La personnalité de l’empereur, le bilan de son règne ont suscité toujours de nombreuses discussions tant en France qu’à l’étranger et la Russie n’a pas fait exception. Le corpus poétique et historique consacré à Napoléon a retenu mon attention car je me suis demandé quelles ont été les causes de la naissance du mythe napoléonien en Russie et comment sa perception a évolué au fil du temps. En analysant les ouvrages écrits par les historiens russes entre la chute de Napoléon et le début du XXe siècle et les œuvres littéraires des écrivains de cette période, on voit les changements dans l’image de l’empereur. La légende noire était de courte durée et après sa mort Napoléon devint le héros préféré des poètes tandis que les historiens essayèrent d’expliquer les événements ayant eu lieu en Europe au début du siècle. Le transfert des cendres de Napoléon marqua l’apogée de la légende ; en Russie elle commença à s’effacer après la mort de Lermontov et surtout après la parution de Guerre et Paix de Tolstoï. Au début du XXe siècle le mythe napoléonien n’émerveillait plus les poètes russes mais les historiens s’intéressèrent de plus en plus à l’époque impériale, aux relations franco-russes, à la politique intérieure de Napoléon. L’alliance franco-russe et le centenaire de la guerre de 1812 influencèrent positivement les études historiques mais les événements survenus après 1917 ont donné à la légende une autre dimension et d’autres significations. / Napoleon’s personality and the results of his reign have always been a source of discussion both in France and elsewhere, nor is Russia an exception to this rule. The corpus of poems and writings on Napoleon attracted my attention: what were the causes of the birth of the Napoleonic myth in Russia, and how did attitudes towards the French emperor change over time? Analysis not only of works by Russian historians written after Napoleon’s death up to the beginning of the 20th century, but also of literary works from the same period, reveals changes in the image of the Emperor. The black legend lasted for only a brief time, and after his death Napoleon became a hero for poets. And historians looked positively on the emperor as they attempted to explain the events that had taken place in Europe at the beginning of the century. The transfer of Napoleon’s mortal remains back to France in 1840 marks the apogee of the golden legend. In Russia, this legend began to wane after the death of Lermontov and especially after the publication of Tolstoy’s War and Peace. At the beginning of the 20th century, whilst the Napoleonic myth no longer excited Russian poets, historians on the other hand grew more and more interested in imperial period, Franco-Russian relations, and Napoleon’s internal policy. The Franco-Russian alliance and the centenary of the Campaign of 1812 influenced historical studies positively, but the events occurring in Russia after 1917 gave the legend another dimension and other meanings.

Cette étude a pour objet d’explorer une figure d’origine mythologique réactualisée et réinterprétée dans la première moitié du XXe siècle par des ouvrages anthropologiques d’abord, puis à leur suite par certaines œuvres poétiques : il s’agit de la Grande Déesse de l’Antiquité, devenue tout simplement chez certains « la déesse ». De la construction anthropologique à la réécriture littéraire, la déesse apparaît comme une figure composite à la fois de la mère et de la mort. En tant que femme, elle s’oppose à l’homme, en tant que déesse-mère, au dieu-père. Autour d’elle se développe tout un réseau de récits et de représentations d’origines diverses : récit de la quête du héros affrontant la déesse, théorie du matriarcat originel, révélation à la fois sexuelle et spirituelle, énigme de la poésie. A travers elle, c’est en réalité la question des rapports problématiques entre le sexe féminin et l’humain qui se pose. / The object of this study is to explore a figure of mythological origin which has been actualized and reinterpreted in the first half of the XXth century by anthropologists first and then, in their wake, by a few poetic works – the Great Goddess of Antiquity, now popularized as the Goddess. From anthropological construction to literary rewriting, the goddess appears as a composite figure, embodying both the idea of the mother and of death. As a woman, she is opposed to man, as a mother-goddess, to the father-god. A whole network of diversely originated representations and narratives develops around her: the narrative of the hero’s confrontation with the Goddess, the theory of prehistoric matriarchy, revelations both sexual and spiritual, the enigma of poetry. Through her, the question of the problematic relations between female gender and humanity is ultimately raised.

