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This thesis studies the works of Gabrielle Roy in an attempt to bring to light both the continuity and the evolution that characterize the novelist's writing. To do so, her works have been divided into four groupings. The first, composed of Bonheur d'occasion, La Petite Poule d'Eau and Alexandre Chenevert, identifies the poles of a paradox around which all of Roy's subsequent novels are articulated: disenchanted realism and idyllic chronicle are bridged, in an ironic mode, through the story of the Montreal bank teller. / The second grouping, also governed by this principle of alternation whereby each book seems to be the contrary of the one that precedes it, examines works of autobiographical inspiration (Rue Deschambault and La Route d'Altamont) and allegorical, almost didactic narratives (La Montagne secrete, La Riviere sans repos). / The novels that form the third grouping no longer oppose each other but rather bear the signs of a reconciliation that will only be realised fully in Roy's autobiography, La Detresse et l'Enchantement. Cet ete qui chantait, Un jardin au bout du monde, Ces enfants de ma vie and De quoi t'ennuies-tu, Eveline? combine work of autobiographical inspiration and third-person narratives, eliminating the barriers between the realistic, ironic and idyllic universes. / To each distinct form chosen by the author correpond a particular voice and a specific style of writing, which, although differing from book to book, nonetheless share common elements: doubt and hesitation, oppositions, questionings and interrogations. These are indicative of a new paradox, lodged in the writing itself, and which reveals itself through the co-presence of opposing perspectives. The different voices and the points of views they express reappear in La Detresse et l'Enchantement and Le temps qui m'a manque, which make up the fourth and final grouping. In her autobiography, Roy integrates these voices in order not to merge them into one, but to allow them to express themselves in a first-person plural narrative.

Closely linked to the notion of God, spirituality dominates throughout Gabrielle Roy's writings. The characters speculate about the meaning of life and death, about good and evil. Of all Roy's writings, it is undoubtedly in Alexandre Chenevert that these searching questions are most expressly depicted. / In this thesis, we will study the manner in which the romantic background of Alexandre Chenevert reflects the religious experience of post-war French Canadians. Under the guise of distorted images, the novel does, in fact, hide an abundant network of themes referring to the religious context of the 1940's-1950's. This period was marked by challenging the ecclesiastical authority. The study of Alexandre Chenevert, a genuine sociological document, will allow us to understand the role religion played in the evolution of the French Canadian society.

Mémoire (M.A.) - Université du Québec à Trois-Rivières, 2002. / Bibliogr.: f. 232-248.

Thesis (M.A.)--Dept. of Journalism, University of Wisconsin. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 150-152).

Texte remanié de: Th. État--Philosophie--Paris--École des hautes études en sc. sociales, 1992. Titre de soutenance : Architecture et représentation : figuration d'un modèle antique. / Bibliogr. p. 219-220. Index.

Made available in DSpace on 2014-06-11T19:32:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-14Bitstream added on 2014-06-13T19:21:21Z : No. of bitstreams: 1 camargo_lmc_dr_arafcl.pdf: 4212129 bytes, checksum: 50fa4f58f8d18fc6016ee1ed375a6bc2 (MD5) / Este estudo apresenta uma análise da obra The God of Small Things, da escritora indiana Arundhati Roy (1961), na qual ficção e episódios históricos, relativos às conseqüências da colonização inglesa na Índia, mesclam-se em um espaço e tempo míticos, favorecendo uma análise baseada na Teoria da Narrativa Poética, conforme a formulação de Jean-Yves Tadié (1978). Com esse enfoque, são examinados vários aspectos ligados à narrativa como personagem, narrador, espaço, tempo, mito, estrutura e estilo, buscando compreender as vozes lírica e social da obra, que ecoam em seu universo híbrido, composto de elementos da cultura oriental e da ocidental. / This dissertation presents an analysis of the book written by the Indian writer Arundhaty Roy (1961), entitled The God of Small Things, in which, fiction and historical facts related to the consequences of the British colonization in India are brought together in a mythical setting that favors an analysis based on the theory of the lyrical novel, as presented by Jean-Yves Tadié (1978). With this approach, aspects related to the narrative genre, such as, character, narrator, setting, myth, structure and style are explored in order to reveal the lyrical and social voices that eco in its hybrid universe that mingles eastern and western cultural traits.

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>Doctor Literarum - DLit / Roy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.

This thesis takes its cue from Roy Fisher's comment, in 1971, that his poems are 'to do with getting around in the mind'. This getting around, however, is not quite the simple process of 'propositions or explorations in aesthetic ideas', which Fisher suggests. This thesis discusses the relationship between Fisher's poetry and the empirical reality which his poems actually do describe and engage with. The thesis suggests that this engagement is of a mystical nature, in which Fisher's sense of linguistic play is allied to an acute awareness of instabilities in both the self and the empirical world. Such play in language and content makes Fisher's poetry a unique site, in contemporary poetry, for his further engagement with a mystery which is ineffable. Yet, this ineffability is held and controlled by Fisher so that it does not have a theological teleology. Fisher's poetry does not point towards a mystery which finds its manifestation and exploration in ways which are recognised within a contemporary religious framework. The thesis is organised into four chapters. The first chapter outlines some of the history and context of Roy Fisher's writing. It outlines the early critical reception of Fisher's first substantial publication, City, and his publications in the nineteen sixties. It then discusses some of the interviews that Fisher has given. These interviews are placed in the context of the critical reception of Fisher's work, during this time, that aligned Fisher with the avant-garde and 'Linguistically-Innovative' poetry of the period. In the second chapter, the thesis examines Fisher's relationship with the 'self' in his poetry. In the light of a sense of instability perceived in the self in Fisher's writing, the idea of the 'mystical' is introduced and defined. This is particularly relevant in the light of Fisher's tussles with the empirical world. A further exploration of the 'other' in Fisher's poetry is undertaken in the third chapter, which examines Fisher's relationship with the urban, the abject and the woman. In the final chapter, Fisher's long poem from 1986, A Furnace is discussed in the light of the foregoing, to highlight its own exploration of mysticism. The second half of the thesis consists of a portfolio of original poetry