Tendo em vista as transformações socioeconômicas e políticas que se operaram no Brasil nas décadas de 1920 e 1930 e suas implicações para o domínio da cultura, a proposta dessa dissertação consiste em examinar as condições sociais de possibilidade de surgimento do escritor moderno e suas diferentes funções, assumidas nesse contexto. Para o nosso estudo tomaremos como caso, ao mesmo tempo paradigmático e singular, a trajetória do escritor Erico Verissimo, que além de recursos associados à origem social, encontrou na emergência da Revista do Globo e Editora Globo um conjunto de condições favoráveis à consecução de um projeto intelectual. Esse projeto, entretanto, não esteve isento de injunções políticas e éticas nas tomadas de posição estéticas. Para o exame dessas articulações elegemos para a análise o romance O resto é silêncio, pois, além de sintetizar um conjunto de procedimentos formais e uma definição ideológica mais categórica, torna explícitos seus pressupostos ao destacar do elenco dos personagens um escritor ficcional, que expressa, em grande medida, os diferentes “partidos” tomados pelo escritor gaúcho naquele contexto histórico. Em síntese, os objetivos principais desse trabalho consistem em traçar um retrato sociológico do escritor Erico Verissimo, de um lado, e examinar a figuração do escritor no romance O resto é silêncio, de outro. Na medida em que observamos a inexistência de condições sociais de estruturação de um campo literário relativamente autônomo, o exame dessas duas dimensões, a sociológica e a ficcional, pressupõe a referência aos diferentes confrontos políticos e culturais que se travavam. A singularidade da posição de Erico Verissimo, nesse sentido, vincula-se ao tipo de experiência social de ruptura com o meio social de origem, de um lado, e a sua inserção e posicionamento nas “disputas” no interior da instância de produção cultural da Globo. Na homologia de posições (políticas, literárias, ideológicas etc.) entre o escritor real e o ficcional, ilumina-se o papel do escritor e suas diferentes missões possíveis na cultura brasileira do período. / Given the socioeconomic and political transformations that took place in Brazil in the 1920s and in the 1930s and its implications for the field of culture, the proposal of this dissertation is to examine the social conditions of possibility for the emergence of the modern writer and its different functions, assumed in this context. For our study we will take as an object, paradigmatic and singular at the same time, the trajectory of the writer Erico Verissimo who, in addition to features associated with social origin, found in the emergence of the Magazine and the Globo Publishing House a set of propitious conditions leading to the achievement of an intellectual project. This project, however, was not free of political and ethical injunctions in aesthetic stance. For the examination of these points we elected to analyse the novel The rest is silence, because, in addition to synthesize a set of formal procedures and a more decisive ideological definition, it explicits its assumptions by highlighting among the characters a fictional writer, who expresses, the different “parties” taken by the gaucho writer in that historical context. In summary, therefore, the main objectives of this thesis is to draw a sociological portrait of the writer Erico Verissimo, on the one hand, and examine the figuration of the writer in the novel The rest is silence, on the other. Since we observe the absence of social structuring conditions of a relatively autonomous literary field, the examination of these two dimensions, the sociological and the fictional, presupposes the reference to the different political and cultural clashes then happening. Accordingly, the uniqueness of the position of Erico Verissimo relates to the type of social disruption experience with the original social environment on the one hand, and insertion and positioning in the “dispute” within the instance of cultural production of the Globe Publishing House . On the homology of positions (political, literary, ideological, etc.), between the real and the fictional writer, the role of the writer and his different possible missions in the Brazilian culture of the period are illuminated.

