Inaug.-diss.--Rostock. / Vita. "Literatur": p. 5-8.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis, Munich. / eContent provider-neutral record in process. Description based on print version record. Bibliography: p. l., 3.

Thèse--Université de Paris. / "Bibliographie": p. [165]-170.

Thesis--Columbia University. / Includes index. At head of title: Société de publications romanes et françaises sous la direction de Mario Roques ; [no.] LVII. Bibliographie: p. [217]-228.

This thesis will examine the ways in which anti-Semitic and more generalized racial theories were powerfully and effectively mobilized under Hitler and his Nazi regime. In the establishment of Nazi ideology and the practice of its principles, Hitler drew upon an old, extensive and specific genre of animalizing language. Hitler's regime skillfully employed contemporary and diverse modes of discourse to dehumanize and devastate the Jewish people. By juxtaposing traditional anti-Semitic beliefs with ideals of Aryan superiority, the Nazis were able to expand and strengthen pre-existing anti-Semitism whilst reaffirming Germany as the ultimate example of evolutionary progression. Integral to Hitler's success was the use of animal imagery and its respective connotations, associations and evocations. Throughout Hitler's regime, the term "animal" remained without an exact or precise definition; the ambiguous definition of "animal" allowed for multiple applications – both destructive and constructive. When used in reference to the Jews, the term "animal" was loaded with a barrage of degrading references, images and emotions. The Jews were described as dirty, disease-ridden rats: weak, despoiling animals that needed to be exterminated and bloodsucking parasites that presented an imminent threat to German bloodlines, culture, morality and economy. These images all stirred feelings of disgust, abhorrence and fear especially when linked to ideas of unpredictable and overwhelming plagues and swarms. The concept of human "animals" was also applied to the Germans but with completely different consequences. The German "animal" was a natural predator, a super wolf, a noble and loyal dog. This wolf/dog was upheld for its prowess, its commitment to the pack and its virile bloodline. This image of animalism was not a degradation or an admission of German inferiority; rather, it was a declaration of evolutionary achievement and innate superiority. The flexibility of the term "animal" was always loaded with emotive connotations and representations whilst remaining fluid in its applicability – only to be temporarily fixed as and when it suited Nazi ends. Hitler utilized the ascribed authority of scientific and pseudo-scientific theories to reinforce a sense of legitimacy and add a compelling rationality to Nazi ideology. Modern media were efficiently employed to spread Nazi beliefs: emotive speeches and new legislative measures were broadcast on the radio; propaganda was printed and circulated whilst cinematography captured the imaginations of many Germans and represented the Jews' "animal" nature. With a wealth of resources available to his purposes, Hitler was able to form and strengthen an ideology that had every appearance of being credible, necessary, righteous and legitimate. Innovative concepts and practices of industrialism were important in the mobilization of Hitler's racial campaign; the employment of new technologies appealed to a sense of progress and national self-improvement as well as providing effective and detached methods of removing the Jewish presence from Germany. When placed within multiple modes of discourse, images of animalism became increasingly pervasive and the dehumanization of the Jews was well underway.

Arthur de Gobineau est un auteur qui a suscité de nombreuses controverses engendrées par ses théories raciales. Ces théories ont cependant contribué à brouiller l’image de cet auteur, souvent présenté comme le père des dérives racistes. Ce n’est pas à l’essayiste que nous avons souhaité consacrer cette thèse, mais bien à l’écrivain, fin connaisseur de l’Orient, humaniste, parce que curieux de l’autre, et surtout méconnu.Par delà ces théories sur les races, Gobineau est l’auteur d’une oeuvre littéraire qui, sous les apparences d’un classicisme parfois hiératique nous donne la vision d’un homme d’une extrême complexité. Il est l’un des derniers représentants de la littérature de l’analyse que l’on considère comme une spécificité française. Mais il s’est également positionné en marge de la vision orientaliste de son époque.Son cheminement vers l’Orient s’est opéré d’abord par une approche toute subjective faite de sensation et d’émotion avant que la passion ne finisse par l’emporter sur les préjugés. Les Nouvelles Asiatiques opèrent une transfiguration du mythe personnel en mythe littéraire : la quête personnelle des origines se traduit par le retour au berceau de l’humanité. La fiction littéraire fait sa matrice là où tout a commencé.L’auteur met à l’épreuve de l’Orient des motifs et des figures qui lui viennent du corpus occidental en transposant dans cet ailleurs des réminiscences de sa culture d’origine. Une pensée qui évolue au gré de la fiction, ou bien un ensemble d’obsessions qui reviennent dans les replis du récit comme en contrebande ? C’est à cette question que nous avons tenté de répondre pour sonder le mystère oriental d’un auteur méconnu. / Arthur Gobineau is an author who sparked controversy over his racial theories. These theories, however, have contributed to blur the image of the author, often described as the father of racist tendencies. This thesis is not concerned with the essayist, but with the writer, as a knowledgeable of the East, humanist, curious of the other, and especially unknown.Beyond these racial theories, Gobineau is the author of a literary work which, under the appearance of a hieratic classicism, sometimes gives us a vision of a highly complex man. It is one of the last representatives of the analysis literature, which is peculiar to French. But he is also positioned on the margins of the orientalist vision of his time.His journey to the East was operated first on an approach that was based upon subjective sensation and emotion before that the passion would eventually outweigh prejudices. The New Asians operates a transfiguration of the personal myth into a literary myth: the personal quest for origins is reflected in the return to the cradle of humanity. Literary fiction made its matrices wherein it all began.Transposing to the East reminiscences of his native culture, the author puts to the test of this elsewhere western patterns and figures. Is it the thought that grows with the fiction or the same obsessions that come back into the folds of the story as contraband? It is this question that we tried to answer by probing the eastern mystery of an unknown author.