This diploma thesis tackles the theme of the mythical arrival of Father Čech and his processing in literary texts. The purpose of the thesis is not a historical interpretation, but a narratological comparative interpretation. After the characteristic of the myth and its functioning in literary texts, there follows an interpretation of the theory of fictional worlds, which also deals with myths. Then follows the individual variations of the story, subjected to the submitted narrative-interpretation analysis also in terms of composition, characters and narrators. The objective is to capture the individual changes of the story and provide a comprehensive picture of how individual authors work with this narrative and how the story changes and transforms. Key words Myth, topos, father Čech, narrative, fictional worlds, narrator

Cette thèse examine les relations entre la littérature et la Bible à travers trois personnages mythiques qui représentent le Juif comme l’Autre, un concept à la fois effrayant et fascinant. Elle explore l’évolution des représentations des personnages juifs ainsi que leurs convergences et divergences dans le roman anglais, allemand et français du dix-neuvième siècle. Présupposant l’existence d’un inconscient collectif commun à toute l’humanité, nous avons démontré, en partie grâce à la mythocritique, que ces personnages juifs rejouent ces trois mythes, dont la présence également dans le domaine de la peinture témoigne de leur vitalité au dix-neuvième siècle. La dernière partie, consacrée à la littérature juive de l’époque en Europe constitue une réponse à ces trois mythes évoqués et met à jour un dialogue constructif entre les auteurs juifs et non juifs, ainsi qu’une introspection respective. / This thesis examines the relations between literature and the Bible through the myth of three characters, who construct the collective of ‘the Jew’ as a dangerous and fascinating Other in the nineteenth-century European mind. It examines the evolution of the representations of these characters, and their convergences and divergences in French, English and German nineteenth-century novels. The mythocritique method, taking into account the collective unconscious, reveals that the chosen characters re-enact three major myths, which demonstrate their vitality, not only in literature and theology, but also in art. A response can be found in comparative Jewish literature to these myths, completing the study and revealing a constructive dialogue and self-examination.

The novel in study , The Conqueror by Almeida Faria, presents the search for the individual knowledge of the contemporary Portuguese man. The personage Sebastião, perturbed for singularities that seem to distance him of the others, pretend to organize his way through of the narration of all his life s phases. He begin with his origin relate, to do a relation of the significative loving relationships for the history construction and closed the text with his exile, return at origin place to think about his identity. The identity crisis, experienced for the personage, is based in his constant relation with the historic personage D. Sebastião and in the his necessity of to be different or to accept him how a special or predestinate creature. Respected at the mito sebastianista presaged to king return, Sebastião represents the inside out hero, the double inverse of the historic personage. This image, that symbolize the messianic belief negation, is built through of a ironic and parodystic language. This analysis emphasize how the speech main element the utilization of the grotesque method, that can to be noted in the textual transcription of the iconography epigraphs, in his dreams and in his uncommon sexuality. There are a displacement provoked for this aspects narrative that transfigure the personage in a contradictory creature: representative of the Portuguese aspirations and hopes and concrete symbol of the disillusion and of the failed expectancy of redemption, hard reality of the post-revolutionary moment in Portugal. In this manner, the personage described by Almeida Faria provoke a reflection that confront the past, introduction of the mito sebastianista , and the present, the Portuguese identity front the uncertain contemporary reality. / A obra em estudo, O Conquistador de Almeida Faria, apresenta a busca pelo conhecimento individual do homem português contemporâneo. A personagem Sebastião, perturbada pelas singularidades que parecem distanciá-la dos seres que a cerca, pretende organizar o seu percurso através da narração de todas as fases de sua vida. Inicia com o relato de seu nascimento, relaciona todos os envolvimentos amorosos significativos para a construção da história e fecha o texto com o seu retiro, retorno ao local onde nasceu para pensar sobre sua identidade. A crise identitária, vivida pela personagem, fundamenta-se na sua constante relação com a personagem histórica D. Sebastião e na necessidade que esta apresenta de diferenciar-se ou aceitar-se como um ser especial ou predestinado. Em relação ao que o mito sebástico predissera para o retorno do rei, Sebastião representa o anti-herói, o duplo inverso da personagem histórica. Essa imagem que simboliza a negação na crença messiânica é construída a através de uma linguagem irônica e parodística. Essa análise destaca como elemento principal e desestruturador do discurso a utilização do estilo grotesco, o qual pode ser notado de forma específica na transcrição textual das epígrafes iconográficas, nos sonhos da personagem e na sua incomum sexualidade. Há um estranhamento provocado pela narrativa dos fatos que constituem os três aspectos acima destacados que transfigura a personagem em um ser contraditório: representante das aspirações e esperanças portuguesas e símbolo concreto da desilusão e da fracassada expectativa de redenção, crua realidade do momento pós-revolucionário em Portugal. Dessa forma, a personagem descrita por Almeida Faria provoca uma reflexão que confronta o passado, inserção do mito sebastianista, e o presente, a identidade do ser português frente à incerta realidade contemporânea.