Tendo em vista as transformações socioeconômicas e políticas que se operaram no Brasil nas décadas de 1920 e 1930 e suas implicações para o domínio da cultura, a proposta dessa dissertação consiste em examinar as condições sociais de possibilidade de surgimento do escritor moderno e suas diferentes funções, assumidas nesse contexto. Para o nosso estudo tomaremos como caso, ao mesmo tempo paradigmático e singular, a trajetória do escritor Erico Verissimo, que além de recursos associados à origem social, encontrou na emergência da Revista do Globo e Editora Globo um conjunto de condições favoráveis à consecução de um projeto intelectual. Esse projeto, entretanto, não esteve isento de injunções políticas e éticas nas tomadas de posição estéticas. Para o exame dessas articulações elegemos para a análise o romance O resto é silêncio, pois, além de sintetizar um conjunto de procedimentos formais e uma definição ideológica mais categórica, torna explícitos seus pressupostos ao destacar do elenco dos personagens um escritor ficcional, que expressa, em grande medida, os diferentes “partidos” tomados pelo escritor gaúcho naquele contexto histórico. Em síntese, os objetivos principais desse trabalho consistem em traçar um retrato sociológico do escritor Erico Verissimo, de um lado, e examinar a figuração do escritor no romance O resto é silêncio, de outro. Na medida em que observamos a inexistência de condições sociais de estruturação de um campo literário relativamente autônomo, o exame dessas duas dimensões, a sociológica e a ficcional, pressupõe a referência aos diferentes confrontos políticos e culturais que se travavam. A singularidade da posição de Erico Verissimo, nesse sentido, vincula-se ao tipo de experiência social de ruptura com o meio social de origem, de um lado, e a sua inserção e posicionamento nas “disputas” no interior da instância de produção cultural da Globo. Na homologia de posições (políticas, literárias, ideológicas etc.) entre o escritor real e o ficcional, ilumina-se o papel do escritor e suas diferentes missões possíveis na cultura brasileira do período. / Given the socioeconomic and political transformations that took place in Brazil in the 1920s and in the 1930s and its implications for the field of culture, the proposal of this dissertation is to examine the social conditions of possibility for the emergence of the modern writer and its different functions, assumed in this context. For our study we will take as an object, paradigmatic and singular at the same time, the trajectory of the writer Erico Verissimo who, in addition to features associated with social origin, found in the emergence of the Magazine and the Globo Publishing House a set of propitious conditions leading to the achievement of an intellectual project. This project, however, was not free of political and ethical injunctions in aesthetic stance. For the examination of these points we elected to analyse the novel The rest is silence, because, in addition to synthesize a set of formal procedures and a more decisive ideological definition, it explicits its assumptions by highlighting among the characters a fictional writer, who expresses, the different “parties” taken by the gaucho writer in that historical context. In summary, therefore, the main objectives of this thesis is to draw a sociological portrait of the writer Erico Verissimo, on the one hand, and examine the figuration of the writer in the novel The rest is silence, on the other. Since we observe the absence of social structuring conditions of a relatively autonomous literary field, the examination of these two dimensions, the sociological and the fictional, presupposes the reference to the different political and cultural clashes then happening. Accordingly, the uniqueness of the position of Erico Verissimo relates to the type of social disruption experience with the original social environment on the one hand, and insertion and positioning in the “dispute” within the instance of cultural production of the Globe Publishing House . On the homology of positions (political, literary, ideological, etc.), between the real and the fictional writer, the role of the writer and his different possible missions in the Brazilian culture of the period are illuminated.

