L'objectif de la thèse est d'étudier le rapport entre «Juif» et «nation» dans le roman italien du XXe siècle à partir d'un événement historique précis: la déclaration Balfour de 1917. Celle-ci donnait aux Juifs le droit de créer un «foyer national Juif» en Palestine et d'y devenir progressivement l'ethnie majoritaire. La création d'un État ne se fera que trente ans plus tard. Une sorte de renoncement au principe de la déclaration Balfour ne se produira que dans les années 90, avec les accords d'Oslo. L'État d'Israël acceptera alors l'idée que dans le territoire de la Palestine mandataire puisse naître un État arabe-palestinien après la tentative avortée de 1948-49. Le chapitre d'ouverture introduit le thème de la relation entre le Juif et la nation italienne dans une perspective historique. La chapitre deux raconte les écrivains et les ouvrages consacrés à «l'intégration nationale» entre les années vingt et trente du XXe siècle. L'oeuvre centrale c'est «Jom Hakippurim» par Giuseppe Morpurgo (1924). Le chapitre trois se concentre sur la littérature populaire anti-juive et anti-sémite des années trente et quarante (l'ère fasciste). Les racines des romans anti-juifs sont les feuilletons du XIXe siècle, où le Juif est le caractère négatif par excellence. Le chapitre quatre analyse l'avant-garde littéraire juive italienne du XXe siècle, c'est-à-dire les écrivains Juifs consacrés à la crise de la subjectivité contemporaine: Adriano Grego, Giorgio Bassani, Giorgio Voghera, Antonio Debenedetti et Roberto Vigevani. Le chapitre cinq met l'accent sur la persécution des Juifs et sur les diverses formes romanesques entre les années quarante et quatre-vingt du XXe siècle. Le valeur littéraire des ces oeuvres c'est ne pas élevé, sauf que les cases de «La Storia» par Elsa Morante (1974) et «Se non ora, quando?» par Primo Levi (1982). Le chapitre six analyse la figure du Juif fasciste à travers quatre romans publiés dans les années soixante et quatre-vingt. Tous les personnages ne sont pas destinés a survivre à la «mort de la patrie» du Risorgimento italien. Le chapitre sept examine la figure du Juif errant à travers ses formes diverses (exotique, levantin, cosmopolite). Cette ligne est proche à le «Juif anomique», perce qu'elle joue sur le stéréotype par excellence: l'errance historique et ontologique du Juif pour des motifs religieux. Le chapitre huit se concentre sur la représentation d'Israël comme lieu de culte et espace politique. Cette ligne «chrétienne» n'a été pas visitée par des écrivains Juifs, qui n'ont montré pas des intérêt particulier pour l'histoire ancienne d'Israël, ni pour les événements biographiques de Jésus de Nazareth, ni, enfin, pour le nouvel État d'Israël. Le chapitre neuf analyse les romans de sujet Juif par Alberto Lecco et son réalisme tragique. Lecco s'interroge sur le problème de la conscience juive à travers les grands écrivains russes du XIXe siècle et la diaspora juive nord-américaine contemporaine. Les conclusions cherchent à fournir des réponses exhaustives aux différentes relations entre le Juif et la nation dans les romans italiens du XXe siècle. En l'absence d'une «nation italienne», l'imaginaire romanesque n'a pas proposé une «nationalisation parallèle» ou un «désir sioniste»: le Juif italien est toujours un Juif diasporique, «condamné» à son état de minorité nationale. Les «différences» historiques, religieuses, économiques et culturelles ont connu une difficile coexistence aux côtés du mythomoteur national. Cette condition explique pourquoi les historiens ont insisté sur le problème de l'intégration-assimilation-acculturation nationale des Juifs italiens, tandis que l'imaginaire romanesque l'a considéré comme un problème après tout d'une importance secondaire. / The aim of the thesis is to study the relationship between «Jew» and «nation» in the Italian novel of the twentieth century, departing from a specific historical event: the 1917 Balfour Declaration. This gave the Jews the right to create a «Jewish national home» in Palestine and to gradually become the majority ethnic group. The creation of a State will take thirty years later. A kind of surrender to the principle of the Balfour Declaration will happen in the 1990s through the Oslo agreements. The State of Israel accepts the very idea that in the territory of Mandatory Palestine a Palestinian-Arab state can be establish after the 1948-49 aborted attempt. The opening chapter introduces the theme of the relationship between the Jew and the Italian nation in a historical perspective. Chapter two tells the writers and books on «national integration» between 1920s and 1930s. The central novel is «Jom