Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Dans ma thèse “León de Greiff y la tradición literaria” je fais une étude du concept de « Tradition » dans l’œuvre poétique de l’un des plus importants écrivains colombiens du XXème siècle. Je propose que l’appropriation greiffienne de différents éléments provenant de diverses sources littéraires – comprenant la littérature orientale, la poésie médiévale européenne, la poésie française symboliste –, défie la notion classique du concept de «tradition». Pour De Greiff, celle-ci constitue un espace individuel d’autocréation construit à partir d’affinités esthétiques et philosophiques, et non sur la base d’une continuité chronologique ou une appartenance géographique. L’approche théorique de notre étude se concentre sur les idées de Harold Bloom, T.S. Eliot et Octavio Paz. Sur la base de leurs théories j’ai essayé d’élaborer une définition alternative du concept de la Tradition. -- “León de Greiff y la tradición literaria” examines the particular concept of “tradition” underlying the work of this major XXth century Colombian poet. I contend that the appropriation of several literary and historical sources – ranging from medieval European literature, oriental sources, to the most symbolists French poets – undertaken by De Greiff challenges the classical notion of this idea. I have proposed a reading of this author’s poetry as an attempt to observe tradition as an unrestricted space of individual creation operating through aesthetic and philosophical affinities rather than strict chronological continuity. The theorical approach of my dissertation focuses on the works of Harold Bloom, T.S. Eliot and Octavio Paz. Based on their ideas I have tried to elaborate an alternative definition of the concept of Tradition.

This dissertation explores the connections that exist between Gertrude Steins late nineteenth-century psychological studies at Harvard University, her fin-de-sicle brain research at the Johns Hopkins Medical School, and her early twentieth-century cubist writings. This study is important to neuraesthetic researchers, because it appears that Stein produced a secret series of cubist brain maps from approximately 1912 to 1935, and then published her first explicit brain map in _The Geographical History of America or the Relation of Human Nature to the Human Mind_, in 1936. The cubist brain maps that Stein produced during this period can be conceptualized as evolving, neuraesthetic writing practices that reflect her complex, scientific insights and her varied, artistic associations. One of the primary differences between Steins cubist writings and those of her literary peers is that she deploys the cubist painting strategies of Pablo Picasso, for the purpose of portraying the human central nervous system. In addition to exploring the scientific meanings of Steins multidimensional, performative and introspective cubist puns, my study examines how Stein uses color in her cubist writings, as a means of anticipating the visual effects of future scientific discoveries and connectivity maps, such as the Brainbow system, which uses the fluorescent protein from the jellyfish Aequorea Victoria to label the central nervous systems of genetically modified mice with distinguishable colors. Also, this project examines how Stein uses color words and other simple devices from the English language to illustrate the brains cellular structures, neural networks and neuroanatomical features. This studys primary aim is to explore how Steins dissociative writings function within western culture as neuraesthetic modes of masterpiece creation, brain representation and consciousness translation. Through the serial production of cubist brain maps, Stein posed important questions about the modern science of the reading brain. By developing allegorical methods of brain representation, Stein contributes to the western practice of neuroesthetics by foregrounding the role that creative writing plays in the production of imaginary, laboratory practices and imaginative, brain imaging technologies.

Thesis (Ph. D.)--Wilhelms-Universität in Münster, 1914. / Vita. Includes bibliographical references in "Bücherangabe" (p. [5]-6).

Version abrégée de Th. de doct. : Paris 4 : 1993. / Includes bibliographical references (p. [457]-474) and index.

