Reproduction de : Thèse de doctorat : Lettres et arts : Lyon 2 : 2002. / Titre provenant de l'écran-titre. Bibliogr.

Proefschrift--Nijmegen--Katholieke universiteit, 1998. / Bibliogr. p. [180]-188. Index. Résumé en anglais.

Maîtrise--Histoire de l'art--Rennes 2, 1997. / Bibliogr. p. 119.

Texte remanié de: Th. doct.--Litt.--Paris 7--Université Denis Diderot, 1995. Titre de soutenance : Les ambiguïtés du récit dans l'oeuvre de Jean Echenoz, Hervé Guibert, Pascal Quignard. / Bibliogr. p. 213-219.

L’écriture de soi se voit envahie d’une présence de plus en plus affirmée du photographique depuis les années 1980. L’influence de la photographie en tant qu’image, acte et médium s’étend au-delà de la redéfinition du champ perceptif humain pour remettre en cause les confins de la représentation littéraire du sujet. Avec la présente étude, nous proposons d’examiner les différents processus d’appropriation du photographique – entendu dans son sens large qui comprend l’ensemble des représentations à caractère photographique, qu’elles soient réelles ou imaginaires – dans l’écriture autobiographique, exemplifiés par les œuvres d’Annie Ernaux (écrivain-amateur de photo) et d’Hervé Guibert (écrivain-photographe). Ces processus sont révélateurs des rapports complexes – de la complémentarité sans faille au conflit virulent – qu’entretient l’écriture de soi avec la photographie. Intégrée respectivement comme paratexte et pendant visuels de l’œuvre littéraire, la photographie est un objet extrêmement malléable, qui « articule de manière complexe ancrage dans le réel et ouverture à l’imaginaire ». Considérée comme agent de mutation littéraire, elle permet de déconstruire les modèles canonisés d’expression autobiographique pour étendre la représentation humaine au-delà de la zone de prédication. / The Self-writing has been invaded by an increasingly assertive presence of photography since the 1980s. The influence of photography as an image, act and medium extends beyond the redefinition of the human perception to challenge the confines of the literary representation of the Subject. With the present study, we propose to examine the various processes of appropriation of the photographic - understood in its broad sense which includes all the representations, real and imaginary, with photographic characters - in the autobiographical writing, exemplified by the works of Annie Ernaux and Hervé Guibert. These processes reveal the complex relationships – from seamless complementarity to virulent conflict – between Self-Writing and photography. Integrated respectively as visual paratext and counterpart of their literary work, photography is an extremely malleable object, which "articulates in a complex way anchoring in the real and opening to the imaginary". Considered as a literary mutation agent, it allows deconstructing the canonized models of autobiographical expression so as to extend the human representation beyond the predicate area.

I locate my dissertation at the critical intersection of philosophy, medical discourse and literature, and anchor it around five intertwining concepts: modernity, subjectivity, masculinity, immunity and Frenchness. I contend that immunity, as a concept at which life and law converge, offers an alternative and largely overlooked episteme shaping contemporary French literary consciousness as a primary regulator/negotiator between health and sickness, belonging and not belonging, volition and involition, and, finally, self and other. I treat immunity metaphorically and scientifically, and then trace the episteme through the works of three French authors—Émile Zola, Albert Camus and Hervé Guibert—all of whom adopt the medical novel as a way of addressing the relationship of the individual to society and to the self. Anne-Marie Moulin frames the immunological revolution as an ever-evolving "semantic event." In this vein, I devote my first chapter to examining how immunity instituted itself as a common trope of "becoming" embraced—and left naturalized—by post-structural thinkers grappling with their corporal limits. This rhetorical turn culminates in Jean-Luc Nancy's characterization of the immune system as the body’s “physiological signature," inhibiting the potential of man to transcend his biology. In my second chapter, I move from the metaphor of immunity to a brief exposition of the history of the science, ending my survey with Elie Metchnikoff (and his legacy), the "father" of cellular immunology who envisioned the internal body as a dynamic, every-changing structure. I focus the next three chapters of my study on literary examples where the male protagonist’s immunity has been compromised. For my first two examples—Le Docteur Pascal by Emile Zola and La Peste by Albert Camus—I analyze the portrait of the supposedly immune doctor, considering what the “costs and benefits" of this immunity are and how this "exceptional status" is destabilized. Then, in my last chapter, I switch perspectives from the doctors to the patient, examining the texts of Hervé Guibert who, I argue, models his writing strategy on the retrovirus’s tactics, challenging literary conventions so as better to exteriorize his experience and “contaminate” (in the etymological sense as "touch together") his readers. / Romance Languages and Literatures