The work Consists of a hermeneutic reflexion on the teaching image before the rationalist world, having as a starting point two critical studies by Theodor W. Adorno: Taboes that hover over the teaching profession and Philosophy and teachers. In such context, these mainly analyzed rectified phenomena, as well as contemplating an explanation of the subject-object scheme, are focused through the figurehead of professorial language and language as experience and revelation of world. In this sense, we seek to investigate how the figure of language of Eco and Narcissus can help in the pedagogical professorial understanding. Thus, we consider the systemic reason sprung from illuminism returns to the myth, by validating the tecnical-scientific world and the person s reification; action instrumental despite the professorial communicative action. This other rationality, which we seek here to approach, activates the premisse that efective comunication within the pedagogical relationship must transcend the metamorphosis of pathological languages such as those of Narcissus and Eco, as well as the overcoming of the same in hermeneutic texture. This way, through comprehension in the pedagogical relationship, involves more than mythical metalanguage, but an opening to comunicative action. If everything is language, even taboos, when crystalized in this world, dissolve along with the apory of the relationship subject-object. Finaly, in this way, we situate Jürgen Habermas' comunicative reason as another horizon to the pedagogical relation in contemporary times. / O trabalho consiste numa reflexão hermenêutica sobre a imagem docente perante o mundo racionalista, tendo como ponto de partida dois estudos críticos de Theodor W. Adorno: Tabus que pairam sobre a profissão de ensinar e A filosofia e os professores. Nesse contexto, os fenômenos que se reificaram, prevalentemente analisados, além de contemplarem uma explanação do esquema sujeito-objeto, são enfocados pelo viés da figura da linguagem docente e da linguagem como experiência e revelação de mundo. Nesse sentido, buscamos investigar o modo de como a figura da linguagem de Eco e Narciso pode auxiliar na compreensão pedagógica docente. Assim, consideramos que a razão sistêmica decorrente do iluminismo retorna ao mito, ao valorizar o mundo técnico-científico e a coisificação da pessoa; a ação instrumental em detrimento da ação comunicativa docente. Essa outra racionalidade, que aqui buscamos tematizar, aciona a premissa de que a comunicação efetiva na relação pedagógica deve transcender a metamorfoses de linguagens patológicas tais como as de Narciso e Eco, bem como à superação das mesmas nas tessituras hermenêuticas. Desse modo, pela via da compreensão na relação pedagógica, envolve mais do que metalinguagem mítica, mas uma abertura à ação comunicativa. Se tudo é linguagem, mesmo os tabus, quando cristalizados nesse mundo, dissolvem-se juntamente com a aporia da relação sujeitoobjeto. Por fim, nessa intencionalidade, situamos a razão comunicativa de Jürgen Habermas como um outro horizonte à relação pedagógica em dias contemporâneos.