Submitted by Denize Lourenço (biblicfp@cfp.ufcg.edu.br) on 2017-12-29T13:20:42Z No. of bitstreams: 1 FRANCERLY MOREIRA BARREIRO DE ARAÚJO - DISSERTAÇÃO PROFLETRAS 2015.pdf: 1801473 bytes, checksum: a60045d4911f5b8c25551074e55efdf4 (MD5) / Made available in DSpace on 2017-12-29T13:20:42Z (GMT). No. of bitstreams: 1 FRANCERLY MOREIRA BARREIRO DE ARAÚJO - DISSERTAÇÃO PROFLETRAS 2015.pdf: 1801473 bytes, checksum: a60045d4911f5b8c25551074e55efdf4 (MD5) Previous issue date: 2015-08-24 / O encontro do aluno com a literatura deve contribuir para torná-lo um leitor mais ativo, fazendo-o refletir sobre assuntos relevantes para o desenvolvimento de sua formação leitora, a partir de análises da linguagem plurissignificativa e da busca de sentido para o que leu. Assim, este trabalho tem como objetivo geral contribuir com a promoção do letramento literário através da efetivação de práticas metodológicas organizadas por meio de sequências didáticas, sobretudo porque muitas das atuais práticas têm trazido grandes entraves para a formação de leitores na escola. Os objetivos específicos desta pesquisa visam ampliar o repertório de leitura literária em sala de aula através de propostas metodológicas com gêneros literários; estimular a proficiência da produção escrita de textos literários na escola, bem como, oferecer pressupostos teóricos aos docentes que atuam no ensino fundamental, especificamente, na disciplina de Língua Portuguesa. Para tanto, serão contemplados três pontos básicos: o primeiro se constitui de uma abordagem de como o ensino de literatura foi apresentado ao aluno numa perspectiva histórica, como é e como deveria ser esta aproximação do discente ao texto literário, de modo que os problemas que inviabilizam a formação do leitor sejam amenizados. Estas reflexões estão pautadas nos pressupostos teóricos apontados por Zilberman (2009); Zilberman (2010); Cereja (2005); Compagnon (2012); Filipouski et al (2009); Cândido (1985); Paiva (2003); Sales (2011); Cosson (2011); PCNs (1998); PCNs (2001); Azevedo (2003); Silva (2009), entre outros. O segundo ponto evidencia que a metodologia apresentada neste estudo contribuirá com a prática docente dos professores que irão trabalhar propostas de leitura e produção de textos literários no ensino fundamental II; por se tratar de uma pesquisa bibliográfica está fundamentada em Gil (2002); Cordeiro (1999); Metring (2009) e demais teóricos. O último ponto está organizado por meio de uma proposta metodológica em forma de sequências didáticas desenvolvidas a partir do poema ―Vou-me embora pra Pasárgada‖ (1930) de Manuel Bandeira (1886-1968) e da crônica ―19 de maio de 1888‖ de Machado de Assis (1839-1908). Esta proposta visa promover a discussão sobre a necessidade de elaboração e execução de atividades que privilegiem o despertar do letramento literário no ensino fundamental. / The encounter between student and literature should aim at turning him into an active reader, making him reflect upon subjects that can help his development as an individual and as a reader, through the analysis of a meaningful language and a search for meaning in what he reads. Thus, this paper has as central objective, which is to contribute to the promotion of literary literacy through methodological practices organized in the form of didactic sequences, mainly because many of current practices have brought difficulties to the formation of a proficient reader. Some of other objectives of this research are to widen student‘s literary repertoire in classroom, through methodological proposals with literary genres; to stimulate proficiency in the production of written literary texts at school, as well as to offer students theoretical support, specially concerning the discipline of Portuguese. In order to achieve these goals, three points will be discussed here: the first one will provide a historical overview about the teaching of literature, how is was, how it has been and how it should be, in order to minor the problems that have provide impediment for a better formation of a proficient reader. These discussions are based on the theoretical support of Zilberman (2009); Zilberman (2010); Cereja (2005); Compagnon (2012); Filipouski et al (2009); Cândido (1985); Paiva (2003); Sales (2011); Cosson (2011); PCNs (1998); PCNs (2001); Azevedo (2003); Silva (2009), among others. The second point shows that the methodology used in this study will contribute to a better teaching practice in the elementary stages; since this is a research of bibliographical nature, it is based on Gil (2002); Cordeiro (1999); Metring (2009), among others. The last point is organized in the form of a didactic sequence developed from the poem ―Vou-me embora pra Pasárgada‖ (1930), by Manuel Bandeira (1886-1968) and the chronicle ―19 de maio de 1888‖, by Machado de Assis (1839-1930). This proposal aims at promoting a discussion about the need of elaboration and development of activities that promote literary literacy in the elemental school.