Hakippurim» by Giuseppe Morpurgo (1924). Chapter three focuses on popular anti-Jewish anti-Semite literature of the 1930s and 1940s (the Fascist age). The roots of anti-Jewish novels are the 19th century feuilletons, where the Jew is the negative character par excellence. Chapter four analyzes the the XXth century Italian Jewish literary avant-garde, that is to say the Jewish writers devoted to the crisis of contemporary subjectivity: Adriano Grego, Giorgio Bassani, Giorgio Voghera, Roberto Antonio and Debenedetti Vigevani. Chapter five focuses on the persecution of Jews and the various forms of novels between the 1940s and 1980s. The literary value is not high, except the cases of «La Storia» by Elsa Morante (1974) and «Se non ora, quando?» by Primo Levi (1982). Chapter six analyzes the figure of the fascist Jew through four novels published in the 1960s and 1980s. All the characters are not intended to survive to the «death of the homeland» of Italian Risorgimento. Chapter Seven considers the figure of the Wandering Jew through its various forms (exotic, Levantine, cosmopolitan). This kind is close to the «anomic Jew», because it deals with the stereotype par excellence: the historical and ontological wandering Jew for religious reasons. Chapter eight focuses on the representation of Israel as a place of worship and policy. The «Christian» genre has not been visited by Jewish writers, who have shown particular interest neither in ancient history of Israel, nor in the life events of Jesus of Nazareth, nor in the new state of Israel. Chapter Nine analyzes the Jewish novels by Alberto Lecco and its tragic realism. Lecco examines the problem of Jewish consciousness through the 19th century great Russian writers and the contemporary Jewish diaspora in North America. The conclusions try to provide comprehensive answers to the various relationships between the Jew and the nation in the XXth century Italian novels. In the absence of an «Italian nation», the novelist imaginary did not propose a «parallel nationalization» or a «Zionist desire»: the Italian Jew is always a Diaspora Jew, «condemned» to his legal status of National minority. The historical, religious, economic and cultural «differences» experienced a difficult coexistence alongside the national mythomoteur. This condition explains why historians have emphasized the problem of national integration, assimilation, acculturation National by Italian Jews, while the novelist imagination was considered a problem of secondary importance.

When Anatole France died 1n 1924, he had the satisfaction of knowing that he had lived long enough to enjoy the honors which are not usually bestowed upon men until their death. His long life filled with years of labor and earnest endeavor to improve the lives of his fellow-men, through a better adjustment to society, culminated in his election to the French Academy. By some critics he has been called the greatest writer of today. It is difficult to tell exactly upon what merits this distinction is based. Anatole France was not content to simply call himself a skeptic. On the contrary we find in him a curious combination of novelist, historian and critic. His works show an interest in many literary activities. In La Vie Litteraire he reveals himsel as a lover of ancient literation. In L'histoire Contermporaine and L'eglise et la Republique he is an anti-clerical and supporter of the seperation of Churcn and State; a bitter critic of all dogma. In Crainquebille we see him as the Socialist and champion of the rights of the people, and in Vere Les Tempa Mellicum and Sur La Pierre Blanche he is the optimist, strongly confident in a future Utopia. Probably it is in the realm of social satire that he can make his greatest claim to fame. So elusive is France in his feelings that his readers are not certain whether his is an intense interest in society or a context for it. Whatever we may think, we cannot deny that it is a strong feeling against what he calls evils of the day -- the church, politics, class inequalities, and many others which gave birth to such novels as L'Histoire Contemporaire, Sur La Pierre Blanche, and the little story Crainquebille. The strange combination of feelings which France arouses added to the fact that he is still a contemporary, makes it difficult to assign him any definite place in literature. So strong are his feelings that they dominate the contents of his work, and his satire is abundant in contradictions. Difficult as it may be to assign him a niche in literature, it cannot be denied that as a sincere disciple of justice and liberty, he has left a deep influence on France.