The eighteenth century was a time of intense upheaval in France. The death of Louis XIV in 1715 and the subsequent reign of Louis XV saw the end of French political and martial hegemony on the continent. While French culture and language remained dominant in Europe, Louis XV's disinterested rule and military stagnation led to the disastrous defeat of the French army at the hands of Frederick the Great of Prussia in the Seven Years War (1756-1763). The battle of Rossbach marked the nadir of the French army in the Seven Years War. Frederick's army routed the French infantry that had bumbled its way into massed Prussian cavalry. Following the war, two reformist elements emerged in the army. Reformers within the government, chiefly Etienne François, duc de Choiseul, sought to rectify the army's poor performance and reconstitute France's military establishment. Outside the traditional army structure, military thinkers looked to military theory to reinvigorate the army from within and without. Foremost among the latter was a young officer named Jacques-Antoine-Hippolyte de Guibert, whose 1772 Essai général de tactique quickly became the most celebrated work of theory in European military circles. The Essai provided a new military constitution for France, proposing wholesale reform to create an army that could face the Prussian juggernaut. His star quickly rising, Guibert became the toast not only of literary Paris but all of Europe. Guibert exerted an overwhelming influence on military theory across Europe for the next fifty years. His military theories laid the foundation for the French army of the Revolutionary and Napoleonic eras. As other nations adopted French methods, Guibert's influence spread across the continent, reigning supreme until the 1830s. Guibert's importance to military theory is analogous to Voltaire's influence on European literature and culture, an area in which Guibert was not unfamiliar. Guibert was also a celebrated lover of women, most notably Julie de Lespinasse and possibly a young Germaine de Staël. To date, no work has been produced that provides a clear picture of the man, his place in society, his work, and his legacy. For these reasons, a study of Guibert's life and his career is a valuable contribution to French history.

1 Michaela Rumpíková, Résurrection de l'auteur : Hervé Guibert Abstract Hervé Guibert's writings are shocking, revolting, surprising with their explicit and expressive content. The author's desire to show, to reveal and to expose himself transforms his private universe into a space where intimacy becomes extimacy. His exhibitionist project is accomplished with the assistance of a literary genre, autofiction, the new postmodern cosmos of the "I". This thesis seeks to analyse the notion and the modalities of his "I", intimately connected to the themes of body, illness, life, death and resurrection, in his literary chronicles of AIDS, To the Friend Who Did Not Save My Life, The Compassionnate Protocol, Modesty, or Immodesty and The Man in the Red Hat. The "I" of the autodiegetic narrator appears as fragmentary and unstable. His "self" configures and unconfigures at the same time. There is a sense of alienation from his own body which has been dramatically altered by the illness. As a consequence, we witness both physical and psychological defragmentation of the subject. The body, constituent of the "I" identity, gradually transforms into an impersonal "it", an entity apart. In order to (re)construct himself, the author uses various writing processes that help him become familiar with his new "self". Finally,...

