No description available.

"Kinds of Spaces: Poststructural Concepts and Metafictional Appropriations" emerges from studies in structural linguistics, contemporary critical theory, and metafiction and thus moves into the realms of poststructuralism and deconstruction while developing a theory of space in writing. Its central sections attempt to conceptually and physically broaden the scope of the investigation and progress from linguistic space, via inscribed space and ontological inter-space, to erotic space. Thus, "Marking a Place of Differ( )nce" concerns the poststructural redefinition of the Saussurean model with its gap between signifier and signified in the debate between Lacan and Derrida on the "Purloined Letter"; "'a spatial displacement of words"' discusses the disruption of syntax and the ensuing dissemination of letters across the page in concrete prose, particularly as they relate to narratological displacement in Raymond Federman's Double or Nothing; "From Ear to Eye" reenacts the analogy created between sound and sight in Steve Katz's The Exagggerations of Peter Prince, which attempts an erosion of ontological and spatial boundaries in the text; "The Body, the Book, and the Supplement of Supplements" addresses the physical space between reader and book, the uniting of their bodies, and is based on Rousseau's concept of the supplement, Foucault's notion of the gaze, and Baudrillard's discussion of seduction.These central sections are framed by: "The Blank in Writing," which develops a theory of blank space in writing mostly drawing on Derridean concepts and applying them to a reading of the Mobv Dick chapter "The Whiteness of the Whale," and "The Topography of Writing," which, while focussing on the relationship between space and time, discusses Raymond Federman's The Voice in the Closet, a typographical tour de force which incorporates blank space. At the end, a "Postscript" attempts to assess the blank's sign quality as it emerges as integral constituent to each concept discussed. / Department of English

Pour le présent mémoire de maîtrise, nous avons retenu le roman de J.M.G. Le Clézio, Désert, dans lequel nous avons essayé d'analyser le temps et l'espace. Plus brièvement nous avons examiné la fonction des personnages dans ce même roman. Au cours de notre recherche, nous avons appris que l'écriture est le point de départ de la pensée de Le Clézio. La première dimension temporelle du roman est celle de l'histoire. Désert est un roman binaire. Il est divisé en deux grandes parties : l'histoire des hommes bleus et l'histoire de Lalla, jeune immigrée de dix-sept ans. La première est racontée au passé, la deuxième au présent. Le roman n'est pas construit chronologiquement, nous avons choisi le terme de mosaïque pour définir le découpage passë-présent-passé. La composition et le mode narratif permettent d'exprimer le temps ; deux niveaux temporels : le temps de la fiction et le temps de la narration. La multiplicité temporelle, c'est-à-dire temps de l'histoire et temps du récit a constitué une partie de notre étude. Le temps nous a conduit à l'espace qui s'est avéré un point essentiel de notre étude. Il n'est pas seulement le lieu où se joue l'histoire. Espace et description sont indissociables. Nous remarquons que la description chez Le Clézio est étroitement liée à la conscience et à l'état d'âme des personnages. L'espace contribue à l'élaboration de la narration. Sous des formes diverses, la description suggère la découverte de certains mythes dont nous avons analysé la valeur symbolique à travers les images présentées. La fonction des personnages n'est pas dissociable du reste de notre analyse. Lieux et descriptions expliquent les personnages. A travers leur caractère nous retrouvons uneanalyse psychologique et sociale. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

My thesis is a collection of non-fiction and fictional narratives focused on domestic space and its impact on father-daughter relationships and vice versa. In all of the narratives the notion of a house under renovation serves as a vehicle for the figurative tension between members of the family and family space. The narratives offer no internal markers to indicate whether they are fiction or non-fiction, which demonstrates my conviction that only factors external to the text---relation to fact or to imagination---can determine a narrative's status as fiction or non-fiction. / The required afterword to my narratives discusses the theoretical problem of the distinction between fiction and non-fiction as well as the living nature of material culture and space as reflections and mediators of father-daughter relationships.

Thesis (Ph.D.)--University of Tulsa, 1990. / Bibliography: leaves 223-229.

Thesis -- Departmental honors in English. / Short stories and an essay: The notion of home : an exploration of domestic setting in contemporary fiction. Bibliography: ℓ. 176-177.

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 160-165).

No description available.

Thesis (Ph.D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 511-551).