Cette étude s’intéresse à la présence du fait francophone en Arabie saoudite. Elle débute par un retour sur les relations entre les deux pays à partir de la campagne d’Égypte jusqu’à nos jours. Ces relations furent enrichies par les récits des voyageurs français. L’influence des faits historiques sur le fait francophone et sur l’enseignement du français est ainsi mise en valeur, ainsi que la représentation de la France et de sa langue dans les écrits du Royaume et dans l’opinion des Saoudiens. Cette thèse détaille également les spécificités du milieu culturel saoudien qui vont de la censure aux élites littéraires et au combat pour la modernité. Cette première approche démontre que la présence du français au Royaume fut tributaire d’événements essentiellement politiques. L’intérêt s’est ensuite porté aux revues culturelles saoudiennes. Cinq de ces revues ont été choisies pour leurs couvertures spatiales et temporelles : al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil et Nawāfiḏ. Les deux revues al-Manhal et al-Maǧalla al-ʿarabiyya ont été particulièrement attentives à leurs débuts à la littérature française classique, alors que la revue Qãfilat al-zayt portait davantage attention à la littérature d’expression anglaise. Qawāfil et Nawāfiḏ, plus récentes, publièrent en conséquence des textes parfois contemporains. Cette thèse se conclut par une analyse critique de la traduction de deux textes français publiés dans les revues saoudiennes : le poème Le Lac de Lamartine et la nouvelle La fin de Marko Kraliévitch de Marguerite Yourcenar, où l’influence des spécificités culturelles saoudiennes sur les choix en traductologie est analysée. / This thesis is about the francophone reality in Saudi Arabia. It starts by reviewing the relationship between the two countries from the French campaign in Egypt and Syria until today. These relationships were enriched by the stories of French travelers. The influence of historical facts on the Francophone reality and on the teaching of French is thus highlighted, as well as the representation of France and its language in the writings of the Kingdom and in Saudi opinion. Furthermore, this research details the specifics of the Saudi cultural environment ranging from censorship to the literary elite as well as the struggle for modernity. This first approach demonstrates that the presence of the French language in the Kingdom was largely due to political events. Following this, we focus on Saudi cultural journals. Five of these journals were chosen for their spatial and temporal coverage: al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil and Nawāfiḏ. Al-Manhal and al-Maǧalla al-ʿarabiyya were particularly open from their inception to French classical Literature, while Qãfilat al-Zayt focused more on English literature. Qawāfil and Nawāfiḏ, being more recent, published some contemporary texts. This thesis concludes with a critical analysis of the translation of two French texts published in Saudi journals: Lamartine’s poem Le Lac and Marguerite Yourcenar’s short story La fin de Marko Kraliévitch in which the influence of Saudi cultural specificities on the choices in how to translate the texts is analyzed.

