Cette thèse se donne comme objectif de renouveler la conception historique qu’on s’est généralement faite jusqu’à présent des rapports que le monde des arts de la scène a établis avec les pratiques cinématographiques émergentes au tournant du xxe siècle, en remettant profondément en question les idées de primitivité des films, de crédulité des spectateurs et de pré-cinématographicité des formes. Notre recherche vise en particulier à replacer les féeries cinématographiques de Georges Méliès dans le cadre institutionnel du théâtre parisien de cette époque, de façon à montrer que leur histoire s’inscrit plus largement dans celle des techniques, des savoir-faire et des métiers du spectacle de scène tel qu’on le conçoit alors au Châtelet, à la Gaîté ou aux Folies-Bergère. Nous développons pour ce faire une approche historiographique qui ne part plus du principe qu’il s’agit d’étudier les relations entre deux arts concurrents – ce que laissaient entendre les travaux qui mettaient d’emblée « théâtre » et « cinématographe » sur le même plan –, mais qui propose de considérer les relations en question d’abord et avant tout comme celles qui s’engagent entre une institution culturelle ancienne et une toute nouvelle technologie. Nous cherchons ainsi à montrer que le cinématographe vient s’ajouter à la longue série culturelle des attractions lumineuses qui apparaissent avec l’avènement de l’éclairage électrique. Dans la première partie (« Le spectacle de l’électricité »), nous nous intéressons aux pratiques d’éclairage et aux habitudes de vision qui ont permis aux spectateurs de féeries de comprendre et d’apprécier le spectacle cinématographique. Dans la deuxième partie (« L’illusion de la technique »), nous examinons comment différentes formes d’intégration et d’hybridation des techniques dans les féeries vont faciliter l’appropriation précoce du cinématographe par les gens de théâtre. Dans la troisième partie (« L’art du cinématographe »), nous montrons que l’esthétique des tout premiers films a été façonnée par des règles de création et des critères d’appréciation qui relevaient de l’institution théâtrale et qui, de ce fait, pouvaient déjà donner une certaine valeur artistique à ces films. L’enjeu principal de la présente recherche est donc d’offrir une vision plus juste et plus nuancée de ce qu’a été le spectacle de scène dans son rapport aux technologies et, en particulier, à cette nouvelle machine qu’est le cinématographe. / The goal of this dissertation is to renew our historical view of the exchanges occurring between theatre and early film practices at the turn of the twentieth century, by questioning the ideas of primitive cinema, credulous audiences and precinematic forms. Our research aims to put more specifically Georges Méliès’ féeries back into the institutional framework of the parisian theatre, in order to show how these films are part of the history of techniques which were used at the Châtelet, the Gaîté and the Folies-Bergère. Previous studies have generally postulated that theatre and cinema were, from the very beginning, two rival art forms. However, our historiographical approach differs from this assumption, seeing the relationship instead as that between an old cultural institution and a brand new technology. We think our understanding of early cinema could be improved if we acknowledge that the kinematographic technology belonged to the broad cultural series of luminous attractions appearing with the emergence of electric lighting. In the first part (« The spectacle of electricity »), we study lighting practices and habits of vision that helped féeries’ spectators to understand and enjoy early cinema. In the second part (« The illusion of technique »), we investigate how the integration and hybridization of technologies in féeries led theatre workmen