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This thesis attempts a study of the published plays of Rejean Ducharme. Apart from the fact that they have both been published, Ines Peree Inat Tendu et HA!ha!... form a coherent whole because of their shared place in the history of contemporary Quebec theatre. Associated from the beginning with the claims made by the "New Quebec Theatre", Ducharme's plays are now part of the repertory. / The first chapter examines the textual forces that allow one to trace the narrative structure in Ducharme's dramatic writing. It also describes the different actantial models as well as the mechanisms that regulate their function. / In the second chapter, an analysis of the characters adds a layer of significance to the analysis of the actants and reveals to us the "small world" of Ducharme's plays. The actants take shape, becoming characters who establish ties among themselves. / The third chapter describes the universe in which these "unusual" characters evolve. Space and time throw referential precariousness into relief which in turn, gives a sense of meaning and non-meaning to different objects as well as to the logic of events. / Finally, the fourth chapter deals with the discursive process and, more particularly, with the initiations that stem from the dialogues. With the advent of theatrical communication, the spectator or the narratee is also initiated into Ducharme's theatre where he or she re-assumes his or her place. (Abstract shortened by UMI.)

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This thesis discusses a major dimension of Ducharme's novels which critics have generally evoked only in the form of analytical outlines, and in order to suggest directions for research. / Bakhtin's work in the formal study of ideology presents fertile ground for description of Ducharme's text. The specificity of Les enfantomes lies in the representation of the play of ideology's discursive forms: pastiche and satire of literary doctrines, parody of texts, of discourses and of the commonplace, presence of potentially conflicting literary doctrines. In terms of methodology, the dialogic principle is perfectly suited to the development of narrative semiotics. Accordingly, Hamon's notion of effet-ideologie makes it possible to describe those areas where ideology appears on the textual surface as normative-evaluative devices integrated in the text. In terms of analytical procedures, the narrative text may be approached as a construction whose specificity resides in the way it reacts to social discourses which it at once absorbs and transforms (Zima). Furthermore, the sociolinguistic context in which the novel is born fosters the emergence of plurilinguism (Kwaterko).

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L'ecole selon Rejean Ducharme offers a new view of Ducharme's widely acclaimed novels. Through analysis of three of the author's major works (Le Nez qui voque, L'Hiver de force and Va savoir ), we will discover Ducharme's fascination with the function of formal education as embodied in the cultural structure of the school and we will see the central role that this issue plays throughout his various narratives. Although unexplored by academics, Ducharme's vision of the school touches an significant number of issues at various levels of complexity. In our introduction, we examine the challenge of defining the issues and the scope of the school, and we consider a variety of frameworks for our analysis. The initial portion of the thesis itself takes us through Ducharme's writings, following the thread of this theme and identifying important references. Following this inventory, our second section examines the ways Ducharme's school addresses issues of authority in popular culture through its vision of Literature and History. We also see links to the other classic ducharmian themes of "subversion and salvation". Finally, we propose a model of the fanciful ducharmian school as it emerges from the text of these three novels. Our summary looks at Ducharme's ultimate observation, that in his school, lessons are never fully learned and school is never over.

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