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By studying the modes by which dialogue is inscribed in Le Cote de Guermantes, as well as the way it operates within the narrative discourse, we show that the sociolectal realism of this novel is derived mostly from the inscription and the circulation, within the fictional discourse, of pragmalinguistic and socio-ideological presuppositions obtaining in the "faubourg Saint-Germain" of the French III$ sp{ rm rd}$ Republic. Indeed, this novel absorbs and reproduces, in addition to a limited number of socially marked words or expressions, the role relationships, the power relationships, and, especially, the discursive strategies of the real world aristocratic ideology. Furthermore, this study demonstrates that if Proustian intratextual utterances undergo many systematisations, distortions and subjectivations promoting the insertion, within the dialogal component, of functional and structural characteristics of the description which modify the temporality of real dialogue and introduce pragmatico-structural modifications unthinkable in the real world, these systematisations, distortions and subjectivations partake of the text's aesthetic and ideological presuppositions, that is the anti-mimetism both of the characters' discourse in novels and of literature, the incapacity of language to reveal the truth directly.

<p>This dissertation explores the modernist novel's response to the Bildungsroman. Through extensive close readings of the three modern versions of the genre -- In Search of Lost Time by Marcel Proust, The Magic Mountain by Thomas Mann, and Ferdydurke by Witold Gombrowicz -- it shows that the tensions buried deep in the unconscious of this great narrative of organic development finally erupt as formal problems in modernism, when the classical Bildungsroman meets its demise through a relentless dehumanization of form. If the classical Bildungsroman presents us with "the image of man in the process of becoming" as Bakhtin has suggested, it argues that the modernist Bildungsroman enacts the dissolution of that process in its very form.</p> / Dissertation

In Proustian aesthetics, the act of reading constitutes a fundamental activity in the elaboration of Remembrance of Things Past. The representation of each art form which the novel proposes to synthesize (architecture, painting, and literature) is based on intertextual relationships that unite texts from non literary (Ruskin, Male), literary (Sand, Sevigne, Racine) and philosophical (Schopenhauer) sources, that contribute to a general conception of art that reintegrates the problem of the reception of art works in the context of an essentially literary experience. In accordance with Hans-Robert Jauss' theory, the presence of such texts enables the reconstitution of the reader's expectations, and provides the context for the multiple representations of the work of art. Consequently, the implicit and explicit interrelations between the Proustian text and its intertext, perceived as an indication of the readers liberty, introduce different strategies of reading into the novel. Not only does the narrative, through its characters, offers a series of examples that are didactic in nature, but the use of quotations creates dynamics that underscores the specificity of the Proustian act of reading and its interdependence on the act of writing. The reception of the text implied by the Proustian reading of the work of art therefore contributes in making Remembrance of Things Past, not a dogmatic exposition of a theory, but rather a long quest through literary creation for knowledge that transcends Plato's idea of the transmission of meaning through art and of communication through the act of reading.

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Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 24-25).

Dissertation--Philosophischen Fakultät--Rheinischen Friedrich-Wilhelms Universität, 2003-2004. / Bibliogr. p. [341]-355. Notes bibliogr.

Thesis (Ph. D.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 337-349).

Thesis (M.A.)--University of Delaware, 2006. / Principal faculty advisor: Margaret Werth, Dept. of Art History. Includes bibliographical references.