This thesis contextualises and explores the reconceptualization of the myth of Eteokles and Polyneices in Greek, Latin and Italian tragedy, the literary genre that more than any other offers the opportunity to trace its progressive transformation across a series of relatively continuous and consistent phases. Within these limits, this study represents the first comprehensive, systematic and detailed comparative analysis of the cultural development of this myth, charting the shaping of its key themes: war and rivalry, autochthony and patriotism, the connection between incest, parricide and fratricide, the effects of predestination/family curse, the clash between private and public interests, and the legitimate limits of power. By means of a close examination of the thesis' main corpus (constituted by Aeschylus' Seven against Thebes, Sophocles' Antigone, Oedipus Tyrannos and Oedipus at Colonus, Euripides' Phoenician Women, Seneca's Oedipus and Phoenissae, Dolce's Giocasta and Alfieri's Polinice) this dissertation demonstrates that the brothers are not merely two stereotypical types whose characterisation as mortal enemies remains static and unvaried. Although their rivalry never stops, the meaning, dynamic and purpose of their struggle are progressively but profoundly transformed throughout the centuries. In particular, I argue that the martial component that initially defined this myth, admittedly important throughout its legacy, is variously adapted to accommodate either a warning against the horrors of violence and subjugation, a cautionary appeal against overly aggressive foreign policy, a denunciation of the unbearable price of civil strife, or an aspiration to pacifism. In parallel, I analyse how the reflection on power and power struggle becomes increasingly predominant, eventually displacing the war theme as the main focus of this myth with a warning against the dangers of tyranny.

Raymond Queneau s’intéresse au mythe, comme bien d’autres écrivains. Mais quel est le rapport qu’il entretient avec cet imaginaire collectif ? Notre propos est d’examiner la particularité des idées de Queneau sur le mythe, dans tous les sens du terme. Il est question d’abord d’observer ce que signifie le « mythe » pour Queneau, en considérant comment ses relations avec les surréalistes et Georges Bataille l’ont sensibilisé aux sciences humaines et sociales en vogue au début du XXe siècle, et en étudiant sa lecture de Nietzsche et Joyce qui réfléchissent sur le mythe et la littérature. La réécriture des mythologies anciennes, gréco-romaine et biblique en particulier, dans l’œuvre de Queneau est également analysée, sans oublier celle de la mythologie gnostique, inextricablement liée chez lui à la philosophie hégélienne, et surtout à l’idée de « la fin de l’histoire ». La notion de «mythologie moderne », discutable pour certains, est tout de même envisagée pour tenter de savoir pourquoi le personnage de Zazie et le Paris décrit par Queneau ont acquis une telle popularité dans le grand public. À la lumière de ces examens, Queneau apparaît comme un écrivain toujours fasciné par cette forme de récit, saturée de symboles, structurée par une tension oppositionnelle, organisée par une construction circulaire, contenant une logique sous-jacente, qui nourrit, tout en gardant l’anonymat, l’imaginaire collectif. / Like many other writers, Raymond Queneau was interested in myth. But what was his relationship to this entryway into the collective imagination? I propose here to examine the particularity of Queneau's ideas on myth, in all senses of the term. I begin by looking atwhat "myth" signified for Queneau, and considering how his relations with the surrealists and Georges Bataille kindled his interest in the social sciences and humanities in fashion at the start of the 20th century, and by studying his reading of the reflections of Nietzsche andJoyce on myth and literature. I also analyze Queneau's rewriting of ancient mythologies, Greek and biblical in particular, but also gnostic mythology, which for him was inextricably tied to Hegelian philosophy, and most of all to the idea of the "end of history." The notion of "modern mythology," which some view as debatable, is nevertheless examined in an attempt to illuminate the reasons why Queneau's character Zazie and Paris he described became so popular with the general public. These analyses reveal Queneau as a writer who was always fascinated by this type of story: saturated with symbols, structured by an oppositional tension, organized by a circular construction, and containing an underlying logic that, while maintaining anonymity, nourishes the collective imagination.