This thesis seeks to discuss the ways in which canonical Francophone Algerian authors, writing in the late-colonial period (1945 - 1962), namely Kateb Yacine, Mohammed Dib, Mouloud Feraoun, Mouloud Mammeri and Assia Djebar, approached the representation of Algerian women through literature. The thesis, divided into five chapters, each focusing on the late-colonial oeuvre of one writer, initially makes use of Bourdieusian conceptions relating to a gendered "dissymétrie fondementale" and concomitant Spivakian notions of representation, to argue that a masculine domination of public fields of representation contributed to, if not ensured, a post-colonial marginalization of women and a reduction of their public role. However, it is the principal argument of this thesis that the canonical writers of the period, who were mostly male, both textually acknowledge their inability to articulate the experiences and subjectivity of the feminine Other, to represent women, and deploy a remarkable variety of formal and conceptual innovations in an attempt to tentatively produce evocations of Algerian femininity that seek to upset or highlight the structural imbalance of masculine symbolic hegemony in literary and socio-political milieux. Though this thesis does not shy from investigating those aspects of its corpus that produce ideologically conditioned masculinist representations, it chiefly seeks to articulate a shared reluctance concerning representativity and an omnipresent literary subversion of a masculine subject pole. It deploys formal narrative analysis, Lacanian psychoanalytical frameworks and a conceptualisation of "pessimistic" form to achieve these ends and to argue that the texts of its corpus discreetly militate for a communal feminine self-representation to be inaugurated, before outlining in its conclusion a post-colonial Algerian feminine literary tradition, in particular contemporary symbolic conduits such as la bande dessinée that might serve as effective motors for progression in gender relations.

