Dès lors qu’elle autorise une étude menée sur le long terme, embrassant aussi bien des textes qui relèvent de la documentation impériale que des glossaires contemporains, l’évocation d’une tentation encyclopédique vise à l’étude d’un continuum heuristique entre les ères coloniales et postcoloniales : elle conduit en effet à mettre en évidence l’évolution d’un discours érudit spécifique, caractérisé par une position de surplomb classificatrice ainsi que par une prédilection pour la collection et « l’inventaire culturel » de l’inconnu.Si l’encyclopédisme permet donc de nourrir l’analyse épistémologique d’un « africanisme » contesté et d’interroger les modalités de sa subversion potentiellement « indisciplinée », notre propos est avant tout de le considérer comme un outil d’analyse des formes plastiques et romanesques – et plus spécialement comme un point d’entrée pour évoquer des productions apparentées à ce que Bernard Mouralis nomme les « contre-littératures ». L’attention prêtée aux tentations encyclopédiques chez Paul Hazoumé, Georges Ngal et Frédéric Bruly Bouabré, mais aussi chez Théodore Monod, Alain Mabanckou ou Hassan Musa, permet de relire ces œuvres au prisme d’une porosité entre savoir et création.Combinant l’exercice de la citation érudite et l’élan d’une puissance spéculative tournée vers l’avenir, l’encyclopédie pose l’hypothèse d’une mise à plat qui autoriserait la juxtaposition libératrice d’éléments a priori hétérogènes. Dans un contexte de concurrence agonistique des savoirs postcoloniaux, elle offre un espace de rencontre arasé et pacifié, dont le revers douloureux s’incarne dans des figures encyclopédiques marginales et contestées. Mettant en scène un savoir labile et un individu hypertrophié, l’encyclopédisme est un phénomène romanesque de notre temps et il constitue à cet égard un terrain commun aux littératures françaises et francophones contemporaines. / As it induces a long-term study embracing both imperial literature and contemporary glossaries, the evocation of an encyclopaedic temptation aims to examine a heuristic continuum between colonial and postcolonial eras. It highlights the evolution of a specific scholarly discourse, characterized by an overarching position of classification as well as a predilection for the “cultural inventory” of the unknown. If encyclopaedism thus allows to nourish the epistemological analysis of "africanism" and to question the modalities of its “undisciplined” adaptations, we shall essentially consider it as a tool for the analysis of plastic and literary forms – especially as a point of entry to what Bernard Mouralis called “counter-literatures”. The attention paid to encyclopaedic temptations experienced by Paul Hazoumé, Georges Ngal and Frédéric Bruly Bouabré, but also by Théodore Monod, Alain Mabanckou or Hassan Musa, allows to re-read these works as the expression of a porosity between knowledge and creation. Combining the exercise of the scholarly quotation with a speculative impetus towards the future, the encyclopaedia sets the hypothesis of a flattening perspective allowing the free juxtaposition of heterogeneous elements. In a context of agonistic rivalry surrounding postcolonial knowledge, it offers a leveled and pacified encounter space, the painful setback of which is embodied by marginal and contested encyclopaedic figures. Staging a labile knowledge and a hypertrophied individual, encyclopaedism is indeed a phenomenon of our time and therefore offers a common ground for contemporary French and Francophone literatures.

Écrits à la croisée des langues, les textes postcoloniaux sont marqués par ce phénomène que Rainier Grutman a appelé «hétérolinguisme», à savoir la coprésence des langues différentes dans un texte littéraire. Se focalisant sur un corpus de dix romans francophones postcoloniaux, publiés en France à partir des années 2000, cette thèse se propose d’une part d’étudier la mise en scène de l’hétérolinguisme dans les textes sources – ses formes et son fonctionnement – et, d’autre part, d’analyser son devenir en traduction en s’appuyant sur les versions aussi bien italiennes qu’anglaises et espagnoles. C’est le problème de la restitution de l’hétérogénéité linguistique qui est au centre de cette étude. L’analyse nous permettra de montrer comment la traduction peut relever le défi de l’hétérolinguisme. Loin de représenter un problème insoluble, l’hétérogénéité linguistique peut être restituée pourvu que la traduction dépasse les préceptes de la transparence et de la lisibilité sur lesquelles elle se régit. / Written at the intersection of languages, postcolonial texts show evidence of the phenomenon that Rainer Grutman has called “heterolingualism”, that is to say the coexistence of different languages in a literary text. Focusing on a corpus of ten postcolonial novels written in French, published in France from the year 2000 onwards, this thesis, on the one hand, deals with the inclusion of heterolingualism in source texts – its forms and the way it works – and on the other hand, analyses how it is translated in the Italian as well as the English and Spanish versions. The problem of rendering linguistic heterogeneity is the core of this research. Our analysis will allow us to demonstrate how translation can take up the challenge of heterolingualism. Far from being an insoluble problem, linguistic heterogeneity can be rendered as long as the translation overrides the principles of transparency and readability on which it is usually based.

