Cette thèse consiste en une étude comparée de La Montagne de l’âme de Gao Xingjian et Sur la route de Jack Kerouac ayant « la quête » comme problématique centrale. Bien qu’à première vue les deux œuvres apparaissent fort différentes, selon l’esprit de la littérature comparée, elles méritent une confrontation minutieuse et nous estimons qu’elles possèdent quantité de points communs : Premièrement, il s’agit de deux romans foisonnants qui englobent bon nombre de genres romanesques et semblant relever simultanément de plusieurs catégories : roman autobiographique, roman-géographe, roman de pèlerinage, roman picaresque, roman de mœurs, roman de méditation, et enfin roman « froid » et « sans-isme ». Par leurs différents aspects, ces deux œuvres peuvent satisfaire aux attentes de divers lecteurs. Deuxièmement, au plan stylistique, La Montagne de l’âme et Sur la route sont deux romans insolites. L’innovation de La Montagne de l’âme se manifeste par la pratique d’un mode de narration inédit, la particularité linguistique, la singularité dans la structure, l’hétérogénéité du matériau romanesque, bref par une grande originalité formelle. Quant à Sur la route, sa nouveauté se manifeste d’abord par sa création fondamentale, à savoir la prose spontanée. Elle s’exprime aussi par la particularité de la construction romanesque, l’originalité de l’écriture et la singularité du contenu. Troisième parenté fondamentale : La Montagne de l’âme et Sur la route se présentent comme deux quêtes de l’espace. Montagne, chemin et maison sont trois motifs récurrents communs à ces deux romans qui sont également deux odes aux grands espaces. Les protagonistes relatent les itinéraires parcourus en Amérique et en Chine et l’on peut voir dans ces livres deux odes aux cultures nées dans les grands espaces. À l’intérieur de ces deux œuvres, les paysages romanesques se recommandent par leur caractère pictural et polysensoriel. L’espace typographique du texte est également aménagé avec art : les deux romans sont à la fois découpés et cousus. Enfin, considérés sous l’angle de la spiritualité, La Montagne de l’âme et Sur la route peuvent être dits romans de l’âme : de nombreuses questions spirituelles y sont intégrées, posées et approfondies. L’un et l’autre traitent la quête du sens de la vie, plus précisément, la quête de l’ego (identité, soi), la quête d’un mode de vie (fondé sur le présent, la liberté) et la quête métaphysique (destin, mort, croyance). Ces quatre similitudes correspondent à quatre quêtes que les deux oeuvres déploient à leur façon : la recherche d’un genre romanesque, d’une stylistique originale, d’un espace romanesque et enfin d’un sens de la vie. / The thesis is about the comparative analysis which concern about the main concept of quest where from soul mountain of Gao Xingjian and On the Road of Jack Kerouac. Although these two books seem quite unlike, by the spiritual of comparative literature, they totally worth to be comparative studied carefully, and we think they have quite much in common.First, these two novels are both rich in connotation, they cover many of the novel categories, such as autobiographical novel, geographical novel, pilgrimage novel, picaresque novel, novel of manners, novel of meditation, the “cold” novel and non socialist novel. In different aspects, these two works can meet the needs of different readers.Secondly, in the stylistics, the soul mountain and on the road are two unusual novels. The innovation of the soul mountain is the practice of singularity of narration, the singularity of language characteristic, the singularity of structure, the heterogeneity of the material, the singularity of the form. As for on the road, the creativity of the novel based on many aspects, namely the spontaneous prose, also the singularity of characteristic of the construction, the way of writing, and the uniqueness of content.The third, the soul mountain and on the road two novels both relate as they quest the idea of space. Mountain, road and house are three common recurrent motifs which show up in these two novels, which are also odes of wide open spaces. The protagonists narrate the travel through America and China. We can discover from the two books both contain odes which point to the cultures cultivated from the spaces. In these two works, the narrations about landscapes are both pictorial and also polysensoriel. Spaces typographic of the two novels are also rearranged with art: both cut and sewn. Finally, from the perspective of the spiritual, the soul mountain and on the road can be regarded as novels of the soul: many spiritual questions are quested and thoroughly researched. The two novels both deal with the quest for the sense of life, and more specifically, the pursuit of the ego, (identity, soi), the quest for the way of life (present, liberty), the quest for the metaphysical (destiny, death, religion).These four similarities are corresponding to the four quests of these two novels: the quest of novel categories, stylistics, space, sense of life.

