Zugl.: Osnabrück, Universiẗat, Diss., 2007.

Thèse complémentaire--Paris. / Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Political Science, December 1999. / Includes bibliographical references. Also available on the Internet.

This thesis is a study of three of the.literary works of Jacques Benoit: Jos Carbone, Les Princes and Gisèle et le serpent. It will be an attempt to combine different spatial elements of the texts, literal and symbolic, in order to define and explore the imaginary universe of our author. In our first text, Jos Carbone, we look to establish the role of the unconscious. The background predominance of night and dark elements, unseen invaders, habitations, in short, the forest in general appears as a metaphor for the unconscious mind of the hero Jos Carbone. In our analysis, we attempt to explore this imaginary universe with intent to establish the theme of the territorial quest as it might apply to the central couple Jos and Myrtie. In our analysis of Benoit's novel, Les Princes, we endeavour to explore the allegorical world with an emphasis on the nonverbal communication of both the topography and the inhabitants of la Ville. We observe the confrontation of men and dogs in an effort to examine the role of what is considered civil or animal, pet or prey. The impotency and frustration of Coquin society coupled with corrupt Grâligean authority evoke the ideas of Jean-Jacques Rousseau on social inequality. We shall, therefore, attempt to apply some of his beliefs to imaginary elements of the novel. Finally, we shall examine the unvoiced refutation of the Grâligean's verbal law and the possible future outcome of la Ville's violent upheaval. Gisèle et le serpent will be studied in terms of a creative quest to write on the part of the hero and narrator, Gregoire Rabouin. We will take into account the displacement, transformation and constant motion of the text as well as the combination of fantastic and conventional elements. The role of the protagonist Gisèle is to be examined in terms of her capacity as role model, motivation to write and magical force behind the liberation of the hero's creative drive. We shall show the conflict created by the doctor's frustration with his rational profession and examine the unblocking of his creativity as portrayed by his relinquishing of control. Furthermore, an analysis of the parodies of his occupation, the deformation of language and patients as well as the fairy-tale format of the novel will confirm his desire to renounce medicine in favour of literary creation. Finally, we see the completion of Rabouin's narrative voyage in the discovery of his ability to write. In conclusion we shall state general observations about the imaginary universe as it applies to the comparison of our three texts. Specifically, this will entail the unconscious world, the violent and disruptive element and Benoit's tendency to stray from the rules of standard literary genres. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Notre question est la suivante : à partir du programme philosophique inauguré et élaboré par Derrida autour de la question du signe dans De la grammatoloqie (1967), est-il possible de déceler et de juger de la cohérence de sa démarche et par là de comprendre son «interprétation» innovatrice de la pensée de Heidegger dont l'un des aboutissements théoriques se trouve, selon nous, dans son livre intitulé Heidegger et la question (1987)? Le programme philosophique inaugural de De la grammatologie démontre que le concept derridien d'écriture excède le phonocentrisme de la tradition métaphysique occidentale et qu'il est le fondement sans cesse différé de l'expérience de la vérité. Tout cela se reproduit-il dans les lectures derridiennes de Heidegger ?

This study postulates the existence of a notion of transcendence in immanence in the thought of Jacques Derrida. The deconstruction of, amongst others, Husserlian phenomenology and Saussurean structuralism, affords Derrida the opportunity of presenting a thought of contamination, haunting and impurity, which is a thought of transcendence in immanence. The hypothesis of a notion of transcendence in immanence in Derrida’s thought is refined by specifying it as temporal transcendence in immanence. Accordingly, the intimation of transcendence in immanence does not amount to the ontological acceptance of a separate transcendent realm. On the contrary, what appears is a monism: the infinite finitude of temporality. In conversation with the notion of temporal transcendence in immanence intimated in Derrida’s thought, this study proposes a notion of theological transcendence in immanence. Theological transcendence in immanence is presented as an inflected interpretive performance of salient themes from the tradition of Christian theology prior to the advent of modernity. From this perspective, all being is referred to God and finite creation is deemed to be a contingent, non-necessary participation, at an unquantifiable analogical remove, in the life and being of God. The notions of space, time and meaning that emerge from such a premise are subsequently explored, and brought into conversation with the corresponding notions in Derrida’s work. The study concludes by asking whether the conversation between the notions of temporal and theological transcendence in immanence can in any way be furthered, or whether the two positions should rather be regarded as irreconcilable, that is, as lying separatively transcendent to each other. In response, it is suggested that the notion of transcendence in immanence implies the attempt to relate juxtaposed positions after the fashion of transcendence in immanence. The possibility of temporal transcendence in immanence inhabiting theological transcendence in immanence after the fashion of transcendence in immanence is firstly considered and rejected. Thereupon, the reverse option, namely that of theological transcendence in immanence making use of temporal transcendence in immanence, iii while at the same time transcending it, is considered and judged to be a suitable provisional outcome of the conversation with Derrida. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