to use the kinematograph on stage. In the third part (« The art of kinematography »), we prove that early cinema aesthetics has been shaped by rules of creation and assessment criteria belonging to the institution of theatre, such that films could already be seen by spectators and critics as artistic forms. The main challenge of this research is to offer a more accurate vision of the history of theatre in its relation to technologies and, in particular, to this new machine that was, at the time, the kinematograph. / Réalisé en cotutelle avec l’Université Lumière Lyon 2

Cette thèse est consacrée à l'étude de la genèse de l'œuvre canguilhemienne la plus ambitieuse, l' « Essai sur quelques problèmes concernant le normal el le pathologique ». Le premier chapitre, Esprit, présente la philosophie canguilhemienne de jeunesse, très marquée par l'approche réflexive d'Alain, comme un mélange de rationalisme cartésien et kantien fortement teinté de spiritualisme duquel l'expérience de la guerre et la décision d'entreprendre les études médicales éloignent peu à peu Canguilhem. Le deuxième chapitre, Vie, montre que la pratique de la Résistance et de la médecine, ainsi qu'une réinterprétation du vitalisme bergsonien attirent l'attention de l'auteur vers la vie. Elle hérite de ces pouvoirs que la philosophie réflexive conférait à l'esprit, lequel, s'émancipant d'un rationalisme exorbitant, réintègre ses fonctions sensibles et affectives. Dans cette perspective anthropologique, nous présentons la notion canguilhemienne de normativité biologique. Le troisième chapitre, Homme, l'interprète comme une réponse à la notion de normalité comtienne confiant sur une psychologie non naturaliste, que Canguilhem apprend en suivant le cours « Psychologie pathologique » de Lagache, et s'appuyant sur la Wertphilosophie allemande et l'axiologie dupréelienne, desquelles il s'occupe dans son propre cours « Les normes et le normal ». Le détour canguilhemien à travers les sciences de la vie nous apparaît comme un exercice métaphysique visant à regagner la sensibilité à une subjectivité transcendantale. Cette réflexion sur la maladie se révèle être une médiation sur le mal, entendu non pas comme un être inexistant ou méchant mais comme un nom de la dialectique évolutive humaine. / This thesis aims to analyze the genesis of Georges Canguilhem's most ambitious work, the “Essais sur quelques problèmes concernant le normal et le pathologique”. The first chapter, Esprit, presents Canguilhem's juvenile philosophy, heavily influenced by Alain's reflexive approach, as a spiritualistic mixture of Cartesian and Kantian Rationalism from which the experience of war and the decision to study medicine progressively drive Canguilhem away. The second chapter, Vie, shows how the practice of Resistance and medicine, together with a reinterpretation of Bergson's vitalism, draw the author's attention towards life. Life inherits the powers that reflexive philosophy assigned to the spirit while the spirit, divesting an exorbitant Rationalism, reintegrates its sensible and affective functions. Under this anthropological point of view, Canguilhem's notion of biological normativity is presented. The third chapter, Homme, considers it as an answer Lo Comte's notion of normality, based on a non-naturalistic psychology, which Canguilhem learns attending Lagache's course “Psychologie pathologique”, as well as on German Wertphilosophie and Dupréel's Axiologie, which the author deals with in his course “Les normes et le normal”. Canguilhem's detour via life sciences appears as a Metaphysical exercise intending to regain sensitivity to transcendental subjectivity. This reflection on disease reveals itself to be a meditation on evil, considered not as a non-existent or malevolent being but as a form of human evolutionary dialectic.

