En s’engageant massivement dans l’affaire Dreyfus, les écrivains n’ont pas seulement redéfini les formes de l’engagement, ils ont aussi mis leur plume au service d’une cause politique. Des articles écrits au cœur de la polémique aux romans inspirés de l’affaire, l’affaire Dreyfus est donc devenue un objet littéraire, interrogeant la frontière et les relations entre l’Histoire et la fiction. L’affaire Dreyfus a tout d’abord été une prise de conscience collective construite autour d’un discours idéologique sous-jacent. Les années qui ont précédé l’affaire ont été marquées par la genèse de cette bataille littéraire : la mise en place des discours idéologiques qui allaient s’affronter, l’émergence des formes de la mobilisation collective qui allaient servir au mouvement des intellectuels ont créé le terrain sur lequel l’affaire Dreyfus a eu lieu. Au cœur des événements, ce sont essentiellement les témoignages privés qui révèlent l’impact de l’affaire dans le milieu des écrivains : un mouvement qui a bouleversé la société littéraire jusque dans ses cercles intimes, dont la force de mobilisation ne laissait que peu de place aux voix dissidentes. La dimension collective de cette mobilisation a par ailleurs directement influencé le texte de l’affaire Dreyfus : dessinant entre les discours polémiques un intertexte à la fois idéologique et stylistique, les écrivains ont construit au croisement de leurs articles de combat une rhétorique dreyfusarde. Prolongeant cette vision littéraire collective, les œuvres de fiction ont donné une postérité littéraire à l’affaire Dreyfus au confluent des différents regards et sensibilités des écrivains / Through their massive commitment in the Dreyfus Affair, French writers have not only redefined the ways of commitment, they have also used their writing as a weapon to defend their political cause. From the articles written during the battle to the novels based on the Affair, the Dreyfus Affair has thus become a litterary object, questionning the frontier between History and Fiction. The Affair was a case of collective awareness linked to an underlying ideological debate. This litterary battle was born before the actual Affair began : the writers defined the main guidelines of the ideological debate and employed the means of collective mobilization, creating the background in which the Dreyfus Affair took place. During the battle itself, they privately expressed how much the Affair turned the litterary world upside down, leaving little room for dissident voices. The collective aspect of the mobilization has moreover directly influenced the Dreyfus littérature : creating between the lines of the debate an ideological and rhetorical unity, French writers have built this public controversy over common references. Influenced by this collective litterary vision, the fiction works based on the Affair gave it a litterary posterity at the crossroads of different sensitivities

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Le nom d’Anatole France, l’écrivain qui fut célèbre, il y a un siècle, court le risque d’être oublié de nos jours. Fraichement nommé à l’Académie française, il a vu son nom briller pendant l’Affaire Dreyfus aux côtés de Zola et des autres dreyfusards. Il consacre Monsieur Bergeret à Paris entièrement à cette Affaire. Mais après la réhabilitation du Capitaine, lui, qu’il avait mis tant d’espoir dans cette affaire voit ses rêves s’effondrer. Nous percevons un changement après l’Affaire dans l’orientation de ses œuvres. Cette nouvelle orientation se fait ressentir surtout à partir de son roman Sur la pierre blanche dans lequel il bâtit une cité de rêve à la fin de son roman. Il devient un amoureux impénitent de l’imaginaire en quête de l’ « inconnaissable », le conteur du « merveilleux », le bâtisseur de « cité utopique ». Avec le temps et surtout vers la fin de sa carrière Il prend un ton plus amer avec une tendance contre-utopique. Il prend conscience de l’impossibilité de changer la société. Cette tendance va s’intensifier dans L'Île des pingouins et La Révolte des anges qu’on peut qualifier de contre-utopies avec des effets de Merveilleux. Pourtant il évite de prévoir une fin pour ses deux histoires dans l’espoir que peut-être les futures générations arriveront à écrire une fin heureuse pour l’histoire et l’humanité. / Anatole France, the French writer who was famous one century ago, risks to be forgotten nowadays. Freshly elected at the “Académie Française”, he saw his name shining during the Dreyfus Affair beside Zola and the other dreyfusards. The story of Monsieur Bergeret à Paris is completely dedicated to the Affair. But after the rehabilitation of the Captain Dreyfus, he, who had put so much hope in this Affair, sees his dream collapsed. After this period, we perceive a change in the orientation of his works. This new orientation is felt especially at the end of his novel Sur la Pierre Blanche in which he builds a dream city. He becomes an incorrigible lover of the imaginative world in search of the “unknownable”, a storyteller of the “magic”, the builder of an “utopian city”. Latter, especially towards the end of his career, he took a more bitter tone, a kind of “contre-utopia”. He became aware of the impossibility of changing the society. This trend is intensified in his two novels: L’Île des pingouins and La Révolte des anges which we can be qualified of “contre-utopia” with effects of magic. Nevertheless he avoid to plan the end of these two stories in hope that the future generations will manage, maybe, to write a happy end for the history and for the humanity.