This thesis discusses topic related to return to native land in three contemporary Francophonic novels. The study is founded on the paradigm described in Homer's Odyssey: mythological return of Odysseus to Ithaca is used as a base for analysis of a chosen piece of work which is Kundera's L'Ignorance, a novel of Malagasy writer Michèle Rakotoson Juillet au pays and L'Énigme du retour of Haitian novelist Dany Laferrière. The main aim of this thesis is to find out how the tradition of Homer's myth is reflected in mentioned stories of odyssey. Key words Francophone literatures, Milan Kundera, Dany Laferrière, Michèle Rakotoson, exile, identity

This work is dedicated to francophone authors : Aimé Césaire and Mohammed Khaïr- Eddine, to their creation and to the epoch when it was written. Even though they were originated from different countries (Martinique and Morocco) and from different epochs (before and after the decolonization), their poetics are similar in many points. Even if their historical experiences are closely connected by phases of french colonialism. The goal of this work will be to compare their poetics and to analyse how the epoch influenced and interconnected those two authors, and how they reacted to it. In the first part the common will to renovate their national literature will be described and their means to achieve this goal will be explored. The following part will be concentrated on the work of those two writers, on the characteristic attributes, on the recurrent symbols in their works and on the significance of the place of birth. The last part will be dedicated to the context, in which the authors wrote, and will clarify how the context unit or divide them. In this work, we will continuously compare common aspects of their poetics and in the same time the modification of those aspects during the transition from the colonialism to post- colonialism. Then, we will explain how this passage of the regime changed the...

(in English): This work will consist in an analysis of the antiheroes in modern French literature, especially in "Roman Noir". Before treating the topic of antiheroes in mystery fiction we will describe the history of this type of protagonists in world literatures, from the classic literature to the modern one. To be able to understand the problematics of antiheroes in Roman Noir, we will also describe the history of French mystery fiction. Regarding the analysis of antiheroes in this sub- genre of crime fiction, we will start with the character of Maigret. Although the novels of G. Simenon are not real Romans Noirs, we consider them as a "passage" of the detective novel - in the traditional sense - to the Roman Noir. Furthermore, in this work, we will analyze characters of real Romans Noirs; first, the crude and surprising behavior of Nestor Burma, a famous character of Léo Malet, then the mediocrity of protagonists of the novels Morgue pleine and Le Petit Bleu de la côte ouest of Jean-Patrick Manchette, and finally, Fabio Montale, an atypical investigator from a novel series of the late twentieth century written by Jean-Claude Izzo.