Cette étude s’intéresse à la présence du fait francophone en Arabie saoudite. Elle débute par un retour sur les relations entre les deux pays à partir de la campagne d’Égypte jusqu’à nos jours. Ces relations furent enrichies par les récits des voyageurs français. L’influence des faits historiques sur le fait francophone et sur l’enseignement du français est ainsi mise en valeur, ainsi que la représentation de la France et de sa langue dans les écrits du Royaume et dans l’opinion des Saoudiens. Cette thèse détaille également les spécificités du milieu culturel saoudien qui vont de la censure aux élites littéraires et au combat pour la modernité. Cette première approche démontre que la présence du français au Royaume fut tributaire d’événements essentiellement politiques. L’intérêt s’est ensuite porté aux revues culturelles saoudiennes. Cinq de ces revues ont été choisies pour leurs couvertures spatiales et temporelles : al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil et Nawāfiḏ. Les deux revues al-Manhal et al-Maǧalla al-ʿarabiyya ont été particulièrement attentives à leurs débuts à la littérature française classique, alors que la revue Qãfilat al-zayt portait davantage attention à la littérature d’expression anglaise. Qawāfil et Nawāfiḏ, plus récentes, publièrent en conséquence des textes parfois contemporains. Cette thèse se conclut par une analyse critique de la traduction de deux textes français publiés dans les revues saoudiennes : le poème Le Lac de Lamartine et la nouvelle La fin de Marko Kraliévitch de Marguerite Yourcenar, où l’influence des spécificités culturelles saoudiennes sur les choix en traductologie est analysée. / This thesis is about the francophone reality in Saudi Arabia. It starts by reviewing the relationship between the two countries from the French campaign in Egypt and Syria until today. These relationships were enriched by the stories of French travelers. The influence of historical facts on the Francophone reality and on the teaching of French is thus highlighted, as well as the representation of France and its language in the writings of the Kingdom and in Saudi opinion. Furthermore, this research details the specifics of the Saudi cultural environment ranging from censorship to the literary elite as well as the struggle for modernity. This first approach demonstrates that the presence of the French language in the Kingdom was largely due to political events. Following this, we focus on Saudi cultural journals. Five of these journals were chosen for their spatial and temporal coverage: al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil and Nawāfiḏ. Al-Manhal and al-Maǧalla al-ʿarabiyya were particularly open from their inception to French classical Literature, while Qãfilat al-Zayt focused more on English literature. Qawāfil and Nawāfiḏ, being more recent, published some contemporary texts. This thesis concludes with a critical analysis of the translation of two French texts published in Saudi journals: Lamartine’s poem Le Lac and Marguerite Yourcenar’s short story La fin de Marko Kraliévitch in which the influence of Saudi cultural specificities on the choices in how to translate the texts is analyzed.

How is it that the Roman decadence, a derogatory term during the Enlightenment, became the fundamental aesthetic reference for a nineteenth century literary movement? Focusing on the intersections of literature, politics, religion, science and art history, this dissertation adopts a diachronic approach to decadence, read against a backdrop mobilizing twentieth century philosophers Vladimir Jankelevitch and Michel Serres. Decadence (Latin cadere, to fall) first designated the fall of the Roman Empire and a falling away from its political, moral and aesthetic norms. Drawing on Petronius and Baudelaire, I crystallize three ways in which philosophers, scholars (“érudits”), and poets faced the troubling notion of the fall : they observe its occurrence, restore its ruins, or praise its beauty. With this in mind, the dissertation closely analyzes eighteenth century topoi that conceive decadence as political instability (Montesquieu, Gibbon), moral corruption (Rousseau, de Maistre), and architectural imbalance (Diderot, Seroux d’Agincourt). The principal emphasis is on the semantic and stylistic value assigned to the term “decadence”. These interdiscursive readings disclose the displacement of decadent topoi : shifting from one context to another, they narrate the fall of the Roman Empire and remain inscribed in the literary production of Decadence. Whereas the Enlightenment underlines the edifying dimension of the Roman example, nineteenth century authors, lapsing into original sin and propelled by thermodynamic loss, salute the expression of the fall. Barbey d’Aurevilly’s writings reveal consistent historical, structural and textual references to Roman topoi, caught up in the arrested completion of political and mechanical cycles. Furthermore, his dandyism and ultramontanism conjure up the Roman conflict, while recurring fragments, maculae and lacunae destabilize the architectural balance of his texts. The Literature of Decadence emerges as an artificial intervention that suspends the irreparable fall, enlightening the political, moral and technological turmoil of the Second Empire with those of the Roman Empire. In returning Decadence back to its Roman origins, and tracing their configuration in the age of Enlightenment, this dissertation unravels a formative, yet frequently overlooked component of nineteenth century literature and aesthetics.

