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Ce mémoire s'intéresse à la Colombie et plus précisément aux négociations que le président Andrés Pastrana a menées entre 1998 et 2002 pour parvenir à un accord de paix avec la guérilla des FARC. L'État colombien étant souvent perçu comme ayant des capacités étatiques amoindries du fait de la présence d'acteurs illégaux tels que les guérillas, les paramilitaires ou encore les trafiquants de drogue, l'objectif de ce travail est de comprendre le rôle de l'inachèvement de l'État dans l'échec du processus de paix d'Andrés Pastrana. En partant du fait que l'État inachevé est un État basé sur le principe de l'exclusion territoriale, sociale et politique, ce mémoire adopte trois axes de recherche. Premièrement, la problématique de l'autonomie militaire vis-à-vis l'exécutif. De fait, l'armée ayant une certaine indépendance, l'État colombien perd de son pouvoir et, de cette manière, sa capacité à diriger des négociations. En deuxième lieu, ce sont les paramilitaires qui font l'objet de l'attention de ce travail. Ceux-ci existant pour mettre fin aux FARC, mais n'étant pas liés à l'État, leurs activités ne concordent pas avec la politique de paix du gouvernement. Enfin, le troisième axe de recherche est celui de la guérilla et l'explication de sa présence et de ses agissements. L'hypothèse de ce travail est de dire que ces trois acteurs ont été engendrés par l'inachèvement de l'État et que cet inachèvement se perpétue du fait de l'existence de ces acteurs. Ainsi, la Colombie serait inscrite dans un cycle conflictuel qui ne laisserait pas de voie au dialogue. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Colombie, État, guérilla, FARC, Andrés Pastrana, négociations

This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period. / Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.

This thesis consists of an analysis of the works of two Cuban authors of the first half of the 19th Century, Francisco de Arango y Parreño and José Antonio Saco. This paper focuses on their works, mainly on those that discuss the topic of slavery. The first chapter introduces the evolution of slavery and its end throughout the Word and in Cuba, focusing on the development of the Cuban society in the 19th century, in which both of the authors lived and created. The second chapter analyses the works of Francisco de Arango y Parreño, his gradual development of ideas and views on the subject in connection with historical events that influenced his works. The third chapter is comprised of similar analysis of José Antonio Saco's works. The conclusion compares the works of both authors and highlights the points in which their views coincide or diverge. Key words: Francisco de Arango y Parreño, José Antonio Saco, slavery, slave trade, abolitionism, sugarcane, Cuba, 1st half of the 19th cent.