The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul. / Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers. / Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.

Résumé: Ce mémoire consiste en une étude du récit de rêve chez deux auteurs qui ont fait partie du mouvement surréaliste dans leur jeunesse littéraire : Michel Leiris et Raymond Queneau. Dans ce travail, on tente d’une part de décrire la poétique du rêve chez Leiris et Queneau, par diverses analyses qui empruntent surtout à la narratologie et à la linguistique textuelle. D’autre part, nous mesurons la part d’influence du surréalisme dans la conception du rêve de chacun des deux auteurs. Le premier chapitre présente la conception surréaliste du rêve, plus particulièrement celle d’André Breton, telle qu’elle est exposée dans le premier Manifeste du surréalisme et dans les Vases communicants. Cette synthèse est suivie de l’analyse de quelques récits de rêve de Breton issus du recueil Clair de terre, et du périodique la Révolution surréaliste. Les deuxième et troisième chapitres abordent l’écriture du rêve chez Leiris et Queneau. On étudie d’abord les récits de rêve écrits alors que ces auteurs appartenaient au mouvement surréaliste (1924-1929). Ces textes se trouvent dans leurs journaux intimes et dans la revue la Révolution surréaliste. Sont ensuite étudiées certaines œuvres écrites après la période surréaliste qui contiennent des récits de rêve ou qui exploitent le rêve comme structure narrative. Par ces analyses, ce mémoire tente de montrer la contribution du travail sur le rêve à l’élaboration de la poétique personnelle des auteurs Leiris et Queneau. Mots clefs : récit de rêve, Michel Leiris, Raymond Queneau, surréalisme, littérature française. / Abstract: This memoir consists in a study of dream narratives made by two authors who belonged to the surrealist movement in their youth : Michel Leiris and Raymond Queneau. For one, we will describe the dream poetics by Leiris and Queneau, with different analyses on narrative styles and textual linguistics. Secondly, we will determine how much the surrealism influenced each author in his conception of the dream. The first chapter presents the surrealist conception of the dream, particularly with André Breton, as detailed in the first Manifeste du Surréalisme and in Les Vases Communicants. This synthesis is followed by the analysis of some dream narratives by Breton from Clair de Terre and from La Révolution Surréaliste. The second and third chapters are devoted to Leiris and Queneau’s writing of dreams. We will first study their dream narratives as they were part of the surrealist movement (1924-1929). These texts are found in their personal journals and in the publication La Révolution Surréaliste. After, we go through and compare some texts written after the surrealist period that contain dream narratives or use the dream as a narrative structure. With these analyses, this memoir tries to demonstrate the contribution of the dreams and the elaboration of the poetics styles of Leiris and Queneau. Key words : dream narrative, Michel Leiris, Raymond Queneau, surrealism, french litterature.

Cette thèse concerne la pensée de trois auteurs qui s’interrogent quant à la manière dont les philosophes politiques devraient procéder pour en arriver à comprendre et à juger les phénomènes politiques de manière adéquate : Raymond Geuss, Chantal Mouffe et Pierre Manent. Plus spécifiquement, elle se propose d’étudier les critiques que ces derniers dirigent à l’endroit de l’approche dominante en philosophie politique contemporaine et qui est à leur avis le mieux exemplifiée par l’œuvre de John Rawls. Aux yeux de ces derniers, cette approche, qui consiste essentiellement à s’engager dans une réflexion abstraite sur la nature de la justice définie comme l’ensemble des droits politiques dont les citoyens devraient légitimement pouvoir jouir, souffre d’un important manque de réalisme, c’est-à-dire qu’elle reflète très peu la délibération dans laquelle les citoyens et les hommes politiques doivent concrètement s’engager pour faire face aux problèmes politiques réels. Dans un premier temps, l’auteur expose les objections que Geuss, Mouffe et Manent formulent contre la philosophie rawlsienne et il présente les fondements de la pensée de ces trois auteurs. Il s’efforce ensuite de vérifier si leur critique du normativisme abstrait en philosophie politique nous permet toujours de penser un certain fondement aux jugements politiques.

