Cette thèse se propose d'étudier la question du Bouc Emissaire dans les œuvres de Gabriel García Márquez. Le thème du Bouc Emissaire est étroitement lié aux personnages dont l'existence semble attachée à ce phénomène. Soumis à leur triste sort, il est difficile d'envisager les personnages de Gabriel García Márquez en dehors de ces cercles vicieux. L'auteur associe inconsciemment ou pas ce phénomène du Bouc Emissaire aux thèmes tels que ceux de la Maison, du Corps meurtri ou sublimé, de l'Identité, de l'Altérité... qui seront exploités tout au long de ce travail. Il est donc intéressant de se demander pourquoi l'auteur semble ressentir le besoin pressant et permanent de construire des sociétés fictives faites avec et par des personnages boucs émissaires. En se servant de l'écriture, l'auteur semble dévoiler et affronter son univers personnel, le monde, notre actualité. Aussi, ce travail compte bien interroger certains ouvrages de Gabriel García Márquez afin d'observer dans un premier temps les éléments nécessaires à la formation du Bouc Emissaire. Puis notre analyse nous permettra de voir comment se manifestent les phénomènes d'exclusion en parallèle avec les réalités sociétales, tout en gardant en toile de fond la vie de l'auteur. / This thesis proposes to study the issue of Scapegoat in the works of Gabriel García Márquez. The theme of the Scapegoat is closely related to characters whose existence seems attached to this phenomenon. Submitted to their fate, it is difficult to imagine the characters in Gabriel García Márquez outside these vicious circles. The author combines unconsciously or not this phenomenon Scapegoat themes such as those of the House, the bruised body or sublimate, Identity, Otherness ... of which will be used throughout this work. It is therefore interesting to ask why the author seems to feel the pressing need to build permanent and fictitious companies made with the characters and scapegoats. By using writing, the author seems to reveal and confront his personal universe, the world, our news. Also, this work intends to examine certain works of Gabriel García Márquez to observe in the first place the elements necessary for the formation of the Scapegoat. Then our analysis allow us to see how phenomena occur in parallel with the exclusion societal realities, keeping in the background the life of the author.

Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism's elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful.