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dc.contributor.authorAli Ahmed, Azouz
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date2014-08-29 13:46:37.66en
dc.date.accessioned2014-09-02T22:31:32Z
dc.date.available2014-09-02T22:31:32Z
dc.date.issued2014-09-02
dc.identifier.urihttp://hdl.handle.net/1974/12403
dc.descriptionThesis (Ph.D, French) -- Queen's University, 2014-08-29 13:46:37.66en
dc.description.abstractThrough a diachronic study of a large selection of writings (composed within a period of a half century), marked, for the most part, by the seal of a constitutive undetermined genre, this thesis attempts to grasp the rapport to the worldly that takes shape in a particularly complex and divided literary work. Within the framework of socio-criticism, this study strives to uncover the sociality in Kateb’s work, that is, to identify the significant elements as well as the function of heterogeneity. In addition, it attempts to identify how the socio-historic dimension converts exterior space to interior space via a bidirectional movement. This study is directly interested in the literariness of Kateb’s work, but is heavily founded in a much larger epistemological perspective that underlines and brings the rapport to History, to memory and to social imaginary into play. This in turns allows us to underscore the aesthetic aspect of Katebian theatre, specifically the historical and thematic change of tragic theatre to heterogeneous theatre, a change incited by either the choice of theatricalized textual materials or by mise-en-scène ¬techniques. Both methods give rise to formal dissidence which liberates, on stage, the spoken word as an instrument of criticism with regard to socio-political action. Based on studies particularly rich in hermeneutics and discourse analysis, (Duchet, Popovic, Angenot, Robin, Biron, Amossy, Maingueneau), as well as on theoretical approaches initiated by de Certeau, Chambers and Riffaterre, this thesis, without overtly delimiting theoretical and disciplinary thought, also outlines where and how Kateb’s work coincides with fundamental concepts developed by Agamben, such as « camp », « pouvoir souverain » and « dispositif », or others defined by Foucault, such as « bio-pouvoir » and « analytique du pouvoir ». Whilst explaining and interpreting this polymorphous work, the aesthetic dimension allows us to employ and add various new key concepts in the realm of literary criticism. Finally, the link to History is analysed through the protean notion of « Revolution », which Kateb exploits in order to adopt an open perspective with regard to the future and to attribute meaning to causes striving to transform reality.en_US
dc.languageenen
dc.language.isofren_US
dc.relation.ispartofseriesCanadian thesesen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectHistoryen_US
dc.subjectSocialityen_US
dc.subjectCampen_US
dc.subjectBio-pouvoiren_US
dc.subjectHeterogeneityen_US
dc.subjectDispositifen_US
dc.subjectRevolutionen_US
dc.subjectMythen_US
dc.titleL'écriture contre l'oubli. Hétérogénéité et socialité dans l'oeuvre de Kateb Yacine.en_US
dc.typethesisen_US
dc.description.degreePh.Den
dc.contributor.supervisorInkel, Stéphaneen
dc.contributor.departmentFrenchen


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