À l'aube du XIXe siècle, l'accélération de l'histoire, et la sécularisation qui s'installe, favorisent l'intégration sociale du Juif. Après 1789, il s'émancipe et devient un citoyen. Cette assimilation accompagne une intégration littéraire : le Juif devient un personnage de fiction, multipliant ses apparitions dans les œuvres françaises du XIXe siècle. Nous analyserons la manière dont les écrivains mettent à distance les stéréotypes dans l'élaboration d'un personnage judaïque, pour imaginer une profondeur littéraire et psychologique trouble et signifiante. Nous verrons en quoi ces représentations sont aussi marquées par un contexte historique particulier, comme l' Affaire Dreyfus, par exemple. Quelle influence le personnage juif a-t-il sur l'action ? A-t-il un destin ? Connaît-il l'amour ? A-t-il une identité permanente, ou est-il sensible au changement ? Le personnage juif crée une identité narrative particulière et problématique, tributaire de sa confession. Nous analyserons l'être, le faire et le dire du personnage juif, et montrerons comment la construction littéraire du personnage juif se nourrit aussi du dialogue entre texte et image. / At the dawn of the XIXth century, the acceleration of the history and the secularization which settles down, favor the social integration of the Jew. After 1789, he is emancipated and becomes a citizen. This assimilation accompanies a literary integration : the Jew becomes a fictional character, multiplying his appearances in the french works of the XIXth century. We shall analyze the way the writers put at a distance stereotypes in the elaboration of a Jewish character, to imagine a shady and significant literary and psychological depth. We shall see in what these representations are also marked by a particular historic context, as the Dreyfus affair, for example. What influences the Jewish character has on the action ? Has he a fate ? Does he know love? Has he a permanent identity, or is he sensitive to the change ? The Jewish character creates a particular and problematic narrative identity, dependent on his confession. We shall analyze the being, the making and the telling of the Jewish character, and shall show how the literary construction of the Jewish character also feeds on the dialogue between text and image.

