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ABSTRACT In the discussion of my research project, the concept of femininity of the eighteenth century in Fanny Burney¡¦s Evelina is the principle subject, and the thesis is divided into five parts to discuss. I elaborate and introduce the basic concept of my thesis¡Xfemininity in the eighteenth century¡Xin my introduction. Then, in the first chapter, I discuss the subversion of the epistolary form. Through exploring the history of the epistolary fiction, I explain how the epistolary novel became a genre and why it is regarded as the feminine style suitable to the female writers and how it works in the novel. As shaping power in Evelina, what results does the epistolarity bring to the structure or the content of the novel? How does the epistolarity make the novel different from other common ones? And as a feminine genre, how would it help Burney go beyond the patriarchal order of language? These are the questions I explore here. In the second chapter, I analyze how Fanny Burney overturn the eighteenth-century patriarchal value system and criticize the marriage market through the incidents that the innocent, feminine heroine encounters in the fashionable world. I also specify how femininity is used as a disguised power by the author to subvert the society. In my third chapter, I elaborate the feminization of male characters and discuss the masculine women as well in this novel. I discuss how the author creates these feminized men and masculine women, and how she implies that if people of both sexes adopt the merits of their opposite sex appropriately, they may become better human beings. Last, in my conclusion, I make a concise summary for my whole thesis and explain why I think it a good work with profundity.

The first volume of Histoire de la Turquie published in 1854 by the French writer Alphonse de Lamartine, is entirely dedicated to the life of Prophet Muhammed. This book raises issues which deserve to be examined in the light of Orientalism (1978) by Edward Said, who criticized the persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture. That is the main purpose of this study. Based on the premise that the character of Muhammed is portrayed posi-tively by Lamartine, we hypothesized that Histoire de la Turquie is a coun-terexample to the thesis of Said. In other words, rather than participating in the discourse of orientalism (the dominant discourse of West), this book marks a break from it by subverting the traditional image of the prophet of Islam. In order to test the hypothesis, we have adopted a comparative ap-proach, allowing the comparison between Lamartine’s discourse and orien-talist discourse. The concept of "subversion" which this study is based on has been bor-rowed from Richard Terdiman’s definition in his book Discourse/Counter-Discourse (1985): it means challenging the dominant discourse or the estab-lished values. To a lesser extent, this study relies on François Dosse’s Le pari biographique (2005) who considers that "writing a biography" is never neutral. Biographers always find pretexts for rehabilitation or demystifica-tion. Also behind every biography hides a project that needs to be clarified. On the basis of the results of this study, it can be concluded that Histoire de la Turquie is not a simple chronology of Muhammed’s life, but a commit-ted text against the dominant Western view of Islam and its founder. It marks a clear break from orientalist discourse by subverting it systematical-ly. This subversive rupture is expressed in the text by the challenging of preconceived ideas, by acts of derision, negation and rejection, and, most frequently, by inversion of values. This appears to be an attempt by Lamar-tine to restore the predominantly negative portrayal of Muhammed. Histoire de la Turquie is thus a counterexample to Said’s theory, which denies the West’s ability to overcome the prejudices against Islam. / Den första volymen av den franske författaren Alphonse de Lamartines Histoire de la Turquie som publicerades 1854 är helt ägnad åt profeten Mu-hammed liv. Denna bok ger upphov till frågor som förtjänar att granskas i ljuset av Orientalism (1978) av Edward Said, som kritiserade de ihållande eurocentriska fördomarna mot arabiska muslimer och deras kultur. Denna granskning är det huvudsakliga syftet med denna studie. Med utgångspunkt i att Muhammed porträtteras positivt av Lamartine är vår hypotes att Histoire de la Turquie utgör ett motexempel till Saids teori. I stället för att ligga i linje med orientalismens diskurs (den dominerande väs-terländska diskursen) intar hans bok ett helt annat förhållningssätt till den traditionella bilden av islams profet. För att testa hypotesen har vi valt en komparativ metod, vilket möjliggör jämförelsen mellan Lamartine diskurs och orientalistisk diskurs. Begreppet "subversion", som denna studie bygger på, har lånats av Ri-chard Terdiman. Hans definition i boken Discourse/Counter-discours (1985) innebär att det subversiva utmanar den dominerande diskursen eller de fast-slagna värderingarna. I mindre utsträckning baseras vår undersökning på Le pari biographique av François Dosse (2005), som anser att "att skriva en biografi" aldrig är någonting neutralt. Levnadstecknaren hittar alltid före-vändningar för rehabilitering eller avmystifiering. Således döljs bakom varje biografi ett projekt som måste klargöras. Resultatet av vår studie ger vid handen att Histoire de la Turquie inte är någon enkel kronologi över Muhammeds liv, utan en engagerad text som polemiserar mot den dominerande västerländska synen på islam och dess grundare. Lamartine bryter helt och hållet med orientalismens diskurs genom att systematiskt motsäga densamma. Denna subversiva ståndpunkt kommer till uttryck i texten antingen genom ett ifrågasättande av förutfattade me-ningar, eller genom ett förlöjligande, ett förnekande och ett tillbakavisande, men oftast genom en omkastning av värderingar. Detta förefaller vara ett försök av Lamartine att korrigera den övervägande negativa bilden av Mu-hammed. Histoire de la Turquie är alltså ett motexempel till Saids teori, som förnekar västvärldens förmåga att övervinna fördomarna mot islam.

