Cette recherche porte sur l’analyse des problématiques narratologiques et stylistiques dans les écrits parus à la fin du soulèvement populaire survenu en Égypte en 2011. Elle entrecroise deux axes, l’un notionnel et l’autre analytique. D’une part, elle aborde la question du genre littéraire, de l’espace, de la temporalité et de la langue d’écriture. D’autre part, on se propose de comparer cinq textes, qu’on envisagera dans leur double appartenance littéraire et thématique : Ayyām al-Taḥrīr (2011), Cairo : my city, our revolution (2012), al-Ṯawra 2.0 (2012), Aǧniḥat al-farāša (2011) et Sabʿat ayyām fī al-Taḥrīr (2011). Nous examinerons ces œuvres dans le cadre de ce que les critiques ont désigné sous le nom d’adab al-ṯawra ou d’adabiyyāt al-ṯawra – « littérature(s) de la révolution » – et tenterons d’identifier les caractéristiques et les particularités de cette très jeune production. L’enjeu est d’étudier comment les écrivains égyptiens contemporains produisent des narrations à travers lesquelles se déploie un processus d’émerveillement, de reconfiguration et de modification de la représentation du citoyen, notamment celle des jeunes. / This research focuses on narratological and stylistic issues in the writings that appeared at the end of the popular uprising in Egypt in 2011. It combines two axes, one notional and the other analytical. On the one hand, it deals with questions of literary genre, space, temporality and language of writing. On the other hand, it offers to compare five texts which will be examined at the literary as well as at the thematic level : Ayyām al-Taḥrīr (2011), Cairo: my city, our revolution (2012), al-Ṯawra 2.0 (2012), Aǧniḥat al-farāša and Sabʿat ayyām fī al-Taḥrīr (2011). These works are considered within the framework of what critics have called adab al-ṯawra or adabiyyāt al-ṯawra--"literature(s) of the revolution". I try to highlight the characteristics and peculiarities of this very young production. The challenge here is to study how contemporary Egyptian writers have produced narratives which reveal a process of wonderment, reconfiguration and transformation of the representation of the citizen, especially that of young people.

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Originally presented as the author's Thesis (doctoral)--Universität Heidelberg. / Includes bibliographical references (p. 277-294) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Heidelberg. / Includes bibliographical references (p. 277-294) and indexes.

This thesis explores Hellenistic and imperial Greek texts that represent or discuss the river Nile. The thesis makes an original contribution to scholarship by examining such texts in he light of the history of Greek discourse about the Nile and in the context of social, political and cultural changes, and takes account of relevant ancient Egyptian texts. I begin with an introduction that provides a survey of earlier scholarship about the Nile in Greek literature, before identifying three themes central to the thesis: the relationship between Greek and Egyptian texts, the tension between rationalism and divinity, and the interplay between power and literature. I then highlight both the cultural significance of rivers in classical Greek culture, and the polyvalence of the river Nile and its inundation in ancient Egyptian religion and literature. Chapter 1 examines the significance of Diodorus Siculus' representation of the Nile at the beginning of his universal history; it argues that the river's prominence constructs Egypt as a primeval landscape that allows the historian access to the distant past. The Nile is also seen to be useful to the historian as a conceptual parallel for his historiographical project. Whereas Diodorus begins his universal history with the Nile, Strabo closes his universal geography with Egypt; the second chapter demonstrates how Strabo incorporates the Nile into his vision of the new Roman world. Chapter 3 presents a diachronic study of Greek discourse concerning the two major Nilotic problems, the cause of the annual inundation and the location of the sources. It examines first the construction of the debates, and second the transformation of that tradition in Aelius Aristides' Egyptian Oration. The functions of the Nile in Greek praise-poetry are the subject of chapter 4; it is shown that the Nile and its benefactions are used by poets to lay claim to political, religious or cultural authority, and to situate Egypt within an expanding oikoumene. The fifth and final chapter turns to Greek narrative fictions from the imperial period. The chapter demonstrates that the Nile is more familiar than exotic in these texts. It is shown that Xenophon of Ephesus and Achilles Tatius play with the trope of 'novelty' in this very familiar literary landscape, while Heliodorus articulates a more profound disruption of the expected Egyptian tropes, and ultimately replaces Egypt with Ethiopia as a new Nilotic environment.