O objetivo dessa dissertação é a análise da produção ensaística e do conteúdo das aulas ministradas pelo jovem Samuel Beckett no final dos anos 1920 e início dos anos 1930, focando-se nas considerações do irlandês a respeito do romance modernista. O material analisado compreende essencialmente o ensaio Dante...Bruno.Vico..Joyce (1929), a monografia Proust (1931) e as anotações da aluna Rachel Burrows tomadas das aulas ministradas por Beckett na Trinity College de Dublin nos anos 1930 e 1931, compiladas e comentadas no volume crítico Beckett before Beckett (2008) de Brigitte Le Juez. Intentamos enfatizar o que há de particular e de interessado nas leituras do jovem em seu início de carreira literária, buscando dar relevo às tomadas de posições estéticas, explícitas ou implícitas, em suas críticas e em suas aulas. Da influência marcante de seu conterrâneo James Joyce, comentamos o procedimento modernista de adicionar notas intertextuais às obras literárias e a busca por uma linguagem na qual forma e conteúdo encontre máxima fusão. De Proust, realçamos a veia estrategicamente pessimista da leitura beckettiana, analisando sua exposição do conceito de Hábito, as problemáticas da percepção distorcida do objeto pelo sujeito, e a complexidade da construção da personagem literária em constante mutação. Visando ilustrar de que modo tais tomadas de posições estéticas se desenvolveram na prática de sua produção ficcional, lançamos mão também da análise de determinados aspectos de seu primeiro romance, Dream of Fair to Middling Women, escrito em 1932, mas publicado apenas postumamente em 1992. De suas aulas, debatemos a impessoalidade do narrador e a exposição da complexidade incoerente da sucessão de eventos e personagens como critérios que orientam a defesa de Stendhal e Flaubert como precursores do romance modernista e a escolha de Balzac como alvo central de suas críticas à artificialidade da concatenação plausível de eventos do romance e da coerência lógica das personagens. Por fim, debatemos as razões da escolha beckettiana de André Gide como escritor exemplar do romance modernista francês em suas aulas, levando em conta o interesse do irlandês pelas considerações de Gide sobre a obra de Dostoievsky. Concluímos indicando a importância conferida por Beckett à incorporação da crítica e à exposição da incoerência dos elementos do romance como sinais de uma afinidade a uma estética do fracasso. / The purpose of this dissertation is to analyze the critical writings and the content of the lectures ministered by the young Samuel Beckett in the end of the 1920s and the beginning of the 1930s, focusing on the considerations of the Irishman on the modern novel. The material analyzed comprehends essentially the essay Dante...Bruno.Vico..Joyce (1929), the monograph Proust (1931) and the notes taken by Rachel Burrows on Becketts lectures at the Trinity College of Dublin in the years of 1930 and 1931, as compiled and commented by Brigitte Le Juez in her critical volume Beckett before Beckett (2008). We intended to emphasize the particularities and the interests of the young man at the beginning of his literary carrier, stressing the aesthetics positions taken, explicitly as implicitly, on his criticism and his lectures. On the notable influence of his countryman James Joyce, we commented the modernist procedure of the note snatching incorporated on the literary works and the search for a language in which form and content could find its maximum fusion. On Proust, we highlighted the strategic pessimism of Becketts rendering by analyzing his exposure on the concept of Habit, the problematic of the distortive perception of the object by the subject, and the constructions complexity of the literary character constantly evolving. In order to illustrate the way in which the aesthetics positions taken developed in the practice of his fictional work, we also analyzed some aspects of his first novel, Dream of Fair to Middling Women, written in 1932, but only published posthumously. On the subject of his lectures, we discussed the narrators impersonality and the explanation on the incoherent complexity of the chain of events and characters as parameters that orientate the defense of Stendhal and Flaubert as the precursors of the modern novel and the designation of Balzac as the central target of his critics about the artificiality of the plausible concatenation of events and the logical coherence of fictional characters. Finally, we discuss the reasons of Becketts choice of André Gide as the exemplar writer of the French modern novel in his lectures, taking on account the Irishman interest in Gides considerations about Dostoevskys oeuvre. We conclude by indicating the importance conferred by Beckett on the critical incorporation and the exposure of the elements incoherence in the novel as signs of an affinity to an aesthetic of failure.