Dissertations / Theses on the topic 'Écrivains algériens – 20e siècle'
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Nahlovsky-Lett, Anne-Marie. "L'Infra-discours d'une reconstruction de soi : les relais d'écriture romanesque : les écrivaines algériennes de langue française." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20050.
Full textBehind the game of fiction and the alchemy of a new language, our research aims at defining a mere proceeding of discourse destructuration, together with a restructuration of the person. Our analysis is based on three novels in the Algerian Francophone women's literature of the second part of the twentieth century : "So Vast the prison" by Assia Djebar, "N'zid" by Malika Mokeddem and "Forbidden vision" by Nina Bouraoui. Our first goal is to demonstrate how these three works are linked in the fashion of writing relays, indicating an evolution from one narrative to the other, which reveals, behind words, an immediate subjacent discourse, going along with the story within its own logic. Our next step is to question the functioning of language and the foundations of writing, so as to study, through the prism of psychoanalysis, the secret stratagem of the language games, which brings to light unconscious mechanisms of writing. The scripturary adventure is the revealer of self-building at work and discloses the achievement of progress for the literary, creative, feminine consciousness, thus establishing the Algerian francophone female writer in a new personal and social statute of "the women with a book"
Lotodé, Valérie. "Le lecteur virtuel de Rachid Boudjedra." Montpellier 3, 2005. http://www.theses.fr/2005MON30007.
Full textAimed at portraying Rachid Boudjedra's virtual reader in four of his novels, this thesis stands between theories of the reception and the aesthetic effect, Umberto Eco's semiotic approach, and narratologic and linguistic analysis. In this study, Valérie Lotodé determines how work envisages its receiver, registers him discreetly into the text, and programs its own actualization. She also gives a more human image to an altogether theoretical figure by releasing its sexual and cultural identity. Owing to the fact that Rachid Boudjedra, Algerian author writing in french, creates his novels in a cleaved social and historical context, and that he uses the language of the Other, the analysis of the virtual reception proves extremely pertinent to propose the Maghrebian specificity of his writings, and the cultural duality of their readership
Hamidou-Benkalfate, Nadia. "Le discours dans l’œuvre romanesque d’Assia Djebar." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL023.
Full textApproach the discourse in Assia Djebar’s novels requires looking into enunciative tools and the mechanisms of representation that she will construct : the way in witch the writer’s ethos is elaborated, the representations of women that she workout from their own speeches. Because the Algerian author had the ambition to give voice to cloistered women of her country. The ensuing feminization enhance the importance of preserving an immaterial oral fund. But it allows, on the other hand, to highlight the way in witch work it as a palimpsest and show how linguistic interbreeding was born. The mechanisms of integration of the Arabic heritage within the language of writing are at the heart of the analysis, as well as the influence of the other arts. After her cinema experience, the author makes a personal poetics that stand out in her stories by a bursting of forms, a subversion of genders and renewed enunciation modalities in witch the relationship to sound and picture play a determining rule. The aesthetic transformation which affirms the maturation of the writing is accompanied by a polemical component in which appears the writer’s desire to get involved politically and socially. The Algerian context marked by the rise of islamist violence destabilizes the foundations of the society and creates an urgency to testify. The search of identity that continues in the act of writing accompanies the maturation of the work and lead, in the second period, to attempt at autobiography which struggled to succeed. The difficulty of expressing oneself as an autonomous subject remains, for Algerian writer, a mark of her Arab Muslim identity and her “I” always remains dependent of the ”WE” of the female community. Assia Djebar will then search in the reading of history and in the concealment of berber language the causes of this situation which forced her to exile. Finally this study analyzes the links that are woven in the structure of the literary work between female orality, history, languages and autobiography. It also tries to define the way in witch Assia Djebar manages to combine, in her romantic discourse, a literary aesthetic and an ethic that could represent her as a woman, an Algerian, and a writer
Namane, Farid. "L’écriture de la guerre d’Algérie au XXIe siècle : écrivains français, écrivains algériens, regards croisés sur un événement historique." Thesis, Université de Lorraine, 2019. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2019_0215_NAMANE.pdf.