Orientador: Valério José Arantes / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-23T20:31:49Z (GMT). No. of bitstreams: 1 Barizon_DeboraFabiane_M.pdf: 25831546 bytes, checksum: 5e3051df3e0bceef14b6f405333c9486 (MD5) Previous issue date: 2013 / Resumo: O desenho infantil é parte fundamental da atividade mental da criança e constitui-se tanto de aspecto figurativo como narrativo. Embora, todo desenho conte uma história ou parte dela, ainda há falta de clareza sobre a sua dimensão narrativa, pois, as investigações assim como a literatura sobre a temática são escassas. Dessa foram, evidenciou-se a necessidade de estudar a narração gráfica infantil. A partir do referencial teórico do estudioso do desenho infantil George H. Luquet o objetivo deste estudo foi compreender como a criança constrói o seu modelo gráfico-narrativo. Os aspectos cognitivos do sujeito desenhante e de sua narrativa gráfica foram considerados sob uma perspectiva construtivista baseada na epistemologia genética de Jean Piaget. Este estudo se caracteriza como qualitativo e, sobretudo, de natureza exploratória e descritiva. A amostra foi composta por 20 alunos, sendo 10 sujeitos de 7 anos e 10 sujeitos de 9 anos de uma escola da rede municipal de ensino fundamental de uma cidade do interior do Estado de São Paulo. Nas três sessões foram realizadas a entrevista clínica piagetiana com roteiro semiestruturado para a coleta de dados. Na primeira sessão os sujeitos produziram um desenho-história; na segunda fizeram um reconto gráfico após ouvirem uma áudio história e na terceira sessão construíram uma história com um jogo de construção e a reproduziram graficamente. As entrevistas foram analisadas por meio da técnica de análise de conteúdo de Bardin (2004) e o desenho infantil passou por uma análise qualitativa. Em ambos os casos, o processo de análise foi desenvolvido com o auxílio do software NVivo 8. Os resultados revelaram que a construção de um modelo gráfico-narrativo envolve processos altamente complexos. Observou-se ainda que a opção da criança por um determinado um tipo de narrativa gráfica está relacionada tanto a aspectos intrínsecos (percepção de continuidade temporal; duração da história; ponto de vista etc.) como a aspectos extrínsecos (modelos culturais; experiências com relatos gráficos no contexto escolar etc.). Espera-se que os resultados deste estudo, possibilitem a elaboração de intervenções pedagógicas para valorização da dimensão narrativa do desenho e produção de narrativas gráficas no contexto da Educação Infantil e nas séries iniciais do Ensino Fundamental. / Abstract: The children's drawing is a fundamental part of the mental activity of the child and is constituted of figurative and narrative aspects. Although, all drawings tell a story or part of it, there is still lack of clarity about its narrative dimension, because the investigations as well as the literature on the subject are scarce. Thus, there was a need to study graphic narration child. From the theoretical framework of children's drawing scholar George H. Luquet the objective of this study was to understand how the child constructs your graphic-narrative model. The cognitive aspects of the subject drawer and his graphic narrative were considered under a constructivist perspective based on Jean Piaget's genetic epistemology. This study characterized as qualitative and, above all, of exploratory and descriptive nature. The sample was composed of 20 students, 10 subjects of 7 years and 10 subject of 9 years of a school of elementary schools in a city in the State of São Paulo in Brazil. In three sessions were conducted clinical interview with script semi-structured to collect data.At the first session the subject produced a drawing-history; on second session made a graphic recounting after hearing an audio- history and in the third session after built one history with a construction play reproduced it graphically. The interviews were analyzed using content analysis technique of Bardin (2004) and the children's drawing underwent a qualitative analysis. The results revealed that the construction of a graphic-narrative model involves highly complex processes. It was observed that the choice of the child for a certain kind of graphic narrative is related both to intrinsic aspects (perception of temporal continuity; duration of history; point of view etc.) as the extrinsic aspects (cultural models; experiences with narrative graphic in the school context etc.). It is expected that the results of this study, allow the development of pedagogical interventions for recovery of the narrative dimension drawing and production of graphic narratives in the context of kindergarten and early grades of elementary school. / Mestrado / Psicologia Educacional / Mestra em Educação

A produção textual de Georges Bataille (1897-1962), privilegiadamente estudada nos campos da Literatura e da Filosofia, apresenta uma vasta gama de temas e é considerada por seus comentadores como refratária a qualquer classificação rigorosa e indexável. Contudo, ele é autor de uma obra de grande interesse para área da Antropologia em função de um forte experimentalismo dos conceitos e da escrita e de uma compreensão totalizante da experiência do pesquisador e do escritor. O presente estudo tem como objetivo o exame de parte específica da produção e atuação de Bataille que coincide com os inícios da institucionalização da antropologia francesa (anos 1920- 1930), quando o autor encontra-se envolvido com o projeto da revista Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) e bastante próximo dos antropólogos que colaboram com a publicação. Ao recuperar a formação primeira de Bataille como arquivista paleógrafo na École des chartes e seus primeiros escritos e