Les reliques sont des objets associés aux saints, ou au Christ. Une relique est porteuse d’une puissance spirituelle, une virtus, source de miracles. Depuis l’Antiquité et surtout le Moyen Âge, les reliques ont joué un rôle essentiel dans la vie des sociétés chrétiennes. Il n’en reste pas moins que les théologiens semblent n’avoir réservé au culte des reliques qu’une faible part de leurs écrits, au point d’être considéré par l’historiographie actuelle comme ayant eu « une élaboration théorique inversement proportionnelle à son importance ». Le présent mémoire se propose d’étudier, à travers les différents témoignages laissés sur le culte des reliques, durant l’Antiquité et le Moyen Âge, quelles ont pu être les conceptions, croyances et controverses autour du culte des reliques. L’hypothèse par conséquent proposée est celle d’un « problème des reliques », intimement lié aux évolutions du culte des saints et aux conceptions sur l’eucharistie tout au long du Moyen Âge. Un glissement se produit au cours du Moyen Âge, d’une critique jugée hérétique du culte en lui-même, à un refus des abus et du flou entourant ce culte au nom de l’orthodoxie. Ces paroles persistantes, à défaut d’un débat, sur la validité, les mécanismes mystiques et les abus d’un tel culte se sont ainsi cristallisées au XIIe siècle chez plusieurs auteurs contemporains, tels Thiofrid d’Echternach et surtout Guibert de Nogent, soulignant le besoin d’une élaboration théorique et d’une codification de ces pratiques. / Relics are items linked to the saints, or to the Christ. Relics carry spiritual power, called virtus, source of miracles. Since the Antiquity, and especially since the Middle Age, relics played an essential part in the life of christian societies. The fact remains that the medieval theologians seemed to have reserved, for the cult of relics, a small part of their writings, as to be regarded by historians as having been presenting "a theoretical elaboration inversely proportional to its significance " and did not elicit any debate. This thesis thus proposes to study, through the various accounts left on the cult of relics, the ancient and medieval, what were the views, beliefs and controversies around the cult of relics. The hypothesis is therefore proposed that a "problem of the relics" existed, throughout the Middle Age, intimately linked to developments in the cult of saints and ideas on the Eucharist. A shift occurs during the Middle Ages, from a criticism, considered heretical, of the cult itself, to a denial of abuse and vagueness of this cult in the name of orthodoxy. These persistent speeches, if not a debate, about the validity and the mystical mechanisms and abuse of such a cult, would be well crystallized in the twelfth century, reflected in many contemporary writers, such as Thiofrid Echternach and especially Guibert of Nogent, stressing the need for theoretical development and codification of these practices.

La présente étude vise à apporter une première approche de l'oeuvre d'une figure encore peu connue de l'histoire littéraire, Armand Guibert (1906-1990), à la fois poète, critique, essayiste, et médiateur. Il s'agira plus précisément de mettre l'accent sur son travail de poète et sur une conception de l'écriture poétique plutôt originale fondée sur la notion de « réaction ». Durant l'entre-deux-guerres, alors que la plupart des écrivains et intellectuels de l'époque tentent de donner à l'écriture un véritable pouvoir sur le cour de l'Histoire, Guibert invite le poète à être « réactionnaire ». En 1937, il développe ainsi uneprise de position radicale pour la « Poésie d'abord », dans un recueil d'essais et d'articles critiques du même nom. Il appelle le poète à « réagir » aux événements tout en préservant son langage de tout asservissement. Cette conception de la poésie, oscillant entre la proclamation de sa suprématie, de son autonomie et celle de son influence sur l’humanité ne l'empêchera pas lui-même d'être au plus près des événements qui bouleverseront le XXe siècle. La première partie de cette étude aborde la notion de « réaction » d'un point de vue théorique en s'appuyant sur l'analyse de Poësie d'abord. La seconde partie examine la posture adoptée par Armand Guibert face à plusieurs événements cruciaux de l'Histoire : la Seconde Guerre Mondiale, la Libération et la période de la décolonisation. Dans un dernier temps, ce travail met l'accent sur la « réaction » poétique de Guibert à partir de l'analyse de ses propres recueils, et ce en tentant de mieux saisir toute sa place dans l'Histoire poétique du XXe siècle. / The current study aims to give an initial appreciation of the work of a still little known figure in literary history, namely Armand Guibert (1906-1990) who was at one and the same time a poet, critic, essayist and mediator. More precisely it is a case of stressing his work as a poet and a rather original concept of poetic writing based on the notion of “reaction”. During the period between the Wars, when most writers and intellectuals of the age were trying to give writing real influence over the course of history, Guibert invited the poet to be a “reactionary”. In 1937 he thus developed a radical stance in favour of Poësie d'abord, in a collection of essays and critical articles of the same name. He calls upon the poet to “react” to events, whilst preserving his language from any semblance of subservience. This concept of poetry, oscillating between the proclamation of its supremacy, its autonomy and its influence over humanity would not prevent him from himself being as close as possible to events that were to turn the twentieth century upside down. The first part of this study tackles the notion of “reaction” from a theoretical point of view, based on an analysis of Poësie d'abord. The second part examines the stanceadopted by Armand Guibert in the face of several crucial historical events: the Second World War, the Liberation and the period of decolonisation. Finally this work stresses the poetical “reaction” of Guibert based on an analysis of collections of his own work and, in so doing, to better define his place in the poetical history of the twentieth century.