Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T21:56:38Z (GMT). No. of bitstreams: 1 Tamaru_MarliNaomi_M.pdf: 312166 bytes, checksum: c98fa18bb34cec3809bed43c47e3a8ae (MD5) Previous issue date: 2004 / Mestrado

Étudier les plaisirs féminins dans la littérature française de la Renaissance, c’est d’abord faire le constat d’une pluralité de représentations qui se regroupent autour d’un même enjeu, celui de l’honnêteté. En raison d’une forte tradition misogyne, il est en effet difficile pour une femme de concilier cet impératif social avec le plaisir. Les textes que nous étudions (récit, poésie, littérature d’idées) sont toutefois portés par une dynamique entre voix féminines et voix masculines, qui contribue à faire émerger un discours nouveau sur le plaisir féminin que nous nous proposons d’étudier. La première partie étudie les plaisirs dans l’espace conjugal. Celui-ci fait de la volupté féminine, dans la relation entre époux et dans l’adultère, à la fois une nécessité et une déviance. La deuxième partie s’attache à l’espace social et interroge les plaisirs de cour : les échanges amoureux influencés par l’amour courtois, le néo-platonisme et le pétrarquisme, et les divertissements collectifs, de la danse à la conversation. La troisième partie, consacrée à l’espace de soi, se dégage de la morale sociale dont les deux premières parties sont tributaires pour proposer une réflexion sur le plaisir comme accomplissement de soi dans la maternité, le savoir, la spiritualité et l’écriture.

The deictic property of pronouns, words that stand for proper names and only take on referential status in the context of a specific utterance, is a fascinating area of study inasmuch as pronouns are pivotal to the construction of a sense of subject. The process of constructing the literary self is especially problematic as it also involves the equivocal placement in time and space of the written subject. This thesis examines that process In relation to the way two contemporary women writers make use of first- and second-person pronouns in two texts, and in so doing proposes a theory of women's first-person fiction as a subversive strategy to write outside the dominant patriarchal ideology. Part I: When "I" speak(s) to "you", not only does the text mark empty spaces to be filled, offering up literary béances as signposts to ravishment, but reader, text, and writer also participate in a triadic exchange of personal positions that turns the fixed origo of the deictic "I, here, and now" into another twist of the kaleidoscope, a temporary tableau of subjectivity. When "I" speak(s) to "you", language converts into speech by making the personae the dramatic necessity of the linguistic act; but literary speech localizes itself within a context that is endlessly locatable: with every reader and every reading, a different instantiation. By writing letters to their children, diaries to themselves, or literary products that exclude themselves from main-stream genres, women find in the false dialogism of "you"-addressed monologues a way of sustaining the illusion that one can write outside of patriarchal ideologies by denying the arbitrariness of the sign. "S/he" is patently a fictional construct, and the third person the venerable mode of epic and novelistic narration. When I speak to you, we seemingly short-circuit that channel and make of our communication both a detour around the symbolic order and a transparently direct line to the Other. Part II: In Oriana Fallaci's Lettera a un bambino mai nato this direct line is an umbilical cord, and her speech a series of lessons told as fables. The unnamed "you" makes possible the transmission of personal experience in a form that seems harmless and childish. Fallaci makes her work innocuous by stripping it of references to time, place, or person, so that the journalist, a chronicler of public History, is able to don the mask of private writer communicating personal history. This act is made possible by the equivocal functioning of the pronouns. Part III: Marguerite Duras, a self-avowed exile from writing at the time she wrote the three Aurélia Steiner texts, and, above all, from writing as a coherent story with well-crafted characters that develop along the linear exigencies of beginning, middle and end, finds in the peripatetic nomination of "you" and "I", an opening to a "post-Holocaust" solution to narrative. The shifting lines of Aurélia's tri-partite story are paralleled in the proliferation of "shifters" which fracture and disperse the unity of the text, preventing total mastery by the reader, while also frustrating the reader's efforts to construct a monolithic sense of self and Other. / Arts, Faculty of / English, Department of / Graduate