interesses, entre os quais se encontra a antropologia de Marcel Mauss, o trabalho se dedica a construir as conexões entre a profissão de arquivista paleógrafo nas bibliotecas Francesas e a produção do escritor que tem lugar entre os anos 1918 e 1930, interessado em destacar os nexos entre essas dimensões e o processo de constituição dos museus na França sobretudo aquele que culminará no Musée de lHomme (1937). As experiências nas bibliotecas, nos museus e na revista colocam Bataille diante da questão da classificação e do arquivamento de objetos e documentos. O interesse em uma leitura de Bataille por essa via que procura relacionar a institucionalização da disciplina etnográfica na França ligada à formação, catalogação e arquivamento de documentos nos museus e o processo de criação do Dicionário de Documents auxilia a iluminar uma dupla intervenção crítica que consiste em construir um deslocamento, uma derivação da forma de pensar. Essa perspectiva diversa nos oferece um duplo olhar para os modos pelos quais a reflexão sobre o lugar das histórias da disciplina e seus praticantes tem sido experimentada. / This present study has the purpose of examining some specific parts of George Bataille´s production and action that correspond with the beginning of French anthropology institutionalization (1920s and 1930s), when the author finds himself immersed in the Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) magazine project and building a very close relationship with the professionals involved in the publications creation. By resuming Batailles first occupation as paleographer archivist at École des chartes and his primary written pieces and interests, among which is the anthropology of Marcel Mauss, the work is dedicated to build connections between his job inside French libraries and his activities as a writer from 1918 to 1930, when his interests were focused on highlighting the links between these dimensions and the constitution of the museums in France - especially the one that will culminate at the Musée de l\'Homme (1937). The experiences in the libraries, museums and the magazine put Bataille before the classification and filing of objects and documents. His interest in this path that searches for relating the institutionalization of the ethnographic discipline in France connected to framing ideas, cataloging and archiving documents in museums and the creational process of the Dictionary of the magazine helps to illuminate a double critical intervention that consists in building a movement, an offshoot of thinking. This different perspective offers us another look to the means through which the reflections on the place discipline stories and its practitioners have been experienced.

L’objectif de ce travail est de questionner l’œuvre de l’écrivain français Georges Bataille (1897-1962) pour déterminer si elle permet ou non d’apporter de nouveaux points de vue ou de nouvelles voies de résolution des problèmes posés en sciences de gestion. Les textes sollicités sont d’abord les essais théoriques, mais aussi certaines œuvres de fiction. Ceux qui sont à l’origine de la notion de « dépense », centrale pour l’ensemble de l’œuvre, les articles correspondant aux diverses activités groupales dans les années 1930, les essais de La Somme Athéologique pendant la guerre et ceux de La Part maudite après-guerre sont examinés. On montre alors que les « notions » que ces textes mettent en jeu, qui témoignent d’une anthropologie déchirée (dépense productive / dépense improductive, homogène / hétérogène, souveraineté, communication, interdit / transgression, possible / impossible…), peuvent ouvrir des pistes de recherche dans de nombreux thèmes de sciences de gestion : le pouvoir, la culture d’entreprise, la criminalité dans les organisations, le changement organisationnel, le sens du travail, l’éthique, l’épistémologie, les rapports entre le management et les sociétés, la sexualité dans les organisations…Trois notions de Bataille (dépense, souveraineté, communication) sont ensuite sollicitées pour analyser en détail les problèmes posés par la « gestion » des risques psychosociaux. Huit cas d’organisations servent de support à l’analyse.Au final, la thèse conclut à la pertinence du recours à la pensée de Bataille pour conduire des recherches en management. / The goal of this thesis is to question the work of the French author Georges Bataille (1897-1962) to determine whether it can bring new points of view or new attempts at solving the issues raised by management sciences. The texts which were studied are primarily theoretical essays, but also some works of fiction. Those which are at the origin of the notion of “expense”, a central notion in the entire work, the articles which correspond to various group activities in the 30’s, the essays of La Somme Athéologique during the war, as well as those of La Part maudite, after the war, were also examined. We then show that the “notions” these texts illustrate, which reflect a torn anthropology (productive/unproductive expense, homogenous/heterogenous, sovereignty, communication, interdiction/transgression, possible/impossible…), can open fields of research in numerous topics associated with management sciences: power, corporate culture, crime within organisations, organisational changes, the meaning of work, ethics, epistemology, the relationship between management and societies, sexuality in organisations…Three of Bataille’s notions (expense, sovereignty, communication) are then called upon to analyse in detail the problems raised when managing psychosocial risks. Eight case studies of organisations back up the demonstration.Finally, the thesis concludes that it is pertinent to refer to Bataille’s thinking when conducting management research.

