Bibliographic record
Abstract
The Québécois writer Michel Tremblay has produced more than forty works ranging from plays to novels, short stories and autobiographical narratives. Many of these are connected by the recurrence of characters, most notably that of the figure of the writer, his family and their entourage. This thesis examines the recurrence of the central figure across the literary genres used by Tremblay, thereby revealing the structure of his œuvre while studying the effect of the variation of its genres. Employing the metaphor of the tapestry whose central character is its weaver, the study utilizes textual approaches to analyze the character throughout Tremblay's works but in particular in nine, three drawn from each of the genres of the novel, autobiography and theatre. Philippe Hamon's (1983) semiotic theories of literary personnel permit the examination of the character inscribed in the text while its reception by the reader or audience in each of the three genres studied is then examined using the theories of Vincent Jouve (1992). The semiotic and reception analyses reveal the main traits of the character in each genre, permitting comparison between them. Theories specific to each of the genres assist in differentiating their effect on the contents of the texts. Finally, in order to examine the weaving of the tapestry as a process, Mikhail Bakhtine's (1990; 1984) theories of architectonics are employed to show how the character, and thus Tremblay's œuvre , developed work by work over the course of the writing and through the variation of the literary genre. The analysis reveals that as the tapestry develops over time, the writer comes to occupy its centre and increasingly to reveal himself as a character, narrator and author. The variation of genres advances this process as Tremblay comes ever closer to complete self-revelation, claiming his heritage, identity and name. The tapestry approaches the total revelation of the figure of the author through an autobiographical play which allows him, as both narrator and character, to fulfill the rôle predicted for his fictional counterpart—to recreate and relive life through art.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.009 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.013 | 0.015 |
| Scholarly communication | 0.008 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.003 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".