Beginning with the premise that all literary texts are rhetorical in nature, this thesis explores the impact of the persuasive function in Romain Gary's Le grand vestiaire from the perspective of his poetics, defined in Pour Sganarelle. The analysis of typical narrative, descriptive and dialogal techniques used by the author brings to the fore at once the textual sites in which Gary's central precept, the univocity of meaning, is upheld, and the presence of ambiguities that undermine it. Likewise, the analysis of the novel's socio-historical context highlights its ideological dimensions, which is both inherent to the work and responsible for certain indeterminacies that foreclose the possibility of a unique meaning. Finally, it is shown that the rhetorical figures in Gary's text, which are designed, by their overwhelming presence, to forcefully reconfirm the univocity of meaning, also generate a series of equivocations. This thesis demonstrates that while Le grand vestiaire is indeed based on literary techniques that ensure its effectiveness, the novel is at odds with Gary's poetics and ultimately represents its functional ineffectiveness.

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The main purpose of the study is to understand how Vestiaire Collective’s campaign film #saynotofastfashion from 2022 visually communicates two different messages. One intentional message about an activistic positioning in the issue of textile waste as well as one unintentional message about white supremacy.   The material is investigated through a qualitative content analysis based on theories about activism in media and documentary narration, the white man’s guilt and postcolonial stereotypes in film. By splitting the material and analyzing text and image separately, markers for both messages are found. In a summarizing analysis the text and images separate communication are put in relation to each other in order to draw conclusions about the two part’s common message and function.   The study concludes that the meaning of the text as well as text and image together is to show Vestiaire Collective as a wholesome, conscious and charitable company. However the images also send the message that westerners are needed in order to solve problems in non-western countries. Vestiaire Collective’s film represents the dark skinned Ghanaians in a diminishing and colonially stereotyped way and themselves as heroes in line with the white-savior-stereotype.  Markers for activism are interpreted to be the way Vestiaire Collective are positioning themselves in the issue of textile waste as well as their suggestions and prompts for solutions. Another marker for activism is under which circumstances the film was published; in connection with Black Friday 2022 on social media.  The media production included below is a documentation of the process of making a short advertising film about a cancer story from a relative’s perspective.