François de Lorraine, duc de Guise, fut l’un des principaux acteurs politiques du royaume de France de 1547 à sa mort en 1563. Célèbre, il n’a pourtant pas fait l’objet d’une étude historique approfondie alors que les matériaux sont nombreux pour retracer son parcours. Plus qu’une biographie traditionnelle, le doctorat a eu pour visée d’articuler la problématique de l’identité aristocratique et la question de l’engagement d’un homme qui se pensait entre Dieu et le Roi. Prince de la Renaissance, François de Lorraine construisit son rôle en se fondant d’une part sur l’intégration d’un riche capital identitaire en grande partie constitué de la geste de son lignage lorrain, et d’autre part sur la force qu’il tirait de la maison de Guise, en particulier grâce à l’association étroite de son frère Charles, cardinal de Lorraine. Le duc poursuivit sa quête de salut divin et de reconnaissance sociale dans deux contextes très différents qui déterminèrent des oscillations dans son jeu d’acteur. Le premier est celui du règne d’Henri II (1547-1559), durant lequel il s’imagina être le bras armé du Roi Très-Chrétien en vue d’établir une monarchie universelle. Le second (1559-1563) fut marqué par la crise profonde et multiforme du royaume de France : le duc aspira à être alors le défenseur des catholiques face au calvinisme qu’il associa à une hérésie et contre lequel il assuma d’être tel un nouvel envoyé de Dieu aux côtés des jeunes rois François II puis Charles IX. / François de Lorraine, duc de Guise, was one of France’s most influential politicians from 1547 to 1563, at the time of his death. Although a potent figure, he hasn’t been the subject of any serious historical study. Yet, historical sources are numerous. This thesis is much more than a traditional biography : it aims at questioning the identity of De Guise as an aristocrat and his commitment as a man who figured himself as standing between God and his king.Prince of the Renaissance, François de Lorraine built up his influence by relying on both his heritage and identity as a member of the Lorraine family and his power derived from the de Guise family and his close association with his brother Charles, the Bishop of Lorraine. The duke undertook his quest for divine salvation and political recognition in two different historical contexts which determined and influenced his actions. First, under the reign of Henry II (1547-1559), he acted as the Christian king’s executioner with the view to establishing a universal monarchy.Then, between 1559 and 1563, when the kingdom of France suffered from crises which were deep and manifold, the duke posed as the protector of the Catholics against Calvinism which he considered as heresy. He resisted it by assuming the role of a protector sent by God to assist the two young kings, François II and Charles IX.

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)