Au cours de la deuxième moitié des années 1880, la vie politique française est marquée par l’émergence du boulangisme. Ce mouvement contestataire éphémère, qui se forme autour du général Boulanger, rassemble aussi bien des membres de la gauche que de la droite grâce à un programme qui se résume principalement au slogan «Dissolution, constituante, révision». En s’opposant au régime parlementaire des républicains modérés, le boulangisme menace la Troisième République et suscite également des craintes à l’échelle européenne, alors qu’on appréhende qu’une victoire du «général Revanche» n’entraîne, volontairement ou non, une nouvelle guerre européenne. Ce mémoire vise à approfondir les connaissances sur la perception du boulangisme hors France en analysant le contenu de quatre journaux britanniques (le Birmingham Daily Post, le Manchester Guardian, le Scotsman et le Times) qui ont été choisis afin d’assurer une représentation géographique et politique. Les deux premiers chapitres abordent la perception de l’impact du boulangisme sur la scène européenne et sur la scène politique française, alors que le dernier chapitre s’attarde à l’image que se fait la presse britannique du général Boulanger comme individu. Ce qui se dégage de cette analyse est une perception principalement négative du boulangisme. / During the second half of the 1880s, French political life was marked by the emergence of Boulangism. This short-lived anti-establishment movement formed around General Boulanger gathered members of both the Left and the Right thanks to a program mainly summed up in the slogan «Dissolution, constituante, révision». By opposing itself to the parliamentary regime of the Moderate Republicans, Boulangism threatened the Third Republic and also aroused fears throughout Europe as it was apprehended that a victory from the «général Revanche» would lead, willingly or not, to a new European war. This thesis’ aim is to increase the knowledge about the perception of Boulangism outside of France by analysing the content of four British newspapers (the Birmingham Daily Post, the Manchester Guardian, the Scotsman and the Times) which were chosen as to offer a geographical and political representation. The first two chapters tackle the perception of the impact of Boulangism on the European scene and the French political scene, while the last chapter covers the British press’ image of General Boulanger as an individual. What emerges from this analysis is a mostly negative perception of Boulangism.

