Ce mémoire propose une lecture ethnocritique de La Débâcle (1892), l’avant dernier volume des Rougon Macquart d’Émile Zola, comme d’un « roman de l’ultime », soit une œuvre dont l’action, située à un moment de rupture sociale, marque un effondrement tant historique que culturel (Fabre, 2013). Il étudie les représentations des fins, autant la grande fin du Second Empire zolien que celles à l’échelle des personnages (deuil, mort, dépossession), qui prennent la forme d’interdiscours particuliers (Privat, 2005). Le premier chapitre porte sur la réactualisation d’imaginaires collectifs constitutifs de la France du XIXe siècle et d’avant, tels que l’historiographie micheletienne (le mythe national), le cycle Carnaval Carême ou les célébrations pascales, qui ont en commun leur adhésion à des logiques cycliques. L’historiographie micheletienne sert à placer la chute du régime dans le cycle des nations, notamment en opposant les règnes des deux Napoléon. Les logiques carnavalesques et quadragésimales gravitent autour du personnage de Napoléon III, qui, dans le « carnaval permanent » du Second Empire (Scarpa, 2000), incarne un étrange roi de carnaval quadragésimal. Les célébrations pascales, elles, se confondent aux logiques quadragésimales, en ce qu’elles représentent autant la mort que la résurrection de la patrie avec la Commune de Paris. Le second chapitre établit la trajectoire complète de Jean Macquart depuis sa présence dans La Fortune des Rougon (1871), roman des « Origines » jusqu’au Docteur Pascal (1893) qui clôt le cycle des Rougon-Macquart. Ce personnage qui a la charge de rebâtir la France à la fin de La Débâcle est une réminiscence d’une logique traversant le cycle zolien, celle de l’Éternel retour de la nature. Ainsi, la vie romanesque de ce personnage est étudiée dans les quatre romans de la série dans lesquels il apparaît afin de comprendre comment se justifie ce cahier des charges singulier du héros civilisateur. / This thesis provides an ethnocritical reading of La Débâcle (1892), the penultimate volume of Émile Zola’s Les Rougon Macquart, as a “novel of the ultimate”, that is a work whose action is set at a moment of social rupture marking both a historical and cultural collapse (Fabre, 2013). It studies the representations of endings in the novel, including both the downfall of the zolian Second French Empire and the personal hardships of the characters (including mourning, death, dispossession), which take the form of particular interdiscourses (Privat, 2005). Thus, the first chapter of this thesis focuses on the resurgence of collective imaginaries typical of 19th century France, such as Micheletian historiography, the Carnival Lent cycle or Easter celebrations, which share their adherence to cyclical logics. Micheletian historiography makes it possible to read the fall of the Second French Empire as part of the cycle of nations, by comparison between the reigns of the two Napoleons. The carnivalesque and quadragesimal logics revolve around the character of Napoleon III, who, in the “permanent carnival” of the Empire (Scarpa, 2000), embodies a strange carnival king in Quadragesima. The Easter celebrations merge with the Lenten logics, in that they both represent the death and resurrection of the country during and after the Paris Commune. The second chapter focuses on the complete trajectory of Jean Macquart, from his start in La Fortune des Rougon (1871) – the “Origins” of the Rougon Macquart – to his epilogue in Le Docteur Pascal (1893), the last volume of the series. This character, who oversees rebuilding France at the end of La Débâcle, is a reminiscence of a logic crossing the length of the Zolian cycle, that of the Eternal return of nature. Thus, the narrative “life” of this character is studied in the four novels in which he appears, this to understand how the series justify his power as a civilizing hero.

The increasing cultural and social diversity of South African society necessitates a study of the formation of harmonious social relationships amongst students at multicultural tertiary institutions. Desegregation at educational institutions is still in its embryonic stage and the minimal changes at college campuses are tokenistic. Educators have to make a concerted effort to review the dynamics and complexities of institutional change and to deviate from the straitjacket of upholding only ethnocentric views. A lack of communication and understanding between the different racial and ethnic groups on South African campuses has resulted in conflict and tension. This study takes an in-depth look at the psychology of prejudice, issues of ethnicity, racism and discrimination. A literature study and an empirical research project are used to gain an overview of the ramifications of racism on the formation of friendships in a multicultural milieu. The results of this study indicate the need to create a diversified campus environment which will promote genuine cross-cultural exchange. Working with culturally different students is a challenge that requires an acceptance and appreciation of diversity; flexibility, and improved contact and communication. Structured multicultural models and procedural frameworks have been designed implementation at institutions of specifically for higher learning to enhance social cohesion. are made: The following recommendations * Transitions models such as the contact hypothesis and the co-operative learning models promote the need for an interracial contact of people with equal status in co-operative situations. *Prejudice-Reduction Workshops will enable participants to learn about prejudice and to develop a positive mind-set towards all racial groups. *Specialized Programmes such as intercultural simulation games are ideal for discussions on culture shock, ethnocentrism and enculturation. * Mentoring Programmes ought to be designed to meet the needs of diverse students by providing wise and friendly counsel. * Academic Support Programmes or Affirmative Action * Strategies are necessary to assist succeed by providing language and students to study skills programmes, additional tutorials and content-based instruction for specialized courses. Special trainiog courses for educators ought to be initiated to · shape significant aspects of . an intercultural campus environment. * Preparatory Programmes which will improve interpersonal relationships, should be held prior to college entrance. / Psychology of Education / D.Ed. (Psychology of Education)

Né en 1935 à Estérençuby (Pyrénées Atlantiques), Eñaut Etxamendi est écrivain, poète et chanteur en langue basque. Dans son œuvre narrative, il décrit la société agraire du Pays Basque Nord – concrètement, la province de la Basse-Navarre – et son processus de désagrégation sociale et culturelle à partir des années 60. Quelle place accorder dans la littérature basque moderne à cette œuvre, qui sublime l'idylle détruite ? Quelle est sa place et son originalité au vu des productions des auteurs basques contemporains? Quelle part de l’œuvre d’Etxamendi se situe sous l’influence de la pensée nationaliste et quel peut bien être son degré de participation à la construction de mythes identitaires? Nous utilisons les concepts du formalisme russe pour décrire la structure, le matériau littéraire et le dynamisme de l'œuvre etxamendienne. Puis, nous interrogeons ces résultats par l'apport du post-formalisme et des propositions bakhtiniennes et tâchons de situer l'œuvre littéraire d'Eñaut Etxamendi dans son rapport à l'idylle détruite et au Cкaз. Finalement, nous faisons intervenir l'ethnocritique de la littérature et le post-colonialisme, afin d'inscrire l'œuvre littéraire d'Eñaut Etxamendi dans « la mémoire longue d’une communauté discursive » et dans le contexte particulier des années 1960-1990 qui alliait la vitalité politique à la vitalité culturelle. L’objectif de ce questionnement est d’approfondir dans la connaissance de l’œuvre d’un auteur mais aussi d’une région littéraire du Pays Basque encore trop peu étudiées. / Eñaut Etxamendi was born in Esterençuby (Pyrénées Atlantiques, France), in 1935. He is a writer, poet an singer in basque language. In his literary work, Eñaut Etxamendi describes the agrarian society who was disappearing by the 60's in the North Basque Country – concretely in the province of Basse-Navarre – and the process of social and cultural disbanding that occured then.Where can be placed Eñaut Etxamendi's literary writing – sprung up in geographical and linguistic periphery – and its sublimated « idyllic chronotope » in basque modern literature ? Which is his originality comparing to other contemporary basque writer's works ? What is Etxamendi's part of work under nationalist theories's influence and up to which point has his literature pertained to the discourse of identity ? Our search is an attempt to improve knowledge of a few known author and few known literary area of Basque Country.

The increasing cultural and social diversity of South African society necessitates a study of the formation of harmonious social relationships amongst students at multicultural tertiary institutions. Desegregation at educational institutions is still in its embryonic stage and the minimal changes at college campuses are tokenistic. Educators have to make a concerted effort to review the dynamics and complexities of institutional change and to deviate from the straitjacket of upholding only ethnocentric views. A lack of communication and understanding between the different racial and ethnic groups on South African campuses has resulted in conflict and tension. This study takes an in-depth look at the psychology of prejudice, issues of ethnicity, racism and discrimination. A literature study and an empirical research project are used to gain an overview of the ramifications of racism on the formation of friendships in a multicultural milieu. The results of this study indicate the need to create a diversified campus environment which will promote genuine cross-cultural exchange. Working with culturally different students is a challenge that requires an acceptance and appreciation of diversity; flexibility, and improved contact and communication. Structured multicultural models and procedural frameworks have been designed implementation at institutions of specifically for higher learning to enhance social cohesion. are made: The following recommendations * Transitions models such as the contact hypothesis and the co-operative learning models promote the need for an interracial contact of people with equal status in co-operative situations. *Prejudice-Reduction Workshops will enable participants to learn about prejudice and to develop a positive mind-set towards all racial groups. *Specialized Programmes such as intercultural simulation games are ideal for discussions on culture shock, ethnocentrism and enculturation. * Mentoring Programmes ought to be designed to meet the needs of diverse students by providing wise and friendly counsel. * Academic Support Programmes or Affirmative Action * Strategies are necessary to assist succeed by providing language and students to study skills programmes, additional tutorials and content-based instruction for specialized courses. Special trainiog courses for educators ought to be initiated to · shape significant aspects of . an intercultural campus environment. * Preparatory Programmes which will improve interpersonal relationships, should be held prior to college entrance. / Psychology of Education / D.Ed. (Psychology of Education)