This thesis describes the phenomenon of female genital mutilation (FGM) in Northeastern Africa, focusing on Egypt, Somalia and the Sudan. The core of the thesis lies in literary reflections of this practice and analysis of literary works tackling this subject. Presenting a wide range of literary works on the subject, this thesis aims at classifying and comparing them, with a special emphasis on the works of Nawal el Saadawi and Nuruddin Farah. The thesis also presents a summary of current local and international laws on FGM as well as a list of organisations dealing with FGM. It also briefly describes the religious background of FGM and current situation in Egypt and the Sudan.

Cette étude montre comment Albert Camus et Tawfik Al-Hakim, deux dramaturges appartenant à deux cultures différentes, se sont servi, chacun à sa manière, de la parole, pour défendre la liberté dans leurs théâtres. La thèse comprend quatre parties. Partant d'un panorama biographique qui permettra de situer les deux dramaturges dans le contexte social et littéraire de leur temps, nous passerons, dans la deuxième partie, à une analyse du thème de la liberté dans le corpus. A travers une analyse textuelle des pièces traitées, nous découvrirons, dans la troisième partie, comment la parole a été instituée en système de tyrannie. En dénonçant une telle stratégie des régimes totalitaires, les deux dramaturges ont défendu la liberté de parole délibérément écrasée par les tyrans de tous les temps. Nous réfléchirons enfin sur le double jeu de la parole dans les deux théâtres. En y examinant le cas des personnages-prisonniers, nous mettrons en évidence comment la parole peut être aussi bien un moyen de liberté qu'un moyen d'enfermement. Se servir des ressources du théâtre pour être la voix des sans-voix ; plaider en faveur de tous les opprimés sur la terre pour leur rendre la justice et la liberté qu'ils ont perdues, c'est le souci commun de Camus et d'Al-Hakim. / This study shows how Albert Camus and Tawfik Al-Hakim, two playwrights belonging to two different cultures, used speech, each to his manner, to defend freedom in their theatres. The thesis includes four parties. Starting with a biographical panorama that will allow situating the two playwrights in their social and literary time, we shall pass, in the second party, to an analysis of the theme of the freedom in the corpus. Through a textual analysis of studied plays, we shall discover, in the third party, how speech was instituted in totalitarian systems. By a denouncing such strategy of totalitarian regimes, the two playwrights defended the freedom of speech crushed by the tyrants of all the times. We shall reflect finally on the double set of speech in the two theatres. By examining the case of the figures-prisoners, we shall show how speech can be both a means of freedom that one way of confinement. Use the resources of the theater to be the voice of the voiceless, to plead in favor of all the oppressed on the earth to do them justice and freedom that they have lost, is the common concern of Camus and Al-Hakim.

Martina Buchlová Summary This thesis looks into the methods of imagination in Egyptian cinema through in-depth analysis of the film adaptation of the Nobel Prize Winner Nagīb Maḥfūẓ's novel Bajna 'l-Qaṣrajn. For the analysis, combined approaches of narratology, film theory and neo- formalism have been used. All the observations and conclusions are supported by evidence in form of extracts from the novel and/or stills from the film. The initial chapter gives a brief account of the history and tendencies of Egyptian cinema from its beginnings to the 1960's, when the analysed film was shot. It also summs up the carrier of the film's director, Ḥasan al-Imām, and puts the film into the appropriate context. Furthermore, this chapter lists the storyline of the novel and mentions a few basic facts about its inception. In the next chapter, the transfer of narrative features of the text into film is being discussed, using the model of cardinal functions by Roland Barthes. A table gives precise account of the narrative elements which were transfered to the film and those which were not or were subject to considerable changes. The following chapter deals with the transfer of the novel's non-narrative elements (whose adaptation to the new medium requires a more inventional approach), such as description of the time and...