Orientador:Ana Luiza Silva Camarani / Banca: Adalberto Luis Vicente / Banca: Paulo Sérgio Marques / Resumo: Os contos "L'échappé" e "Villa Aurore" revelam a mobilidade e a duplicidade que caracterizam a obra de Le Clézio: ao mesmo tempo em que o título do livro, La ronde et autres faits divers, anuncia a representação da realidade a partir do fait divers, a presença do mito confere às narrativas um forte potencial de poeticidade, constatado principalmente na temática e nos recursos poéticos que o autor utiliza na composição de suas narrativas. Assim como os demais textos de La ronde et autres faits divers, os contos selecionados apresentam a força de uma narrativa realista, atrelada ao cotidiano banal, a partir do qual se determina um movimento em direção ao mito, configurando uma estrutura circular e poética. Com base nessas considerações, o presente trabalho tem como objetivo localizar e analisar, nos contos "L'échappé" e "Villa Aurore", o fait divers a partir do qual se erigem suas estruturas realistas e examinar as duplicações das categorias narrativas, investigando como elas colaboram para a construção das estruturas mítica e poética - que estão atreladas à estrutura realista - em cada texto / Résumé: Les contes "L'échappé" et "Villa Aurore" montrent bien la mobilité et la duplicité qui caractérisent l'oeuvre de Le Clézio: en même temps que le titre de cet ouvrage, La ronde et autres faits divers, annonce la représentation de la réalité à partir des faits divers, la présence du mythe donne au récit un fort potentiel poétique, qui peut être constaté soit dans la thématique, soit dans les procédés poétiques que l'auteur utilise dans la création de ses récits. Tel que les autres textes de La ronde et autres faits divers, les contes sélectionnés présentent la force d'un récit réaliste attaché à la banalité quotidienne, à partir duquel est déterminé un mouvement vers le mythe, en configurant une structure circulaire et poétique. Le présent travail a pour but de localiser et analyser, dans les contes "L'échappé" et "Villa Aurore", le fait divers à partir duquel s'érigent ses structures réalistes et examiner les duplications des catégories narratives, en investigant comment elles collaborent pour la construction des structures mythique et poétique - qui sont attachées à la structure réaliste - dans chaque texte / Mestre

Cette étude s’intéresse à la présence du fait francophone en Arabie saoudite. Elle débute par un retour sur les relations entre les deux pays à partir de la campagne d’Égypte jusqu’à nos jours. Ces relations furent enrichies par les récits des voyageurs français. L’influence des faits historiques sur le fait francophone et sur l’enseignement du français est ainsi mise en valeur, ainsi que la représentation de la France et de sa langue dans les écrits du Royaume et dans l’opinion des Saoudiens. Cette thèse détaille également les spécificités du milieu culturel saoudien qui vont de la censure aux élites littéraires et au combat pour la modernité. Cette première approche démontre que la présence du français au Royaume fut tributaire d’événements essentiellement politiques. L’intérêt s’est ensuite porté aux revues culturelles saoudiennes. Cinq de ces revues ont été choisies pour leurs couvertures spatiales et temporelles : al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil et Nawāfiḏ. Les deux revues al-Manhal et al-Maǧalla al-ʿarabiyya ont été particulièrement attentives à leurs débuts à la littérature française classique, alors que la revue Qãfilat al-zayt portait davantage attention à la littérature d’expression anglaise. Qawāfil et Nawāfiḏ, plus récentes, publièrent en conséquence des textes parfois contemporains. Cette thèse se conclut par une analyse critique de la traduction de deux textes français publiés dans les revues saoudiennes : le poème Le Lac de Lamartine et la nouvelle La fin de Marko Kraliévitch de Marguerite Yourcenar, où l’influence des spécificités culturelles saoudiennes sur les choix en traductologie est analysée. / This thesis is about the francophone reality in Saudi Arabia. It starts by reviewing the relationship between the two countries from the French campaign in Egypt and Syria until today. These relationships were enriched by the stories of French travelers. The influence of historical facts on the Francophone reality and on the teaching of French is thus highlighted, as well as the representation of France and its language in the writings of the Kingdom and in Saudi opinion. Furthermore, this research details the specifics of the Saudi cultural environment ranging from censorship to the literary elite as well as the struggle for modernity. This first approach demonstrates that the presence of the French language in the Kingdom was largely due to political events. Following this, we focus on Saudi cultural journals. Five of these journals were chosen for their spatial and temporal coverage: al-Manhal, Qãfilat al-zayt, al-Maǧalla al-ʿarabiyya, Qawāfil and Nawāfiḏ. Al-Manhal and al-Maǧalla al-ʿarabiyya were particularly open from their inception to French classical Literature, while Qãfilat al-Zayt focused more on English literature. Qawāfil and Nawāfiḏ, being more recent, published some contemporary texts. This thesis concludes with a critical analysis of the translation of two French texts published in Saudi journals: Lamartine’s poem Le Lac and Marguerite Yourcenar’s short story La fin de Marko Kraliévitch in which the influence of Saudi cultural specificities on the choices in how to translate the texts is analyzed.