Dans la deuxième moitié du XIXe siècle, la médecine génésique et la psychiatrie s’intéressent à l’homosexualité, appelée inversion sexuelle à l’époque. Les médecins tentent de comprendre cette tare qui ronge la société. C’est pourquoi ils ont recueilli plusieurs témoignages provenant de ceux qu’ils considéraient comme « malades » pour valider leurs thèses scientifiques. Parmi plusieurs documents de nature autobiographique, le Roman d’un inverti-né (1889) et la Suite du roman d’un inverti-né (1896) sont particuliers, adressés sous l’impulsion de leur auteur à un romancier naturaliste, Émile Zola, et à un médecin, le Dr Laupts. Publiées dans des revues médicales (les Archives d’anthropologie criminelle) et dans un recueil (Tares et poisons), ces lettres ont été lues et analysées en tant que cas médical, autobiographie ou roman. Ces documents n’ont curieusement pas été encore lus comme appartenant au genre de la correspondance, important au XIXe siècle : c’est cet oubli révélateur que ce mémoire cherche à combler. Après un récapitulatif des différentes éditions (chapitre 1), les caractéristiques épistolaires seront examinées (chapitre 2). Les travaux de Brigitte Diaz (2002) et de Judith Lyon-Caen (2006) seront exploités pour souligner l’utilisation par l’auteur du Roman d’un inverti-né des codes épistolaires et de l’univers romanesque zolien. Enfin, l’analyse de l’histoire d’amour entre l’auteur des lettres et le sergent est au cœur du dernier chapitre qui accorde une attention particulière à la manière dont l’épistolier narre ce récit de l’amour entre hommes, en utilisant des codes érotiques et initiatiques. Ainsi, l’originalité du Roman d’un inverti-né et de la Suite du roman d’un inverti-né réside à la fois dans l’histoire particulière de sa publication, dans la nature ambivalente de son genre épistolaire et dans l’histoire d’amour, narrée à un médecin et un écrivain. C’est cette triple originalité qui est étudiée dans ce mémoire. / In the second half of the Nineteenth century, psychiatrists and doctors studied homosexuality, male and female inverts. They tried to understand this bane that afflicts society. Hence, they collected multiple testimonies from those they considered “sick” to validate their scientific theories. Amongst these numerous autobiographic documents, the Novel of an Invert (1889-1896) is the most peculiar. While most of these documents exist under the impulse of doctors and judges, this one was sent to naturalist novelist Émile Zola by a young man. Published in medical journals (the Archives d’anthropologie criminelle) and books (Tares et poisons), the literary genre of this text has been distorted; instead of being called letters, this text has been named novel, medical case, autobiography or confession. Peculiarly, these documents were never studied as a correspondence, an important genre in the Nineteenth century. After going through the different editions and modifications of these letters (chapter 1), we examine the epistolary characteristics of this text (chapter 2). To do so, we used Brigitte Diaz’s (2002) works, along with those of Judith Lyon-Caen (2006), underlining the use by the writer of both epistolary codes and the zolian universe. Finally, the last chapter focuses on the love story between the Italian and the sergeant, with a particular attention to the way the letter writer uses erotic and ritualistic codes to narrate the story. The Novel of the Invert’s originality resides in the peculiar publication history, in the ambivalence of its genre and in the narration of a love story to a novelist and a doctor. This thesis shall study this triple originality.

La rencontre du théâtre et du carnaval est aussi ancienne que le carnaval lui-même. D’une part, les cérémonies et les comportements collectifs possèdent, en propre, une dimension spectaculaire ; d’autre part, les jeux dramatiques font partie intégrante du rituel. Dans la France d’Ancien Régime, les réjouissances du carnaval sont un temps fort du calendrier, qui occupe toute la société pendant plusieurs semaines, des Rois au Carême. Les comédies créées pendant cette période, au Théâtre-Italien, à la Comédie-Française, à la Foire Saint-Germain, se rattachent explicitement à la coutume et s’insèrent dans son cycle cérémoniel. Plus largement, tirant parti de cette proximité calendaire, les dramaturges recourent au langage symbolique du carnaval, à celui du charivari, pour inventer un système de représentation du réel qui en offre un mode d’intelligibilité spécifique. Une langue pleine d’équivoques scabreuses et de saillies ordurières, des lazzis outrés et obscènes, un univers fantaisiste et bouffon, des personnages extravagants et burlesques : les modèles comiques qui se développent, de 1680 à 1720, sont à rattacher à la culture carnavalesque et à son imaginaire mythico-rituel. Les croyances et les pratiques symboliques innervent la création dramatique et participent à la construction de son sens, en lien étroit avec le contexte historique dans lequel s’inscrivent les œuvres. Il convient de restituer à ce théâtre la dimension anthropologique qui est la sienne, si l’on veut accéder à sa raison esthétique. La comédie de mœurs offre alors un nouveau visage : représentant la société contemporaine comme un monde à l’envers sur lequel règnent des souverains parodiques, elle revêt des enjeux idéologiques et possède une portée politique. Parallèlement, c’est aussi le concept critique de « carnavalesque » qui apparaît sous un jour inédit. / The meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light.