Pesquisa de teoria literária sobre o romance Em busca do tempo perdido, de Marcel Proust. Tem como objetivo refletir sobre a unidade do romance Em busca do tempo perdido, por meio de uma análise da personagem de Charles Swann. Este trabalho principia pelo levantamento do projeto global do ciclo romanesco, a partir de um trecho d´A Prisioneira em que o narrador-protagonista estabelece dois tipos de unidade para a obra de arte: uma lógica e outra vital. O segundo capítulo expõe as dificuldades que esse projeto coloca: como criar uma obra artística que seja viva e aberta, ao mesmo tempo que coesa e íntegra? A resposta é encontrada nos vasos comunicantes, nas transversalidades capazes de dar ao ciclo romanesco, não uma unidade lógica, mas vital. O terceiro capítulo analisa um dos nós, um dos pontos para o qual convergem essas transversalidades: a personagem de Charles Swann. Por meio da reconstituição desta personagem, são discutidos aqui alguns temas importantes para o romance: a formação do artista, assim como a relação entre a arte e a vida. Vemos em seguida que, em contraponto a Swann, cuja trajetória é vista como uma vocação artística frustrada, a expressão do romance proustiano busca condensar as experiências de um indivíduo para se tornar escritor. Finalmente, o excerto reflete sobre o caráter realista do romance: tendo por base um ensaio de Antonio Candido, \"Realismo (via Marcel Proust)\", e levando em conta um acontecimento-chave para o escritor francês, analisamos aqui o papel desempenhado pelo caso Dreyfus na narrativa. A hipótese mais geral desta pesquisa é a de que certos temas, representados pela personagem do diletante Charles Swann e por seu engajamento no caso Dreyfus, tornam difícil o acabamento do romance e lhe dão uma forma crítica, polêmica, viva. Esta não retira sua unidade da perspectiva de um artista profissional, cujo ofício participa da divisão do trabalho e do conhecimento de nossa sociedade; mas vincula-se à percepção de um diletante, cujo ponto de vista conserva algo de maravilhoso e mágico para as criações artísticas, como se a arte oferecesse mais do que obras e fosse capaz de ensinar a ler a vida. Lembramos neste sentido que a narrativa proustiana, desde seu começo até seu final, acompanha o ponto de vista não de um artista formado, mas de um apaixonado pelo universo artístico: o protagonista que deseja criar uma obra de arte e a imagina capaz de organizar a vida à imagem de sua complexidade. / A literary theory research on Marcel Proust´s novel In Search of Lost Time. The objective is to discuss the unity of Proust´s novel through an analysis of Charles Swann´s character. The first chapter of this work is a survey of the novel\'s global project, taking a passage of The Captive as a starting point, where the novel\'s narrator identifies two kinds of unity for the work of art, a logical one and a vital one. We remind then some difficulties that this project brings along with it: how can we create a work of art which is open and live, as well as coherent and complete? The answer is found in the communicant vases, in the transversalities able to provide the novel with a vital unity, not a logical one. In the third chapter, we analyse one of the points into which these transversalities converge: Charles Swann´s character. By a reconstitution of this character, we discuss certain important motifs of Proust´s novel: the education of the artist, as well as the relationship between art and life. In comparison with Swann, who represents a frustrated artist, we recognize that Proust´s literary expression seeks to condense someone\'s experiences to become a writer in the actual society. Finally, in the last part, we study the realistic aspects of the novel, based on Candido´s essay, \"Realism (according to Proust)\", and, taking into account an important political experience for the writer, we review the role of Dreyfus\'s Affair in the narrative. The general hypothesis of this research is that some themes, represented by Charles Swann´s diletantisme and his political engagement at the Affair, make it difficult to finish the novel and also give it a critical, polemical and live form. This form does not take its unity from a professional artist´s perspective, which participates in the division of the work and knowledge of our society, but from the dilettante condition, which point of view preserves something magical and wonderful for the artistic creations, as if art could give more than artworks and teach to read life. In this sense, we remind that Proust´s novel follows the point of view of a passionate for arts rather than a professional writer: the hero who wants to create a work of art and who believes it capable to organize the world at its complexity.