This thesis evaluates metafictional self-reflexivity, and presents it within the scope of certain structuralist and post-structuralist approaches especially by referring to William Gass&rsquo / definition of metafiction and Raymond Federman&rsquo / s theories on the devices of metafiction. Then aspects of the works of William Gass&rsquo / Willie Master&rsquo / s Lonesome Wife and Laurence Sterne&rsquo / s The Life and Opinions of Tristram Shandy are discussed within this framework.

Thèse (M.A.)--Université Laval, 2008. / Bibliogr.: f. [124]-133. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Ce travail propose l’analyse compositionnelle du roman Le Diable au corps, écrit et publié par Raymond Radiguet en 1923. Nous serons amenés à dévoiler les éléments diédigétiques du récit par les méthodes traditionnelles narratologiques, pour en suite pouvoir mettre en oeuvre un second type d’analyse dévellopée par Sthéphane Lojkine et son groupe de recherche en France. Nous exposerons, alors, les pas évolutifs du genre romanesque et son esthétique sous la lumière de la théorie de scène romanesque et dispositifs de représentation. Cette méthode comprend la scène du roman comme un mécanisme vital pour l’assimilation du récit et essaie de dévoiler ses moindres opérations qui se mettent en fonctionnement dans la construction du sens de l’oeuvre. Le style d’écriture de Radiguet, son roman comme un produit exceptionnel comparé aux courants esthétiques de l’époque, nous avait offert un matériel excellent pour l’application des théories des dispositifs, comme nous proposons de démontrer ici. / Este trabalho propõe a anàlise composicional do romance Le Diable au corps, escrito e publicado por Raymond Radiguet em 1923. Seremos impelidos à apurar os elementos diegéticos da narrativa através dos métodos narratológicos tradicionais, para em seguida podermos realizar um segundo tipo de análise desenvolvida por Sthéphane Lojkine e seu grupo de pesquisa na França. Demonstraremos, então, os passos evolutivos do gênero romance e sua estética sob a luz das teorias de cena romanesca e dispositivos de representação. Este método concebe a cena de romance como um mecanismo vital para a assimilação da história e tenta precisar com minúcia seus processos internos colocados em funcionamento na construção de sentido da obra. O estilo de escrita de Radiguet, principalmente seu romance comme um produto excepcional comparado às publicações que seguiam as correntes estética s da época, se nos ofertou como um excelente material para a aplicação das téorias dos dispositivos tal como nos dispusemos à verificar aqui.

Esta dissertação analisa o universo discursivo das obras de Raymond Carver, focando-se especialmente no silêncio e em como ele cria mecanismos de significação nos contos do autor. O objetivo principal é analisar a presença recorrente, nos contos de Carver, de personagens que podem ser classificados, culturalmente, como losers. Para embasar este trabalho, amparo-me nas teorias da Análise do Discurso Francesa e em seus pressupostos acerca do sujeito, história e língua. A questão do silêncio é analisada tomando como base as teorias desenvolvidas por Orlandi. Espera-se concluir que os personagens de Raymond Carver, no decorrer da carreira do autor, evoluem, passando de excluídos, sem voz e sem poder de discurso — características marcantes na fase minimalista; para uma fase de maior autonomia discursiva e inclusão social — mais frequente na fase final da sua carreira. / This dissertation analyzes the discursive universe of the fictional works of Raymond Carver, focusing specially in the role of silence and on how it creates mechanisms of signification in the short stories of the author. The main goal of this dissertation is to analyze the recurrent presence, in the short stories of Raymond Carver, of characters that can be classified, culturally, as ―losers‖. To support this paper, I use the theories of French Discourse Analysis and its presuppositions about language, subject and history. The issue of silence is analyzed with the endorsement of the theories developed by Eni Orlandi. I expect to conclude that the characters of Raymond Carver, throughout the career of the author, evolve, passing from excluded subjects who have no voice and no discursive authority — characteristics that are evident in the minimalist phase of the author; to a phase where the characters have a more significant discursive autonomy and social inclusion — characteristics that are more frequent in the final phase of Carver‘s career.