Carmen de Burgos est morte en 1932, laissant derrière elle une œuvre écrite considérable : des milliers d’articles publiés dans différents journaux, des essais, des romans et des centaines de novelas cortas. L’œuvre et le souvenir de cette militante pour les droits de la femme furent condamnés à l’oubli pendant la dictature franquiste. C’est à la redécouverte et à l’analyse de cette œuvre, dans ses divers aspects, qu’est consacrée cette thèse. Nous y avons cherché les constantes mais aussi les évolutions. Carmen de Burgos a, en effet, évolué dans sa conception du rôle de la femme et des droits qu’elle devait conquérir. Au départ elle centrait plutôt son combat sur l’obtention de droits juridiques et sociaux plus égalitaires. Elle revendiquait une meilleure éducation pour les filles, éducation qui permettrait de travailler dignement et d’acquérir ainsi une indépendance économique. Elle militait pour le droit au divorce. Néanmoins, très vite elle comprendra que le changement ne pourra se faire qu’à travers les urnes et prendra donc très ouvertement des positions en faveur du suffrage féminin, allant jusqu’à organiser la première manifestation de rue en faveur du vote. Les fictions qu'elle a écrites ont été en général considérées comme de la littérature militante, sans grand intérêt littéraire. C'est pourquoi, après avoir étudié en quoi les intrigues, les dénouements et la construction des personnages étaient au service de la cause défendue, nous avons cherché à évaluer la qualité littéraire, qui ne nous a pas paru négligeable, de cette œuvre. Nous avons aussi voulu déterminer si son œuvre de fiction n’était qu’un outil au service des causes qu’elle défendait ou si elle offrait de réelles qualités littéraires. / Carmen de Burgos died in 1932, leaving behind a considerable amount of written material: thousands of articles published in different newspapers, essays, novels and hundreds of “novelas cortas”. The works and the memory of this women’s rights activist were doomed to oblivion during Franco’s dictatorship. This thesis aims to rediscover and analyse these works from its various perspectives. We have been looking for the constant trends but also the evolutions. Carmen de Burgos has indeed evolved in her conception of the woman’s role and of the rights she had to acquire. In the early stages of her fight, she had been mainly focusing on the acquisition of equalitarian legal and social rights. She claimed a better education for girls; education that would allow them to work with dignity and gain economical independence. She was campaigning for the right to divorce. Nevertheless, she soon understood that change could only occur through the ballot boxes and would thus very openly stood in favour of women’s right to vote, up to the point of organising the first street demonstration in favour of women’s vote. The fictions she wrote were, in general, considered activist literature, without a great literary interest. That’s why after having studied in which ways the plots, the denouements and the construction of the characters were serving the cause of women, we tried to evaluate the literary quality of the work, which appeared to us to have some significance. We also wanted to determine if her fiction work was just a tool serving the causes she was defending or if it offered some really good quality literature.

