Inaug.-diss.--Munich. / Lebenslauf. "Literatur-verzeichnis": p. 94.

Inaug.-diss.--Leipzig. / Lebenslauf. "Erscheint gleichzeitig in den 'Leipziger romanistischen studien', heft 11." "Literaturverzeichnis": p. 224-225.

Thesis (doctoral)--Universität Marburg. / Issued in full under the title: Jean-Jacques Rousseau : seine Persönlichkeit und sein Stil. Vita. Includes bibliographical references (p. [x]-xiv).

Under the general theme of language and meaning, my precise purpose is to investigate Derrida's notion of writing as differance in relation to the 'problem' of the nature of the text conceptualized in terms of the binary opposition 'inside imaginary'Zoutside real'. That is, language construed as grounded within an hermetic realm of inner fictions or representational of a foundational outside world - the two limiting positions invoked by various extreme and untenable forms of anti-realism and realism. Thereby, I hope to clarify a way of providing a possible 'solution' to one of the major issues now confronting the philosophy oflanguage by means of what I call, for reasons which will become apparent, Derrida's 'Middle Voice'. In both form and content, my thesis as a whole traces the rhythm of Derridian writing as it complicates and confuses such boundaries as 'inside imaginary'Zoutside real', re-inscribing them as 'limited functions' of its movement between 'desire' and 'truth'. Hence, my Introduction begins by briefly contrasting Derrida's 'dynamic', non-linear, writing with Saussure's model of language and meaning. I then proceed to consider the implications of this with respect to Derrida's deconstruction of that major 'insidc'Zoutside' dualism of Western metaphysics, and I do this through readings of thinkers whose positions I take to err by overprivileging either side of these two extremes. Thus, Chapter One, starting from ubiquitous desire, is mainly concerned with the deconstruction of Lac an's linguistic re-interpretation of the Freudian unconscious. Chapter Two builds on my findings and, using as a paradigm the Barthesian text, considers Derridian writing as exceeding and moving 'outwards' from the concept of language over-idealized as an 'inside imaginary'. This, because of what, in Chapter Three I reveal as Derrida's 'middle voice' in terms of the 'rhythm' of writing, moving 'beyond' and 'between' any 'inside'foutside' opposition. Chapter Four thus shows Derrida's notion of the text, though historical and ethical through and through, also disturbing all reference to any foundational 'outside real' of history as envisaged by Jameson, Eagleton, and others. Finally, arguing against many of the standard interpretations, I give an original'writerly' reading of 'post analytical' philosophy in the form of Davidson's truth-conditions theory of meaning, showing that despite their radical differences, some of Davidson's ideas are remarkably congruent with Derridian writing. I draw to a close with a brief Conclusion, summarizing my findings in each of the chapters and placing Derrida's scriptural model of ,language' in relation to more general notions of complex dynamics and translation systems in, for example, the fields of cybernetics and biology. Finally, I end with a comprehensive Bibliography.

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The work of Jacques Ferron could well be defined by a paradox: to go forward one has to revisit one's past. Indeed, in his texts, Ferron, significantly, returns to his roots---literary and political---to understand, explain, and criticize his nation which at the time was preparing for the Quiet Revolution. Assuredly, Contes du pays incerain (1962) and Contes anglais (1964) are the two works in which are found the greatest number of references to great texts of the Western literary tradition. Ferron transposes classical and traditional Culture into his own and adapts many myths, biblical texts, and folk tales. Moreover, these two collections of tales, united in 1968 under the title Contes, but still independent of each other, allow one to understand, by their titles alone, that the author describes through them his vision of the nation, a bipolar Quebec where uncertainty is opposed to Englishness. From there it is only a short step to linking the present to the past: defining uncertainty and Englishness---signs of the collections' identity, signs, ultimately, of Ferron's vision of the nation---by looking into the processes of reactualization of Ferron's literary roots. Using an approach based on John J. White's method, this thesis proposes a mythocritical reading of Ferron's Contes. This approach allows one to retrace the path the author followed to understand his society. To understand Ferron's vision of the nation developed throughout his texts, one has to go back to the author's literary sources; to know to what extent uncertainty and Englishness are opposed, one has to analyse how each collection of tales transforms and gives new meaning to the myths and legends that are the foundation of the Western culture.

This thesis attempts to analyse both the characteristics and the presuppositions that constitute the writing of the philosopher and literary critic, Jacques Derrida. / More concretely, this analysis proposes to bring out the principal factors that illustrate the form of writing and thought in Glas. Glas is a real laboratory where Derrida plays with the "text" and the broken form of thought. / Derrida proves that the broken form of writing can neither achieve the status of oeuvre nor protect its own literary nature.

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