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2017-12-05T11:29:48Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Phellip William.pdf: 9808108 bytes, checksum: 5bda02d255780c72862d06c76fd67ee8 (MD5) / Made available in DSpace on 2017-12-05T11:29:48Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Phellip William.pdf: 9808108 bytes, checksum: 5bda02d255780c72862d06c76fd67ee8 (MD5) Previous issue date: 2017-09-08 / O presente trabalho visa analisar a obra Daytripper (2011), de Fábio Moon e Gabriel Bá, com as cores de Dave Stewart, atendo-se aos elementos que fazem parte da temática do ser, dentro da perspectiva existencialista, da relação entre pai e filho e da morte. Para tanto, buscou-se empreender um estudo acerca da configuração da linguagem da arte sequencial, viabilizando diálogos que vão desde a sua macroestrutura, com a teoria de Thierry Groensteen (2015), até aspectos mais pontuais dos elementos internos ao quadro, utilizando-se de algumas vertentes analíticas da semiótica. Na investigação dos aspectos temáticos sobre o ser, pai e filho e a morte, concentramo-nos principalmente nos conceitos apresentados em Ser e Tempo (2012), do filósofo alemão Martin Heidegger, relacionando os argumentos com algumas obras literárias que suscitam as temáticas em questão. Reunimos, neste trabalho, os aspectos da linguagem da graphic novel que dialogam diretamente com a argumentação proporcionada por ela, unindo, na análise, forma e conteúdo. / The present work aims to analyze the work Daytripper (2011), by Fabio Moon and Gabriel Bá, and colors of Dave Stewart, attending to the elements that are part of the theme of being, the relationship between father and son and the death. In order to do so, a study was carried out on the configuration of the language of sequential art, enabling dialogues ranging from its macrostructure, with Thierry Groensteen's (2015) theory, to more specific aspects of the internal elements to the picture, using some analytical aspects of semiotics. In the investigation of the thematic aspects about being, father and son and death, we focus mainly on the concepts presented in Being and Time (2012), by the German philosopher Martin Heidegger, relating his arguments with some literary works that raise the themes in question. In this work, we combine the aspects of the language of the graphic novel that dialogue directly with the argumentation provided by it, uniting, in analysis, form and content.

Le roman policier français entre 1970 et 2000. La thèse suivante procède à l’analyse littéraire de romans policiers français de la fin du XXème siècle. L’intention est alors de montrer que si ces romans policiers peuvent être analysés avec les outils de l’analyse littéraire, ces romans peuvent alors être considérés comme des œuvres littéraires et leurs auteurs comme des écrivains à part entière. Le corpus contient les principaux romans de quatre auteurs répartis sur les quatre dernières décennies du XXème siècle : Jean-Patrick Manchette, Frédéric H. Fajardie, Didier Daeninckx et Tonino Benacquista. Les outils d’analyses choisis sont ceux liés aux personnages de romans, aux lieux dans lesquels se déroulent ces romans et aux différents types d’intrigues proposées par les auteurs. Il s’agit des travaux d’Yves Reuter, d’Isabelle Krzywkowski ou Paul Larivaille. Ces auteurs ont permis l’analyse des textes choisis et ont aussi permis à l’auteur de confronter ces mêmes textes aux outils d’analyse littéraires en usage académique. C’est ainsi que l’analyse littéraire produite par l’auteur permet d’avancer l’idée que les textes des romans policiers, en étant analysés avec ces outils, peuvent faire partie du corpus ordinaire de la littérature / The French crime novel from 1970 to 2000The following thesis conducts literary analysis on French crime novels of the late twentieth century. The intention is then to show that if these detective novels can be analyzed with the tools of literary analysis, these novels can then be considered literary works and their authors as writers in their own right. The corpus contains the main novels of four authors spread over the last four decades of the twentieth century: Jean-Patrick Manchette, Frederick H. Fajardie, Didier Daeninckx and Tonino Benacquista. The tools selected for analysis are those related to novels characters, the places in which these novels take place and different types of plots offered by the authors. This is the work of Yves Reuter, Isabelle Krzywkowski and Paul Larivaille. These authors have allowed the analysis of selected texts and also allowed the author to confront these same texts to literary analysis tools in academic use.Thus literary analysis produced by the author allows him to advance the idea that the texts of detective novels, being analyzed with these tools, can be part of the regular corpus of literature.