The high apostle of the adventure tale in the Strenuous Age, Jack London has never really relinquished the popularity which made him before his death one of the best known and, most widely read writers in the world. It is true that more than one pontiff of literary taste has consigned him to the same, "obsolete" file that contains the remains of Richard Harding Davis, David Graham Phillips, William Sidney Porter, but such reports of London's demise have undoubtedly been premature. Indeed, the contemporary momentum of Jack London studies affords excellent evidence of the critical rediscovery of an American legend. Critical approaches to Jack London have necessarily been as eclectic as the man himself. Interpreters have explored London's various roles as a fantasy writer, sociologist, socialist, explorer, reporter, agrarian, ecologist, and Jungian. These specialized inquiries have led to the reconsideration of London's place in American literature, but that judgement is complicated by the fact that no complete edition of London's works exists and that no reader's guide has been established for the fifty-five books which presently comprise the London canon. To survey and categorize the body of Jack London's work is no simple task, but the omission makes minimal our ability properly to assess the writer's contribution to American ideas and literature. Jack London was a remarkably gifted and versatile journeyman who could produce top-grade work in a variety of literary forms, but the sheer number of his works and the elasticity of forms he embraced throughout his career have frustrated his bibliographers, his biographers, and his critics. The present study attempts in part to remedy the absence of a comprehensive reader's guide to Jack London's literary world. It is a survey of the fifty-five major editions of Jack London's works from his first published book. The Son of the Wolf (1900) to the recently published drama, Gold (1972). Essays, journalism, novels, plays, and stories are listed with appropriate bibliographical references and brief commentaries. Individual works are arranged by chapter for ease of reference according to their collective subject or theme: The South Seas, Alaska, Autobiography, Social Justice, The Sea, and Fantasy Fiction. In this manner, the writer's world is opened to exploration and definition, his work both comprehensively surveyed and particularly scrutinized. Such a compilation, it is hoped, will establish the bibliographical-critical guide required at the present time when acceleration of London research and scholarship promises to bring to an end the long neglect of a legendary American writer. At any event, the emergence of Jack London as a particularly amenable and invigorating new figure for academic study now seems assured.

Notre recherche sur les professeurs de droit romain à l’Université de Paris au XIXe siècle tente de démontrer la constitution d’une école historique. La prosopographie met en lumière le milieu géographique et social des professeurs par le biais des contrats de mariage, des déclarations de successions et des inventaires après décès. Après avoir examiné la vie privée des romanistes, nous avons étudié leur parcours depuis leurs études doctorales jusqu’à l’obtention d’une chaire, en observant le mode d’accès au professorat. Nous avons aussi voulu mettre en exergue leur choix de carrière : la recherche, l’enseignement, la carrière administrative, la pratique juridique, la magistrature ou la politique. Enfin, nous voulions déterminer dans quelle mesure il existait une école historique chez les romanistes, malgré le carcan exégétique. Pour cela nous les avons dissociés des civilistes et avons recherché leurs spécificités puisqu’ils s’en différenciaient dans leurs conceptions et méthodes d’enseignement, comme en témoigne leur production scientifique. Nos sources nous ont conduite à puiser dans le vaste patrimoine que constituent leurs oeuvres pour déterminer les domaines du droit romain qu’ils privilégiaient. Les romanistes ont réussi à faire triompher une méthode évolutive, même sous l’emprise exégétique, pour constituer progressivement ce que nous appelons une « école historique romaniste / Our research concerning the professors of Roman Law at the University of Paris in the XIXth century attempts to demonstrate the emergence of a historical school of thought. It’s prosoprography that brings to light the Professors’ geographical and social environment through marriage contracts,declarations of inheritance and inventories after death. After examining at the Romanists’ private life,we studied both their career paths from their PhD studies up to their professorships and the means of access to this Professorship.We also intended to highlight their career choices : research, teaching,administrative responsibilities, practice of law, judiciary or politics. Finally, we aimed to determine the extent to which a Romanist historical school of thought existed in spite of the exegetical straightjacket. To reach that goal, we separated them from the Civilists and looked at their own specificities as they differed in both the conception and the methods of teaching as shown by their scientific output. Our sources led us to draw on their works to determine which fields of Roman Law they would have favoured. The Romanists succeeded in ensuring the triumph of an evolutionary approach, despite being under an exegetical constraint, which gradually built up to what we can definitively call a “Romanist historical school of thought

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