This thesis analyzes the effects of the design strategies Mordecai Richler employs in three novels--Son of a Smaller Hero (1955), The Apprenticeship of Duddy Kravitz (1959), and St Urbain's Horseman (1971)--with a view to exploring his thematic concern with morality in the modern world. After briefly examining some of the inadequacies of an exclusively text-centred critical approach to Richler's fiction--a critique informed by the writings of Wolfgang Iser--the thesis outlines and then applies an alternative reading model that emphasizes the role of textual design and reader response in the production of literary meaning. The Introduction outlines Iser's theories of the reading process and the role of the implied reader. The ensuing three chapters explore the effects on readers of the design strategies of the three novels. These novels form a group that traces the life of one man, exploring the various moral dilemmas he faces on the journey from youth to adulthood. Thus, Richler's novels encourage readers to formulate and to defend their own moral positions in relation to the fictional worlds and characters while reflexively enacting the difficulty of making moral judgments.

Cette these porte sur le futurisme, un mouvement artistique avant-gardiste qui s'est eclos surtout en Italie et en Russie au debut du 20$\sp{\rm e}$ siecle. Ce mouvement a ete influence par le neo-impressionnisme et le cubisme danse le domaine de la peinture, tandis que dans celui de la poesie, il a remplace le symbolisme. Ulterieurement, le futurisme a influence le dadaisme. Plus precisement, cette these presente deux poetes dont les oeuvres ont subi les influences a la fois de la peinture et de la poesie. Les oeuvres sur lesquelles cette these se penche ont ete choisies pour tenir compte des deux branches importantes du futurisme, l'italienne et la russe, ainsi que de l'interpenetration entre la peinture et la poesie. Ces oeuvres sont les poemes IIBopeu C. N. IIIyKUH (Palais S. I. Scukin) et FaHR (Bain Russe) de Vasilij Kamenskij, ainsi que Apres la Marne, Joffre visita le front en auto et Le soir, couchee dans son lit, Elle relisait la lettre de son artilleur au front de F. T. Marinetti. Cependant, le poids de la recherche repose sur le poete russe etant donne que cette these se devoue a la litterature russe.

quesQuien mato a Palomino Molero? (1986) has received little attention by critics and scholars. What criticism does exist contributes to a panoramic, and in certain cases, fragmentary view of the novel, but little to an understanding of its deep structure, narrative functioning and content. This thesis attempts to fill the gap in existing critical approaches by proposing a new reading based on a reassessment of the author's conception of literary creativity (chapter I), an analysis of the detective genre and its use by the author to illustrate the socio-political condition of Peruvian reality (chapters II and III), and an examination of the novel's narrative functioning from a narratological perspective (chapter IV). The main conclusions of my study are as follows: First, Vargas Llosa, in this work, takes his personal experiences as the stimulus and substance (he calls them "the demons") for the novel's story and problematics. Second, both partially in adopting and transgressing the detective story structure, the author efficiently projects that story and the economic realities of the 1950s. Third, the world-vision that thus emerges is one of a society deeply fractured and divided. Fourth, in the case of quesQuien mato a Palomino Molero?, this world-vision is mainly conveyed through the focalization of the character-focalizer Lituma, and the appropriate use of a privileged, heterodiegetic narrator, mimetic discourse, and indirect free discourse. Fifth, both the adoption and the transgressions of the detective story structure, as well as the narratological components efficiently articulate the expression of the aforementioned world-vision by the implied author. quesQuien mato a Palomino Molero? thus constitutes a meaningful quest novel that convincingly shows that, in the world presented, all quest for truth by the underprivileged sectors of society, whenever it jeopardizes the interest of the privileged ones, inevitably ends in failure. (Abstract shortened by UMI.)

Abstract Not Available.

According to modern criticism, one of the most interesting aspects of Conversacion en la Catedral (1969), is the use of narrative techniques, although very few critics have analyzed this aspect in detail. A central technique in the narrative semiosis of the novel is the interference--in some parts of the novel-of the voices of the characters on the voice of the narrator, and--in other parts--the partial or total avoidance of such an interference. This thesis attempts to fill the gap in the existing critical approaches by studying these interferences or avoidance, and also its contribution to the ideological expression that the narrator-implied author projects in the novel, as well as the reference to the historical reality of Peru (1948-56). The main conclusion of my study supports the proposed thesis: the interference of the voices, or its avoidance, effectively contributes to the expression of the text ideology, which in turn does not limit itself to the textual diegesis, but rather projects itself to the real world of the Peru Odriista. (Abstract shortened by UMI.)

This thesis examines the cross-linguistic realization of three Case types identified on the basis of the information they encode. Grammatical Case encodes information about grammatical roles, lexical Case encodes a fixed semantic interpretation which is lexically linked to a specific morphological Case, and semantic Case encodes contextually determined referential information. Inflectional features are identified as inherent, specified in the citation form of lexical items, or derived, requiring specification only in the syntax. The proposed Case type classification and feature distinction are used to examine a variety of Case-related phenomena including quirky subjects and existential constructions. The study of quirky subjects reveals that they are locative predicate modifiers of stage-level predicates. Although marked with oblique lexical Case, their syntactic properties indicate that they are in the structural position associated with the grammatical Case of the subject. The Case patterns observed in this context demonstrate the possibility of an overt grammatical-lexical Case combination, and of the morphological realization of grammatical Case on an NP which is not in a grammatical Case position. The study of English existentials reveals similarities to the quirky subject construction particularly with respect to a locative interpretation of the expletive subject, and the possibility of a grammatically Case-marked postverbal NP. The postverbal NP in this construction exhibits a grammatical-semantic Case combination. Cross-linguistically, the sematic Case feature of the NP in existential constructions interacts with other morphosyntactic factors, and exhibits varied morphological realization, surfacing as a Case marker and/or an article. The examination of these and other Case-related phenomena reveals confusion about interpretation based solely on a particular Case-marking, and highlights the importance of examining the information encoded, especially when transferring morphological-based assumptions from one language to another.

A l'epoque de la Revolution tranquille, le Quebec assiste a l'emergence d'une nouvelle ecriture. Un aspect de la litterature de cette periode n'est toutefois pas suffisament pris en consideration: l'etude du lecteur devant et dans le texte litteraire. A travers un corpus restreint, les romans de Gerard Bessette publies entre 1958 et 1965, nous nous proposons d'etudier le lecteur de cette epoque. De La Bagarre, premiere tentative de roman realiste, a L'Incubation, veritable reprise de La Route des Flandres de Claude Simon, en passant par Le Libraire et Les Pedagogues, se manifeste une evolution tres nette du destinataire. Afin de rendre compte de cette evolution, l'etude s'appuie, en particulier, sur la sociopoetique d'Alain Viala. Cette sociopoetique vise a apporter une double contribution: d'une part, elle permet de lire la dimension sociale des romans de Bessette du point de vue de la reception; d'autre part, elle constitue une premiere tentative de reponse a la question suivante: a qui le roman de la Revolution tranquille s'adresse-t-il?

Abstract not available.

Abstract not available.

Abstract not available.