Full textMore than an half-century after its end, "the algerian war" continues to inspire the novelists of the both Mediterranean sides. Considered as such (a war) in 1999 by the French parliament , this war makes noise in every literary return.our thesis subject , is going to be a comparative analysis of the Algerian and French fiction writings concerning the Algerian war : how a common historical event can be interpreted in fictions differently? After the reading of French novels, we noticed that it’s always a story of military who goes to war and the description is characterized by such exoticism and astonishment. On the other hand, the Algerian writer couldn’t go beyond the war; it’s always present , as an important event by which we should go through to enter in literature: it’s a « location of memory ». Because of these différents points of views we suggest the reading of the main corpus composed of a set of novels edited in XXI st: Rachid Boudjedra Les figuiers de barbarie (2010), Anouar Benmalek Le Rapt (2009), Jérôme Ferrari Où j’ai laissé mon âme (2010), Laurent Mauvignier Des Hommes (2009). In order to do this work properly , we will add an other corpus to the novels mentioned above which had been published during the first years of the independence to the beginning of the 2000 and that in order to see the evolution of the french and Algerian fiction writing theme
Aucagne, Julie. "L'Auteur, sa vie, son oeuvre : vers une poétique de la biographie d'écrivain (France-Angleterre / 1918-1989)." Dijon, 2006. http://www.theses.fr/2006DIJOL013.
Full textDeng, Li-dan. "Quatre femmes écrivains chinoises des années 1920." Paris 8, 1998. http://www.theses.fr/1998PA081896.
Full textVathaire, Aurélia de. "Les écrivains-planteurs français de caoutchouc en Malaisie, 1905-1957." La Rochelle, 2009. http://www.theses.fr/2009LAROF026.
Full textBetween 1905, arrival of Henri Fauconnier, from Charente, and 1957, independence of the country, some Frenchmen chose to come to Malaya to work in rubber estates. The first plantations founded by Henri Fauconnier merged in 1920s into Socfin group (Societé Financière des Caoutchouc). Amongst these rubber planters, three became novelists. Henri Fauconnier (1879-1973), described in his novel The Soul of Malaya – published and awarded by the Goncourt Prize in 1930 – the adventure and the pioneer spirit of the first Frenchmen who cleared the jungle and planted the first rubber trees. The second one, Pierre Boulle (1912-1994), wrote in 1952 Sacrilege in Malaya. Denouncing the excessive bureaucratization and the rigid hierarchy in the large European plantation companies, he humourisly described the rubber planters’ life in Malaya in the 1930s and 1940s. The third one, Pierre Lainé, was born in 1930. Living in Malaya since 1955, he told in his novel L’Oreiller en Porcelaine (The Porcelain Pillow), the last years of colonial period. These novels, which describe different eras, are written by “writers-rubber planters” and show a common wish to depict Malaya through the rubber plantation world. These Frenchmen were both actors and observers of the British colony’s development. The study of their works and their lives will give an insight of the way they perceive and analyze it
Hellal, Amar. "Les intellectuels arabophones algériens entre l’identité, le modernisme, le nationalisme et l’indépendance (1918-1962)." Nancy 2, 1990. http://www.theses.fr/1990NAN21002.
Full textGasquet, Axel. "L'intelligentsia du bout du monde : les écrivains argentins à Paris." Paris 10, 2000. http://www.theses.fr/2000PA100029.
Full textLuciani, Annette. "Deux écrivains abhumanistes : Audiberti-Joppolo." Corte, 1990. http://www.theses.fr/1990CORT2001.
Full textThe purpose of this thesis was to bring out a litterary movement. Abhumanism, from the relation between two authors; Jacques Audiberti and Beniamino Joppolo, and to define it. However, a presentation of the work of the sicilian author, unknown as in Italie as in France, was necessary first. To prove the coherence of his complex writing, that has been called by the critic a "confuse magma", it was necessary to find his clue. Utopia is proved to be this clue. Utopia make possible without deserting the field of general an comparative litterature, to study the relation in this work between myth and utopia, between the "genre litteraires", the differents aspects of the litterature of emigration , the building of the concept of "universal litterature". In a second part, focused on the relation Joppolo-Audiberti. A french translation of the abhumanists texts of Joppolo and numerous documents make easier the comparative study of the two abhumanisms
Pélage, Catherine. "Marginalisation et transgression chez les romancières chiliennes du XXe siècle." Paris 4, 1999. http://www.theses.fr/1998PA040158.
