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This thesis analyses the self-portrait visible in the correspondence exchanged between Jean-Paul Sartre and Simone de Beauvoir during the Second World War. Particular attention is paid to the period between September 2 nd, 1939 and the end of March, 1940 because that is the time period in which the works of both letter writers are available. / We examine the two principal figures that emerge from the letters of each writer. Sartre appears as both an intellectual and an imperialist; Beauvoir appears as a earthy woman who is also respectful of Sartre. / The thesis is divided in two sections: "Le monologue" and "Le dialogue". In fact, we have discovered that some of the figures, the intellectual and the earthy woman, emerge in a context where the letter writer reacts infrequently to the discourse of the addressee. That is why this section is entitled "Le monologue". In contrast, other figures, the imperialist and the respectful woman, appear in a context where both letter writers react to the image that the addressee projects of himself. That is why this section is named "Le dialogue". In addition, each figure presents a dark side. Therefore, we have studied each of them firstly "in the sun" and secondly "in the shadows". Moreover, our study of this correspondence has permitted us to better identify the general characteristics of the epistolary self-portrait genre.

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.