Discours critique sur les œuvres de littérature contemporaine
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| GEIGER, Marion, « Parole et pouvoir : la part totalitaire dans //Hilda// de Marie NDiaye », dans //French Review: Journal of the American Association of Teachers of French//, | GEIGER, Marion, « Parole et pouvoir : la part totalitaire dans //Hilda// de Marie NDiaye », dans //French Review: Journal of the American Association of Teachers of French//, | ||
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| + | CHOPLIN, Olivia J., « Staging the Psyche: Representing the 'Other Scene' in the Theater of Michel Tremblay, Marie NDiaye and Wajdi Mouawad », thèse de doctorat, depatment of French and Italian, Emory University, 2009, 186 f. +++ Thèse de doctorat / mémoire de maîtrise | ||
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| + | ### **Abstract**\\ | ||
| + | This dissertation examines the possibilities of and the meaning of theater in the wake | ||
| + | of the discovery of the unconscious. By exploring the ways in which three contemporary | ||
| + | Francophone authors have created innovative and evocative theatrical representations of the | ||
| + | dramas that unfold in the mind, it contributes to the discussion of several questions. How | ||
| + | does our contemporary understanding of the unconscious change the ways in which | ||
| + | playwrights use theatrical space? What is the function of theater for the spectator and for | ||
| + | society, most particularly in the contemporary French and Francophone context? Why does | ||
| + | theater still attract spectators despite the fact that contemporary visual culture offers | ||
| + | numerous other creative outlets both for spectators and artists? | ||
| + | The first chapter explores the theoretical links between psychoanalysis and theater via | ||
| + | a discussion of shared terms and an analysis of the theatrical metaphors that have been | ||
| + | present in psychoanalytic discourse since its origins with Freud. The subsequent chapters | ||
| + | analyze three playwrights who have integrated the concept of psychic space into their | ||
| + | writings, using the theatrical space to stage metaphors for the otherwise invisible actions of | ||
| + | the mind. Chapter two discusses two plays by Québécois playwright Michel Tremblay, À toi, | ||
| + | pour toujours, ta Marie-Lou and Le vrai monde?, arguing that the use of mise en abyme | ||
| + | structures demonstrates metaphorically the ways in which Tremblay’s characters experience | ||
| + | psychic distress. Chapter three addresses French playwright Marie NDiaye’s first theatricalwork, | ||
| + | The final chapter analyzes the embodiments of dreams on the stage in Lebanese-Québécois | ||
| + | playwright Wajdi Mouawad’s Littoral. Charting the trajectory of the play’s main character, | ||
| + | Wilfrid, from living within his own mind to living within the world, it points to the necessity | ||
| + | of the encounter with “the other” in order to come to an understanding of the self. | ||
| + | By representing both directly and metaphorically the disastrous effects of | ||
| + | unconscious living, Tremblay, Ndiaye and Mouawad plead for conscious recognition of the unconscious structures that can govern our lives. | ||
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| + | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de// [[http:// | ||
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| + | LINDLEY, Elizabeth, « The Monstruous Female : Images of Abjection in Marie NDiaye' | ||