Nome completo do autor: Márcio José Lucena Osias Filho / Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-05-09T15:49:01Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE CARNEIRO VILELA LÍNGUA DE NAVALHA E PENA DE PONTA DE FACA digital.pdf: 6951723 bytes, checksum: c644176f9576efabef1605493601a5e6 (MD5) / Made available in DSpace on 2017-05-09T15:49:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE CARNEIRO VILELA LÍNGUA DE NAVALHA E PENA DE PONTA DE FACA digital.pdf: 6951723 bytes, checksum: c644176f9576efabef1605493601a5e6 (MD5) Previous issue date: 2016-07-07 / O presente trabalho é uma biografia intelectual do escritor cidadão Joaquim Maria Carneiro Vilela (1846-1913), jornalista político e literário; tradutor e crítico literário; magistrado e advogado; poeta épico, satírico e lírico; romancista histórico e de costumes; folhetinista e panfletário; dramaturgo e comediógrafo; caricaturista; e ainda cenógrafo, pintor e um dos fundadores da Academia Pernambucana de Letras. Carneiro Vilela não foi um beletrista afeito exclusivamente ao belo, ou um nefelibata alheio à realidade nacional, mas um escritor engajado, integrante da geração de 1870, que empunhou a sua pena com o objetivo de influenciar reformas econômicas, políticas, sociais, religiosas e culturais. A sua obra precisa ser analisada levando em consideração o contexto político-intelectual em que surge; apenas a inscrição da sua obra no processo de luta política permite especificar seu sentido: são intervenções no debate político da crise do Império e das primeiras décadas da República. Os seus escritos delinearam um ‘retrato do Brasil’, e dessa maneira é possível inseri-lo no vasto panteão de intérpretes do país que se dedicaram, basicamente, a responder duas perguntas: quem somos? E o que queremos ser? Vilela foi um ‘mosqueteiro intelectual’ que, durante quatro décadas, mais ou menos entre 1870 a 1910, procurou entender o Brasil e sonhou com a construção de uma nova arquitetura social, política, cultural, etc. Defendemos que Vilela usou seus escritos para vocalizar insatisfações e para formalizar críticas às instituições, aos valores e às práticas fundamentais da ordem imperial, bem como às práticas republicanas que bloquearam projetos democráticos para a sociedade brasileira. / This work is a biography of the “citizen-writer” Joaquim Maria Carneiro Vilela (1846-1913). He was a journalist on politics and literature, who also worked on a myriad of other activities related to several areas. On Arts he wrote several plays, did countless caricatures, and did scenography for his and other plays. On literature he translated plays, books and texts, at same time that was a literature analyst. He was one of the founders of the Literature Society of Pernambuco State. As a member of the “1870 Cohort”, his writings aimed at political and social transformation, as well as religious and cultural changes. His work shall be analyzed considering the political and ideological context of that time. It can only be understood taking the political struggle of those years into account. He as an intense activist and took part on the political debate during the twilight of Brazilian Empire, and the first years of the Republican Regime which followed it. His writings have drawn a “portrait” of Brazilian society, which allow us to include him as part of a large group of intellectuals devoted to understand the Brazilian Society. For those, there were two basic questions to be answered: who are we? What do we want to be? Mr. Vilela was a kind of “intellectual musketeer”, which have tried to understand and change his country, around the 18701910 period. He dreamed about a country with a new political, cultural and social shape. I understand that Mr. Vilela saw his works as tools for those changes, and was especially critic of Brazilian Imperial institutions and social values, but did not spare the Republican regime of acid comments, when the Government walked away from the democratic project it was supposed to be inspired.