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This thesis explores how the celebratory figure of the hysteric as imagined by proponents of écriture féminine is developed and complicated in more recent representations of hysterical female bodies in contemporary women’s writing in French. With the aim of understanding the evolution of the hysteric from a traditionally negative embodiment of patriarchal parameters of femininity to a potentially revolutionary female figure, this thesis undertakes single-chapter studies of the most telling contemporary representations of hysterical bodies. The first chapter focuses on the physicality of Lorette Nobécourt’s writing in La Démangeaison (1994) and La Conversation (1998), and argues that the abject subject matter of the former coupled with the innovative and experimental form and style of the latter constitutes an almost physical performance of ‘madness’. The second chapter focuses on Marie Darrieussecq’s Truismes (1996) and argues that Darrieussecq’s hybrid narrator harnesses the anti-establishment carnival force of the hysteric in a shifting and grotesque body which forms the epitome of all that threatens order. The final two chapters focus on anorexia as a contemporary equivalence of Victorian hysteria. The first of these deals with Petite (1994) by Geneviève Brisac and Thornytorinx (2005) by Camille de Peretti and examines how these writers recreate the fragmentation of the anorexic self through a realist, performative ‘rhetoric of anorexia’. The second deals with Amélie Nothomb’s Robert des noms propres (2002), Biographie de la faim (2004) and Métaphysique des tubes (2000), and argues that Nothomb privileges a disembodied aesthetic that presents a masculine fantasy of the female body which all but erases the feminine. Ultimately, this thesis seeks to discover how and why selected contemporary female authors choose to engage with – and reject – 1970s models in which writing by women was presented as a means of finding one’s own voice, as well as a platform for politically significant action. It argues that new configurations of the hysteric nevertheless achieve a certain social and political impact.

This thesis takes into consideration the presence of computers and electronic equipment in French literary and multimedia discussions, beginning in the first chapter with the foundation of the Oulipo group in 1960 and taking as a starting point the group's conceptions of the computer in relation to literature. It proceeds in the second chapter to explore the materialities and physical factors that have informed the evolution of ideas related to the composition and reading of digital texts, so as to illuminate some of the differences that may be purported to exist between e-literatures and traditional print works. Drawing on Roland Barthes' 'Between Work and Text,' the chapters gradually progress into an exploration of spatiality in digital and interactive literatures, taking into account the role of exhibitions in accommodating and diffusing these forms in France, notably the 1985 exhibition 'Les Immatériaux,' to whose writing installations the third chapter is dedicated. The first three chapters thus focus on computer assisted reading and writing prior to 1985. The chapters that form the second half of the thesis deal with more recent years, exploring online and mobile application works, reading these as engendering their own distinct physical spaces that extend beyond the 'site' of the work - both the website or display and the tactile materials on which the work is operated - creating in relation to the reading what Roberto Simanowski terms a 'semiotic body'. The fourth chapter takes into consideration the role of the reader's body in Annie Abrahams' 'Séparation' and Xavier Malbreil's 'Livre des Morts'. The fifth chapter explores gesture as a mode of reading and reinscription in the online, interactive works of Serge Bouchardon. Finally, the sixth chapter looks at mobile application narratives, spampoetry and email art, offering ways of reading the new spatialities these forms generate. The work as a whole aims to offer some perspectives for considering digital literatures as capable of creating complex spatial experiences between work and text.

