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

The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.

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Dans le courant du XXe siècle, la scène littéraire de langue française s’est enrichie d’auteurs venus de Chine. Passeurs de langues, de frontières et de cultures, ils érigent, par leurs productions, des ponts singuliers illustrant les défis de la mondialisation. Du roman à la poésie en passant par le théâtre, l’objectif de notre étude est d’avancer une typologie de ce champ littéraire émergent. Englobant les vingt-quatre auteurs qui composent ce dernier, parmi lesquels François Cheng, Gao Xingjian, Dai Sijie, ou encore Ying Chen, l’analyse se fonde sur un concept-référent :la transidentité des auteurs. Par ailleurs, afin de saisir au mieux la complexité et la diversité des productions, la transdisciplinarité des approches – sociologique, littéraire et linguistique – s’avère éclairante. Par le prisme de l’identité culturelle, l’étude interne des œuvres se divise en deux volets :les représentations interculturelles et la poétique transculturelle. Dans une optique de comparaison constante entre les œuvres de chaque auteur, puis entre les différents auteurs, nous rendons compte des caractéristiques récurrentes et opérons des classifications. Ceci permet d’interroger le statut du champ au sein des littératures dites « francophones » et de soulever la question de l’étiquette. Ainsi, par le truchement des auteurs chinois, c’est le statut identitaire et théorique de tout écrivain périphérique dans l’espace francophone que nous cherchons à éclairer.<p><p>/ In the 20th century, French literary scene has been enriched by authors coming from China. Crossing languages, borders and cultures, they erected, through their productions, singular bridges that illustrate the challenges of globalization. Focused on novels, poetry, passing by theater, the purpose of this research is to advance a typology of this emerging literary field. Encompassing the twenty-four authors composing it, including François Cheng, Gao Xingjian, Dai Sijie, or Ying Chen, the study is based on a referent-concept: the authors’ transidentity. For a better understanding of complexity and diversity of productions, transdisciplinarity – sociological, literary, and linguistic approaches – is instructive. By the prism of cultural identity, the internal study of works is divided into two components: intercultural representations and transcultural (of cross-cultural) poetic. With a constant comparison between works of each author, and between the authors, we figure out recurring characteristics and operate classifications. This allows to question the status of the field in the so-called "Francophone" literature and to raise the issue of the label. Thus through Chinese authors, it is any peripheral writer theoretical status in the francophone space that we are trying to explore and enlighten. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

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<p>In 1917, the Romanov dynasty in Russia came to an end as Tsar Nicholas II abdicated during the February Revolution and the First World War. The Romanovs ruled Russia for over three-hundred years as absolute monarchs and until 1917, Nicholas II and his wife Tsarina Alexandra Feodorovna fervently clung to their autocratic rule and projected an image of power and stability. Yet, their choices not only shaped Russia itself but also dictated Russia’s diplomatic and cultural relationship with their future allies in the First World War: Great Britain, France, and the United States of America. From 1896 to 1917, Tsar Nicholas II floundered amid a series of crisis and this dissertation considers five key moments in his reign that illustrate the complex relationship between Russia and the allies of the First World War. These events are: the Coronation of Nicholas II in 1896; Bloody Sunday and the Treaty of Portsmouth in 1905; the Romanov Tercentenary in 1913; the role of Tsarina Alexandra in the First World War from 1914-1917; and the abdication of Nicholas II and asylum request by the Romanovs in 1917. All of these events showcase the diplomatic and media representations of the Romanovs among allied nations and how Nicholas performed and presented his view of himself to the rest of the world. Each Tsar of Russia fashioned himself into a mythic and ceremonial figure to the Russian people and this dissertation argues that the governments of Great Britain, France, and the United States accepted Nicholas’ self-representations for many years and ignored his autocratic rule in favor of their own military and financial interests. In 1917, after years of excusing his behavior, they finally rejected him. Ultimately, the Romanovs held great power at home and abroad and were major players in international events in the early twentieth century but they were unable to reconcile their autocratic regime with modern democracies. In the end, Nicholas’ and Alexandra’s failure to adapt and perform their roles effectively cost them their throne and left Russia in a state of war and disarray.</p>

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