O objetivo deste trabalho é, à luz da Literatura Comparada, tecer uma rede de vínculos entre os romances O Amanuense Belmiro, de Cyro dos Anjos, e Para Sempre, de Vergílio Ferreira, para cotejá-los, realçando suas semelhanças e dessemelhanças, e, conseqüentemente, compreendê-los melhor. Para isso, após breves considerações sobre determinados conceitos relativos à composição do romance, como enunciado e enunciação, narrador e narratário, o foco narrativo, o espaço e a personagem, centralizamos a discussão no conceito de tempo distinguindo três noções: tempo físico, tempo interior e tempo lingüístico, com destaque para as duas últimas e o utilizamos como eixo no estudo das obras, na intenção de verificar como os narradores-personagens vêem seu passado e vivem seu presente. No que tange ao tempo lingüístico, privilegiamos o estudo do uso dos verbos, dentre outras palavras temporais, a fim de verificarmos os efeitos de sentido nas escolhas dos dois autores; quanto ao tempo interior, que não é marcado pelo relógio, mas pela intensidade com que as personagens vivem diferentes momentos, enfatizamos o estudo da relação das personagens com o passado. Também, em virtude da clara diferença entre os tipos de romance analisados, destinamos considerável parte do trabalho ao estudo do gênero narrativo. / The aim of this paper is to weave a set of relations, at the light of the Comparative Literature, between the novels O Amanuense Belmiro (Cyro dos Anjos, 19XX) and Para Sempre (Vergílio Ferreira, 19XX), highlighting similarities and differences in a way such as to provide a deeper understanding of them. To cope with this task, after briefly considering some concepts related to the novel composition, like the enunciation and the enunciated, the narrator and the narrated, the point of view, the setting, and the character, we centered the discussion over the concept of time making a tripartite distinction among time notions: the physical, the internal, and the linguistic, with emphasis on the latter two using it as an axis in the study of the novels, seeking to verify how the character-narrators see through their past and live their present. With regard to the linguistic time, we gave particular attention to the study of verbs, detached from other temporal words, in order that we could note the meaning effects resulting from the authors verb choices; as for the internal time, which is not measured by the clock, but by the intensity with which the characters go through different moments, we focused our study on the relation of the characters with the past. Also, owing to the clear difference between the types of novel analyzed, we dedicated a considerable effort to the study of the narrative genre.

O objetivo deste trabalho é, à luz da Literatura Comparada, tecer uma rede de vínculos entre os romances O Amanuense Belmiro, de Cyro dos Anjos, e Para Sempre, de Vergílio Ferreira, para cotejá-los, realçando suas semelhanças e dessemelhanças, e, conseqüentemente, compreendê-los melhor. Para isso, após breves considerações sobre determinados conceitos relativos à composição do romance, como enunciado e enunciação, narrador e narratário, o foco narrativo, o espaço e a personagem, centralizamos a discussão no conceito de tempo distinguindo três noções: tempo físico, tempo interior e tempo lingüístico, com destaque para as duas últimas e o utilizamos como eixo no estudo das obras, na intenção de verificar como os narradores-personagens vêem seu passado e vivem seu presente. No que tange ao tempo lingüístico, privilegiamos o estudo do uso dos verbos, dentre outras palavras temporais, a fim de verificarmos os efeitos de sentido nas escolhas dos dois autores; quanto ao tempo interior, que não é marcado pelo relógio, mas pela intensidade com que as personagens vivem diferentes momentos, enfatizamos o estudo da relação das personagens com o passado. Também, em virtude da clara diferença entre os tipos de romance analisados, destinamos considerável parte do trabalho ao estudo do gênero narrativo. / The aim of this paper is to weave a set of relations, at the light of the Comparative Literature, between the novels O Amanuense Belmiro (Cyro dos Anjos, 19XX) and Para Sempre (Vergílio Ferreira, 19XX), highlighting similarities and differences in a way such as to provide a deeper understanding of them. To cope with this task, after briefly considering some concepts related to the novel composition, like the enunciation and the enunciated, the narrator and the narrated, the point of view, the setting, and the character, we centered the discussion over the concept of time making a tripartite distinction among time notions: the physical, the internal, and the linguistic, with emphasis on the latter two using it as an axis in the study of the novels, seeking to verify how the character-narrators see through their past and live their present. With regard to the linguistic time, we gave particular attention to the study of verbs, detached from other temporal words, in order that we could note the meaning effects resulting from the authors verb choices; as for the internal time, which is not measured by the clock, but by the intensity with which the characters go through different moments, we focused our study on the relation of the characters with the past. Also, owing to the clear difference between the types of novel analyzed, we dedicated a considerable effort to the study of the narrative genre.