Full textCamarasa-Bellaube, Marion. "Un voyage par delà la "Grande Eau" : des algériens au pays de l'érable ou la Méditerranée sur les rives du Saint Laurent : étude de cas, une histoire de l'émigration algérienne au Canada 1962-2002." Toulouse 2, 2007. http://www.theses.fr/2007TOU20095.
Full textCanada is, in the world, one of the most big country for immigration. Lots of South contries' people go to Canada for make a better life. Algeria is one of them. Since 1962, the departures are constitued by the algerian youth and the algerian élite. This work is the evolution of this migration between Algeria and Canada, and specialy Quebec. Why they go, how they live in their new country ? These Algerians come in Canada and with sometimes lots of difficulty, grow richer the canadian culture in their mediterranean culture
El Canada atrae hoy una mirada numerosa a traves el mundo a lo largo de su politica de inmigración y de su concepción comunotarista en los tratos humanos. La universalidad no es un símbolo del sueño canadiense, pero tan tenaz para las poblaciones que llegan de los paises los mas pobres en busca de una vida amejorada. Argelia, pays joven cuyo desarollo a conocido muchos desordenes que causaron un poperismo de sus habitantes, aparece desde 1962 como una tierra de emigración de mas en mas importante al curso de los años. El Canada y aùn mas el Québec logran presentarse como tierra de refugio para la juventud y la élite argelinas. Esta investigación mostra la evolución de esa emigración presentando las causas y incribiendolas igualmente en una perspectiva mas amplia al nucleo de las relaciones economicas y politicas entre los dos estados. Las características de esa población argelina en el Canada nos aclara sobre la realidad de la integración mas o menos cuplida y sobre los tropezos a veces muy frequentes que ella tiene a su llegada en tierras americanas y tambien muco mas despues. Pero produce igualmente brillantes exitos que enriquecen culturalmente y intelectualmente el mundo canadiense
Ass-agi at'as n meden i-yerran luhi nsen ar tmurt n kanada, lad&a f-ayen id icudden ar tsertit n l&urba akw d wayen temsel di leqder' ger imdanen yalwa s yidles ines. Maca ulama imdanen n ddunit akw msawan mazal yeggug iswi. Mazal leqdic &ef izerfan n umdan &ef id nfan ne& id rulen imzeda& n tmura timeluz'in. Tamurt n lezzayer mazal-itt mez'iyet. Seg asmi tefra lgirra di 1962 ur tessin talwit. Sya &er da ad yekker cwal almi tu&al ttaz'awalit yesserwalen imdanen ines. D ilemz'i ne& d amusnaw tu&al asen Kanada, lad&a Kebek, d ifri anda ara ddarayen. Anadi yagi n Marion yulsed amek id tebda l&urba n izzayriyen ar tmurt n usemid', d acu i d sseba n r'wah'. Tesefra-d di&en assa&en n tisertit akw tadamsa ger snat timura yagi. Tuffa belli izzayriyen n Kanada mxalafen &ef wiyed' , yerna bd'an &ef sin : llan wid isselken iman nsen, llan wiyad' seg asmi i-d usan ar Marikan nitni deg i&ublan. Izzayiren n Kanada effkan-d at'as n itran i tmurt agi isen igan azal
Alsahoui, Maan. "La question de l'autre chez J. M. G. Le Clézio." Paris 10, 2010. http://www.theses.fr/2010PA100014.
Full textThis thesis engage the reflection on the personal myth of JMG Le Clézio, built on the relations between the autobiography of the author and the genealogy of the Other. Our goal is to highlight how vome the figures of the Other in the novel, and the complx relationships of the writer with his ancestors. To do this, wa engaged a research on the search done by the characters in order to find a new form of religiosity, questioning their identity and transforming their personalities. In this movement of projection on the Other non-Western, we study the conflict between writer and his characters with their original environment. This is a cornestone argument in Le Clézio's novel : the opposition between primitive and Western modernity. This distinction between sacred and profane, wich marks the theme of the work and divided it into two perdiods, is echoed in the report of the subject with the other femal. Our remarks on this point revolves around the theme of the passage on the other side, which takes place through the indigenous femal figure. The analysis of representations of women throughout the work of Le Clézio, will highlight the increasing importance of the female figure in the healing that marks the writing of the novels of the second period
Takieddine, Amyuni Mona. "La ville chez quelques écrivains arabes contemporains arabophones et francophones." Paris 4, 1990. http://www.theses.fr/1990PA040070.