L’écriture de Marguerite Duras est foncièrement mythique ; son imaginaire puise dans les schémas les plus fondamentaux et les plus primitifs de la psyché humaine, puis les redispose dans l’athanor créatif intérieur, engendrant des œuvres protéiformes, à la fois extrêmement novatrices et nourries d’images archaïques fidèlement reprises ou revisitées, voire déformées ou renversées totalement. A la croisée de l’exégèse littéraire et phénoménologique (à l’image de l’herméneutique de Gaston Bachelard), de l’anthropologie (les travaux de Mircea Eliade), de la mythodologie développée par Gilbert Durand et de la psychologie des profondeurs (Carl Gustav Jung et Marie-Louise von Franz), nous proposons une étude précise et la plus complète possible des archétypes qui constellent cet imaginaire ainsi que de leur résonnance symbolique dans les textes ou les films durassiens. Cette analyse nous permettra de présenter une lecture nouvelle de l’univers scriptural, avec des outils efficaces et efficients. Il s’agira de repérer au fil des livres les symboles, de les confronter au plus grand nombre d’occurrences dans les pensées, les rites et les récits de toute culture, afin de laisser affleurer leur spécificité dans les œuvres. Si la quête de Marguerite Duras peut être assimilée à une tentative désespérée d’unir les contraires et résorber tout antagonisme, nous verrons que le style et l’univers se tournent progressivement vers un appel radical à la destruction absolue, qui modifie profondément la vision interne et la forme de l’écrit. Par l’analyse minutieuse des images dans un double corpus (le cycle indien puis la trilogie politique), nous souhaitons laisser remonter ces images fondatrices, observer leur signification tout en repérant leurs modifications essentielles au long de la production littéraire, théâtrale et cinématographique de l’artiste. / Marguerite Duras’s writing is deeply mythical; her imaginary world is rooted in the most fundamental and primitive patterns of the human psyche. She reorganizes it in the inner crucible of her creation, thus creating multifaceted works, simultaneously extremely innovative and filled with archaic images that the author uses faithfully, rewrites, twists or completely flips over. In between literary and phenomenological exegesis (like Gaston Bachelard’s hermeneutics), anthropology (Mircea Eliade’s works), Gilbert Durand’s mythodology and Carl Gustav Jung and Marie-Louise von Franz’s depth psychology, we offer a precise study, as thorough as possible, of the archetypes scattered throughout Marguerite Duras’s imaginary world as well as their symbolical echo in her texts and filmography.This analysis will enable us to present a new interpretation of her writing with efficient and effective tools. Book after book, we will spot the symbols and confront them with as many cultural rituals, thoughts and tales as possible in order to grasp their meaning in each of her works. If Marguerite Duras’s quest can be considered as a desperate attempt to bring together opposites and absorb any antagonisms, her style and her artistic world gradually turn to a radical call for complete destruction that deeply changes the inner vision and the nature of her writing. Through the careful analysis of the images in a double corpus (the Indian cycle then the political trilogy), we wish to let these founding images reach the surface, examine their meaning while underlining their crucial modifications during the author’s production in literature, theatre and cinema.

"The purpose of this paper is to draw together in one place an account of the life of this popular author-illustrator, sketches of the books which she has written and illustrated, and critical comments on her works as found in contemporary reviews. Although Marguerite de Angeli has illustrated stories written by other authors, they will not be discussed in this paper as this study is limited to the books both written and illustrated by Mrs. de Angeli. A listing of these stories, however, may be found in the Appendix"--Introduction. / Typescript. / "May, 1956." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 48-51).