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-15T18:01:02Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Clarice Goulart - final.pdf: 681792 bytes, checksum: c405eb14f771b9a868e3146d5b87c11a (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-16T17:31:39Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Clarice Goulart - final.pdf: 681792 bytes, checksum: c405eb14f771b9a868e3146d5b87c11a (MD5) / Made available in DSpace on 2017-05-16T17:31:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Clarice Goulart - final.pdf: 681792 bytes, checksum: c405eb14f771b9a868e3146d5b87c11a (MD5) / Fundação Carlos Chagas Filho de Amparo à Pesquisa do Estado do Rio de Janeiro / Este trabalho tem o objetivo de analisar a representação do escritor e do crítico de arte tematizada por Rubens Figueiredo nos contos “A última palavra” (Contos de Pedro, 2006) e “Os biógrafos de Albernaz” (O livro dos lobos, 1994, 1ª ed.), bem como no romance Barco a seco (2001). Ao apresentar a trajetória desses personagens e sua relação com as diversas esferas de consagração do campo literário ou artístico, as narrativas possibilitam uma rica discussão sobre a inserção e a manutenção do escritor no mercado editorial brasileiro contemporâneo, na medida em que o reconhecimento desses personagens passa pela chancela do editor e da crítica. A partir dessa investigação, é possível ampliar a discussão para temas como autoridade do escritor e distinção social. Além disso, uma vez que a atividade profissional dos personagens analisados está ligada a um sistema de visibilidade e de garantia de privilégios, desenvolve-se uma discussão sobre a ética do escritor, sobre sistemas de valoração, e, também, sobre o lugar social não só do crítico, do escritor e do editor, mas do livro e do leitor – sobretudo no que se refere ao valor do livro. A orientação teórica deste trabalho articula-se com as ideias apresentadas por Eneida Maria de Souza, Néstor Garcia Canclini, Pierre Bourdieu, Regina Dalcastagnè e Beatriz Sarlo / This work aims to analyse the representation of writers and the art critic presented by Rubens Figueiredo in the short stories “A última palavra” (Contos de Pedro, 2006), and “Os biógrafos de Albernaz” (O livro dos lobos, 1994, 1ª ed.), as well as in the novel Barco a seco (2001). Presenting characters in their relation with the possibilities of consecration in the literary field, the three narratives provide varied themes of discussion concerning contemporary insertion and maintenance of writers into Brazilian literary field, considering the fact that their appreciation is directly connected to editors’ and critics’ approval. The examination includes a wide discussion about writers’ authority and social distinction. Furthermore, regarding the characters professional activities and their association with a system which guarantees visibility and privileges, this work develops a discussion about ethics, value systems, and, also, about the place which critics and writers, readers and, mainly, books, occupy in Brazilian contemporary society. This work’s theoretical orientation articulated with ideas presented by Eneida Maria de Souza, Néstor Garcia Canclini, Pierre Bourdieu, Regina Dalcastagnè, and Beatriz Sarlo

La réflexion engagée dans la thèse propose une archéologie des représentations collectives se rapportant à l’espace domestique de l’écrivain et à son œuvre au moyen d’une socio-critique des textes où elles prennent corps. À partir de la notion de « maison-musée », la maison-musée de l’écrivain est considérée comme un lieu réel et comme une structure mentale et matérielle où s’inventent, s’organisent, s’exposent et sont conservées des « images d’écrivain » qui, quoique variées, voire hétérogènes, définissent un imaginaire et une imagerie cohérents de la figure de l’écrivain. Dans la thèse, la dimension discursive de la « paratopie » du lieu d’écriture est mise en perspective avec les approches posturales et scénographiques centrées sur la figure de l’écrivain. Pour ce faire, l’étude postule que l’agencement des objets dans les maisons-musées s’appuie sur ces « scéno-mythographies ». Des dispositifs d’exposition divers les transposeraient par la suite dans l’espace muséal. Partant, la thèse montre que les mises en scène de l’écrivain à demeure constituent un levier essentiel des appropriations mémorielles collectives des écrivains et de leurs œuvres parce qu’elles cristallisent des représentations mythiques à succès qui s’actualisent dans l’esprit du temps. Plus largement, elles participent à l’écriture de l’histoire littéraire qui s’institutionnalise au XIXe siècle : elles mettent l’accent sur certains écrivains, sur une mythologie de la création littéraire et sur des œuvres qui ont vu le jour dans de « hauts-lieux littéraires ». Enfin, il s’agit de comprendre les enjeux de poétique et de réception qui lient les maisons des écrivains à leur œuvre littéraire. / The reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work.

