Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’être. / This thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal.

The object of the Bachelor Thesis is the modernistic experiments in Gertrude Stein’s and Jon Dos Passos’ creative works. The aim of the present research is to analyze the modernistic experiments in Gertrude Stein’s and John Dos Passos’s creative works. In order to achieve the aim the following objectives have been set: 1) to present and analyze theoretical material concerning modernism; 2) to analyze modernistic experiments in Gertrude Stein’s and John Dos Passos’s creative works; 3) to compare G. Stein’s and J. Dos Passos’s artistic linguistic experiments and creative means. The methodology applied in the present Thesis included: 1) the historical-comparative method was applied in order to review and compare the definitions of literary modernism in different countries; 2) Ihab Hassan’s concept of modernism, which helped describing the phenomenon of modernism and specifying its basic peculiarities, and 3) the theory of comparativistics that allowed determining the correlation of literary modernism and non-linguistic discourses. In the Bachelor Thesis modernistic experiments were treated as the linguistic experiments with language, words and their meaning, grammatical and syntactical forms, way of narration and text composition. For practical analysis G. Stein’s “Tender Buttons” (1914) and J. Dos Passos’s “The 42nd Parallel” (1930) were chosen. In the course of the research the scientific literature concerning the theoretical background of modernism appearance, the variety... [to full text] / Bakalauro darbo objektas – modernistiniai eksperimentai Gertrude’s Stein ir Johno Dos Passoso kūryboje. Darbo tikslas – analizuoti modernistinius eksperimentus Gertrude’s Stein ir Johno Dos Passoso kūryboje. Tikslui pasiekti buvo nustatyti šie uždaviniai: 1) Apžvelgti ir analizuoti mokslinę literatūrą apie modernizmą kaip istorinį kultūros raidos etapą; 2) Nagrinėti modernistinius eksperimentus Gertrude’s Stein ir Johno Dos Passoso kūriniuose; 3) Palyginti Gertrude’s Stein ir Johno Dos Passoso naudojamus kalbinius eksperimentus bei kūrybos būdus. Bakalauro darbo metodologiją sudaro: 1) Istorinis lyginamasis metodas, kuris naudojamas įvairių šalių literatūrinio modernizmo apibrėžčių apžvelgimui ir palyginimui; 2) Ihabo Hassano modernizmo koncepcija, kuri taikoma modernizmo fenomeno aprašymui bei jo pagrindinių ypatumų nustatymui; 3) Komparatyvistikos teorija, leidusi apibrėžti literatūrinio modernizmo ir neliteratūrinių diskursų sąsajas. Šiame darbe modernistiniai eksperimentai traktuojami kaip lingvistiniai eksperimentai su kalba, žodžiais ir jų reikšmėmis, su gramatinėmis bei sintaksinėmis formomis, su pasakojimo būdais ir teksto kompozicija. Praktinei analizei atlikti buvo pasirinktas Gertrude’s Stein kūrinys „Švelnios sagos“ (1914) ir Johnno Dos Passoso romanas „Keturiasdešimt antroji paralelė“ (1930). Tyrimo metu buvo analizuota teorinė literatūra apie modernizmo atsiradimą, jo ideologines nuostatas bei chronologines ribas. Identifikuota šių reiškinių įvairovė... [toliau žr. visą tekstą]

This Master of Arts by research was comprised of two components: creative practice (60%) and a written thesis (40%). The creative practice was partially represented in an exhibition of paintings, drawings, photographs and artist books entitled Traces, held at WiseART Gallery, 166 Ann St, Brisbane, March 2005. The written component is represented in this manuscript. This case study illustrates the creative process of an individual artistic practice through intuitive inquiry, which utilized self-observation methods such as painting, drawing, photographing, bookmaking, exhibitions, journaling, questioning and mindfulness. Intuitive inquiry is outlined as the predominant method of both the phenomenon of art making in this case, as well as the method used to study the creative process. The concept of intuitive inquiry as a research method, by its similarity to this particular creative process, was well suited to studying its delicate, preconscious, internally reflective and reflexive activities. Intuitive inquiry also underpins the exceptional, transformative experiences of the artist, which are often excluded from conventional empirical research. The results of this study demonstrate that it is through the hermeneutic interpretations of process, product and dialogue that a deeper understanding of the creative process is gained. The hermeneutic model of creative process that emerged (Fig 4.14) will assist others in a deeper understanding of how creative process can be utilized in generating new knowledge. More importantly, it is this creative interpretive process that can lead to transformative experiences, which encourage both the artist and the audience to search for a deeper engagement with each other and the world.

No description available.

Notre mémoire prend en charge de re-conceptualiser notre nouvel environnement audio-visuel et l’expérience que nous en faisons. À l’ère du numérique et de la dissémination généralisée des images animées, nous circonscrivons une catégorie d’images que nous concevons comme la plus à même d’avoir un impact sur le développement humain. Nous les appelons des images-sons synchrono-photo-temporalisées. Plus spécifiquement, nous cherchons à mettre en lumière leur puissance d’affection et de contrôle en démontrant qu’elles ont une influence certaine sur le processus d’individuation, influence qui est grandement facilitée par l’isotopie structurelle qui existe entre le flux de conscience et leur flux d’écoulement. Par le biais des recherches de Bernard Stiegler, nous remarquons également l’important rôle que jouent l’attention et la mémoire dans le processus d’individuation. L’ensemble de notre réflexion nous fait réaliser à quel point le système d’éducation actuel québécois manque à sa tâche de formation citoyenne en ne dispensant pas un enseignement adéquat des images animées. / This thesis re-conceptualizes our new audio-visual environment and analyses the experience we make of it. In the digital age marked by the dissemination of moving images, we circumscribe a category of images which we see as the most likely to have an impact on human development. We call it synchrono-photo-temporalized images-sounds. Specifically, we seek to highlight their power of affection and control by showing that they have some influence on the process of individuation, an influence which is greatly facilitated by the structural isotopy between the stream of consciousness and the flow of motion images. By examining the research of Bernard Stiegler, we also note the important roles attention and memory play in the process of individuation. This thinking makes us realize how the current education system in Quebec fails in its mission to give a good civic education by not providing an adequate teaching of moving images.

The Diploma thesis Organic composition in 20th century abstract Art, Music and Literature aims to explain the gradual process of liberalization of expressive means in Arts, Music and Literature during the 20th century. It describes the picture's emancipation from the dependence on objective reality, particularly V. Kandinsky's way towards abstract expressionism. In Music it traces A. Schonberg's development of the free atonality, and the stream of consciousness technique of J. Joyce in literature. The thesis' second part will be dealing with various manifestations of the organic composition after WWII- action and informal painting in the USA and Europe with its qualitative change. A musical and literal paralel to the principal of organic order will also be briefly introduced on the example of E. Brown's and J. Cage's aleatoric music and the spontaneous writing of J. Kerouac. Selected artistic personalities will be put into socio-cultural context of their time. As a result there comes a complex picture of the organic composition development process, suitable to be used as a source of information for teachers. The didactical part of the thesis will be focused on the possibility of using the given topic in the educational environment.

No description available.