L'étude que voici a pour but d'élaborer la façon dont peut être traitée, à partir de plusieurs aspects différents, la compréhension spécifique de Marcel Proust concernant l'identité, notamment dans le roman À la recherche du temps perdu. Dans la première partie, nous allons essayer de lier la question de l'identité à la déclaration de Proust selon laquelle sa tendance dès le début était de créer une suite des romans de l'inconscient, une déclaration qui tout de suite change la compréhension rationnelle de la définition de soi. Nous allons lier l'inconscient aux affects, désirs et passions qui sont élaborés dès le début de la création proustienne, à travers ses récits où s'ouvrent ces thèmes par leur relation aux processus de l'inceste, du parricide ou du matricide. La deuxième partie aborde le problème d'une différente identification, celle qui introduit le sujet d'abord dans le réseau de l'histoire, puis dans le réseau de la société. La période concrète de l'histoire française sert à capter grâce à la narration le conflit des passions du niveau individuel (les personnages) au niveau collectif (les groupes). Nous abordons aussi le problème de la vérité historique et de son orientation vers la fiction et le mythe. Dans la troisième partie seront placés tous ces moments de l'œuvre qui témoignent de la perte de soi, de l'absence de la représentation ou de l'image de soi et l'insuffisance de la narration dans la fixation des identités. D'abord, seront mentionnés les expériences de rêve et des sphères les plus proches à l'inconscient, puis la recherche de soi à travers l'autre qui dans l'amour se reconnaît comme une mission impossible, et qui dans la tentative d'atteindre l'être de l'autre, le perd irréversiblement ou obtient seulement les fragments qui ne sont pas susceptibles d'être composés comme une histoire.Comme une transition vers la conclusion seront analysées les conditions proustiennes pour comprendre l'être, n'importe s'il s'agit du social ou du plus intime, du genre ou de la religion, reconnues dans son intérêt pour la philosophie. Au lieu de l'ontologie ou de la foi, chez Proust sera essentielle la création artistique, qui, après toutes les péripéties de l'identité et des exemples de sa destruction, va vivre sa renaissance par la création, et nous pouvons faire un retour vers le début de l'exposition et dire que ce qui est atteint à la fin est exactement le processus de la métamorphose, de la renaissance de tous les phénomènes et événements vivants à travers le texte. / The purpose of this study is to elaborate the way in which In Search of Lost Time can be treated, from several different aspects, the specific understanding of the author concerning identity, even if his Narrator never explicitly mentions such a project, he rather leaves us as readers to organize the implicit system of literary figuration that is offered.We define at first the theoretical preliminary concept, before situating Proust in a new perspective of metamorphosis as a changing and living form which corresponds to his understanding of phenomena and which is not exclusively submitted to the rational philosophical formula of identity, but includes the literary principle of Proustian transubstantiation - the process of transfer of all emotions, affects, feelings and passions in a creative text.In the first part, we tried to link the question of identity to the Proust's statement that from the beginning his tendency was to create a serie of novels of the unconscious, a statement that immediately changes the rational understanding of the definition of the self. We linked the unconscious to the affects, desires and passions that are developed in the beginning of Proust`s creation, in his short stories where these themes are opened through their relationship to the processes of incest, the parricide or matricide.The second part addresses the problem of a different identification, which introduces the subject in the context of history, then in the context of society. The actual period of French history serves to Proust to show once again the course of the conflict of passions on individual level (the characters) and on the collective level (the groups).The third part is somehow an opposition to the previous, and if the claim of the definition of self in society was seen as a mistake and lie to oneself, in the third part will be placed all those moments of the work that reflect the total loss of the self, the absence of representation or self-image. First will be mentioned the experiences of the dreams and the spheres that are closest to the unconscious, afterwards the self-seeking through the other in love who is recognizable as an impossible task, and who in his try to reach the being of the other, loses himself irreversibly or obtains only fragments that are not likely to be composed as a story. As well as in the previous part, the abolition of the truth will represent here one of the conditions of the impossible identity of the characters. In this section will be developed also the phenomena of gender identity and the concept of sin which joins it according to Proust, through the two characters of Charlus and Albertine who represent the sexual division, which will became later also a mental division.As a gateway to the conclusion will be analyzed the Proust`s conditions to understand the being, no matter if it is a question of the social or of the most intimate, the gender or the religion, recognized in his interest in philosophy. Instead of the ontology or the faith, in Proust will be essential the artistic creation, which, after all the vicissitudes of identity and the examples of its destruction, will live its rebirth through the creation, and we can make a return to the beginning of the exposure and say that which is attained at the end is exactly the process of metamorphosis, the rebirth of all living phenomena and events through the text.

