| Les deux révisions précédentesRévision précédente | Dernière révisionLes deux révisions suivantes |
| oeuvres:maryse [2016/09/22 08:35] – Virginie Savard | oeuvres:maryse [2016/09/22 08:38] – Virginie Savard |
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| ###**Abstract**\\ | ###**Abstract**\\ |
| « The present thesis focuses on the various ways that women writers have integrated nationalist discourse into their novels. The first section of this interdisciplinary project traces the often difficult collaboration between feminist and nationalist movements throughout Québec history, and seeks new models of comparison for Québec women's rewriting of the nation (Ireland, Scotland, Latin America) before turning to recent theories of nationalism that examine the novel's capacity to depict the complexity of the nation. A detailed study has then been made of the ways in which both the conservative nationalist discourses of the first half of the 20 th century--advocating fidelity to the past and to traditional rural values--and the more socialist neo-nationalist discourses of the Quiet Revolution have been contested and transformed in women's writing from the beginning of the century to the present. In fact, Laure Conan's three historical novels, //À l'oeuvre et à l'épreuve //(1891), //L'oublié//(1905) and //La sève immortelle //(1925) challenge the of //"masculinizing//" heroic narrative of the conquest of New France by replacing the sublimated feminine essence (the Virgin) by actual female figures, both historic and fictive. Marie Le Franc's //La rivière solitaire//(1936) and Germaine Guèvremont's //Le Survenant//(1945) and //Marie-Didace//(1947), all three //romans de la terre//, work to demythologize the agricultural "vocation" of French-Canadians and point to new types of community networks that are not plagued by traditional father-son rivalries. My analysis then shifts to Andrée Maillet's //Les remparts de Québec//(1965) and Madeleine Ouellette-Michalska's //La maison Trestler ou le 8 e jour de l'Amérique //(1984) ; both texts call into question the prevailing myths of Québec society and, through an emphasis on the horrors of war, return to historic battle sites in order to expose the masculine nature of their society's collective memory. In the last chapter, I turn to Marie-Claire Blais and Francine Noël, writers who have navigated amongst discourses of socialism, nationalism and feminism at a time when the Québec women's movement had its most important ties with nationalist groups. Both Blais' //Un joualonais sa joualonie //(1973) and Noël's //Maryse//(1983) satirize Québec leftist independence movements, exposing their questionable sexual politics and general disregard for women's issues. » | « The present thesis focuses on the various ways that women writers have integrated nationalist discourse into their novels. The first section of this interdisciplinary project traces the often difficult collaboration between feminist and nationalist movements throughout Québec history, and seeks new models of comparison for Québec women's rewriting of the nation (Ireland, Scotland, Latin America) before turning to recent theories of nationalism that examine the novel's capacity to depict the complexity of the nation. A detailed study has then been made of the ways in which both the conservative nationalist discourses of the first half of the 20 th century--advocating fidelity to the past and to traditional rural values--and the more socialist neo-nationalist discourses of the Quiet Revolution have been contested and transformed in women's writing from the beginning of the century to the present. In fact, Laure Conan's three historical novels, //À l'oeuvre et à l'épreuve// (1891), //L'oublié// (1905) and //La sève immortelle // (1925) challenge the of //"masculinizing//" heroic narrative of the conquest of New France by replacing the sublimated feminine essence (the Virgin) by actual female figures, both historic and fictive. Marie Le Franc's //La rivière solitaire// (1936) and Germaine Guèvremont's //Le Survenant// (1945) and //Marie-Didace// (1947), all three //romans de la terre//, work to demythologize the agricultural "vocation" of French-Canadians and point to new types of community networks that are not plagued by traditional father-son rivalries. My analysis then shifts to Andrée Maillet's //Les remparts de Québec// (1965) and Madeleine Ouellette-Michalska's //La maison Trestler ou le 8 e jour de l'Amérique // (1984) ; both texts call into question the prevailing myths of Québec society and, through an emphasis on the horrors of war, return to historic battle sites in order to expose the masculine nature of their society's collective memory. In the last chapter, I turn to Marie-Claire Blais and Francine Noël, writers who have navigated amongst discourses of socialism, nationalism and feminism at a time when the Québec women's movement had its most important ties with nationalist groups. Both Blais' //Un joualonais sa joualonie // (1973) and Noël's //Maryse// (1983) satirize Québec leftist independence movements, exposing their questionable sexual politics and general disregard for women's issues. » |
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| [[http://www.collectionscanada.gc.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ45267.pdf|Roberts, 1999, PDF]]### | [[http://www.collectionscanada.gc.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ45267.pdf|Roberts, 1999, PDF]]### |
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| ###**Présentation de Septentrion**\\ | ###**Présentation de Septentrion**\\ |
| « L'identité, c'est le regard qu'une société porte sur elle-même mais c'est aussi la vision que l'autre a d'elle. Fort de sa culture chinoise, l'auteur analyse les romans fondateurs de la littérature québécoise : //Trente Arpents// (Fides, 1938) de Ringuet, //Le Survenant// (Beauchemin, 1945) et //Marie-Didace// (Beauchemin, 1947) de Germaine Guèvremont, //Bonheur d'occasion//(Stanké, 1977) de Gabrielle Roy, //Les Plouffe// (Institut littéraire du Québec, 1954) de Roger Lemelin, //Le Cabochon// (Parti pris, 1980) d'André Major, //Maryse //(VLB, 1983) et //Myriam première// (VLB, 1987) de Francine Noël. » | « L'identité, c'est le regard qu'une société porte sur elle-même mais c'est aussi la vision que l'autre a d'elle. Fort de sa culture chinoise, l'auteur analyse les romans fondateurs de la littérature québécoise : //Trente Arpents// (Fides, 1938) de Ringuet, //Le Survenant// (Beauchemin, 1945) et //Marie-Didace// (Beauchemin, 1947) de Germaine Guèvremont, //Bonheur d'occasion// (Stanké, 1977) de Gabrielle Roy, //Les Plouffe// (Institut littéraire du Québec, 1954) de Roger Lemelin, //Le Cabochon// (Parti pris, 1980) d'André Major, //Maryse // (VLB, 1983) et //Myriam première// (VLB, 1987) de Francine Noël. » |
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