This study examines the responses of European intellectuals since the 1880s to an increasingly virulent and organized anti-Semitism in Europe, and the ways in which they sought to understand the character and origins of the hatred, and to fathom and work out the problems, terms and possibilities for Jewish identity. Focusing on the French figures Bernard Lazare and Marcel Proust from the time of the Dreyfus Affair and then on the Frankfurt School of social theory and Hannah Arendt from the period around and after the Second World War, the thesis argues that these thinkers created a common historical-psychological discourse on anti-Semitism, which attempted to confront, comprehend and explain the historically critical issues of anti-Semitism and Jewish identity. The study explores the discourse’s fundamental assumptions, insights, and arguments regarding the origins, character, and magnitude of anti-Semitism. It also analyzes its contentions concerning the contradictions, sources, and alternatives for Jewish identity. But, more, it claims that, despite their frequent perceptiveness, these figures’ interpretations of the two concerns proved limited, deficient, even deeply flawed. The thesis seeks to show that its intellectuals’ attempt to understand the twin issues was hence a failure to grasp and interpret them adequately, and to resolve them. It contends further that what impaired the authors’ engagements with anti-Semitism and Jewish selfhood were ideas that were fundamental to their thinking. These intellectual factors, moreover, connected the figures solidly to important historical contexts that they inhabited, thereby implicating the significant settings in the epistemological errors and defeats. These momentous ideas thus operated as both contextualizing and destructive forces—linking the intellectuals to their home contexts and transforming their understanding of their historic problematic into a misunderstanding. / Thesis (Ph.D, History) -- Queen's University, 2009-04-16 08:34:25.821

This thesis examines Anglo-French perceptions of power within the context of the rise of the United States of America. It uses several overlapping events falling within a moment at the end of the nineteenth century (1898-1899) - the Spanish-American War, the Dreyfus Affair and the Fashoda crisis - to explore various British and French actors' perceptions of national power, decline, and international competition. It draws heavily on diplomatic material, but its methodology is primarily cultural. It examines ways in which various cultural assumptions affected perceptions of power and global events. It takes a particular interest in the relationship between ideas about gender and dimensions of national power. It focuses on contemporary preoccupations and assumptions, whether spoken or unspoken, and argues that they could prove determinative. External realities were refracted into perceptions that in turn drove prescriptions and policy. The thesis juxtaposes perspectives from multiple states, thereby contextualizing or comparing British, French and occasionally American preoccupations with those of their transatlantic contemporaries. It draws upon archival sources which previously have been under-examined or approached from different perspectives and research priorities. Its exploration of the cultural dimensions of thought about national power and success is grounded in an awareness of the analysis and actions of certain diplomats and politicians involved in the more practical business of international affairs. Conversely, diplomatic and other records are situated within their cultural milieu, to better understand the context in which views about the international order were shaped. The thesis necessarily makes excursions into the history of emotions, since its actors' political analyses at times appear entangled and aligned with their emotional responses. The thesis therefore serves as an example of an international history that integrates diplomatic with cultural and emotional elements and demonstrates their mutual illumination.