Detta arbete syftar till att undersöka verksamma historielärares uppfattning om narrativ historieundervisning. Den didaktiska pendeln har svängt i takt med de trender som färgat undervisningen och den narrativa traditionen har kommit och gått. Narrativ undervisning är ett omdiskuterat ämne men dess fördelar har sedan 1980-talet etablerats i allt större utsträckning, trots det lyser den berättande läraren med sin frånvaro i majoriteten av de svenska klassrummen. Den befintliga forskningen kring narrativ historieundervisning har sällan riktats mot verksamheten på mellanstadiet, vilket denna studie har haft som huvudsakligt fokus. Under de genomförda intervjuerna beskriver verksamma historielärare på mellanstadiet hur de förhåller sig till narrativ historieundervisning samt hur de upplever att narrativ undervisning påverkar deltagande individer. Utifrån den samlade definitionen av narrativitet, vilken grundar sig på teoretiker som Rüsen, Karlegärd och Fines, analyseras intervjuerna. Studien visar att verksamma historielärare har en mycket bred syn på begreppet narrativitet och gärna använder sig av externa medier hellre än att bedriva den klassiska formen av narrativ undervisning. Trots att den berättande läraren verkar lysa med sin frånvaro ser de intervjuade lärarna mycket positivt på andra former av narrativitet i klassrummet och har ambitioner att utöka detta arbete ytterligare, men att yttre faktorer gör att de känner sig begränsade.

There has been relatively little scholarship to date on Mahler’s Kindertotenlieder. The writings about this song cycle that do exist primarily focus on the disparate nature of the poems and justify Kindertotenlieder as a cycle by highlighting various musical connections between the songs, such as keys and motivic continuity. Mahler, however, has unified the cycle in a much more complex and sophisticated way. His familiarity with Wagner’s music and methods, and his mastery of the human voice and orchestral voices allowed him to weave a dramatic grief-laden narrative.

Bibliography: pages 74-77. / This paper represents a study of contemporary narrative theory in relation to the late style of Henry James. Using the work of various narrative theorists it examines the concepts of the Narrator, Speech Representation, Focalization and Figural Narration. This is the main emphasis of part I. The work of the different theorists is examined selectively in order to give a concise but comprehensive summary of the chosen narrative concepts. Part II of the dissertation deals with the relationship of Henry James to the ideology of modernism. The modernist notions of 'showing' and 'telling' are discussed in relation to the narrative theory of part I. This section also deals with James's notions of dramatization, foreshortening and impersonal narration. The narrative style of Henry James's later novels is discussed in relation to the concepts of narrative theory examined in part I. Furthermore, part II examines the difficulties James faced m constructing his narratives and how they are manifested as discrepancies in his novelistic project. The specific facets discussed are those of the effacement of the authorial narrator and the representation of consciousness; this discussion also deals with James's approach to these facets of narrative representation. Part III consists of an examination of selected 'Prefaces' to James's novels, and discusses these as a reflection of James's ideas of narrative. It combines parts 1 and II in a discussion of James's notions of narrative, and utilizes the contemporary narrative theory to order to illuminate some of these notions. In order to show how James utilized certain narrative techniques an analysis of extracts from The Wings of the Dove is undertaken. This section examines James's use of the Narrator, Speech Representation, Focalization and Figural Narration. Part III also deals with the extent to which James succeeds in his project and furthermore, shows that certain narrative devices James employed contradict his notions of dramatization and objectivity.