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The following document is a meta-commentary on the article, "La misogynie à visage féminin: Hircan's Role as Marguerite's Anti-feminist Voice in the Heptaméron (VII & XLIX)," co-authored by Dr. Robert J. Hudson and myself, which will shortly be submitted for publication. It contains an annotated bibliography of all our primary and secondary sources and an account of writing the article. Our article examines what Marguerite de Navarre, the sixteenth-century French Renaissance author of the Heptaméron (a collection 72 nouvelles, all supposedly true stories being told by a group of ten devisants to one another), intended by her inclusion of the misogynist, Hircan. As we demonstrate, current scholarships views Marguerite as one of the first authors to create a space for women in literature, and further, that the Heptaméron was meant to serve the didactic purpose of forming young ladies' perspectives and behavior. Given this, Hircan, whose debasing views on women are shared in each of his stories and interlocutory commentaries, seems an odd devsiant for Marguerite to create; and so, we ask, why did she include him? We conclude that Hircan serves as Marguerite's straw man for the worst aspects of sixteenth-century French society, allowing her to subvert him and demonstrate how Hircan (and by extension, French society's) views towards women ought to be considered inappropriate. To support our reading, we start by explaining the historical context, demonstrating that the attitudes Hircan represents did indeed exist and were prevalent. We then show how Marguerite undermines Hircan: first, by making him so grotesque that the reader finds his views repugnant, and second, in allowing other devisants—especially Parlamente and Oisille—to use superior arguments to overturn his perspectives. Finally, we demonstrate how Marguerite uses Hircan's own tales against him, by having his fellow devisants interpret his stories completely differently from his womanizing and debasing purposes—instead find praise for women in them.

Engaging with both the materiality and visuality of the embroidered artworks by Marguerite Zorach and Elaine Reichek, this thesis analyzes the material acknowledgement, or lack thereof, of the embroidery medium in both the artists' own motivations and how the Museum of Modern Art represents and displays modern embroideries. Often perceived as old-fashioned, in both cultural and artistic frameworks there is at a times tremulous acceptance of the embroidery medium. Both Zorach and Reichek's embroideries are undoubtedly rooted in modernist ideas surrounding form, subject, and aesthetics. Expressed in thread, the concepts behind these artworks are closely stitched to the medium itself, enhanced by the textural and methodological process of embroidery. Despite this, the modes of display used by the MoMA exhibits portray a reluctance to fully embrace and acknowledge the importance of materiality in in the history of embroidery. Examining the inclusion of Zorach's The Circus in the 1938 Three Centuries of American Art exhibition alongside Reichek's 1999 solo exhibition Projects 67: Elaine Reichek displaying her When This You See… embroidery series, this thesis evaluates each artist's use of the medium and how the respective exhibitions framed the embroidered artworks. / Master of Arts / Embroidery, often perceived as a domestic or craft practice, faces cultural and artistic reception challenges when being used as a medium for modern art. Using Marguerite Zorach and Elaine Reichek's embroidered modern artworks, this thesis analyzes how the artists' motivations are translated through the Museum of Modern Art's curatorial and conceptual framework. For these two artists, the materiality, physical processes, and cultural history of the embroidery medium provide grounding contexts for their individual artistic production. This emphasizes that artistic motivation for the use of embroidery is inherently tied to the physical and contextual qualities of the medium, rather than being a simply coincidental choice of medium. Despite this, the MoMA, while not wholly ignoring the material qualities of embroidery and the intimate connection between artist, materiality, and process, does not fully acknowledge and exhibit these closely stitched connections. Analyzing how the MoMA displayed Zorach's The Circus in the 1938 and Reichek's When This You See… embroidery series in 1999, this thesis delves into the cultural forces informing the MoMA's exhibition framing of embroidery alongside how each artist's use of the medium.