Ce travail se propose d’étudier les effets d’Internet sur la littérature : le web se prête-t-il à l’activité littéraire ou représente-t-il pour elle au contraire une limite, voire une menace pour son avenir ? Nous menons notre interrogation à partir de l’analyse de trois blogs d’écrivain dont les auteurs publient aussi des romans dans des maisons d’édition reconnues : François Bon, Éric Chevillard et Chloé Delaume. À l’aide d’outils empruntés au domaine de l’analyse du discours, nous abordons des problèmes théoriques relatifs aux effets du support numérique sur la perception des genres et sur la notion d’auteur. Tout d’abord, nous montrons que le web ne permet pas l’émergence d’œuvres littéraires, puisque ce processus repose sur le circuit éditorial et la hiérarchie imposée par les catégories textuelles. La toile compromet également le statut d’auteur au sens fort du terme, dans la mesure où les écrivains sont amenés à établir un contact direct avec leurs lecteurs. Nous mettons en évidence que cet exercice d’écriture est ainsi soumis à une double contrainte : la notoriété de leurs blogs se fait au détriment d’une pratique littéraire gratifiante à laquelle les écrivains ne veulent pourtant pas renoncer. Cette situation ressort dans la manière dont les écrivains introduisent leur projet littéraire sur Internet : Bon veut mettre l’œuvre sur la toile, Chevillard se pose en défenseur de la « bonne » littérature et Delaume crée son salon littéraire. / This study focuses on three blogs kept by writers who have published novels in renowned publishing houses: François Bon, Éric Chevillard and Chloé Delaume. This new writing practice raises the question of whether literature can be transferred to the Internet: does this medium admit literary activity or, on the contrary, does it represent a limit or even a threat to the future of literature? By using theoretical tools from the field of discourse analysis, the study discusses theoretical problems related to the impact of digital media on the perception of genres and on the notion of authorship. First, the study shows that the web does not allow the emergence of literary works, because this process is based on the editorial circuit and the hierarchy between textual categories. The existence of authors in the strongest meaning of the term is also compromised by the web, since the writers establish direct contact with their readers. The writer blog thus implies a dilemma: its success is necessarily to the detriment of a rewarding literary practice that the writer does not want to give up. This double bind is apparent in the way the writers use their blog: Bon wishes to open the literary field to the Internet, Chevillard is defending ”good” literature and Delaume intends to make her blog a performance.

This thesis explores how the Institut für Literatur ‘Johannes R. Becher’, an East German institution for the training of writers, negotiated tensions that arose from the conflicting demands between literary and political values. The Institute had the objective to foster emerging literary talents according to the socialist ideal of a working writer, but often found students and staff drawn towards more autonomous literary values that were incompatible with the views of the East German Socialist Unity Party. As a result, the Institute’s practices fluctuated between toeing the party line and pursuing literary ambitions. An overview of the existing scholarship shows that the Institute and its function have been highly politicised and hardly subjected to analyses that allow for a more nuanced appraisal of its practices. As a result, the study of the Institut has not been able to transcend the binary differentiation between assent and dissent and the Institute is either presented as a liberal haven or an orthodox academy with little artistic value. This thesis addresses this issue by applying Bourdieu’s’ theory of cultural production, more specifically his notion of field, capital and habitus, to the study of the Becher Institute. Three case studies that form the core of this dissertation investigate how cultural capital in its institutionalised, embodied, and objectified form was accumulated, converted and exchanged by the Institute, how it tried to reconcile the tensions between cultural policy and creative aspirations and how these tensions affected the Institute’s common habitus. The first case study will show how the Institute’s founding shaped the institutionalised capital it represented and question the importance that has been attributed to prominent political figures during the founding process. The second case study examines the role of the lecturer and the influence their embodied capital had on the Institute. Two lecturers, working writer Werner Bräunig and poet Georg Maurer, and their representation of the Institute’s multiple habitus will be the focus of the analysis. The third and final case study is dedicated to objectified cultural capital in the form of the Institute’s publications during the 1970s. The Institute’s orthodox publications have so far been overlooked by scholars in favour of its more controversial literary output, which gives a misleading impression of the Institute’s literary output that I aim to amend. By developing a sociological framework for the study of the Institute, this thesis is able to investigate the Institute and its practices as a social and literary space under the watchful eye of the Socialist Unity Party, without denying its pedagogical and cultural dimensions. The findings will reveal a deeply conflicted institution that struggled throughout its existence to resolve the tensions between literary ambitions and political restraints as well as the contradictions within the literary field itself.