Genetically modified foods have been at the center of debate in European consumer policy in the last two decades. Although the quasi-moratorium has been lifted in May 2004 and the road to the market is in principle reopened, strategies for product introduction are lacking. The aim of the research is to assess potential barriers in the area of consumer acceptance and suggest ways in which they can be overcome. After a short history of the genetically modified foods debate in Europe, the existing literature is reviewed. Although previous research converges in its central results, issues that are more fundamental have remained unresolved. <br><br> Based on classical approaches in attitude research and modern theories of social cognition, a general model of the structure, function and dynamics of whole systems of attitudes is developed. The predictions of the model are empirically tested based on an attitude survey (N = 2000) and two attitude change experiments (N = 1400 and N = 750). All three studies were conducted in parallel in four EU member states. The results show that consumer attitudes towards genetically modified foods are embedded into a structured system of general socio-political attitudes. The system operates as a schema through which consumers form global evaluations of the technology. Specific risk and benefit judgments are mere epiphenomena of this process. Risk-benefit trade-offs, as often presupposed in the literature, do not appear to enter the process. The attitudes have a value-expressive function; their purpose is not just a temporary reduction of complexity. These properties render the system utterly resistant to communicative interventions. At the same time, it exerts stong anchoring effects on the processing of new information. Communication of benefit arguments can trigger boomerang effects and backfire on the credibility of the communicator when the arguments contrast with preexisting attitudes held by the consumer. Only direct sensory experience with high-quality products can partially bypass the system and lead to the formation of alternative attitude structures. Therefore, the recommended market introduction strategy for genetically modified foods is the simultaneous and coordinated launch of many high-quality products. Point of sale promotions should be the central instrument. Information campaigns, on the other hand, are not likely to have an effect on the product and technology acceptance of European consumers. / Gentechnisch veränderte Lebensmittel haben sich im Lauf der letzten zwei Jahrzehnte zu einem Symbol verbraucherpolitischer Auseinandersetzungen in Europa entwickelt. Mit der Aufhebung des Quasi-Moratoriums im Mai 2004 ist der Weg zum Markt zwar prinzipiell freigeschaltet, Strategien der Produkteinführung fehlen jedoch. Ziel der Arbeit ist, potenzielle Hindernisse im Bereich der Verbraucherakzeptanz auszuloten und Wege aufzuzeigen, wie Vorurteile gegenüber diesen Produkten abgebaut werden könnten. Nach einem historischen Abriss der Gentechnikdebatte in Europa wird zunächst die existierende Literatur zur Verbraucherakzeptanz diskutiert. Obwohl die bisherige Forschung in ihren Ergebnissen konvergiert, sind grundsätzlichere Fragen weitgehend ungelöst geblieben. <br><br> Auf der Grundlage klassischer Ansätze der Einstellungsforschung und moderner Theorien sozialer Kognition wird daher ein allgemeines Modell der Struktur, Funktion und Dynamik ganzer Einstellungssysteme entworfen. Die Vorhersagen des Modells werden anhand einer Einstellungsbefragung (N = 2000) und zweier Einstellungsänderungsexperimente (N = 1400 und N = 750) empirisch überprüft. Alle drei Studien wurden parallel in vier EU-Mitgliedsstaaten durchgeführt. Die Ergebnisse zeigen, dass Verbrauchereinstellungen zu gentechnisch veränderten Lebensmitteln in ein strukturiertes System allgemeiner soziopolitischer Einstellungen eingebettet sind. Das System fungiert als Schema, anhand dessen eine globale Bewertung der Gentechnik vorgenommen wird. Spezifische Nutzen- und Risikourteile sind lediglich Epiphänomene dieses Prozesses. Nutzen-Risiko-Abwägungen, wie sie in der Literatur oft unterstellt werden, finden dabei offenbar nicht statt. Die Einstellungen haben eine wertexpressive Funktion, dienen also nicht nur der vordergründigen Reduktion von Komplexität. Diese Eigenschaften machen das System ausgesprochen resistent gegenüber Versuchen der kommunikativen Beeinflussung. Gleichzeitig übt es eine starke Ankerwirkung auf die Verarbeitung neuer Informationen aus. Kommunikation von Nutzenargumenten zu gentechnisch veränderten Lebensmitteln kann zu Bumerangeffekten auf die Glaubwürdigkeit eines Kommunikators führen, wenn die Argumente den Voreinstellungen der Verbraucher widersprechen. Lediglich direkte sensorische Erfahrung mit qualitativ hochwertigen Produkten kann zu einer teilweisen Entkoppelung des Systems und damit zum Aufbau alternativer Einstellungsstrukturen führen. Als optimale Markteinführungsstrategie für gentechnisch veränderte Lebensmittel wird daher die gleichzeitige und koordinierte Einführung vieler hochwertiger Einzelprodukte empfohlen. Zentrales Instrument sollten Aktionen am Point of Sale sein. Vorbereitende Informationskampagnen werden dagegen voraussichtlich keine Wirkungen auf die Produkt- and Technikakzeptanz europäischer Verbraucher haben.

