Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Thesis--Catholic Univ. of America. / Bibliography: p. 199-208.

The controversial play Waiting for Godot by Samuel Beckett is a play in which nothing but waiting really seems to happen. Throughout the play, the two characters Vladimir and Estragon continue waiting for Godot despite the fact that he never comes. While they are waiting they appear to conduct absurd and meaningless exchanges and games to pass the time. This essay explores the nature of the waiting for the absent character Godot: what is implied by this persistent waiting and what is the result of them doing so? The essay tries to explain the waiting through exploring the ideas of habit. Furthermore, it also deals with existential theories of consciousness and meaning through the ideas of Sartre. The essay argues that the meaning of the play emerges through the two characters’ act of waiting, and that the seemingly meaningless activities that Vladimir and Estragon perform are highly important as they provide the two characters with their raison d’être. The essay also shows that the two characters’ existence is dependent on Godot, because through the acknowledgement that he exists and in the hope that he will come to save them, they create their own rationale for waiting, regardless of it being true or not. Thus Vladimir and Estragon are able to create their meaning by choosing to continue waiting for Godot. They are also able to create this meaning through the conscious interaction between their surroundings and one another by the games they play while waiting. The essay also argues that the waiting is a conscious choice, and that the seemingly unreflective habitual games they play are as well. Furthermore, the choice of waiting is then reflected in the audience by their conscious choice to watch the play and join the character in their waiting for Godot. Thus, Beckett has created a play in which the focus is the experience and meaning of waiting, regardless of whether the one on which we are waiting will come or not.

A Thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfIlment of the requlrements for the degree of Doctor of Philosophy / This thesis sets out to study one ".................." episodes in Marcel Proust's monumental work, A la recherche du temps perdu. Since its conception in the cahier 29 of 1909, "la mort de la grand-mere" ("the death of the grandmother") constituted one of the major articulations in the novel, and was destined for the last volume, LeTemps retrouve. In the succeeding versions of the novel, the episode was shifted to Le Cote de Guermantes and given functions which Proust modified in the light of changes made to the volume and to the novel as a whole. the novel had, by 1918, grown from three to five volumes and, at the time of its publication in 1920, Le Cote de Guermantes, as well as the episode in question, was divided into two as a result of editorial pressure on the author. (Abbreviation abstract) / Andrew Chakane 2018

Mesmo sendo este um trabalho que conjuga relações entre a arte fotográfica de Hiroshi Sugimoto e a arte literária de Marcel Proust, fotografia e literatura não se confundem na intenção de justificar a obra de Sugimoto como uma ilustração da obra proustiana. O elo comum entre elas é a representação do tempo, mas não o tempo espacializado, alvo de uma racionalização histórica provocada pela ciência e pela metafísica, mas um tempo que se perpetua no fluxo contínuo da sua duração. Analisaremos alguns dos trabalhos do fotógrafo que lidam de maneira mais próxima com as ideias de tempo, duração e memória: Dioramas, Theaters e Seascapes. Nosso objetivo é investigar como a obra subverte assuntos tão indissociáveis a esse meio ótico mecânico - como a relação da imagem com o real e do corte fotográfico - colocando em evidência discussões em pauta na experiência pós-moderna acerca de um horizonte temporal irremediavelmente comprimido. / Even though this is a work that brings together the photography art of Hiroshi Sugimoto and the literary art of Marcel Proust, photography and literature don´t get mixed up in the attempt to show Sugimoto´s work as an illustration of Proust´s work . The link between them is the representation of time. However, it is not the spatialization of time, historically rationalized by science and metaphysics, but instead, it is a time that perpetuates in the continuous flow of its duration. We will analyze some of the photographer\'s work that most closely deals with the ideas of time, duration and memory: Dioramas, Theatres and Seascapes. Our goal is to investigate how the work subverts such key and indissociable subject matters to the optic mechanical mean -such as the relation between image and reality, and the photographic cut- illustrating discussions of the post-modern experience on the temporal horizon hopelessly compressed.