La présente étude propose une topologie de la littérature contemporaine issue de l’immigration asiatique en Europe à travers les romans publiés pendant les vingt dernières années par des écrivains d’origine asiatique établis en France et au Royaume-Uni. Si les études sur la littérature de migration sont en plein essor en Europe, il y a encore quelques lacunes, comme un corpus bien établi des œuvres d’écrivains européens d’origine asiatique. La première partie de cette thèse présente les concepts clés des études de la littérature de l’immigration, telles les notions de migration et de cosmopolitisme, ainsi que les considérations nécessaires à la constitution d’un corpus des auteurs immigrés d’origine asiatique ; elle recense aussi les recherches en cours dans ce domaine. La seconde partie, composée de trois sections, explore d’abord les éléments qui conditionnent l’accès de ces auteurs au champ littéraire en France et en Grande-Bretagne, puis les caractéristiques de leur écriture en matière de style, de structure et de thème. La dernière section tente une typologie d’un corpus des romans en français et en anglais des écrivains immigrés d’origine asiatique, en offrant une vue d’ensemble de cette riche création littéraire en Europe. / This study proposes a topology of contemporary literature stemming from Asian immigration to Europe through fiction published in the last twenty years by writers of Asian origin based in France and the United Kingdom. Although studies in immigration literature are burgeoning in Europe, there are still gaps to be filled, such as a well-established corpus of works by European writers of Asian origin. The first part of this dissertation presents the key concepts in immigration literature studies, such as the notions of migration and cosmopolitanism, and the necessary considerations in the constitution of a corpus of immigrant writers of Asian origin, as well as an overview of current research in this field. The second part, comprised of three sections, firstly explores the elements that condition these authors’ access to the literary field in France and in Britain, and secondly, the characteristics of their writing in terms of style, structure and theme. The final section attempts a typology of the corpus of novels in French and English by immigrant writers of Asian origin, offering an overview of the richness of an integral part of European literary creation. / 본 논문은 프랑스와 영국에 기반한 아시아계 작가들이 최근 20년간 출간한 소설을 통하여 아시아인의 유럽 이민에서 비롯된 동시대 문학의 유형론을 제시하고 있다. 유럽에서 이민 문학 연구가 활발히 이루어지고 있지만, 아시아계 유럽 작가들의 작품에 대한 상세 코퍼스 정립과 같이 아직 채울 부분들이 존재한다. 본 논문의 제 1부는 이주, 국제성과 같은 이민 문학 연구의 주요 개념을 소개하고, 아시아계 이민 작가들의 코퍼스를 형성함에 있어 고려 사항을 비롯하여, 이 분야의 연구 현황을 개관한다. 모두 세 장으로 나눠진 제2부는 우선, 프랑스와 영국 문학계에 대한 이들 작가의 접근을 규정하는 요소들을 살피고, 문체, 구조와 주요 테마의 측면에서 이들 작가의 글쓰기의 특징을 밝힌다. 마지막 장은 아시아계 이민 작가들이 불어와 영어로 쓴 소설 작품으로 이루어진 코퍼스의 유형화를 시도하여, 유럽 문학 창작 활동의 풍요로운 한 분야를 보여주고자 한다.

