La présente thèse examine l’apparition d’un sujet de l’écriture chinoise durant la période allant de la première guerre de l’opium à la troisième guerre d’Indochine. « Écriture » est ici comprise, d’une part, au sens strict de l’activité littéraire et, d’autre part, au sens plus large, philosophique, que la déconstruction a donné à ce terme. Ainsi, la notion d’excription (néologisme emprunté au philosophe Jean-Luc Nancy) nous permet de revisiter un ensemble de textes qui ont mis au cœur de leur réflexion ou de leur expérience la question de la création, à travers l’écriture, d’un sujet et d’une communauté de sujets. Au cours des trois parties qui la composent, cette thèse interroge transversalement les hypothèses historiques sur la modernité de sinologues tels que Naitô Konan et Takeuchi Yoshimi, ainsi que les conduites créatrices de Huang Zunxian, Wifredo Lam ou encore Zhang Guixing. Car excription signifie aussi que la recherche menée suit un mouvement d’extériorisation, de mise au dehors du sens que peuvent recouvrir le sujet chinois et sa communauté. / This dissertation studies the birth of what we term the subject of Chinese writing, during the period that stretches from the first Opium War to the Third Indochina War. Our research understands “writing” in the narrow sense of literary activity but also in the wider sense that deconstruction has attached to it. Hence, excription as a philosophical concept (created by the philosopher Jean-Luc Nancy) allows us to reinterpret a number of texts whose central thought or experience is the creation of a subject and a community of such subjects. Throughout three parts we read transversally the historical hypotheses on modernity by sinologist such as Naito Konan and Takeuchi Yoshimi as well as the poetic creations of Huang Zunxian, Wifredo Lam or Zhang Guixing. One must indeed keep in mind that excription also means a movement of externalization of meaning, that, precisely, of the Chinese subject and his community.

(ENGLISH) Proposed dissertation examines a so-far less discussed topic of modern Tibetan literature, which is for the purpose of this study defined ethnically, not as based on language of literary creation. Because of specific socio-historical and cultural conditions, modern literature in the Western sense has not emerged in Tibet until the second half of the 20th century. The emergence of modern Tibetan literature was, as in case of genesis of other Asian modern-style literatures, initiated by an encounter with another culture (i.e. 'Western', 'rational', 'scientific' worldview, which was in case of Tibet introduced through the communist China). In the beginning of the 1980s, this process was de facto enforced by the need (of Chinese as well as Tibetan elites) to establish this literature as an authentic Tibetan voice, affirming their will to modernization through Tibet's belonging to the PRC. At the same time, modern Tibetan literature emerged in a period of certain liberalization after the Cultural Revolution, which in Tibet manifested as a kind of 'national revival', oriented specifically on restoration of religion and related cultural heritage. During that period this literature thus served two seemingly contradictory interests. In Tibetan society it played mainly enlightening and didactic...