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This dissertation deals with three selected French novels written by Milan Kundera: La lenteur, L´identité, L´ignorance. The aim is to make an analysis of these works, which are known as "the French cycle". We focus especially on the process of the construction of a narrative world (by using the semantics of fictional worlds and narratological concepts), as well as on the thematic level of these works. At the center of our dialogue with the novels is the question of whether they could create a real cycle, and what are the aspects that could connect them to each another. We also pay attention to the position of these works in the context of Kundera´s other writings.

Cette Thèse porte sur les échanges culturels entre la France et l’Italie, au début du XXIe siècle, dans le domaine de la traduction littéraire et de l’édition. Son but principal est l’étude des phases qui précèdent, accompagnent et suivent la publication d’une œuvre littéraire française en Italie. Après avoir situé notre sujet dans le cadre des relations historiquement très importantes entre les deux pays dans le domaine littéraire, notre analyse se focalise sur trois moments cruciaux : le choix de l’œuvre ; sa traduction ; sa parution et réception.C’est que le goût, le canon, la tradition littéraire et la culture propres à chacun des deux pays ont une influence certaine sur la réception, sur l’horizon d’attente des lecteurs et des critiques, ainsi que sur les stratégies éditoriales, tout au long des étapes qui vont de l’achat des droits aux décisions « paratextuelles » censées susciter l’intérêt du lecteur ou fournir des informations. Nous ne négligerons pas le rôle du traducteur, véritable « passeur » du texte, ses choix linguistiques et stylistiques étant souvent la clé de la bonne compréhension d’une œuvre. Si la publication et la fortune d’une œuvre littéraire dans un pays étranger sont donc le résultat d’un processus complexe, d’une accumulation stratifiée d’échanges, de stéréotypes, et de multiples interventions d’acteurs différents, notre recherche fait appel à des outils méthodologiques relevant de plusieurs champs disciplinaires, appliqués, enfin, à une sélection des romans publiés en Italie dans les dix dernières années. / This thesis focuses on the cultural exchanges between France and Italy in the fields of literary translation and publishing at the beginning of the 21st century. Its main goal is to study the various stages that precede, accompany and follow the publication of a work of French literature in Italy. Having placed our subject in the context of the main historical relations between the two countries in the field of literature, our analysis concentrates on three key moments: the choice of book, its translation and finally, its publication and reception.At the centre of our analysis is the knowledge that the tastes, canons, literary traditions and cultures of the two countries undoubtedly affect the reception of a work and the expectations of readers and critics. We will therefore take into consideration the role of editorial strategies throughout this process from the purchase of the copyright to paratextual decisions, i.e. the methods used to arouse readers’ interest or supply information. We will also examine the figure of the translator, the “driving force” in the text’s transition, as it is often their choice of language and style that provides the key to our understanding of it.Given that the publication and fortune of a literary work in a foreign country are the result of a complex process and a stratified accumulation of exchanges, stereotypes and multiple operations, our research has adopted analytical methods from a wide range of fields and applied them to a selection of novels published in Italy over the last ten years.

This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.