As poéticas simbolista e decadentista surgiram no último quarto do século XIX, em Paris, como reação ao movimento naturalista e ao pensamento positivista e cientificista de então; logo se espalharam para outros países, dentre os quais se destacam Bélgica, Portugal e Brasil, cujos autores continuaram a manter intenso diálogo com a produção da capital francesa. As obras escritas nesse contexto costumavam apresentar preocupações quanto ao aspecto metafísico da existência, buscando correspondências entre mundo natural e mundo espiritual, ao mesmo tempo em que propunham uma série de inovações estético-formais, como o verso livre e a prosa poética. No plano temático, voltavam-se a mitos e lendas difundidos no imaginário ocidental, resgatando símbolos antigos para instaurar novas significações e atualizar imagens já desgastadas. Tendo em vista esse contexto e os recentes estudos sobre a representação dos animais na literatura, a presente tese procurou verificar em que medida os animais se fazem presentes e se revelam importantes no imaginário finissecular e de que maneira houve inovação na forma como foram retratados. Paralelamente, pretendeu-se confirmar a existência de um imaginário animal comum aos poetas e prosadores simbolistas e decadentistas, independentemente de seu país de origem, e apesar das particularidades próprias de cada autor ou obra. Para tanto, partindo das imagens da águia, do cisne e do verme, três dos animais mais recorrentes e significativos para o contexto finissecular, em autores de língua francesa e portuguesa, buscou-se interpretá-las em seu próprio contexto e comparálas com as simbologias atribuídas pela tradição de modo a averiguar as inovações propostas pelos simbolistas e decadentistas e as particularidades de seu imaginário animal. / Symbolist and Decadent poetics emerged in the last quarter of the 19th century, in Paris, as a reply to Naturalism and its contemporary positivist and scientistic philosophies. Symbolism and Decadentism soon spread to other countries, among which Belgium, Portugal and Brazil, whose authors much dialogued with its fellow French writers. Works written in such a context used to feature anxieties as to existences metaphysical aspect, seek similarities between natural and spiritual world, as well as propose a series of aesthetical and form innovations, such as the free verse and the poetic prose. When it came to themes, they sought myths and legends that were widespread in the Western imaginary, making use of long-lost ancient symbols so as to bring forth new meanings and modernise outworn imagery. Given this background and recent studies concerning the representation of animals in literature, the present thesis sought to ascertain how present and important animals are to the late 19th-century imaginary and how innovative their portrayal is. Furthermore, it was our intent to establish the existence of a shared imaginary about animals among symbolists and decadents, regardless of their birthplace and despite the particularities of each author and work. In order to reach this goal, eagle, swan and worm images were our starting point, since they proved to be among the most meaningful and recurrent animals, both in French and Portuguese speaking authors. Then, I analysed them in their own context and proceeded to compare them to their traditionally assigned symbology, so as to learn the innovations proposed by symbolists and decadents, as well as the particularities of animals within these movements imaginary.

Essentiellement circonscrites dans la diégèse, la modernité et la postmodernité du roman africain francophone constituent moins deux esthétiques opposées, qu’elles ne s'identifient à une « coopération textuelle ». Le travail de réécriture de la première, par la seconde, prolonge et renouvelle le projet littéraire du roman africain francophone. Dès lors, la modernité littéraire de ce dernier s'inscrit, au-delà d’un déterminisme, dans une dynamique et un dynamitage textuels. Le texte, considéré dans son « insularité », fonde une littérarité surdéterminée, sinon par une logique de violence, du moins par un principe de subversion, qui s’expliquent par un rapport « problématique du langage » et par une volonté « de créer son propre lieu de parole ». Ce qui conduit à une esthétique structurale promouvant un formalisme élaboré et dominant, dont l'impact moderne en terme de renouvellement et d'inventivité investit davantage le signifiant qu'il n'incarne le signifié. Aussi la postmodernité littéraire désigne-t-elle ce par quoi le roman africain francophone dévie la tentation du fétichisme formel. Ainsi décentre-t-il son enjeu esthétique vers un travail de reconstruction de récits, insistant davantage sur les thèmes, les chroniques et autres histoires de violence. L'hétérogénéité, l'hybridation, la dissémination et les « jeux de langage » (banalisation, ironie, ludisme et effet d'irréel) incarnent des pratiques narratives de cette écriture du tragique. Par conséquent, cette dernière, plutôt qu'une représentation de la crise ou une crise de la représentation, procède d'une « mise en crise », lieu esthétique qui ouvre les potentialités créatrices d'un art poétique postmoderne. Finalement, au-delà des écritures de violence, la modernité et la postmodernité littéraires résultent, fondamentalement, d'un renversement d'optique propre au déploiement (ou redéploiement) de la subjectivité dans le roman africain de langue française. Subjectivité littéraire dont le bien-fondé consiste à dessiner deux cartographies narratives, moderne et postmoderne, par lesquelles les littératures, maghrébine et négro-africaine, d'expression française, balisent une voie d'accès à la Weltliteratur. / The modernity and postmodernity of the francophone African novel, mainly confined to the level of diegesis, do not so much form two opposing aesthetics as take part in “textual cooperation.” The task of rewriting the former by the latter extends and renews the literary project of the francophone African novel. As a result, its literary modernity goes beyond a certain determinism to become part of a textual dynamics and indeed, a dynamiting. Taken in terms of its “insularity,” the text establishes an overdetermined literariness through, if not a logic of violence, at least a principle of subversion, which can be explained by a “problematic relationship to language” and a desire “to create its own place from which to speak.” This leads to a structural aesthetic that fosters an elaborate, dominant formalism whose modern impact, in terms of renewal and inventiveness, is more fully contained in the signifier than it is embodied in the signified. This is how literary postmodernity denotes that through which the francophone African novel diverts the temptation of formal fetishism. It decentres its aesthetic concern towards the task of reconstructing narratives, placing more emphasis on the themes, accounts and other stories of violence. Among the characteristic narrative practices of this writing of the tragic are heterogeneity, hybridization, dissemination and “language play” (banalization, irony, playfulness and unreal effect). As a result, such writing proceeds not from a representation of the crisis or a crisis of representation, but from an “enactment of crisis,” an aesthetic site that opens up the creative potential of postmodern poetic art. Fundamentally, going beyond writings of violence, literary modernity and postmodernity are the result of a shift in perspective related to the deployment (or redeployment) of subjectivity in the francophone African novel. And the value of this literary subjectivity consists in setting out two narrative cartographies, modern and postmodern, through which francophone literatures—Maghribi and Negro-African—stake out a path of access to Weiliteratur.