Notre travail trouve son origine : d’une part dans la mauvaise réputation du théâtre contemporain auprès du public qui ne le fréquente pas ou plus et qui le juge violent, ennuyeux ou incompréhensible ; d’autre part dans le caractère très circonscrit, sur le plan socio-culturel, du public de ce théâtre. Nous tâchons de faire le lien entre ces deux constats, en utilisant la question du rire comme un révélateur. Notre hypothèse est que la dilution de la perception du rire dans le théâtre contemporain et les efforts ponctuels des spectateurs pour réinjecter du rire dans leur expérience spectatorielle constituent un symptôme de blocage du potentiel subversif de la création théâtrale. Mais, plus profondément encore, il nous semble que cette espèce de dysfonctionnement du rire s’inscrit au cœur d’un problème plus vaste de renouvellement, qui se pose aussi bien pour les formes du spectacle que pour la composition socio-culturelle du public. En effet, le rapport du public et de la scène au rire/à l’humour apparaît lié à certains aspects essentiels du fonctionnement théâtral actuel, notamment : à un refus implicite ou explicite du divertissement, à la systématisation de l’esthétique du choc, à la mise à l’épreuve du spectateur et au traitement des tabous. Il s’agira donc, en interrogeant le déploiement du rire (notamment dysfonctionnel), côté salle et côté scène, d’identifier et d’analyser ce qui relie, en filigrane, les différents obstacles au renouvellement rencontrés par la création théâtrale contemporaine et ce qui contribue réellement à la désaffection du grand public pour un art devenu, au cours du XXème siècle, extrêmement marginal dans la vie quotidienne des individus. / My research was motivated on the one hand by the bad reputation of contemporary theatre among the people who do not or no longer attend it and who think it is violent, boring or hard to understand; on the other hand by the fact that its audience is socio-culturally extremely circumscribed. I try to make a link between those two observations by using the laugh as a revelatory tool. My hypothesis is that the increasing difficulties to perceive laugh in contemporary theatre and the audience’s punctual efforts to reinsert laugh in their theatrical experience are symptoms of a general limitation of the subversive potential in contemporary creation. Most of all, I think that this kind of laugh’s malfunction is a part of a bigger problem affecting the renewal capacity of theatre, in the aesthetic aspects as well as in the socio-cultural audience’s composition. In fact, the relation between the audience or the scene and laugh/or humour seems linked to some essential aspects of the actual theatrical working: the explicit or implicit refusal of entertainment; the systematization of the “shocking effects’ aesthetic”; the audience’s physical or psychological trial; the way taboos are managed. By exploring the way laugh/humour works or malfunctions, from the scene’s and the audience’s perspectives, I want to identify how the different obstacles to theatrical renewal are related and what really contributes to the audience’s disaffection for an art which, along the 20ieth century, has become more and more marginal in people’s day-to-day life.