This study postulates the existence of a notion of transcendence in immanence in the thought of Jacques Derrida. The deconstruction of, amongst others, Husserlian phenomenology and Saussurean structuralism, affords Derrida the opportunity of presenting a thought of contamination, haunting and impurity, which is a thought of transcendence in immanence. The hypothesis of a notion of transcendence in immanence in Derrida’s thought is refined by specifying it as temporal transcendence in immanence. Accordingly, the intimation of transcendence in immanence does not amount to the ontological acceptance of a separate transcendent realm. On the contrary, what appears is a monism: the infinite finitude of temporality. In conversation with the notion of temporal transcendence in immanence intimated in Derrida’s thought, this study proposes a notion of theological transcendence in immanence. Theological transcendence in immanence is presented as an inflected interpretive performance of salient themes from the tradition of Christian theology prior to the advent of modernity. From this perspective, all being is referred to God and finite creation is deemed to be a contingent, non-necessary participation, at an unquantifiable analogical remove, in the life and being of God. The notions of space, time and meaning that emerge from such a premise are subsequently explored, and brought into conversation with the corresponding notions in Derrida’s work. The study concludes by asking whether the conversation between the notions of temporal and theological transcendence in immanence can in any way be furthered, or whether the two positions should rather be regarded as irreconcilable, that is, as lying separatively transcendent to each other. In response, it is suggested that the notion of transcendence in immanence implies the attempt to relate juxtaposed positions after the fashion of transcendence in immanence. The possibility of temporal transcendence in immanence inhabiting theological transcendence in immanence after the fashion of transcendence in immanence is firstly considered and rejected. Thereupon, the reverse option, namely that of theological transcendence in immanence making use of temporal transcendence in immanence, iii while at the same time transcending it, is considered and judged to be a suitable provisional outcome of the conversation with Derrida. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

Thesis (doctoral)--Université de Paris V, 1978. / Bibliography: p. 699.

Depuis quelque temps, le Québec subit une crise identitaire d'une certaine importance, en grande partie à cause du débat entourant les « accommodements raisonnables », une série de mesures visant à faciliter l'intégration de certaines minorités religieuses. Pourtant, ce genre de questionnement n'est pas nouveau, bien qu'il soit « original » dans sa justification. Au cours des années 1960-1970, période de la « Révolution tranquille », la société québécoise a vécu de nombreux et importants changements, tant au niveau social que politique. L'un de ces bouleversements concernait l'identité québécoise. L'un des écrivains à avoir le mieux cerné cette remise en question est sans aucun doute Jacques Ferron. À travers deux de ses romans, soit L'Amélanchier et Le Saint-Élias, nous avons voulu comprendre qu'elle était la perception de Ferron par rapport à l'identité. Cette approche du texte ferronnien se distingue tant par le corpus, puisqu'il s'agit de la première analyse conjointe de ces deux oeuvres, que par la problématique abordée. Nous postulions l'existence d'une double conception de l'identité « ferronnienne ». On retrouve d'abord une identité individuelle, qui se construit dès le plus jeune âge et qui continue à se modifier et à évoluer avec le vieillissement de l'individu. C'est elle qu'on retrouve dans L 'Amélanchier, un roman sur la quête identitaire de Tinamer, la narratrice. Ensuite, il existe une dimension collective de l'identité, où c'est le groupe lui-même qui tente, à travers une histoire, des références et un imaginaire communs, de constituer un sentiment d'appartenance commun à tous ses membres. Cette fois-ci, Le Saint-Élias est l'oeuvre qui nous propose l'histoire de la collectivité de Batiscan, de même que son accession à une identité commune. Au fil de notre analyse, nous en sommes venus à une surprenante conclusion. Plutôt que de représenter deux « entités » distinctes, les sentiments d'identité individuelle et collective sont plutôt les deux faces d'une même médaille. On peut même pousser la réflexion plus loin en affirmant que, pour Ferron, l'identité collective et l'identité individuelle sont interdépendantes et ne sauraient être mises en opposition. À travers des thèmes comme l'enfance, la filiation et la mémoire, nous avons été en mesure de mieux comprendre le processus de construction identitaire tel que perçu par Ferron. En guise de conclusion à ce mémoire, nous avons voulu insister sur la question de l'écriture, omniprésente chez Ferron, et grâce à laquelle les narrateurs de L 'Amélanchier et du Saint-Élias, ont été en mesure de sauvegarder leur identité, ou celle de leur collectivité. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Identité, Jacques Ferron, Enfance, Mémoire, Écriture.

Zugl.: Berlin, Freie Univ., Diss.