Les fictions franco-vietnamiennes, qui ont relevé le défi de dépasser le carcan folklorique, offrent un point de vue original sur les concepts de femmes, d’histoire et d’exil dans des contextes de dominations politique et sociale différents. Néanmoins, ces fictions mettent en place des stratégies de résistance très proches. Parmi toutes les questions soulevées par les représentations qu’élaborent ces œuvres, celle de la résistance a été retenue car elle est particulièrement riche et révélatrice de la complexité de leur identité littéraire. Comment s’écrit la résistance dans les œuvres franco-vietnamiennes ? À quoi résistent-elles ? Quels sont les enjeux de cette résistance ? L’étude se focalise sur les fictions de quatre écrivaines franco-vietnamiennes contemporaines, Linda Lê, Kim Lefèvre, Ly Thu Ho et Anna Moï. Ces écrivaines offrent des pistes de réponses à ces questions, en mettant en évidence trois dominations qui se croisent et s’articulent entre elles : la résistance à la domination masculine, à l’histoire surplombante et à la glorification d’une identité nationale figée. Le cadre d’analyse choisi est celui des resistance studies.Cette méthode permet d’engager une description systématique des figures de résistance présentes dans les récits de fiction. Le champ d’investigation pose tout d’abord le problème des représentations de la place des Vietnamiennes, tiraillées entre la société patriarcale teintée de confucianisme et la société française moderne. Elle implique également l’examen des modalités déployées dans les œuvres du corpus pour déjouer les pièges d’une écriture de l’histoire du Vietnam qui accorderait peu de place aux voix subalternes : aux Vietnamiens et en particulier aux femmes. Finalement, à travers l’analyse de l’exil comme forme masquée d’insoumission, nous interrogerons la façon dont le sujet femme-postcoloniale s’approprie les apports exogènes sans renoncer à son éthique et son identité particulières. / Having successfully taken up the challenge of going beyond the limits of folklore, French-Vietnamese fiction offers an original point of view on the ideas of women, history and exile. These elements are staged in different contexts of social and political domination, but they nevertheless set up very similar strategies of resistance. This is why, among all the issues raised by the representations framed by these works, that of resistance was chosen, since it is so rich and revealing of the complexity of their literary identity. How is resistance described in French-Vietnamese works? What is being resisted against? What is at stake in this resistance?This study is focused on the works of four French-Vietnamese contemporary writers: Linda Lê, Kim Lefèvre, Ly Thu Ho and Anna Moï. These female writers provide answers to the questions above by highlighting three correlated and intertwined dominations: resistance to male domination, to overarching history, and to the glorification of a frozen national identity. The framework of the analysis is that of resistance studies.This approach enables a systematic description of the resistance figures encountered in these fictional works. The field of investigation first reveals the issue of the representation of Vietnamese women, torn between a Confucean and patriarchal society and that of modern France. It also implies the study of the means developed in these works to avoid the traps of a writing of Vietnamese history that allows little space to subaltern voices of the Vietnamese, and of women in particular. Finally, through the analysis of exile as a hidden form of insubordination, we will question the way in which French-Vietnamese narrative gives initiative to the postcolonial woman subject and enables her to appropriate contributions from outside without denying her ethics
and her identity.