rationalized throughout history. In his later career, however, he argued that rationalism was a destructive force and that a new form of secular religion as necessary to establish morality and order. I argue that this transition from science to religion represents an underlying anxiety of the nineteenth century. Intellectuals from different sides of the political spectrum viewed progress as positive, but also limited. They argued that something beyond science, in the realm of the religious, the metaphysical, or the subjective, was necessary for society. They expressed these concerns through the language of gender. Comte argued that women would be at the center of his religion. They would socialize and moralize men, making them part of a new unified, pacifist and orderly social whole. I also discuss two later intellectuals, social psychologist Gustave Le Bon and pioneering sociologist Emile Durkheim. Le Bon represented the fin-de-siecle rejection of positivism. He began with positivist principles, but later argued that humanity was irrational and violent. He viewed the modern masses as a powerful force which threatened to destroy civilization. The other figure, Durkheim, rejected Le Bon's form of nationalist right-wing thought and formed theories of social harmony, altruism, and a solidarity. He sought to reconcile egalitarian republican principles with positivist science. Despite their diverging theories, however, Le Bon and Durkheim employed similar assumptions about modernity and gender. Le Bon argued that European men were superior, and that all other groups shared an undeveloped mentality. Durkheim argued that men were social while women were simpler and mentally limited. Their views, far from establishing an unproblematic hierarchy of gender and race, in fact expressed anxieties about the state of modernity. They identified women, the lower classes, and other societies with values of simplicity, unity, and tradition. They identified the modern, Western male individual with the problems of modern society: excessive rationalization, instability, and secularization. This sense of ambivalence about modernity reveals the central importance of positivism to understanding nineteenth century thought. Positivism sought to reconcile seemingly antithetical principles of order with progress, individualism with social unity, and morality with rationalization. In doing so, it established anxieties about the forces of change. Positivists advocated the most modern of principles, and sought to further the progress of civilization, but also identified those rationalized forces as problems in need of control. Positivism thus established its own undoing, which would come at the beginning of the twentieth century. In that era, intellectuals rejected purely scientific visions of the world in favor of subjective thought. I locate the origins of that rejection at the very foundations of positivist theory.