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This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. In this dissertation I focus upon how selected films provide insight into the ideological discourse of the 1990s within the Serbian socio-political and cultural context. I discuss a range of Serbian films produced during the 1990s, and I analyse in detail several films, in particular Pretty Village, Pretty Flame (Lepa sela, lepo gore, Srdjan Dragojevic, 1995) and Wounds (Rane, Srdjan Dragojevic, 1998), in which I focus on the depiction of nationalist and religious elements in the films. I analyse cinematic representations of the nationalist-religious ideology, its characteristics, impacts and promotion. On the basis of this analysis I consider the extent to which these cinematic representations are subversive. My dissertation has seven chapters. In chapter 1, which is an introduction to the thesis, I state my research questions and methodology. In chapter 2 I discuss the research context and I consider literature relevant to my research. Since I am basing my research upon different fields, I divide this chapter into three parts: the first one is devoted to the field of film and religion in which I position this study; the second part is on the literature that I used for the exploration of the socio-political context of the 1990s; and the last part is devoted to literature written on Balkan, Yugoslav and Serbian cinema. In chapter 3 I provide an analysis of the Serbian socio-cultural and political context of the 1990s. Chapter 3 is divided into eight parts, in which I primarily focus on the creation, characteristics and impacts of the nationalist-religious ideology. This discussion includes an analysis of the interaction between the Church and the state in the promotion of this ideological discourse. This chapter is important for the further analysis of Serbian film, its contextualization, and understanding the main issues which films communicated. In chapter 4 I analyse Serbian films produced during the 1990s. In the first part of this chapter, and for the purpose of contextualization of Serbian film, I first briefly discuss the cinematic tradition of former Yugoslavia: the Black Wave movement. I move on to discuss the cinematic context of the 1990s and the films produced over this period of time. I particularly focus on several films which dealt with the political-ideological context of the 1990s. I discuss the most significant films which dealt with the war, violence, ideology and the collapse of Serbian society under the Milosevic regime. The aim of this chapter is to provide a cinematic context for the analysed films and a clearer understanding of Serbian film of the 1990s as politically engaged cinema. Chapter 5 is devoted to the film Pretty Village, Pretty Flame while in chapter 6 I analyse the film Wounds. I analyse these two films separately because of their unique depictions of the nationalist-religious ideology. Both chapters are structured the same way and are divided into two major parts. In the first part of each chapter I consider the film's plot, its genre and its production, as well as discussing the film's critical reception. In the second part of each chapter I analyse the film narrative and images. At the end of each chapter I discuss the results of my analysis. Chapter 7 is the last chapter of my thesis and is devoted to the conclusion. In this final chapter I discuss the findings based on the cinematic and contextual analysis in the previous chapters. As part of my final remarks, I outline the contributions this study has made and future research that can be developed on the basis of this thesis.

L’introduction de la marginalité et de la contre-culture dans le roman contemporain révèle une certaine crise dans la conception même du statut de la littérature à la fin du XXe siècle et à l’aube du XXIe siècle. On proclame souvent la mort de la littérature et du roman, mais aussi la crise de la fiction, de la narration, du sujet. On remarque ainsi des interférences croissantes dans la littérature contemporaine entre les « mauvais genres » et les genres nobles, entre la Littérature et la « sous-littérature ». Cette idée de fin ne va-t-elle pas de pair également avec la croyance aiguë que le monde court à sa perte et que les fondements « modernes » sont morts également ? De nombreuses œuvres contemporaines explorent la violence extrême, le sadisme et la cruauté afin de montrer de façon désenchantée une humanité emplie d’animalité. Mais cette surenchère de violence et cette survalorisation de la marginalité ne sont-elles pas l’expression d’un désenchantement sans précédent ou a contrario d’une écriture résistante, qui use de son langage acide pour refuser ce nouvel état du monde et de l’art ? Cette écriture, qui enthousiasme la critique journalistique, renouvelle-t-elle profondément la littérature ? Est-elle véritablement novatrice et subversive ou n’est-elle qu’une sous-littérature qui exploite les expérimentations des auteurs modernes ? La critique savante semble partagée quant à sa fonction critique et quant à sa littérarité, mais la violence et l’inscription volontaire des auteurs dans le « Tiers-monde linguistique » montre que la littérature n’a plus les mêmes visées et la même place dans le champ littéraire. En effet, quelle est la fonction de la littérature dans un contexte de mondialisation et de médiacratie ? Ces œuvres ne reflètent-elles pas une évolution profonde du champ littéraire et une remise en question des critères esthétiques traditionnels ? / The introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?