Until now, for George Sand scholars, two main images of the Sand corpus have been dominant, “un grand fleuve d’Amérique” and “une grande oeuvre multiforme.” While both images evoke the strength and diversity of styles, approaches and genres in Sand’s literary production, they also suggest a certain vagueness in regards to the contours of this oeuvre. Moreover, when speaking about the author’s novelistic writing, scholars and the larger reading public alike often refer to her work as the “eighty or so” novels and short stories she wrote, giving the impression that her work knew no boundaries. In place of this relative sense of unruliness, I propose the vision of an oeuvre unified by a strong theory of the novel and suggest how this corpus is structured by both intertextuality and polyphony. For this purpose, I borrow from Riffaterrian theories of textuality while proposing my own theory of intertextuality in regards to its function in the Sand corpus. I explain how George Sand hands us an actual key to deciphering her entire literary production and how one can understand the theoretical implications of this literary gesture. This key is what I call the author’s “Jacques cycle,” the series of rewritings of her 1834 novel Jacques that she highlights in her 1866 novel Le Dernier Amour. There, the author speaks about Jacques and its rewritings as key novels that have followed the evolution of her thinking as a writer in addition to her reflections on societal concerns. Viewed from this perspective, Sand places intertextuality, rewriting, and metaliterary reflection at the very heart of her conception of literature on the same plane as her societal preoccupations. My dissertation consists of an Introduction, four chapters and a Conclusion. Chapter One presents George Sand's engaged stance in her "Essai sur le drame fantastique" theorizing on intertextuality. Chapter Two demonstrates how her rewriting of La Nouvelle Héloïse in Jacques enters in dialogue with the horizons d'attente associated with women's writing, while constructing what has been called a textual masculinity. Chapter Three analyzes Sand's defense of the autonomy of literature in Jacques and her article, "À propos de Lélia et de Valentine." Chapter Four theorizes on the concept of a Jacques cycle and investigates Sand's Valvèdre and Le Dernier Amour as novels rewriting Jacques in light of the movement of "l'art pour l'art." Theory is thus central in shaping the Sand corpus.

De la monarchie de Juillet au tournant du siècle, les représentations de la Chine connaissent un changement radical dans la littérature française. Elles oscillent entre l’image d’un empire décadent, et un univers merveilleux. D’une part, l’Empire du Milieu se rapproche soudain de l’opinion française par l’actualité guerrière. La Chine perd progressivement, durant la période, sa puissance politique. D’autre part, dans le domaine culturel et artistique, les représentations sont extrêmement diverses et contrastées: de l’omniprésence de ses objets précieux et luxueux, à la mise en œuvre des lieux connus de la Chine, jusqu’à la réjouissance d’accueillir la littérature chinoise classique à la fois dans le milieu littéraire par les écrivains et dans le milieu académique par les sinologues. Pourquoi cette contradiction dans les représentations d’un même pays ? Sur quels éléments les écrivains français ont-ils fondé leurs points de vue ? / From the July monarchy to the turning point of the 20th century, the representations of China experience a radical change in the French literature. They oscillate between a decadent empire and a wonderful universe. On the one hand, the Middle Kingdom is suddenly closer to French opinion by the Warrior news. China has gradually lost his political power. On the other hand, in the cultural and artistic field, the representations are like a spiral wall: from the omnipresence of its precious and luxurious objects, to the notices of the well-known places of China, to the zest for classical Chinese literature both in literary writers and in academic Sinologists. What are the reasons for such contradiction in the representations of the same country? How has the French men of letters based their views?