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L’œuvre romanesque de Romain Gary est un écho du XXe siècle. Des périls de l’histoire, l’écrivain n’en ignore aucun. La Seconde Guerre mondiale forge sa conscience morale ; elle est la source de son gaullisme, basé sur un idéal de l’Homme, auquel il demeure fidèle. Mais au-delà de cette matrice, les années d’après-guerre façonnent également sa pensée. Car ses carrières diplomatique et littéraire n’ont pas été dissymétriques. Des quinze années passées au Quai d’Orsay, nombre de ses romans sont directement inspirés. La diplomatie révèle donc la topographie de la pensée de l’écrivain, qui ne résulte pas seulement du traumatisme de la Shoah et de la fraternité de la Résistance, mais est également forgée en réaction au totalitarisme soviétique et à la résurgence des nationalismes. Explorer sa carrière diplomatique, c’est aller aux sources de son œuvre romanesque, déceler dans l’événement le matériau de la fiction. Romain Gary a donc doublement composé avec l’histoire immédiate, cherchant à en comprendre les déterminants – c’est le travail du diplomate – et à en dépeindre les effets – c’est l’œuvre de l’écrivain. Dès lors, le roman apparaît comme le palimpseste de la dépêche. Et c’est en démêlant cet écheveau, entre diplomatie et littérature, histoire et fiction, que sa pensée politique apparaît avec le plus de clarté, de complexité aussi, et de nuances : en tirant ce fil, son œuvre romanesque démontre son unité et sa cohérence tant vis-à-vis des événements historiques que des positions de l’homme. / The novels of Romain Gary echo the events of the 20th Century. None of the great crises of the period is ignored by the author. Gary’s moral conscience was forged by the Second World War and it led him to a philosophy of Gaullism based on a human ideal, to which he always remained faithful. But beyond this matrix the post-war years also shaped his thinking. His diplomatic and literary careers follow a symmetrical path. His fifteen years working for the French Foreign Ministry were the direct inspiration for several of his novels. It is diplomacy which reveals the writer’s intellectual topography. This was not just a product of the trauma of the Shoah and the fraternity of the resistance but was also forged in reaction to Soviet totalitarianism and the resurgence of nationalisms. To explore his diplomatic career is to discover the sources of his novels, to reveal the factual basis of his fiction. Romain Gary made a double usage of contemporary events, first as a diplomat intent on understanding underlying causes, second as a writer painting a picture of the effects. Thus the novel can be seen as a palimpsest, a reworking of the diplomat’s despatch. As this skein is untangled, as diplomacy and literature, history and fiction are teased apart, Gary’s political thinking is revealed in the greatest clarity, complexity, and nuance. As the thread is drawn out, Gary’s novels demonstrate a unity and a coherence both with regard to historical events and to his own personal convictions.

Art Spiegelman is one of the most important figures in the history of American comics. His work Maus (1980 and 1991) is arguably the landmark text in the field of comic book studies. Given the relatively recent reissue of his first collection Breakdowns (2008) and the publication of his interview/essay collection/scrapbook Metamaus (2011), it is likely that his work will continue to be the subject of critical interest. This thesis concerns the collections Breakdowns (1977 and 2008), Maus (1980 and 1991) and In the Shadow of No Towers (2004). It represents the first book-length extended study of Spiegelman s three major works. The central argument put forth in this thesis is that the Spiegelman oeuvre articulates and manifests a madness which its author perceives to underlie supposedly rational society. In support of this thesis I will employ critical models from the following fields: Holocaust studies, trauma theory, the anti-psychiatry movement, theories concerning the representation of madness, formalist analyses of comics, and Genette s narratological taxonomy.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

