Narrator

dans plusieurs passages à l’intérieur du roman. LIRE LE PROLOGUE DU CHEVALIER DE LA CHARRETTE 163 Gier, A. (1977). Das Verwandtschaftsverhältnis von afr. sens und sen*. Romanistisches Jahrbuch, 28, pp. 54-72. Hult, D. F. (1989). Author / Narrator / Speaker. The Voice of Authority i n Chrétien’s Charrete. In K. Brownlee and W. Stephens (Eds.), Discourses of Authority in Medieval and Renaissance Literature, Hanover and London, University Press of New England, pp. 76-96. Hunt, T. (1994). Chrétien’s

Memoriam", read them if you can. On second thoughts, if you don't have the literary background , don't try to read anything much other than the Tennyson - you haven't got time!!! STYLE The novel is written in a familiar style as though the narrator is conversing with the reader . It contains a mixture of straightforward prose narrative and dialogue and the dialogue does capture the tone of the Victorian period. Throughout the novel we have allusions to judgement, punishment, suffering and

2°, récit 3°, etc., éventuellement récit encadré 3°, etc.36 La formule, très claire et pratique (je l'emprunterai à l'occasion dans la présente étude), permet d'étendre l'em30 31 32 33 34 35 36 W.Bronzwaer, «Implied Author, Extradiegetic Narrator and Public Reader: Gérard Genette's narratological model and the reading version of Great Expectations», in: Neophilologus, 66th vol., 1978, No 1, p. 1. Mieke Bal, Narratologie. Paris, Klinksieck, 1972, p. 24. Le préfixe «meta» peut être en effet

Fall-Winter 1987-1988, p. 1-15. SAVOIE, Pierre, « Les figures de la Révolution dans Le Rouge et le Noir », Stendhal Club, n° 126, 1990, p. 143-149. SCOTT, David, « Signs in the text : the role of epigraphs, footnotes and typography in clarifying the narrator-character relationship in Stendhal’s Le Rouge et le Noir », dans Ma(r)king the text : the presentation of meaning in the literary text, J. Bray, M. Handley, A. Henry eds, Aldershot, Ashgate, 2000, p. 26-34. SCOTT, Maria, « Stendhal, Mathilde et le

giornata, da Novelle per un anno 1.Comprensione complessiva Riassumi il contenuto informativo del testo in non più di dieci dieci righe. 2. Analisi e interpretazione del testo 2. 1. Quale equazione puoi rilevare tra il tempo del titolo e il tempo narrato nella novella? 2. 2. A che cosa possono essere accostati (e di che cosa possono essere simbolo) l’essere “buttato fuori” (riga 1), la “violenza patita” (riga 4), la “espulsione” (righe 10 e 20)? 2. 3. In quali passi della novella il narratore esprime

p. 383 ; vol. 2 ; p. 421 ; hihliogr. (29^ ; annexes. FURST L.R. - The romantic hero, or is he an anti-hero ? In : "Stu- dies in the literary imagination". 1976 ; vol. 9 | n" I i pp. 53 67. GANS E. - Eyperbole et Ironie. - Litterature . In : "Narrato logie". 1975 ; n° 24 $ pp. 488 - 94. 5 4 GREEN (D. H.) - Iron.y in the medieval romance. — Can Taridge, London, New-York : Garr/bridge University Press. I98C ; X ; 431 "bibliogr. HAIDU P. - Au debut du rorran. 1'ironie. — In : "Poetiq.ue : re-

Plan de cours 101-automne 2018Lecture 1 Homère, Iliade, chant 19 Question pour le rapport de lecture: Quels sont les principales caractéristiques du héros homérique? Consignes générales : Préparer quelques notes pour le groupe de discussion Écrire une courte réponse d’environ 10-20 lignes en classe Le texte doit être rédigé en police Times New Roman, en point 12, 1.5 interligne Vous trouverez dans ce dossier : - Des cartes et généalogies pour vous permettre de vous situer

of good victorious over bad, is not always clear cut because of the complexity of the characters and plot. One example of this is Holmes’s deception of Watson. Dr. Watson Though Watson plays a part in the case, he is primarily significant as the narrator of the story. Since he is, like most readers, not a detective, he is able to relate information as the average person would likely see it. This is beneficial because it keeps the novelsuspenseful, much more so than if we knew that Holmes suspected

revolutionaries of the eighties becomes awkward at times. The reader, immersed in the political atmosphere of the thirties, is suddenly jerked to the island of stern revolutionaries who believe that white men are, by definition, evil. The protagonist and narrator, wrapped in one, proves the opposite when he reveals that upon his brutal arrest by the organizers of the exhibition and the police, a French visitor raised his voice on his behalf and was thrown in jail along with him. The most interesting

involuntary consequences can be madness. The lack of communication with her fellow human beings, leads Clara to become her own experiment “En attendant je suis mon propre laboratoire53”. Her humdrum finds some relief only in her voice; she becomes her own narrator, but also her sole audience. She is imprisoned in a certain way by her voice, because she is unable to put an end to this interrupted flow of speech, it’s her only relief but also the mark of her limits. But this verbal flow has only a coherent structure