Mesmo sendo este um trabalho que conjuga relações entre a arte fotográfica de Hiroshi Sugimoto e a arte literária de Marcel Proust, fotografia e literatura não se confundem na intenção de justificar a obra de Sugimoto como uma ilustração da obra proustiana. O elo comum entre elas é a representação do tempo, mas não o tempo espacializado, alvo de uma racionalização histórica provocada pela ciência e pela metafísica, mas um tempo que se perpetua no fluxo contínuo da sua duração. Analisaremos alguns dos trabalhos do fotógrafo que lidam de maneira mais próxima com as ideias de tempo, duração e memória: Dioramas, Theaters e Seascapes. Nosso objetivo é investigar como a obra subverte assuntos tão indissociáveis a esse meio ótico mecânico - como a relação da imagem com o real e do corte fotográfico - colocando em evidência discussões em pauta na experiência pós-moderna acerca de um horizonte temporal irremediavelmente comprimido. / Even though this is a work that brings together the photography art of Hiroshi Sugimoto and the literary art of Marcel Proust, photography and literature don´t get mixed up in the attempt to show Sugimoto´s work as an illustration of Proust´s work . The link between them is the representation of time. However, it is not the spatialization of time, historically rationalized by science and metaphysics, but instead, it is a time that perpetuates in the continuous flow of its duration. We will analyze some of the photographer\'s work that most closely deals with the ideas of time, duration and memory: Dioramas, Theatres and Seascapes. Our goal is to investigate how the work subverts such key and indissociable subject matters to the optic mechanical mean -such as the relation between image and reality, and the photographic cut- illustrating discussions of the post-modern experience on the temporal horizon hopelessly compressed.

No description available.

No description available.

L’argument initial, le laboratoire romanesque, fait glisser la thèse de la perspective “le roman et la science” à celle de "la science du roman". En présentant la Recherche comme observatoire et laboratoire humain et littéraire, le roman émerge autant comme outil de perception que comme objet d’investigation. Le premier chapitre montre l’intérêt du roman pour la science et les innovations technologiques, ainsi que les similitudes entre l’écriture et la démarche scientifique. La place des objets du quotidien dans la confection de l’œuvre ouvre la porte à la partie subjective du réel, aussi cruciale pour le narrateur qu’une description objective ou scientifique de phénomènes tel le passage du temps. La Recherche explore les zones inconnues du temps par le biais du sensible, déstabilisant ainsi le postulat de la relativité temporelle comme intrinsèquement scientifique. Apparaît une matière temporelle dont la nature change en fonction de la subjectivité du narrateur. La Recherche dévoile une relativité temporelle proprement romanesque qui remet en question la primauté d’une réalité scientifique par rapport aux vérités se dégageant des interstices textuels, et amorce la disparition de la chronologie au profit de l’organicité de l’œuvre. Ce désencrage temporel doublé du désengagement de l’auteur permet à une neutralité productive de s’épanouir et d’offrir une vision du monde inattendue. Le choix du neutre est observable dans la peinture des entre-deux masculin-féminin, la description presque comique des amitiés remodelées par l’affaire Dreyfus, et la particularité du style proustien. C’est grâce à cette neutralité que l’œuvre atteint un morcellement épistémologique productif ouvrant la voie à un renouvellement du genre romanesque. Le dernier chapitre répond à la question «que reste-t-il de Proust?». La fragmentarité, la plasticité du roman et la place de la fiction dans la cohésion narrative de la Recherche ressortent d’œuvres qui adoptent également un mode d’écriture autobiographique métissé. Cette nouvelle voix autobiographique se délivre du carcan de la confession et de l’introspection grâce à l’imaginaire. En brisant le pacte autobiographique, le souci d’authenticité s’évanouit laissant s’épanouir au-delà du canon le démon romanesque, et ouvrant la boîte de Pandore ou sur des réalités dérisoires ou sur un mode de l’intériorité. / Romance Languages and Literatures

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