Pesquisa de teoria literária sobre o romance Em busca do tempo perdido, de Marcel Proust. Tem como objetivo refletir sobre a unidade do romance Em busca do tempo perdido, por meio de uma análise da personagem de Charles Swann. Este trabalho principia pelo levantamento do projeto global do ciclo romanesco, a partir de um trecho d´A Prisioneira em que o narrador-protagonista estabelece dois tipos de unidade para a obra de arte: uma lógica e outra vital. O segundo capítulo expõe as dificuldades que esse projeto coloca: como criar uma obra artística que seja viva e aberta, ao mesmo tempo que coesa e íntegra? A resposta é encontrada nos vasos comunicantes, nas transversalidades capazes de dar ao ciclo romanesco, não uma unidade lógica, mas vital. O terceiro capítulo analisa um dos nós, um dos pontos para o qual convergem essas transversalidades: a personagem de Charles Swann. Por meio da reconstituição desta personagem, são discutidos aqui alguns temas importantes para o romance: a formação do artista, assim como a relação entre a arte e a vida. Vemos em seguida que, em contraponto a Swann, cuja trajetória é vista como uma vocação artística frustrada, a expressão do romance proustiano busca condensar as experiências de um indivíduo para se tornar escritor. Finalmente, o excerto reflete sobre o caráter realista do romance: tendo por base um ensaio de Antonio Candido, \"Realismo (via Marcel Proust)\", e levando em conta um acontecimento-chave para o escritor francês, analisamos aqui o papel desempenhado pelo caso Dreyfus na narrativa. A hipótese mais geral desta pesquisa é a de que certos temas, representados pela personagem do diletante Charles Swann e por seu engajamento no caso Dreyfus, tornam difícil o acabamento do romance e lhe dão uma forma crítica, polêmica, viva. Esta não retira sua unidade da perspectiva de um artista profissional, cujo ofício participa da divisão do trabalho e do conhecimento de nossa sociedade; mas vincula-se à percepção de um diletante, cujo ponto de vista conserva algo de maravilhoso e mágico para as criações artísticas, como se a arte oferecesse mais do que obras e fosse capaz de ensinar a ler a vida. Lembramos neste sentido que a narrativa proustiana, desde seu começo até seu final, acompanha o ponto de vista não de um artista formado, mas de um apaixonado pelo universo artístico: o protagonista que deseja criar uma obra de arte e a imagina capaz de organizar a vida à imagem de sua complexidade. / A literary theory research on Marcel Proust´s novel In Search of Lost Time. The objective is to discuss the unity of Proust´s novel through an analysis of Charles Swann´s character. The first chapter of this work is a survey of the novel\'s global project, taking a passage of The Captive as a starting point, where the novel\'s narrator identifies two kinds of unity for the work of art, a logical one and a vital one. We remind then some difficulties that this project brings along with it: how can we create a work of art which is open and live, as well as coherent and complete? The answer is found in the communicant vases, in the transversalities able to provide the novel with a vital unity, not a logical one. In the third chapter, we analyse one of the points into which these transversalities converge: Charles Swann´s character. By a reconstitution of this character, we discuss certain important motifs of Proust´s novel: the education of the artist, as well as the relationship between art and life. In comparison with Swann, who represents a frustrated artist, we recognize that Proust´s literary expression seeks to condense someone\'s experiences to become a writer in the actual society. Finally, in the last part, we study the realistic aspects of the novel, based on Candido´s essay, \"Realism (according to Proust)\", and, taking into account an important political experience for the writer, we review the role of Dreyfus\'s Affair in the narrative. The general hypothesis of this research is that some themes, represented by Charles Swann´s diletantisme and his political engagement at the Affair, make it difficult to finish the novel and also give it a critical, polemical and live form. This form does not take its unity from a professional artist´s perspective, which participates in the division of the work and knowledge of our society, but from the dilettante condition, which point of view preserves something magical and wonderful for the artistic creations, as if art could give more than artworks and teach to read life. In this sense, we remind that Proust´s novel follows the point of view of a passionate for arts rather than a professional writer: the hero who wants to create a work of art and who believes it capable to organize the world at its complexity.

