Littérature
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Item Modernism in james joyce's ulysses and wole soyinka's the interpreters : a comparative study(2008) Bourahla, DjelloulThe purpose of this dissertation is to challenge the orthodox view of Modernism as an art dismissive of politics, history and social commitment and as exclusively oriented towards style, technique and cosmopolitanism. By comparing James Joyce's Ulysses and Wole Soyinka's The Interpreters, we aim at redefining European and African modernism through taking the colonial and postcolonial contexts into account and employing a neo-Marxist critical approach to assess the political implications of the Modernist mode of writing. The first chapter is a review of the traditional and contemporary perspectives on Modernism as a mode of writing and as a worldview. The second chapter deals with the historical, social, cultural and personal backgrounds of James Joyce and Wole Soyinka. In the third chapter, we discuss the form of Joyce's Ulysses. We find that the different innovative techniques in the novel evince a subversive political vision. The fourth chapter studies the content of Joyce's Ulysses. We discuss those aspects of Ulysses that can be read as a diagnosis and critique of the social ills brought to Ireland by British imperialism, capitalism and the Catholic Church. The fifth chapter is concerned with the form of Soyinka's The Interpreters. We contend the salient features of Soyinka's style are motivated by context. We explore Soyinka's language as part of his critique of 'late capitalism' and neo-colonialism in Africa. In the sixth chapter, we analyse the content of The Interpreters. We find that Soyinka is highly concerned with the socio-historical background of post-independence Nigeria, essentially through capturing the state of disillusionment that characterizes his society. In the conclusion, we find that the Modernist mode of writing is quite capable of producing powerful subversive political statements through its form and content, but that this subversion can have its limitations and little political impact as the ordinary reader is not equipped to appreciate it and as the two writers fail to suggest alternatives to the order they undermine.Item Poetry and secularism wallace stevenss "supreme fiction(2006) Benamzal, FaridWallace Stevens offered poetry that he called the "supreme fiction" as a substitute for Christianity. The credibility of the "supreme fiction" as a subject of belief is conditioned by its adherence to reality: abstractness, change and pleasure. Our attempt in this dissertation is to look more closely to Stevens’s "supreme fiction" by analyzing these conditions. The first chapter consists of a historical glimpse of the loss of belief . It also deals with the different reactions of the modernists, including Stevens, to the sense of meaninglessness and aimlessness caused by the loss of belief. In the second chapter, I discuss the idea that the credibility of the "supreme fiction" depends on its adherence to reality where it springs. The third chapter is devoted to abstraction as a condition for the supremacy of the "supreme fiction". Abstraction means the rejection of classical myths, Christianity, Rationalism and Romanticism. The fourth chapter deals with Stevens’s notion of change. Change for Stevens is the power of the mind to transform reality. Change also means the ability of the poet to incessantly make new "supreme fiction". The fifth chapter is an attempt to show whether the pleasure the "supreme fiction" can offer is to the detriment of its commitment. In my conclusion I have tried to sum up the results of my investigation by insisting on the secular character of the "supreme fiction." I also insist on the fact that the " supreme fiction" is an attempt to cover reality with aesthetics to make it bearable rather than to escape itItem O'casey's the plough and the stars and dib's mille hourras pour une gueuse : the lure of revolution(2008) Hateb, AhmedThis dissertation is a comparative study of two writers Sean O'casey from ireland and Mohammed Dib from Algeria whose plays exemplify what is called littérature engagée , a literature characterised by the exposition of oppressive political and social realities and the advocacy of change. The focus will be on the disillusionment felt by the irish and the Algerians with their respective revolutions as brought forth in the plough and the stars (1926) and mille hourras pour une gueuse (1980). On the Algerian side, this literary disillusionment has been highlighted by critics, among whom charles bonn, jean déjeux, naget khadda, fewzia sari. On the irish side, one may cite ronald ayling saros cowasjee, gabriel fallon, jules koslow and john o'riordanItem Kenyan and Algerian literary connections : dissertation submittedin partial fulfilment of the requirements(2006) Gada, NadiaThe Following dissertation is a comparison of two outstanding authors in modern African