Full textGardereau, Thibault. "Réécrire le Nouveau Monde : un espace revisité, théâtralisé et poétisé par les écrivains européens entre 1890 et 1945." Versailles-St Quentin en Yvelines, 2012. http://www.theses.fr/2012VERS021S.
Full textIn 1890, the frontier is tamed, and the face of America is transforming itself. From this date on, up to 1945, European writers take advantage of this phenomenon to rediscover America. To their astonishment, they are confronted with a highly industrialized civilization, which does not facilitate their task. This new exoticism is initially heightened by a set of preconceptions which urges them to anticipate this “new” New World and to imagine it before arriving. After this prefiguration, the culture shock occurs: the travelers at that time confirm or contradict their horizon of expectation and symbolize the New World. It is the time of sublimation. These two stages are of primary importance to better understand the vision which these well-read travellers will then impose. Finally, they put in writing a theatricalized and poetized America; an America which is, in the last analysis, not far from reality
Naudier, Delphine. "La cause littéraire des femmes : modes d'accès et modalités de consécration des femmes dans le champ littéraire (1970-1998)." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0127.
Full textAlba, Virginie. "Les productions littéraires de Jeannette C. Armstrong, Beth Brant et Lee Maracle : des exemples de l'activisme politique chez les femmes autochtones au Canada : une approche non-autochtone." Toulouse 2, 1999. http://www.theses.fr/1999TOU20115.
Full textThis thesis’ title reflects the topics which are dealt with in it as well as the perspective with which they are looked into, that is to say in a sympathetic and critical way, with a strong awareness of my own identity. This work finds its context within the frame work of a self-reflexive use of the feminist, postmodern and postcolonial theories in which the latter are applied to themselves. From the study of the literature considered here and following the theoretical questioning movement and the reading positions taken in this study, the dominating modern, feminist, postmodern and postcolonial theories in the literary, sociological, anthropological and political fields will be evaluated. The partial inadequacies of these theories as related to the realities and the goals pursued by native women in Canada will be unveiled. Drawing inspiration from native authors and native literature in general, and in particular from the theoretical contributions made in those fields by the authors and their writings, this thesis will outline the theoretical intertextuality of these texts attempt to shed some light on what the authors borrow and reject from these theories. This thesis also attempts to understand the diversity in the definitions of nativeness and Canadianness as well as the relations between orality and literature, between feminism end nativeness, two-spiritedness and nativeness and between traditions and renewed traditions. This research is organized to stand for an exchange space on the topic of the role and characteristics of women, men, “minorities”, of their speech acts in the states/nations/pluricultural or multicultural societies as well as an exchange space on the topic of the literary, philosophical, social, political orientations of today and tomorrow’s democratic societies. This work also attempts to show the necessity for the diffusion of the contents of these so-called minority authors and actor’s speech acts. At the same time, it also means to demonstrate that though the stakes of the multiple translations’ process implied are important and that the dangers of theoretical manicheisms and essentialisms this diffusion process involves are important, these works nonetheless reveal the imperative aspects of the realization of the communication negotiations bore by the translations
Pestano, y. Viñas Adelaïde. "Les récits de voyage en Espagne des écrivains espagnols entre 1818 et 1936 : évolution d'un genre." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30035.