This study examines Okudzhava’s depiction of the process of documentalization of the past as a defining feature of the novel Puteshestvie diletantov, giving reason to consider it a form of metahistory, or an artistic statement on the subject of historical knowledge. The image of the document plays a central role in the novel Puteshestvie diletantov. Through it, Okudzhava depicts the process of knowing and (re)creating the past, as well as the process of its deformation, supplementation and modification. In the form of a document, the past finds existence in time and space, finds its author and addressee, and becomes submerged in a constantly changing context. Okudzhava does not contest the truth of the past, but rather problematizes it, immersing the reader in its real element – the narrative one, permeated by the creative will of the individual. Within this element, two juxtaposed narrative streams stand out clearly: the fictional and the documentary, each shaping the picture of the past in different ways. By thematicizing the issue of documents as evidence, Okudzhava at the same time thematicizes the influence of narrativity on the process of our recreation of past events, as well as on the course of these same events. The act of compiling a document and the act of narration appear in the novel as the driving force of the action and are treated by the author of Puteshestvie diletantov as a fully fledged manifestation of human will in History. In this way, the metafictionality of the novel (its thematicization and problematization of various narrative forms) becomes the key to its metahistoricality (the thematicization and problematization of knowledge of the past, the composition of History), inasmuch as History itself is represented here in the form of a narrative stream.

This essay examines how the image of the labyrinth appears in the novel Pólvora Negra (2008) by Montero Glez, a novel that we inscribe into the Spanish postmodern literature tradition.         The hypothesis of this essay is that the labyrinth works as a main theme or a macro theme for the novel since it recurs frequently and at the same time contains other topics, such as violence.         Our analysis shows, using a structural semiotic method, that the presence of the labyrinth occurs in four different ways in the text. The first is in the physical landscape since Madrid in the beginning of the 20th century, the space in which the novel is ambiented, is a labyrinthine town with small, dark, dirty and bad smelling streets. The second is in the structure of society, which is also labyrinthine since it represents an unjust and corrupt social order that is more obvious among the political leading class but that has an effect on all the segments of society. The third is that the physical and mental trayectories of the three main caracthers in the novel are labyrinthine, which is something that the reader can notice throughout the text. The fourth is that the novel itself has a labyrinthine narrative which means that the reader’s project also manifests itself as labyrinthine. The reader of Pólvora Negra has to deal with both the labyrinth in the text and the labyrinth of the text.         This essay analyzes the narrator’s voice as well as its function in the novel. The use of parody is abundant in the novel. Two kinds of parody are founded: the historical parody and the parody of the criminal novel.

Cheng Ching-wen has a wide variety of interests in writing, including novel, short story, fairy tale, literature, political review, miscellaneous writing and translation of Western literary works. Cheng has been engaged in writing for fifty years and accomplished a tremendous amount of quality work. This thesis would focus on three of Cheng¡¦s novels. Structure of the thesis would be the first part which has been finalized after several modifications. Chapter One Explain the reason why to choose Cheng¡¦s novels as the topic of this thesis. Chapter Two Study the writer¡¦s life and creation background. Analyze how his special growing background, learning process, friends and reading preference impact on his writing. Also, discuss the relationship between his inspirations and his works from the three geographic environments where he grew up. Chapter Three Discuss the origin of Cheng¡¦s creation ideas. Analyze Cheng¡¦s creation style and the formation of his tragic philosophy of life from the perspectives of Western literary works and the philosophy of life. Chapter Four Explore how Cheng creates the image of a novel character through artistic portrayal of characters and analyze Cheng¡¦s language style from three perspectives. Chapter Five Discuss Cheng¡¦s novels from four major topics: suffering common people, the greatness of mother¡¦s love, life of the peasantry in Taiwan and the forbidden political issues. Based on these topics, explore the ideas that Cheng embodies in these three novels. Chapter Six Conclusion: Summarize Cheng¡¦s creations and writing style. Keywords: Cheng Ching-wen, Novel, Topic, Tragedy,A Study on Cheng Ching-wen¡¦s Novel