Thèse 3e cycle--Lettres--Paris--Sorbonne-nouvelle Paris III, 1981. / Bibliogr. p. 193-208.

This thesis examines the biographies and intellectual and cultural works of Elias Haddad, Stephan Stephan and Tawfiq Canaan, Arab writers who lived in Jerusalem in the late Ottoman and British Mandate periods, a time when Palestinian identity was in a state of flux and when Ottoman, British and Zionist interests impacted upon Palestinian Arab society, economy and politics. Informed by ideas about colonial and postcolonial relations, the impacts of context and power on the development of texts, and theories of networks and entanglements, it argues that even in the absence of comprehensive biographical knowledge about individual actors, we can locate them in their intellectual and political environments. It also argues for the importance of using non-elite genres – including language manuals, travel guides and translations – in researching intellectual history, and for understanding debates and discourses within colonial societies. Drawing on my historical research into the lives of Haddad, Stephan and Canaan, and combining it with textual analysis, this thesis makes the argument for more diverse ideas of Palestinian identity than are often discussed for the Mandate period, and for the need to include a wider range of contributors than prominent intellectuals and politicians in our assessment of the discourses in play in this key period of Palestinian history.

Ce travail a pour corpus central les œuvres musicales de trois compositeurs contemporains d’origine arabe : Ahmed Essyad, Zad Moultaka et Saed Haddad. Les démarches compositionnelles de ceux-ci ont en commun qu’elles s’inscrivent dans la pensée critique propre à la modernité musicale occidentale, tout en réinvestissant certains matériaux et procédés dérivés de musiques traditionnelles orales du monde arabe. Aussi le matériau emprunté à la musique orale se trouve à la fois déployé et néanmoins contrarié dans ce qu’il pouvait induire comme conduite normative. Dès lors, l’élément musical de la culture d’origine advient en se transformant, et laisse émerger ce faisant de nouvelles potentialités, quitte à devenir alors non-immédiatement perceptible.En analysant les différents processus d’un tel devenir, ce travail interroge la notion de tradition musicale et, à travers elle, la catégorie de l’identité. Les grands bouleversements socioculturels observés depuis l’époque industrielle ont si profondément atteint les pratiques musicales orales que de telles catégories – tradition et identité – ne peuvent plus se présenter que comme problématiques. Ce travail entend rendre compte du fait que le rapport au patrimoine musical peut s’avérer être d’autant plus vif et fructueux dès lors qu’il s’affranchit de l’impératif identitaire. Dans cette perspective, la contemporanéité est envisagée comme distance critique essentielle par rapport à ce qui se présente comme immédiatement donné, y compris son propre acquis culturel ; son champ opératoire devient a fortiori la relation. Ces réflexions sont, du reste, inspirées d’auteurs comme Theodor Adorno, Walter Benjamin et Édouard Glissant. / The central corpus of this work consists of three contemporary composers of Arab origin: Ahmed Essyad, Zad Moultaka et Saed Haddad.Their compositional approaches have a shared basis in the critical thought of western musical modernity, while at the same time they reinvest certain materials and processes derived from traditional oral music of the Arab-Berber world. In addition, the material borrowed from oral music is both deployed and yet thwarted in what it could induce as normative conduct. Consequently, the musical element of the culture of origin occurs by transforming itself, and lets emerge new potentialities, which may not be immediately perceptible.Analyzing the different processes of such a development, this work interrogates the notion of traditional music as well as the category of identity contained within. The major socio-cultural upheavals witnessed since the industrial period have so profoundly affected these oral musical practices that such categories – tradition and identity – must be viewed as problematic. This work intends to account for the fact that the relation to musical heritage can prove to be all the more lively and fruitful as soon as it breaks with the imperative of identity. From this perspective, contemporaneity is envisaged as a critically essential distance in relation to that which presents itself as immediately given, including its own cultural heritage. Its operative field becomes the a fortiori relation. These reflections are influenced by the work of thinkers such as Theodor Adorno, Walter Benjamin and Édouard Glissant.

Ao acompanhar a trajetória intelectual de Jamil Almansur Haddad desde suas primeiras publicações até sua morte, esta Tese de doutorado traz à luz o percurso de um literato pertencente à segunda geração de imigrantes libaneses e suas relações paradoxais com o meio intelectual brasileiro e, em especial, o paulistano. Seu percurso biográfico ilustra um desdobramento do movimento literário árabe da imigração, que desempenhou papel central no processo de renascimento da literatura árabe no final do século XIX. Imerso no contexto cultural de um país em busca da conformação de sua verdadeira identidade nacional e vivendo na cidade de São Paulo - que em meados do século XX foi um dos maiores polos de imigração do mundo Jamil, através de sua experiência biográfica e de seu caminho literário, revela nuances de um processo intermediário de hibridação cultural. / This thesis follows the intellectual trajectory of Jamil Almansur Haddad from his first publications to his death, bringing to light the trajectory of a poet that belongs to the second generation of Lebanese immigrants and his paradoxical relations with the Brazilian intellectual environment and, in particular, the paulistano one. His biographical journey illustrates an unfolding of the Arab literary movement of immigration, which played a central role in the process of rebirth of Arab literature in the late nineteenth century. Immersed in the cultural context of a country in search of the conformation of its true national identity and living in the city of São Paulo - which in the mid-twentieth century was one of the largest poles of immigration in the world - Jamil, through his biographical experience and his literary path, reveals nuances of an intermediate process of cultural hybridization.

Ao acompanhar a trajetória intelectual de Jamil Almansur Haddad desde suas primeiras publicações até sua morte, esta Tese de doutorado traz à luz o percurso de um literato pertencente à segunda geração de imigrantes libaneses e suas relações paradoxais com o meio intelectual brasileiro e, em especial, o paulistano. Seu percurso biográfico ilustra um desdobramento do movimento literário árabe da imigração, que desempenhou papel central no processo de renascimento da literatura árabe no final do século XIX. Imerso no contexto cultural de um país em busca da conformação de sua verdadeira identidade nacional e vivendo na cidade de São Paulo - que em meados do século XX foi um dos maiores polos de imigração do mundo Jamil, através de sua experiência biográfica e de seu caminho literário, revela nuances de um processo intermediário de hibridação cultural. / This thesis follows the intellectual trajectory of Jamil Almansur Haddad from his first publications to his death, bringing to light the trajectory of a poet that belongs to the second generation of Lebanese immigrants and his paradoxical relations with the Brazilian intellectual environment and, in particular, the paulistano one. His biographical journey illustrates an unfolding of the Arab literary movement of immigration, which played a central role in the process of rebirth of Arab literature in the late nineteenth century. Immersed in the cultural context of a country in search of the conformation of its true national identity and living in the city of São Paulo - which in the mid-twentieth century was one of the largest poles of immigration in the world - Jamil, through his biographical experience and his literary path, reveals nuances of an intermediate process of cultural hybridization.