Le but de cette thèse est de rechercher la spécificité de la représentation de laSicile dans le cinéma italien d’aujourd’hui. L’espace sicilien a donné lieu pendant denombreuses années à une représentation de l’île faite de stéréotypes voire de caricaturesfacilement identifiables d’un point de vue ethno-anthropologique. Cette Sicile-là asouvent été servie par le cinéma de l’après-guerre, mais sauf rares exceptions, aussi biendans le documentaire que dans la fiction, il n'est pas parvenu à pénétrer un mondeintérieur riche de conflits et de mystères où les Siciliens ont du mal à se reconnaître et àreconnaître une île racontée, magistralement pourtant, par les écrivains Verga, Capuana,Pirandello, Brancati, Sciascia, Consolo... Dans une première partie nous verronscomment, à travers la figure du bandit Salvatore Giuliano, l’île a été mise en scène defaçon tragique et mythique. Dans la deuxième partie de notre thèse nous verronscomment cette terre de violence a été représentée par des auteurs siciliens. Enfin latroisième partie laissera l’espace à deux réalisateurs et une réalisatrice qui ne sont pasnés sur l’île mais dont les oeuvres démontrent plus qu’un simple intérêt envers la plusgrande île de la Méditerranée. / The purpose of this thesis is to investigate the specificities of therepresentation of Sicily in Italian cinema today. For many years, the Sicilianenvironment has been leading to a representation of the island through easilyidentifiable stereotypes or caricatures, from an ethno-anthropological point of view. It isthat kind of Sicily which has often been presented by the cinema of the post-war period;but with only rare exceptions, both in the documentary or in fiction, it was unable topenetrate a rich inner world of conflicts and mysteries, a world in which Siciliansstruggle to identify themselves and to recognize their island, even though skilfully toldby writers such as Verga, Capuana, Pirandello, Brancati, Sciascia, Consolo ... In the firstpart we will see how, through the character of the bandit Salvatore Giuliano, the islandhas been so tragically and mythically staged. In the second part of this work we will seehow this land of violence was represented by Sicilian filmakers. Finally, the third partwill deal with three directors, two men and a woman: although they were not born onthe island, their works disclose a great interest towards Sicily, the largest island in theMediterranean sea.

Ce travail explore la présence de l’Antiquité dans l’œuvre d’André Suarès et interroge le sens d’une création littéraire profondément marquée par l’héritage gréco-romain. Dans le domaine poétique et théâtral sont traités les grandes figures de l’histoire, mais plus encore les mythes grecs. Suarès les aborde avec boulimie dans le premier élan de sa carrière, mais connaît vite l’impasse d’une suractivité littéraire ennemie de la création. Avec la maturité viennent la maîtrise de l’inspiration antique et l’invention de formes plus ouvertes à la modernité. La culture classique de Suarès s’épanouit tout autant dans les textes critiques. Dans ses portraits, Suarès célèbre de grandes figures du passé ; dans ses chroniques et ses essais, dans ses livres de pensées fragmentaires, il interroge son identité à travers des doubles mythologiques, médite sur l’amour et la femme, sur les rapports complexes entre Antiquité et Modernité ; dans ses textes de combat, il exprime son antigermanisme à travers les concepts de latinité et de romanité. Omniprésente, multiforme, incontournable, la culture classique inspire et alimente donc toute l’œuvre de l’auteur. Animé du désir d’être l’universel génie de la Modernité, Suarès cherche dans la conciliation des héritages antique et chrétien la recette du classique créateur. L’imitation des Anciens ne crée que des œuvres mortes : seule confère la vie l’appropriation personnelle et originale d’un héritage que le génie chrétien a fécondé.À défaut d’avoir vraiment réussi à incarner la grandeur poétique et dramatique à laquelle il rêvait pour lui-même, Suarès s’illustre dans l’inlassable commentaire de la création universelle. / This thesis explores the presence of Antiquity in the work of André Suarès and questions the meaning of a literary creation which was profoundly marked by the Graeco-Roman legacy. Suarès’s poetry and drama were dominated by the great figures of history and by Greek myths. In the first part of his career, he took them up compulsively, but he soon faced the deadlock of literary superactivity which is an enemy of literary creation. With maturity, he came to master antique inspiration and to invent forms which were more open to modernity. Suarès’s classical culture also bloomed in his critical texts. In his portraits, Suarès celebrated the great figures of the past ; in his chronicles and essays, and in his books of fragmentary thoughts, he questioned his identity through mythological doubles, meditated on love and woman, and on the complex relationships between Antiquity and Modernity ; in his combat texts, he expressed his antigermanism through the concepts of Latinity and Romanity. Classical culture is omnipresent, many-sided and it can’t be ignored. It did inspire and feed the whole work of the author. Driven on by the desire to be the universal genius of Modernity, Suarès sought the formula of the classical creator in the conciliation of the Ancient and Christian heritage. He understood that imitating the Ancients only led to the creation of dead works : life would only spring thanks to the personal and original appropriation of a heritage enriched by the Christian genius. Though he did not really manage to embody the poetical and drama greatness he dreamt of for himself, Suarès has won fame in his tireless commentary of universal creation.