Mémoire en recherche-création / Je te dégoûte comme un souvenir d’enfance est un recueil de poésie qui explore l’incarnation trouble de sa sujet dans le monde du capitalisme hégémonique. Ce monde, tantôt inhospitalier tantôt serein en apparence, l’atteint par les yeux. Puis, il s’inscrit dans la matérialité du reste de son corps à la fois réceptif et tendu. Son rapport physique et psychologique à la sexualité ouvre une fenêtre sur la possibilité de résonance avec autrui, une connexion partielle et momentanée. Pourtant, l’être-au-monde, aussi complexe et épanouissant puisse-t-il potentiellement être, est ankylosé par l’impératif de la mort qui impose une fin à son expérience. L’essai s’intéresse, conjointement à la création, à l’aliénation des sujets poétiques qui naviguent dans les espaces déliquescents de l’Amérique néo-libérale dans Comment nous sommes nés de Carole David. Il lit ces lieux par le prisme du paysage subjectif (Collot, 2005) et de l’américanité littéraire, expérience continentale intime et angoissante (Nepveu, 1998 ; Lapierre, 1995). Produits sociaux éminemment politiques, ces lieux du poème, espaces abstraits (Lefebvre, 1974), s’y révèlent comme des instruments à la pensée et au pouvoir dans la production d’un champ spatial aliénant. Surplombés par le spectre de l’apocalypse, les poèmes de Comment nous sommes nés enchevêtrent la vie et la mort. Ils dépeignent de manière lucide un univers composite dans lequel l’exceptionnalisme humain laisse place aux dialogues entre espèces. Les espaces sympoïétiques (Haraway, 2020) du recueil m’apparaissent enfin comme tentaculaires, entrelacés. / I repel you like a childhood memory is a collection of poetry that explores the troubled incarnation of its subject in the world of hegemonic capitalism. This world, sometimes inhospitable sometimes serene in appearance, passes through her eyes first. Then, it is inscribed in the materiality of his body both receptive and tense. Her physical and psychological relationship to sexuality opens a window on the possibility of resonance with others, a partial and momentary connection. Yet the being-in-the-world, however complex and fulfilling it may be, is stifled by the imperative of death that imposes an end to its experience. The essay is jointly concerned with the creation and alienation of poetic subjects navigating the deliquescent spaces of neo-liberal America in Comment nous sommes nés by Carole David. It reads these places through the prism of subjective landscape (Collot, 2005) and literary Americanity, an intimate and agonizing continental experience (Nepveu, 1998; Lapierre, 1995). These places of the poem, abstract spaces (Lefebvre, 1974), reveal themselves as instruments of thought and power in the production of an alienating space field. Overlooked by the spectrum of apocalypse, the poems of Comment nous sommes nés tangle life and death. They lucidly depict a composite universe in which human exceptionalism gives way to dialogues between species. The spaces of sympoiesis (Haraway, 2020) of the collection appear in the end as sprawling, interlaced.

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This dissertation studies the development of a regulation of prostitution in Stockholm during the period 1812-1880. The development of the regulation system is seen in the light of an analytical framework, developed from Carole Pateman's ideas on the sexual contract, and a feministic critique and elaboration of Jürgen Habermas's ideas on the public sphere. The regulation of prostitution was a common characteristic for many metropolises in Europe during the nineteenth century, where supposedly loose and lecherous women were medically and spatially controlled to impede the spread of venereal diseases. Stockholm, and Sweden as a whole, went from a non-gendered to a gendered control of venereal disease, which eventually developed into a spatial control of public women. This study argues that the practices of a regulation system was at first part of an attempt to import what was seen as part of modernisation. Rather than to prohibit extra-marital sexual relations, these were to be controlled and supervised. Eventually the system was adapted to local circumstances in Stockholm, and a control of women's sexuality in public became part of a metropolitan modernity. In the process of the professionalisation of groups such as the police and the physicians, public women were over time perceived as a group of professional prostitutes. The possibility to live off prostitution as a transitory stage in women's lives disappeared, and prostitution became a medically and spatially controlled trade.

This thesis examines representations of the intimate as experienced by female protagonists, through expressions related to the heart, the soul and the body, in a comparative study of novels by French women writers from the 19th century and the present day. The corpus consists of seven novels : Ourika by Claire de Duras (1822), Lélia by George Sand (1833 & 1839), Monsieur Vénus. Roman matérialiste by Rachilde (1884), Femme nue, femme noire by Calixthe Beyala (2003), Vous parler d’elle by Claire Castillon (2004), Le Cœur cousu by Carole Martinez (2007), and Mon cœur à l’étroit by Marie NDiaye (2007). As a starting point, the thesis provides an extensive literature survey of existing research on the intimate as well as an introduction of the feminist and psychanalytic approaches underpinning the subsequent analyses, which are conducted in two parts, according to the personal and relational dimensions of the intimate. The theories of Beauvoir, Kristeva and Lacan offer perspectives on the intimate experience of women characters which is conveyed in literary imagery as the desire of the Other, and which is oppressed in a patriarchal symbolic order, although an aesthetic with specific narrative techniques related to women’s experience of the intimate is identified in most of the novels. These features include blurring and fragmentation of spatiotemporality, a marked intricacy of narrative voice, proximate first-person narrators, and the development of themes such as the writing of the body, sensed as a container. A discrepancy is noticed between the dominating androcentric posture of the heroines which is found in underlying discourse, and the sensorial dimension of their experience. This leads to a sublimation of body and sexuality in the romantic novels, a masochistic exaltation of the body and pain in the decadent novel and a psychotic and paranoid state in the novels from present day literature. The themes of female sacrifice and of death and denial of the body are very strong throughout the corpus. Relationships within the family are explored, including the mother-daughter relationships that are emphasised in the recent novels but not in those from the 19th century. Family structure, Christian culture and patriarchal, hierarchical social organisation are analysed as grounds for women’s alienation in the novels. The issue of perversion, which is striking in the novels on several different levels, is described as a transgression which involves the reader.

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