Le titre de cette thèse renvoie, de manière explicite, au célèbre recueil de Pier Paolo Pasolini Les cendres de Gramsci. L’influence de Pascoli sur Pasolini n’explique qu’une partie du titre. Les cendres de Pascoli se réfèrent plus précisément à la réception du poète de San Mauro, avec une attention spéciale portée à ce qui reste de son travail. À cet égard, de la fin du XIXe siècle jusqu’aux années soixante du XXe, la continuité de la critique pascolienne a joué un rôle central. C’est à la fin de ce parcours qu’il nous est apparu que les différentes voix de la critique ont fini par dialoguer entre elles, en composant comme un réseau et en renvoyant au lecteur une image vivante de Pascoli et de son œuvre. Gianfranco Contini et Pier Paolo Pasolini n’auraient pas pu marquer un tournant dans la réception de l’œuvre de Pascoli s’il n’y avait pas eu au début du XXe siècle les critiques de Emilio Cecchi, Arturo Onofri ou de Renato Serra. De leurs études émerge l’image de Pascoli poète de la modernité, un aspect que Jean-Charles Vegliante réaffirme encore aujourd’hui, en soulignant jusqu’à quel point la poésie de Pascoli a continué à agir sur la littérature nationale, le Montale des Ossi par exemple, et au delà. Et cela en dépit du discrédit que les critiques de Benedetto Croce ont jeté sur l’œuvre de Pascoli, au point de le considérer le « poeta delle maestrine ».La continuité de la critique nous a permis aussi de saisir l’importance du contexte historique dans la réception littéraire. À côté de l’étude diachronique, nous avons développé un travail sur deux poèmes parmi les plus emblématiques de Pascoli – Italy (cinquième chapitre) et Gog et Magog (huitième chapitre) –, afin de comprendre les idéologies sous-jacentes aux différentes approches que nous avons essayé de reconstituer. Ce choix n’a pas été anodin, ces deux poèmes, au cœur du travail mythopoïétique de Pascoli, ayant divisé les critiques. Aujourd’hui Pascoli, dont les qualités poétiques permettent de remonter jusqu’à Dante et Pétrarque, représente un des Italiens majeurs qu’il serait important de faire mieux connaître en France. / The title of this thesis refers, explicitly, to the famous Pier Paolo Pasolini’s collection, The ashes of Gramsci. Pascoli’s influence on Pasolini explains only in part the title of the thesis. The ashes of Pascoli refers more specifically to the reception of the poet of San Mauro, together with a special attention to the effects on his work. According to this point of view, the continuity of Pascolian criticism has played a central role: from the end of the nineteenth century until the sixties of the twentieth century. It was at the end of this journey that it became clear to us that the different voices of criticism ended up interacting with each other, composing a network and giving a living image of Pascoli and his work to the reader. Gianfranco Contini and Pier Paolo Pasolini could not have marked a turning point in the reception of Pascoli’s work if he had not received the criticisms from Emilio Cecchi, Arturo Onofri or Renato Serra at the beginning of the 20th century. In their studies the image of Pascoli clearly emerges as poet of modernity, an aspect that Jean-Charles Vegliante still reaffirms today, highlighting as the poetry of Pascoli has continued to act on the national literature, for example on Montale of the Ossi, and beyond. And this in spite of the discredit that the Benedetto Croce's criticisms have cast on the work of the Pascoli to the point of considering him as the “ poeta delle maestrine”.The continuity of the criticism has also allowed us to grasp the importance of the historical context in the literary reception. Alongside the diachronic study, we have developed a work on two of the most emblematic poems of Pascoli – Italy (fifth chapter) and Gog and Magog (eighth chapter) – in order to understand the ideologies underlying the different approaches we have tried to reconstitute. This choice was not insignificant. These two poems, at the heart of the mythopoetic work of Pascoli, have divided critics. Nowadays Pascoli, whose poetic qualities make it possible to go back to Dante and Petrarch, represents one of the major Italian poets that it would be really significant to make him known in France.

This thesis presents a history of the Saltire Society Literary Awards and examines their status and role within Scotland’s literary and publishing culture. The Society was founded at a critical inter-war period during which Scottish writers, artists and cultural commentators were re-imagining Scotland’s political and cultural identity. The Society, therefore, was a product of this reformative era in Scotland’s modern history. The Society’s identity and position within this inter- and post-war reformation is reflected in the Literary Awards, which are a means by which the Society attempts to accomplish some of its constitutional aims. The purpose of this thesis is three-fold. Firstly, it has filled a conspicuous gap in modern Scottish cultural history by offering a historically accurate description of the founding of the Saltire Society in 1936 and the development of the Society’s Literary Awards up until 2015. Secondly, this thesis demonstrates how the Society’s Literary Awards function in relation to key critical discourses pertinent to contemporary book award culture, such as forms of capital, national identity and gender. Finally, this thesis proffers an in-depth analysis of book award judgment culture. Through an analysis of the linguistic and social interactions between Saltire Society Literary Award judges, this thesis is the first study of its kind which considers exactly how literary award judging panels facilitate the judgement process. What this thesis reveals is how, despite often being plagued by problems regarding finances and personnel, the Society’s Literary Awards have endured as a key feature of Scottish literary and publishing culture, so much so that they are now the only series of awards dedicated to awarding Scottish fiction, non-fiction, poetry and first books, as well as academic history and research books. Due to the persistence and enthusiasm of the Society’s administrators and literary award judges the awards have continued to thrive and evolve to accommodate developments and demands within Scottish literary culture.