Made available in DSpace on 2016-08-29T14:11:23Z (GMT). No. of bitstreams: 1 tese_4660_Felipe de Oliveira Fiuza.pdf: 369187 bytes, checksum: 96583c5175d693658068592c041f7efe (MD5) Previous issue date: 2011-03-28 / Tendo em vista a importante contribuição dos estudos culturais e literários para o aprofundamento do debate sobre as narrativas policiais norte-americanas, este estudo pretende levantar singularidades, rupturas e questões de masculinidade(s) associadas à literatura hardboiled, de modo a fundamentar uma investigação de sua reverberação na obra de Rubem Fonseca. Para tal fim, parte-se, principalmente, dos estudos de masculinidade hegemônica empreendidos por R.W. Connell e seus comentadores, e da análise de três dos maiores expoentes fundadores do gênero, Dashiell Hammett, Raymond Chandler e Jim Thompson. Considerando essa fundação da literatura policial norte-americana, serão então analisadas quatro obras protagonizadas pelo personagem Mandrake, ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ e o romance A Grande Arte. Pretende-se, assim, observar como o autor se vale dessa tradição da literatura policial, e de suas implicações com questões de masculinidade(s), para criar uma obra de tamanha potência crítica, estilística e política. / Taking into consideration the important contribution of literary and cultural studies to the deepening of debate about North-American detective narratives, this study intends to assemble singularities, disconnections and contemporary masculinity issues associated with hard-boiled literature, aiming to substantiate an investigation of its influence in Rubem Fonseca‘s work. In order to do so, we take as a starting point the studies of hegemonic masculinities, by R.W. Connell and her commentators, and the analysis of three of the genre‘s founding fathers, Dashiell Hammett, Raymond Chandler and Jim Thompson. Considering the foundation of North-American detective novel, four works which has Mandrake as its main character will be analyzed : ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ and the novel A Grande Arte. Seeking to observe how the author utilizes the hard-boiled tradition and its implications in masculinities issues in order to create a work of enormous critical, stylistic and political potency.

Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014Bitstream added on 2014-11-10T11:57:36Z : No. of bitstreams: 1 000795833.pdf: 1501359 bytes, checksum: 3884749ac712f967a563903dd826e742 (MD5) / O presente trabalho tem por objetivo discutir as ideias pedagógicas de Murray Schafer. Consideramos “ideias pedagógicas” a filosofia educacional que orienta e que é substância da atividade prática de ensino. Por meio de revisão bibliográfica de obras de Schafer, de periódicos especializados e de literatura relacionada a estas obras, formatamos três eixos centrais que permeiam suas ideias pedagógicas: a ecologia, a experiência espiritual e a experiência estética. Cada um deles foi considerado como consequência de um desdobramento histórico, o qual gera concepções filosóficas a partir de um processo de contradição entre ideias. Sendo assim, discutimos a ecologia e a experiência espiritual por meio da dicotomia entre o pensamento mecanicista e o pensamento ecológico, isto é, a relação ligação/separação entre o homem e a totalidade. A experiência estética foi considerada pelo prisma educacional, e analisada pela dicotomia entre as correntes pedagógicas que partem de um ideal de homem para erigir propostas educacionais (pedagogias da essência) e as que tomam o homem como ele realmente é (pedagogias da existência). Toda esta análise foi relacionada à obra de Murray Schafer, inserindo-o no contexto das referidas dicotomias. Isso nos mostra, tanto a construção de sua visão de mundo, quanto a estrutura, os objetivos e as reflexões que subjazem a sua prática educacional. Suas ideias pedagógicas apontam para um padrão de interação entre os eixos discutidos: a sacralização da experiência estética da paisagem sonora como mediadora da relação ecológica entre o indivíduo e o todo, ou seja, uma relação espiritual entre a arte e o indivíduo como meio de conexão entre ele e a totalidade, entendida aqui da perspectiva ecológica. Pretendemos que este trabalho auxilie na atividade pedagógica de professores que tomam as concepções educacionais de Murray Schafer ... / This study aims to discuss the pedagogical ideas of Murray Schafer. “Pedagogical ideas” are here understood as the educational philosophy that guides and composes the practice of teaching. Through the bibliographic review of Schafer‟s work, alongside specialized periodicals and related literature, three central axes that comprise his pedagogical ideas are proposed: ecology, spiritual experience and the aesthetical experience. Each of these axes was considered as a result of a historical development that generates philosophical conceptions from a process of contradictions between ideas. Thus, we discuss the ecology and spiritual experience through the dichotomy between mechanistic thinking and ecological thinking, i.e. the connection/separation relationship between man and the whole. The aesthetic experience was considered by the educational perspective, and analyzed by the dichotomy between the pedagogical currents that are based on an ideal of man to build educational proposals (pedagogies of essence) and currents which take man as he really is (pedagogies of existence). This analysis was correlated with the work of Murray Schafer, inserting the author in the context of these dichotomies. With this, we can observe the construction of his worldview, as well as the structure, objectives and considerations which underlie his pedagogical practice. His pedagogical ideas show a pattern of interaction between the axes discussed: the sacralization of the aesthetic experience of soundscape as a mediator of the ecological relation between the individual and the whole, i.e. a spiritual relationship between art and the individual as a means of connection from the singular to the total, understood here from an ecological perspective. This study intends to assist the pedagogical activity of teachers that employ the educational conceptions of Murray Schafer in the teaching of music, hoping that by providing ...

Ce travail propose l’analyse compositionnelle du roman Le Diable au corps, écrit et publié par Raymond Radiguet en 1923. Nous serons amenés à dévoiler les éléments diédigétiques du récit par les méthodes traditionnelles narratologiques, pour en suite pouvoir mettre en oeuvre un second type d’analyse dévellopée par Sthéphane Lojkine et son groupe de recherche en France. Nous exposerons, alors, les pas évolutifs du genre romanesque et son esthétique sous la lumière de la théorie de scène romanesque et dispositifs de représentation. Cette méthode comprend la scène du roman comme un mécanisme vital pour l’assimilation du récit et essaie de dévoiler ses moindres opérations qui se mettent en fonctionnement dans la construction du sens de l’oeuvre. Le style d’écriture de Radiguet, son roman comme un produit exceptionnel comparé aux courants esthétiques de l’époque, nous avait offert un matériel excellent pour l’application des théories des dispositifs, comme nous proposons de démontrer ici. / Este trabalho propõe a anàlise composicional do romance Le Diable au corps, escrito e publicado por Raymond Radiguet em 1923. Seremos impelidos à apurar os elementos diegéticos da narrativa através dos métodos narratológicos tradicionais, para em seguida podermos realizar um segundo tipo de análise desenvolvida por Sthéphane Lojkine e seu grupo de pesquisa na França. Demonstraremos, então, os passos evolutivos do gênero romance e sua estética sob a luz das teorias de cena romanesca e dispositivos de representação. Este método concebe a cena de romance como um mecanismo vital para a assimilação da história e tenta precisar com minúcia seus processos internos colocados em funcionamento na construção de sentido da obra. O estilo de escrita de Radiguet, principalmente seu romance comme um produto excepcional comparado às publicações que seguiam as correntes estética s da época, se nos ofertou como um excelente material para a aplicação das téorias dos dispositivos tal como nos dispusemos à verificar aqui.