Rares sont les occasions pour le père de faire entendre sa voix dans le roman français contemporain. Alors que le récit de filiation a pris une ampleur sans précédent dès les années 1980, offrant aux fils et aux filles la possibilité de questionner leur ascendance, la figure paternelle est de longue date sommée de garder le silence. Le fait n’est pas nouveau : la littérature fut à maintes reprises le témoin d’une paternité tenue à distance de l’intimité familiale, victime de l’image tenace d’un patriarche, autoritaire et injuste, progressivement dépossédée de ses pouvoirs par l’Histoire. À l’approche du XXIe siècle cependant, les sciences humaines manifestent un intérêt soudain pour le sujet ; considérant le silence du père, la sociologie, la psychologie, l’histoire mais aussi la littérature s’interrogent : quelle place, quel rôle et finalement quelle identité doivent être aujourd’hui accordés au père ? Parmi la rumeur grandissante, le principal intéressé, pressé de questions, peine à se hisser sur le devant de la scène pour prendre la parole. Il convient dès lors de prêter attention à l’exception du père-narrateur et d’enquêter sur les modalités d’une telle émergence dans le roman contemporain. L’analyse appuyée sur un corpus de romans de quatre écrivains – Philippe Forest, Laurent Mauvignier, Gisèle Fournier et Sylvie Gracia –, mêlant écrits fictifs et autobiographiques, a permis de définir les caractéristiques d’un phénomène inédit introduisant une réflexion nouvelle sur la paternité, en ce qu’elle répond de l’incertitude de l’individu contemporain, mais aussi de la paternité littéraire et des enjeux de l’écriture contemporaine. L’étude pose pour cela dans un premier temps les contextes historiques et génériques de la paternité en confrontant les points de vue proposés par les sciences humaines et ceux résultant de l’approche littéraire. La structure de la narration paternelle est ensuite observée de manière à comprendre comment advient la parole du père et le fonctionnement spécifique de celle-ci. Enfin la dernière partie s’attarde sur la singularité de la voix paternelle et sur ce qui, visant à rendre compte du réel, s’apparente à un jeu littéraire sans fin, entraînant côte à côte, écrivain, personnages et lecteur. / In the contemporary French novel, the father has few opportunities to be heard. While there have been an increasing number of stories about filiation since the 1980's, giving sons and daughters the possibility of questioning their ancestry, the father figure remains silent. Nothing is new here: literature often shows the father being kept away from the private sphere of family life, the father being a victim of the enduring patriarchal image and of his lost authority. At the turn of the 21st century, however, the humanities and social sciences suddenly began to take an interest in the topic. Looking at the father's silence, sociology, psychology, history, and also literature ask the question: what place, what role, and, in the end, what identity should be given to the father? In the midst of this growing discussion, the key player pressed by questions struggles to make his way into the foreground and take the floor. If eventually he introduces himself as a narrator, this should be noted and the forms of such an emergence in the contemporary novel should be investigated. An analysis based on the novels of four writers – Philippe Forest, Laurent Mauvignier, Gisèle Fournier et Sylvie Gracia – blending fictional and autobiographical works, allows us to define the features of an unprecedented phenomenon leading to new ideas about being a father today in terms of how it reflects the uncertainty of the individual in society, and also about the authorship of the work (“paternity”) and its issues in contemporary writing. This study first lays out historical and generic contexts of fatherhood by addressing the points of view offered by the social sciences and those derived from the literary approach. The structure of the paternal narration is then observed in such a way to allow an understanding of what's behind the father's words and how they work. Finally, the last chapter focuses on the singularity of the paternal voice and on that which, attempting to take account of reality, lends itself to an endless literary game, carrying away author, characters, and readers

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Multimedia content, e.g., sound files, interactive demos, and video files, has been widely used in digital courses to provide an easy to use format and to emphasize the ideas. In this work, we address aspects of generating multimedia contents automatically in digital courses. In particular, we focus on two types of automatically generated multimedia: interactive glossaries and sound files. Glossaries play a major role in enhancing students' comprehension of the course core concepts. Glossary terms have complex interrelationship that cannot be fully illustrated by standard approaches, e.g., including all the terms as a linear, alphabetized list. To overcome this limitation, we introduce an interactive design for the glossary terms using concept maps. Glossary terms are visualized as nodes in graphs and their relationships are included on the edges. We implement these concept maps within the OpenDSA e-textbook system. A concept map associated with the selected term is generated on demand. We evaluate the effectiveness of our design by comparing student use of our concept-map based glossary to the traditional alphabetized list. We have designed new exercises that target the comprehension of the glossary terms to make students familiar with the concept maps. Our other work generates sound files automatically to supplement text narration in slide shows. This is made feasible by the widespread availability of text-to-speech generators in web browsers. To this end, we designed an interactive narration tool and integrated it into the OpenDSA library. In this way, all slide shows automatically have their text augmented with narration. / Master of Science / Recently, there has been an increase in the use of multimedia contents in digital courses. Multimedia files, e.g., sound files, interactive demos, and video files, are used in digital courses to provide an easy to use format and to emphasize the ideas. In this work, we address aspects of generating multimedia contents in digital courses. In particular, we focus on two types of automatically generated multimedia: interactive glossaries and sound files. Glossaries play a major role in enhancing students’ comprehension of the core concepts in the courses. In general, glossary terms have complex interrelationship that cannot be fully illustrated by standard approaches, such as the alphabetized list. To overcome this limitation, we introduce an interactive design for the glossary terms using concept maps. In this design, glossary terms are visualized as nodes in graphs and their relationships are included on the edges. We implement these concept maps within the OpenDSA e-textbook system to be generated on demand. We evaluate the effectiveness of our design by comparing student use of our concept-map based glossary to the traditional alphabetized list. We have designed new exercises to make students familiar with the concept maps. Our other work generates sound files automatically to supplement text narration in slide shows. This was motivated by the widespread use of text-to-speech generators in web browsers. To this end, we designed an interactive narration tool and integrated it into the OpenDSA library so that all OpenDSA slide shows can benefit from the narration tool.

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La première section de ce mémoire consiste en un scénario de long métrage original axé sur la psychologie des personnages et la narration non fiable. Moi en joie raconte le quotidien d'un jeune homme désillusionné, Jean-François. Sa rencontre avec une demoiselle mystérieuse éprise de poésie le sort brièvement de la monotonie. La seconde section est consacrée à un essai sur la narration non fiable au cinéma. Ce court essai vise dans un premier temps à définir la narration cinématographique en explorant plusieurs théories. Dans un deuxième temps, l'essai se concentre sur la non-fiabilité au cinéma. Dans un troisième temps, il se penche sur l'analyse de trois longs métrages américains connus pour leur narration non fiable et du scénario de Moi en joie.