Cette étude aborde la carrière et l’oeuvre de René-Yves Creston, artiste qui dans les années vingt, fonde le groupe Ar Seiz Breur. Impliqués dans la vie culturelle locale, les artistes du groupe participent au renouveau des arts décoratifs en Bretagne. Gravure, peinture, faïence, meuble sont autant de domaines dans lesquels ils influencent l’esthétique régionale de la première moitié du XXe siècle dans l’esprit des Arts and Crafts, de l’école de Zakopane et d’autres mouvements européens. Fréquentant les milieux intellectuels parisiens, René-Yves Creston devient un organisateur hors pair et permet à Ar Seiz Breur de participer à des expositions internationales d’envergure. Dans les années trente, son attrait pour le milieu maritime lui permet de participer à la campagne de 1933 au Groenland. Découvrant la pratique ethnographique, il s’inscrit à l’Institut d’ethnologie à la fin des années trente pour y suivre les cours de Marcel Mauss et intègre le musée de l’Homme pour lequel il effectue une mission aux Féroé. Durant la Seconde Guerre mondiale, il participe à la création du réseau du musée de l’Homme et continue ses recherches autour de l’ethnographie bretonne. Après guerre, Georges Henri Rivière l’introduit dans le milieu des musées de société. René-Yves Creston est à l’origine de nombreuses collections dans les musées bretons et au musée des Arts et Traditions populaires. Attaché à l’étude de la région bretonne, il continue néanmoins à s’investir dans l’ethnologie maritime européenne. De la fin du XIXe siècle à la deuxième moitié du XXe siècle, cette étude revient sur le parcours d’un artiste ethnologue dont les préoccupations se tournent sur l’étude de l’homme, de l’utilisation du réalisme dans sa pratique artistique à l’étude des peuples en ethnologie. / This study approaches the career and work of René-Yves Creston : this artist, who, in the twenties co-created the group of Seiz Breur. Strongly involved in local cultural life, the group-artists took part in the revival of decorative crafts in Brittany: engraving, painting, earthenware, furniture, so many areas in which they affect the regional aesthetics of the first mid-twentieth century, in the same spirit as Arts and Crafts or Zakopane school or other european movements. Taking part in parisian intellectual life, René-Yves Creston became a leader, without equal organiser so he leaded Seiz Breur to take part in famous international exhibitions. In the thirties, his own interest for the maritim world leads him to take part in 1933 in a trip to Greenland. He then discovered the ethnographic practice. He joins then the ethnological institute and at the end of thirties follows Marcel Mauss’s lessons and fit in “musée de l’Homme” for which he was involved in a mission in Feröe islands. During the world war two, he took part in setting up the “Réseau du musée de l’Homme”. He then follows on his searches about breton ethnography. After the war, Georges Henri Rivière introduced him in thesociety-museums circles. René-Yves Creston leaded to many collections in breton museums and Arts and popular Traditions museum. Deeply involved in the study of brittany, he carries on taking part in european maritim ethnology studies. From the end of 19th century to second part of 20th, this work reads the process of this man, starting as an artist, who becomes an ethnologist using his realism in art as a tool for his study of man.

Os romances Bouvard et Pécuchet (1881), de Gustave Flaubert, e La Vie mode demploi (1978), de Georges Perec, são lidos, nesta dissertação, a partir do tema da biblioteca, que se desdobra (assim como essas obras) em três vias que se entrecruzam: virtual, imaginária e real. As bibliotecas virtuais são construídas a partir de diversos registros e referências intertextuais deixadas por escritores em anotações, cadernos, correspondência, etc., que são tomadas como documentos da gênese de sua escrita. Já as bibliotecas imaginárias são aquelas tematizadas nos livros, ou seja, são encontradas em obras que ficcionalizam o espaço e a dinâmica das bibliotecas. As bibliotecas reais dos escritores, por sua vez, são formadas por volumes que fizeram parte de seu acervo pessoal. Esta pesquisa propõe refletir sobre as práticas de leitura e escrita de Georges Perec e Gustave Flaubert paralelamente à análise das obras La Vie mode demploi e Bouvard et Pécuchet. Essa reflexão resulta da observação de alguns vestígios de suas bibliotecas virtuais e reais e das relações entre aquelas três faces da biblioteca. Nesse sentido, esta dissertação pretende apresentar diversos arranjos que as múltiplas peças dessa biblioteca caleidoscópica podem formar. / In this dissertation, Gustave Flauberts Bouvard and Pécuchet (1881) and Georges Perecs Life a users manual (1978) are analyzed through the theme of the library, a theme that has (such as in the novels) three dimensions which interconnect: a virtual, a real and an imaginary one. The virtual dimension of the library is formed by the intertextual references and notes left by the writers in their writing process documents such as their notebooks and letters. The imaginary dimension of the library takes the form of the figuration of the library in the books that fictionalize the space and the dynamics of the library. Finally, the real dimension of the library takes the form of the books that were part of the writers personal libraries. Because of these three dimensions, this dissertation not only analyses the text of novels but also reflects about Perecs and Flauberts writing and reading practices. This is possible through the observation of the traces of the virtual and the real dimensions of the library and through the interconnection of three dimensions mentioned. In this sense, this dissertation aims at presenting some of the various arrangements that can be formed by the multiple pieces of this kaleidoscopic theme.