L'objectif de cette recherche est de réfléchir à la notion de vrai dans l'économie discursive du témoignage. C'est-à-dire que ce mémoire se concentre sur le rapport entre le discours critique et académique d'une part, et le discours littéraire de l'autre. Une première partie s'attache à délimiter les contours de du problème, à partir notamment des notions de de vrai et de vraisemblable. Une étude comparative permet d'introduire trois auteurs qui serviront d'exemple tout au long de la recherche: Primo Levi, Jorge Semprun, et Charlotte Delbo. On fait un bref survol de l'évolution des deux économies discursives depuis les tout premiers témoignages (années 40-50) jusqu'au tournant narratif symbolisé par le procès Eichmann. Cela correspond aussi à la parution d'un témoignage à part: Le sang du ciel, de Piotr Rawicz. La seconde partie est un état de la question sur le roman de Rawicz. Comment le fait qu'il s'agisse d'une fiction, notamment, a été discuté par la critique et dans les contributions universitaires qui lui sont consacrées. Cette incursion dans l'herméneutique nous permet d'identifier trois vagues critiques distinctes, selon les époques et les pays. Enfin, la dernière partie s'attache à montrer que Le sang du ciel est un témoignage pensé comme un projet esthétique, dont la modernité ne cède pas à la facilité du refus de dire de quoi on parle, mais qui au contraire pose des questions de son temps et ose aborder les sujets que l'on doit taire selon la doxa. / The purpose of this research is to reflect the notion of truth in the discursive economy of testimony. This study examines, on the one hand, the critical or academic discourses and, on the other, the literary discourse itself. The first part defines the nature of the problem, particularly with references to notion of truth and verisimilitude. As the basis of comparison, the analysis introduces three authors who will be points of refernence throughout the research: Primo Levi, Jorge Semprun, and Charlotte Delbo. At the outset, this study presents the general lines of the two discursive economies' evolution, from the very first survivor accounts (the 40's and the 50's) to the narrative turning point symbolized by Eichmann's trial. This latter coincides with the publication of a unique literary account: Blood from the Sky, of Piotr Rawicz. The second part examines the critical and academic reception of Rawicz's novel, which revolved around the work's fictionality. This foray into hermeneutics allows for indentfying free stages of criticism, varying according to time periods and countries. Finally, the last part aims to show that Blood from the Sky is a witness account conceived as an aesthetic project whose modernity does not stop at refusing to say what is at issue. On the contrary, the novel asks questions of its own time and dares to broach topics that the general consensus we should avoid.

O presente trabalho investiga a maneira segundo a qual a produção cultural das gerações pós-Shoá concilia a sensação de irrealidade do genocídio e as memórias que o circundam. É a partir daí que partimos para a análise de Maus a survivors tale (publicação completa em 1991), obra de Art Spiegelman que se dedica a arquitetar o discurso de seu pai, Vladek Spiegelman, sobrevivente da Shoá. Além do testemunho e de uma série de referências históricas - fotografias, panfletos, livros e depoimentos de outros sobreviventes, Art mescla as memórias pública e privada e também lança mão de outros mecanismos de representação que quebram a barreira da incompreensibilidade da Shoá, tal como ilustrações que justapõem o passado e presente. A medida em que investigamos outros trabalhos teóricos que abordam a Shoá - inclusive o outro trabalho de Spiegelman, denominado Metamaus (2011) - verificamos como as propostas culturais das gerações posteriores ao genocídio oferecem novos olhares e, consequentemente, novas perspectivas ao estudo de tamanha situação traumática. A hipótese do presente trabalho é de que o autor de Maus cria uma dinâmica tridimensional na transformação transgeracional da realidade do passado por meio de sua ressignificação simbólica. / This work investigates the way in which the cultural production of post-Shoah generations reconciles the unreality of the genocide and the memories that surround it. It is from this point that we begin with the analysis of Maus a survivor\'s tale (final edition in 1991), Art Spiegelman\'s main work through which he represents his father\'s life narrative as a war survivor of the Shoah. Armed with his story, as well as with a series of historical references, such as photographs, pamphlets, books and stories from other survivors, Art merges the public and private memories by using other mechanisms of representation that break the barrier of the incomprehensibility of Shoah, such as illustrations that juxtapose past and present. As we investigate other theoretical works that address the Shoah - including Spiegelman\'s other work called Metamaus (2011) - we see how the cultural proposals of post-genocide generations offer new insights and consequently new perspectives for the study of such traumatic situation. Our hypothesis is that the author of Maus creates a three-dimensional dynamics in the transgenerational transformation of the reality of the past by means of its symbolic resignification.

Texte remanié de: Ph.D.--Southampton, 1998. Titre de soutenance : The Holocaust on trial : the war crime trials in the formartion of history and memory. / Documents en annexes (verdicts du procès de Nuremberg et d'autres procès). Bibliogr. p. 233-261. Index.

Texte remanié de: Diss. M.A.--History--Ramat-Gan--Bar-Ilan university, 5757, 1997. / Le verso de la p. de titre porte : "The Jewish army : the history of the Jewish armed underground in France" Bibliogr. p. [145]-151. Index.

Dissertation--Düsseldorf--Heinrich-Heine-Universität, 2005. / Bibliogr. p. [331]-368.

Ed. commerciale de : Thèse : ? : Universität Klagenfurt : 2002. / Bibliogr. p. 347-384.