Depuis une vingtaine d’années, l’histoire militaire contemporaine, tournant le dos à l’histoire bataille traditionnelle, s’est intéressée aux témoignages des combattants de la Grande Guerre. Cette approche très riche, qui a fait l’objet de vives controverses scientifiques, s’est penchée sur le vécu des simples soldats, et leurs contraintes matérielles et culturelles. L’approche biographique des chefs militaires, malgré un certain renouveau, très récent, a par contre été largement négligée. Il en est de même pour les officiers supérieurs appartenant au « second cercle», largement inconnus du grand public. Pourtant, connaître leur parcours militaire et familial permet d’appréhender de façon concrète ce qu’a été cette nouvelle armée, née après la terrible défaite de 1870, et qui, après la victoire de 1918, est devenue la première armée du monde.La biographie du général Arthur Boucher (1847-1993) étudie en détail son parcours atypique et met en avant le caractère érudit de son œuvre d’écrivain militaire. Elle expose sa très longue carrière militaire et sa vie familiale. Elle fait revivre, à travers son cas personnel, l’armée de la IIIe République et les grands événements de l’époque. Elle redonne vie à un certain nombre de généraux marquants de cette époque, qu’Arthur Boucher a côtoyés. Ce travail a été rendu possible grâce à des archives publiques, mais aussi et surtout grâce à des archives familiales fournies, conservées par l’une de ses filles.Si l’histoire militaire a maintenant une connaissance précise de la vie des soldats sous la IIIe République et durant la Grande Guerre, cette recherche permet d’un peu mieux connaître celle des officiers supérieurs, qui, grâce à leur formation de haut niveau, à leurs qualités intellectuelles, ont permis à la France d’affronter victorieusement l’armée allemande durant la Grande Guerre.Cette thèse, mettant en avant un officier supérieur, qui plus est le « doyen » de l’armée française, comme était surnommé Arthur Boucher pendant la Grande Guerre, et éclairant plus généralement la vie des officiers supérieurs de « second rang », enrichit les études consacrées aux élites militaires du XIXe siècle. / For the last twenty years, contemporary military history, turning away from a traditional History of Battles, has been about witness accounts of participants in the Great War. There is a place for this approach that, although sometimes controversial, focuses on the lives of private soldiers and on their material and cultural constraints. On the other hand, biographical studies of military heads, in spite of a very recent renewal of interest, are largely neglected. The same applies to the study of senior officers belonging to the “second circle”, who are mainly unknown to the public at large. And yet through their family and military history much is to be learned of this contingent and of the officers who rose after the disastrous defeat of 1870 and became the world first army following their 1918 victory.General Arthur Boucher biography is a detailed study of his atypical long military career and of his family life, and draws out the erudite character of his output as a military writer. It also brings to the fore some key events and important Third Republic generals, with whom General Boucher interacted. This study was made possible through researching public archives as well as some private archives made available by one of General Boucher’s daughters.This research adds to what recent contemporary military history reveals about the lives of private soldiers during the Third Republic and the Great War with a better knowledge of officers who, thanks to their training and intellectual capacities, gave France victory over Germany during the Great War.This thesis about a senior officer known as the French army Great War “elder” throws a light on the life of senior officers and enriches the studies of 19th Century military elites.

\"Are there any national literatures in black Africa yet? The simple answer is no. [...] If one examines the development of the African language literature that do exists, one is struck by certain recurring tendencies. Many of the books produced, particularly the early works, are of a predominantly moralistic nature. Sometimes they are retelling of folk stories or Bible stories, sometimes imitations of European religious literature, sometimes both.\\\" (Lindfors 1997: 121; 123) Certain anomalies are obvious in the above extract. Swahili written literature with its long-standing tradition, dating far back to the 17th century, has relativly gathered its own aesthetic criteria, values and sensibility, hence \\\''own\\\'' integrity and world view. I dare say that Lindfors will be suprised to learn today, how fast the Swahili novel has developed since when he had left it when he read Andrzejewski et al (1985) and Gérard (1981), who (by the way), themselves did not then see the their works as presenting a complete picture of African literatures in African languages. This essay aims at showing the predicament of the Swahili novelist at the crossroads and how, in a contemporary situation, s/he works out his or her strategies towards resolving the impasses.