[pt] Essa tese visa compreender como o escritor francês Georges Bernanos (1888 - 1948) construiu uma história da decadência da tradição francesa e da liberdade ao estabelecer sua crítica a modernidade no contexto da primeira metade do século XX. Na busca por compreender o argumento de Bernanos, diante de um cenário mais amplo de autores que não interpretavam a modernidade a partir do viés otimista de desenvolvimento do gênero humanos, tradição associada ao iluminismo, analisamos seus escritos de combate Carta aos Ingleses, A França contra os Robôs, Liberdade, para quê? e os artigos publicados no periódico O Jornal. Identificamos como o autor buscou tecer essa narrativa a partir da descrição da formação do mundo moderno como um processo de desvalorização de valores da cristandade e como um processo constante de perda das liberdades individuais devido a centralização do Estado e multiplicação das máquinas. Nesse sentido, ao longo da tese buscamos refletir como o autor operava com conceitos como progresso, revolução, liberdade, totalitarismo para construir sua da história da decadência da civilização europeia. / [en] In this thesis, we propose that the French writer Georges Bernanos (1888 - 1948) built a history of the decay of European civilization by establishing his critique of modernity in the context of the first half of the twentieth century. In the quest to understand Bernanos argument, in the face of a broader scenario of authors who did not interpret modernity from the optimistic point of view of the development of humankind, a tradition associated with the Enlightenment, we analyzed his combat writings Letter to the British, France against Robots, Freedom, what for? and the articles published in the newspaper O Jornal. We identified how Bernanos sought to weave this narrative from the description of the formation of the modern world as a process of disenchantment of the world, of devaluation of Catholic values and as a constant process of loss of individual freedoms due to the centralization of the State and the multiplication of machines. In this sense, throughout the thesis we seek to reflect on how the author operated with concepts such as progress, revolution, freedom, totalitarianism to build his history decay of European civilization.

L'œuvre présentée dans la première partie de ce mémoire repose sur la quête d'identité et l'acceptation de soi. Tout au long de l'intrigue, le syndrome de l'imposteur et la difficulté qu'ont les protagonistes à s'attribuer un mérite qui leur revient de plein droit apparaissent en filigrane. Chacun porte une croix qu'il s'impose, une croix fabriquée de toutes pièces par des sentiments non fondés de péché et de culpabilité. Notre société a établi au fil du temps ses règles de fonctionnement, qui vont des plus évidentes, comme les lois et règlements, aux plus subtiles, comme les piliers judéo-chrétiens de péché, de culpabilité et d'expiation. Des leviers qui affectent encore aujourd'hui le quotidien de tous, y compris celui des écrivains. Par le biais de deux œuvres, soit L'imposture de Georges Bernanos, et Le trou dans le mur de Michel Tremblay, nous examinerons dans la seconde partie du mémoire, l'influence de la religion judéo-chrétienne dans la littérature et son lien avec le sentiment d'imposture. / The work presented in the first part of this dissertation is based on a quest for identity and self-acceptance. Throughout the plot, the Impostor Syndrome prevents the characters from taking credit for themselves. Every protagonist carries a cross that he/she imposes on himself/herself; a cross fabricated by unfounded feelings of sin and guilt. Over time, our society has established its rules of operation, which range from the most obvious, such as laws and regulations, to the more subtle, such as the Judeo-Christian pillars of sin, guilt, and atonement. These factors still affect the daily lives of all, including writers. In the second part of the dissertation, through the analysis of two novels, L'imposture by Georges Bernanos, and Le trou dans le mur by Michel Tremblay, we will examine the influence of the Judeo-Christian religion in literature, and its link with the sense of imposture.