De nombreux dramaturges contemporains manifestent un intérêt surprenant pour le fait divers, un type dřinformation considéré comme anecdotique, suscitant une curiosité morbide chez le spectateur et difficile à cerner à cause de la variété des sujets quřil aborde. La thèse fondamentale de ce travail est que, par le biais du fait divers, le théâtre cherche une confrontation avec les médias et se redéfinit, repense son rôle. Par lřanalyse des structures dramatiques (espace, temps, action, parole) dřune cinquantaine de pièces françaises publiées dans lřaprès 1968, cette étude vise à répondre à trois questions : quelles sont les représentations du monde offertes par les médias et le théâtre à travers le fait divers ? Quels sont les modes de représentations respectifs ? Quelle est la fonction du théâtre qui en résulte et en quoi sřécarte-t-elle de celle des moyens de communication de masse ? Cette thèse inclut également vingt-cinq interviews avec des dramaturges et un parcours anthologique. / Many contemporary playwrights show a surprising interest for that particular type of news item that French journalism calls Ŗfait diversŗ, which has a bad reputation for being anecdotal, arousing a morbid curiosity in the spectator and being difficult to characterise because of the variety of subjects it treats. The main focus of this work is that, through Ŗfait diversŗ, theatre seeks confrontation with mass media and redefines itself, reconsidering its role. Through the analysis of the dramatic structures (space, time, action, language) of about fifty French plays published after 1968, this study aims at answering three questions: what representations of the world do media and theatre propose through Ŗfait diversŗ? What are the respective modes of representation? What is the function of theatre stemming from them and how does it depart from the one of mass media? This thesis also includes twenty-five interviews with playwrights and an anthology.

Depuis la valorisation du corps comme site identitaire et comme langage autre dans la théorisation de l’écriture au féminin des années 1970, les représentations du corps, notamment du corps féminin, occupent la scène romanesque jusqu’à aujourd’hui. Dans cette perspective, le présent mémoire s’intéresse au corps fantomatique des héroïnes du Ravissement de Lol V. Stein de Marguerite Duras et de La Maison étrangère d’Élise Turcotte. Le corps se fait littéralement hantise chez Duras et Turcotte : il est marqué d’absence, d’étrangeté, de fatigue et d’errance, ne trouvant plus de lieu d’être ni de repères à la suite d’un événement « traumatique », dans le cas de Lol, ou à la suite d’une séparation, dans celui d’Élisabeth. Les protagonistes sont sous l’emprise d’un sentiment d’étrangeté qui spectralise le corps en introduisant un décalage dans le rapport à soi et à autrui. Ce sentiment est causé en partie par une mémoire défaillante qui fragmente leur identité. C’est par un travail mémoriel que Lol V. Stein et Élisabeth tenteront de résoudre la hantise de leur histoire individuelle et familiale. Le texte fait écho à la corporalité fantomatique – mise en scène selon diverses représentations du corps dématérialisé – en se spectralisant à son tour par l’inscription des « blancs » dans l’écriture. Le processus d’effacement des corps sera mis en parallèle avec une spatio-temporalité elle aussi marquée par la hantise du passé. La spectralité apparaît, dans le récit contemporain au féminin, pour témoigner d’une identité (cor)rompue par la rupture ; celle-ci devient prétexte à une réflexion sur la manière d’habiter son corps et d’un être-au-monde à repenser. / The 1970s have seen the body become a stronghold of identity and offer a new language for the theorization of women’s writing. Since then, representations of the body, especially of the female body, have taken over the novel. In that perspective, this dissertation studies the ghostly body of two heroines in Le Ravissement de Lol V. Stein by Marguerite Duras and La Maison étrangère by Élise Turcotte. Their bodies are marked by absence, eeriness, tiredness and wandering, unable to fully exist within a world that has lost its bearings following a “traumatic event” for Lol and the end of a relationship for Élisabeth. The protagonists suffer from an eerie sensation that essentially “spectralises” the body by revealing a gap in their relationship to themselves as well as to others. This sensation is caused in part by a failing memory which breaks up their sense of self. Trying to work through these memory faults, both Lol and Élisabeth aspire to solve the dread of their personal and familial history which seems to be at the root of their ghostly, uncomfortable grasp on their own body. The text echoes back to the spectral corporeality – staged by different representations of the dematerialized body – through « blanks » left within the writing. The process by which the bodies seem to vanish or disappear can be closely associated with a particular spacio-temporality, itself tainted by a haunting past. Spectrality occurs, in women’s contemporary fiction, to express an identity compromised by the ending of a relationship ; this particular event becomes the pretext for a reflection about how one inhabits not only their body, but also the world it binds them to.