literature; Ngugi Wa Thiong’O from Kenya, East Africa and Kateb Yacine from Algeria, North Africa. At the basis of the research is a belief that a commonality of experience and interests can lead writers belonging to different cultural backgrounds and geographic areas to write in a similar way and about similar themes. Indeed, colonial policies are such that contacts between East Africa and North Africa were scarce if not totally impossible during the Colonial Period. In the literary field, these contacts were short-circuited by a colonialist criticism that has continued to deal with African literature within “zones of influence” marked off during the Colonial Period. We have attempted to break away from these “zones of influence” by establishing linkages between a North African writing in French and an East African writing in English. This dissertation contains four chapters; the first chapter deals with the similarities of the contexts. The second treats personal histories that gave birth to literary affinities between Ngugi and Kateb the novelists. In the third chapter, we have carried further our analysis by drawing parallels between the two novels in terms of their narrative structure, characterisation, plot and themes. One of our conclusions is that these novels are modernist in the sense that both writers are involved in a quest for a personal style, a style that is most evident in the deployment of some modernist techniques such as flashbacks and interior monologues. In addition, the two novels contain some elements from the oral tradition. The fourth chapter is devoted to the analysis of Ngugi’s and Kateb’s shift to drama. Two stages are distinguished in the careers of Ngugi and Kateb as playwrights. In the first stage, Kateb and Ngugi abided to some extent by the principles of the Aristotelian tragedy but they also introduced new elements that made of Kateb’s Le Cacdavre encerclé, a lyrical tragedy, and Ngugi’s The Trial of Dedan Kimathi, a heroic tragedy. In the second stage of their dramatic careers, Ngugi and Kateb moved to Brechtian epic theatre still in response to the need to keep in touch with the people. The two works studied in this part of our dissertation are Ngugi’s I Will Marry When I Want and Kateb’s Mohamed, prends ta valise. The final conclusion that can be drawn from this comparison is that “zones of influence” that Eurocentric literary criticism has maintained after the departure of colonial powers should be blasted. We hope that this dissertation has contributed in a way to this breaking of literary barricadesItem Chinua achebe, robert penn warren, joseph conrad and henrik ibsen : literary affinities and influences(2008) Maidi, NaïmaThe following dissertation is a comparison of one of the most outstanding authors in modern African literature, Chinua Achebe and three other writers of world-wide acclaim; the American Robert Penn Warren, the British Joseph Conrad and the Norwegian Henrik Ibsen. At the basis of the research is a belief that a commonality of experience and interests can lead writers belonging to different cultural backgrounds and disparate geographic areas to write in a similar way and develop similar themes. A number of literary critics, inspired mainly by the ideologies of Negritude, the Black Arts movement and the notions allied to them, and convinced of the uniqueness of the African experience and the specific context of African writings, have very often compared Chinua Achebe’s novels with other works by African and Afro-American writers. Dwelling on these concepts (Negritude, the Black Arts movement) has blurred for them the cultural affinities that may exist between African and western writings. We have attempted to avoid the pitfalls of previous comparative criticism by establishing linkages between West African writing and Wstern literary traditions. This dissertation contains three chapters; the first chapter deals with the affinities between Achebe’s A Man of the People and Robert Penn Warren’s All the King’s Men in terms of their characterisation, narrative structure, themes and mode of writing. The second treats the intertextual relationships between Achebe’s A Man of the People and Conrad’s Nostromo. In the third chapter, we have further carried our analysis by drawing parallels between Achebe’s A Man of the People and Ibsen’s play An Enemy of the People. This chapter has considered the similarities in terms of characterisation, imagery and themes. The final conclusion that can be drawn from this comparison is that Achebe’s work can be read in the light of three distinct literary traditions: The American Southern literature, the Edwardian Literature of the turn of the 20th century and the Norwegian (Victorian) literature of the second half of the Nineteenth Century. This assumption has been more or less demonstrated in the present dissertation. The intertexts of Achebe’s A Man of the People are of three orders: literary affinity, influence difference and impact