L’intensité de la crise nouée autour de l’affaire Dreyfus n’est plus à démontrer. La presse y joue un rôle majeur. Les caricaturistes, en particulier, alimentent de leurs images les quotidiens et périodiques, des ouvrages, cartes postales et affiches. La palette des styles est large. Lorsqu’ils vont au-delà de l’hésitation – moment très court pour certains –, ils placent souvent leurs contributions dans un engagement construit, entre attaques et ripostes. Quand certains restent indécis ou indifférents, d’autres prennent le parti d’en rire. On constate aussi des pratiques de duplicité. À une époque d’âge d’or de la presse, l’iconographie de l’affaire Dreyfus se déploie dans de très nombreux journaux. Interrogées depuis les préludes de l’Affaire, les images donnent à voir une société tourmentée par la défaite de 1870, un patriotisme parfois nourri d’un esprit de revanche, une République trentenaire instable. Elles révèlent aussi la montée très démonstrative de l’antisémitisme et d’un nationalisme à multiples facettes, revigoré par la crise, qui fourbit ses armes contre le régime. Cette thèse examine en priorité le parcours des imagiers, afin d’apprécier l’impact de l’Affaire sur leur art. En second, elle explore comment ont évolué les figurations d’acteurs importants de l’Affaire, en particulier Émile Zola, Joseph Reinach et Henri Rochefort. / The intensity of the crisis brought about by the Dreyfus affair is a proven fact. The press plays a major role. Caricaturists, in particular, contribute their images to daily and periodical publications, books, postcards and posters. The range of styles is wide. After some hesitation – which can be very short - their contributions are constructed engagements of either attack or defence. While some are undecided or indifferent, others resort to humour. We can also see elements of duplicity. At a golden era for the press, iconography of the Dreyfus affair can be seen in numerous newspapers. The images, which have been analysed since the first signs of the Affair, show a society tormented by the defeat of 1870, a patriotism sometimes sustained by a spirit of revenge and an unstable thirty-year old Republic. They also illustrate the extremely demonstrative increase in anti-Semitism and in a multifaceted nationalism ; reinvigorated by a crisis polishing up its arms against the regime. This thesis studies, first and foremost, the careers of the caricaturists in order to appreciate the impact of the Affair on their art. Secondly, it explores the evolution of the presentation of major actors in the Affair; in particular Émile Zola, Joseph Reinach and Henri Rochefort.

Cette thèse a pour objet d’étudier le rapport entre la réalité objective des femmes au XIXe siècle et la représentation qu’en donne Octave Mirbeau dans ses œuvres romanesques et théâtrales. L’analyse se divise en trois parties, qui étudient le sujet en partant des aspects les plus concrets de l’écriture de Mirbeau et en allant vers les plus allégoriques. La première partie, intitulée « la femme, entre réalisme et caricature », analyse le degré de réalisme présent dans la construction des personnages féminins, en prenant appui sur différents critères de classification (les catégories sociales, les relations au sein du couple, les transgressions). La deuxième partie, intitulée « Une entreprise de mythification ? », analyse les influences scientifiques, littéraires et philosophiques prégnantes à la fin du XIXe siècle et qui constituent le contexte culturel dans lequel baigne l’écrivain. La troisième partie, « une entreprise symbolique plaçant la femme au cœur des combats politiques de Mirbeau » est un dépassement des questions évoquées précédemment, analysant la création d’un type novateur de féminité. Le but de cette troisième partie est de montrer que la femme incarne une valeur ambivalente, tantôt symbole de la société corrompue, tantôt symbole de liberté et de résistance à cette corruption. Le monde a beaucoup changé ces dernières années et en conclusion des aspects contemporains de la pensée de Mirbeau seront abordés, ainsi que la dimension postmoderne de son univers. / The purpose of this thesis is to study the link between the feminine figure in Octave Mirbeau’s novels and plays and the whole meaning of his work (in particular its political aiming). The key question to be answered is : Is the feminine figure a mimetic representation of the objective reality of late nineteenth century women or does it have a deeper meaning ? The analysis is divided into three parts, and evolves from the most objective to the most symbolic. The first part, entitled « The woman, between realism and caricature » is aimed to analyse the degree of realism that can be found in the construction of feminine figures. In the second part, entitled « A mystification process ? », a further aim is to bring understanging to the influences (scientific, literal and philosofical) that had an impact upon most of the writers in the end of the nineteenth century and Mirbeau in particular, even though his work always remains very personal. The third part, « A symbolic construction placing the woman at the core of Mirbeau’s political fights » goes beyond the questions studied before and analyses how Mirbeau managed to create a new kind of feminity. The objective of this third part is to show that the woman embodies an ambivalente value in Mirbeau’s work, and is at the same time a symbol of the corrupted society and a symbol of freedom and resistance to this same corruption. In recent years, the world has changed a lot and the conclusion of the study is focused on the contemporary aspects of Mirbeau’s world, as well as on the postmodern dimension of his universe.