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This thesis is concerned with an analysis of British governmental attitudes and responses to communism in the United Kingdom during the early years of the Cold War, from the election of the Attlee government in July 1945 up until the election of the Wilson government in October 1964. Until recently the topic has been difficult to assess accurately, due to the scarcity of available original source material. However, as a result of multiple declassifications of both Cabinet Office and Security Service files over the past five years it is now possible to analyse the subject in greater depth and detail than had been previously feasible. The work is predominantly concerned with four key areas: firstly, why domestic communism continued to be viewed as a significant threat by successive governments – even despite both the ideology’s relatively limited popular support amongst the general public and Whitehall’s realisation that the Communist Party of Great Britain presented little by way of a direct challenge to British political stability. Secondly, how Whitehall’s understanding of the nature and severity of the threat posed by British communism developed between the late 1940s and early ‘60s, from a problem considered mainly of importance only to civil service security practices to one which directly impacted upon the conduct of educational policy and labour relations. Thirdly, how official counter-subversion methods were formulated and enacted over the period – from remarkably limited beginnings as small-scale vetting reform to a wide-ranging program of surveillance and counter-propaganda by the early 1960s. And finally, whether such responses can be judged as proportional with the benefit of historical hindsight, or if the British government’s conduct should be regarded as an egregious example of reactionary censorship and infringement of civil liberties in the modern era.

La dysorthographie est considérée en psychiatrie comme un trouble spécifique des apprentissages. Les découvertes neuropsychologiques de la place des émotions dans les apprentissages confirment une idée soutenue par l’approche psychopathologique psychanalytique selon laquelle le développement cognitif ne peut être dissocié du développement affectif. Notre recherche a porté sur le silence des affects repéré chez certains enfants présentant ce trouble dans notre pratique clinique, émettant l’hypothèse d’une logique psychosomatique sous-tendant ce symptôme. L’analyse du CAT d’un groupe de vingt enfants et l’analyse de la thérapie d’une enfant de neuf ans ont permis de mettre en évidence une répression majeure des affects, une restriction de l’expression fantasmatique, une prévalence des agirs et des sensations en lien avec un attachement fort au perçu. La présence de ces éléments laisse envisager que dans ces cas, le symptôme dysorthographique peut témoigner de l’action de défenses de type opératoire et ne constitue pas un symptôme psychonévrotique exprimant un conflit symbolique. Au-delà de l’hétérogénéité du fonctionnement psychique de ces enfants, l’existence de telles constantes cliniques nous conduit à établir un parallèle entre le symptôme dysorthographique et un symptôme psychosomatique. Ceci ne le laisse cependant pas dépourvu de sens, que nous avons tenté de rechercher à travers l’analyse des mouvements transféro-contre-transférentiels de la thérapie de Jeanne. Nous avons ainsi été amené à proposer l’hypothèse d’un défaut de subversion libidinale à l’origine d’un maintien dans une écriture purement fonctionnelle et mécanique chez certains patients dysorthographiques. / The spelling disorder is considered in psychiatry as a specific learning disorder. The recent neuropsychological discoveries of the role of emotions in the learning process confirm the idea, supported by the psychopathologic psychoanalytical approach, according to which the cognitive development cannot be separated from the emotional one. Our research concerned the silence of affects which we had already found with children presenting this specific disorder in our clinical practice ; therefore making us utter the hypothesis of a psychosomatic logic underlying the symptom of spelling disorder. The analysis of a projective test, the CAT, for a group of twenty children and the analysis of Jeanne’s therapy, a child presenting this disorder, highlighted a main repression of affects, a limitation of the fantasmatic expression, prevalency of acts and feelings linked to a very strong importance put on perceptions. These aspects lead us to consider that in those cases, the spelling disorder syptom may be the result of operating defenses but is not necessarily a psychonevrotic symptom expressing a symbolic conflict. Beyond the variety of psychic process of these children, the presence of such steady clinical aspects, leads us to establish a link between the spelling disorder symptom and the psychosomatic symptom. We tried to find a reason for it through the analysis of the transfert movements in Jeanne’s therapy. This brought us to utter the hypothesis of a lack of libidinal subversion leading some patients with spelling disorders to remain in a purely functional and mechanical writing.