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This work is divided into two parts, and comprises twelve chapters, as well as a survey of the historical background and a conclusion. The first part is devoted to the novel and the second part deals with the short story. The historical background follows the history of Algeria from the French occupation in 1830 to the War of Independence, stressing particularly the gradual evolution of the national awakening. The 'First chapter defines Algerian literature and indicates the palace of works written in French in the literary history of Algeria, as well as the reasons for the scarce production of Arabic novels. Chapter two describes the effect of the social, political and literary factors on the Algerian novel . Chapter three deals with the social themes tackled by the novelists. Chapter four is concerned with the conflict of generations, which resulted from the clash of the Western and the Eastern civilisations in the midst of the Algerian society. Chapter five discuss the question of commitment and universality as conceived by the Algerian novelist; Chapter six deals with post-independence literature characterised by the critical attitude of some novelists. Chapter seven looks at the place of women in the nova Chapter eight discusses the development of the novel from the point or view of technique, studying the evolution inside the work of every major novelist. Chapter nine deals with the Arabic language short story, tracing it to its origins in the period between the two world wars. Chapter ten presents a brief survey or the condition 1 the Arabic story since the thirties to 1967. and discusses the form of the story. Chapter eleven is concerned with the French language short story. Chapter twelve examines the technique of the short story written in French. The conclusion stresses two main points, first, that works written in French filled a serious crap in modern Algerian literature; second, that, to the present day and as for as the novel and the short story are concerned, literature written in French is of a superior quality to works written in Arabic.

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Partant du constat commun des critiques qui, depuis les témoignages contemporains de l’auteur jusqu’à aujourd’hui, voient dans l’écriture gautierienne le moyen de réaliser des « tableaux à la plume », s’est posée la question des spécificités respectives de chacune des disciplines artistiques. Si Gautier ne définit pas explicitement ce qu’il entend par « l’artifice de l’écrivain », il fait néanmoins ce dernier expressément inférieur à celui du peintre. Face à la production picturale, comme expression patente et instantanée de la beauté, il déplore l’entreprise littéraire qui, pour convertir le verbal en visuel, postule un développement successif là où les arts figuratifs spéculent sur le simultané. De fait le temps, picturalement figé, participe en revanche de l’acte même d’écriture ; c’est donc précisément ce dernier qu’il faut à toute force terrasser, pour que se révèle, comme seul dessein de l’artiste, la recherche et le désir du beau éternel et général. Au-delà de ces considérations, le recoupement de ces deux motifs —de la peinture, comme représentation formelle ; de l’écriture, comme représentation imaginaire— permet d’envisager l’œuvre narrative comme le défi lancé par un rapin contrarié, persuadé que le pinceau, exprimant visuellement ce que l’écriture ne peut convoiter que par le truchement de l’imaginaire, serait un artifice a priori plus pertinent que la plume. Quand le premier suspend le processus entropique qui galvaude la beauté, la seconde repose sur une dynamique qui, faute d’arrêter le temps, va s’efforcer de l’étirer pour en euphémiser les incidences. À la statique picturale, l’écriture vient objecter sa mécanique narrative ; laquelle, sans prétendre immobiliser un temps auquel elle est intrinsèquement soumise, exploite au contraire ce ressort pour perpétuer artificiellement la beauté et le désir qui en procède. / From accounts given in the time of the author to those collected nowadays, critics have always seen in Gautier's writing the means to create “tableaux à la plume”. The question of the specificities of each and every artistic form thus arises from this remark. Even though Théophile Gautier does not overtly explain what he means by “l'artifice de l'écrivain”, he nevertheless makes it explicitly appear as inferior to the painter's device. Since the expression of Beauty by figurative arts is obvious and immediate, Gautier deplores the fact that literature, on the other hand, demands a process that unfolds in time in order to turn a word into an image. Indeed, time is fixed by the painting while it is part of the very dynamics of literature. Time must then be annihilated in order for the artist's only purpose to affirm itself as the quest for and desire of eternal and general Beauty.Beyond those considerations, the intersection between painting -as a formal representation- and writing -as imaginary representation- allows one to consider the narrative work as a challenge that a frustrated novice painter set for himself. The paintbrush can express visually what writing can only claim through the means of imagination, which leads Gautier to believe the paintbrush to be a more relevant device than the pen a priori. Whereas the brush suspenses the entropic process that necessarily tarnishes Beauty, the pen not only proves incapable of stopping time but even attempts to stretch it in order to euphemize its incidents. Therefore, the pictorial statics opposes the narrative mechanics. Without claiming to stop the time to which it is intrinsically subdued, writing rather uses this competence to immortalize in an artificial way both Beauty and the desire that precedes it.