Full textThe purpose of this PhD Dissertation is first to make an inventory and establish a typology of the travel narratives published in Spain between 1818 and 1936 by Spanish writers having travelled in the whole or part of the Iberian peninsula (the Canary islands, the Baleares and the cities of Ceuta and Melilla). Secondly, I will try to determine the characteristics which make the travel narrative a literary genre and examine from a diachronic point of view the circumstances which presided over the evolution of this genre from its first appearance until today, as well as the nature of this evolution. Thirdly, as studying an example of each existing type of travel narrative unfortunately proves to be impossible, I will limit my study to an analysis of the characteristics of the three forms under which the Spanish travel narrative presents itself most frequently between 1818 and 1936, relying on a restricted corpus : journalistic anthologies (with Por tierras de Portugal y de España, by Unamuno), narratives made up of a sequence of tableaux (with Dos pueblos de Castilla, by Solana, and Alma vasca, by Salaverría), narratives characterised by their continuity (with El peregrino entretenido, by Bayo, and La ruta de don Quijote, by Azorín)
Brumwell, Rafaela. "Expression féminine : des romancières espagnoles de l'après-guerre (1939-1961)." Aix-Marseille 1, 1995. http://www.theses.fr/1995AIX10039.
Full textYuan, Yuan. "Réception et création : les littératures féminines française et chinoise au XXe siècle." Besançon, 2010. http://www.theses.fr/2010BESA1015.
Full textThis study aims at probing, measuring and describing the relationship between the Chinese and French female literature of the twentieth century. It concentrates particularly on the most representative female writers from both countries and their works that reflect female consciousness. The Chinese female writing in the 1920s-1940s shows strong feminist thought, similar to French female writing of the period. However, there was no direct communication between these two female literatures and the influence of French literature on the first generation of contemporary Chinese female writers came from males writers. The French feminist literary theory formed during the 1970s has become the theoretical pivot and practical model for the Chinese female writing in the 1990s, yet continually influenced by Chinese female writing in the 1920s-1940s. The use of the comparative method helps to show that Chinese contemporary female literature is “the fruit” of the combination of the development of Chinese female literature herself, the influences of western feminist theories and western literature, especially French literature
Le, Foll-Luciani Pierre-Jean. "Les juifs algériens anticolonialistes : étude biographique (entre-deux-guerres - 1965)." Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20023.
Full textThis dissertation, at the crossroads of the history of the Algerian Jews and the Algerian anticolonial movement, studies the trajectories of the minority of Algerian Jews who shared in the struggle against colonialism, during the period spanning the end of the First World War to their departure from an independent Algeria mostly at the end of the 1960s.The first part, coming before the actual biographical study, looks at the timeframe and reasons "the Jews" of colonial Algeria are considered to be a political entity by the administration and the political movements, and confronts this political discourse and these practices with the many political subjectivities that emerged among the Algerian Jewish population from 1930 to 1962.The second part introduces the actual biographical study and looks at the process of Algerian identification that the male and female study population is engaged in, men and women who grew up under a colonial world order definition and who developed a dissident attitude to that order, with the Vichy era appearing to be, in most cases, the clenching factor for this break. In this context, the Youth and Student Communist movements, from 1946 to 1954, are approached as hotbeds for a politically radical Algerianness and transgressive sociabilities in view of the colonial social order.Lastly, the third part focuses on the journeys of those militants during the Algerian War of independence and after, and highlights the conflict between the Algerian identities that emerged during the trials of the War for independence and the official version of a national identity the governing elite of the new State decided to impose in the first months followingindependence
Bouard, Jean-Philippe. "L'édition en droit privé français contemporain." Bordeaux 4, 2003. http://www.theses.fr/2003BOR40032.
Full textNazeran, Kiasa. "L'acteur européen en quête de l'organicité au XXe siècle." Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCC011.
Full textFirst half of the twentieth century. Rise of teleological illusions, dispersion of the researchers of Origin, victory of alienating forces, crushing of the will to be. All this could not stifle the noble spirits' passion to remain or become beings of integrity. We think of Nietzsche, Tolstoy and Bergson. These seekers of the state of Being had many students. To name only five: Stanislavski, Chekhov, Copeau, Decroux and Grotowski. From their masters, these students inherited an important idea: "surpassing oneself" is the sine qua non of integrity. Hence their interest in great tragic or comic characters. They all have one thing in common: they are willing to do without anything in order for the truth to be revealed. To embody these characters was the dream of the aforementioned artists. To realize this dream, they made a long term work. This work enabled them to take decisive steps towards the hard-to-reach threshold of organicity
Brodziak, Sylvie. "Clémenceau écrivain." Cergy-Pontoise, 2001. http://www.theses.fr/2001CERG0132.
Full textGeorges Clemenceau belongs to History and le Père La Victoire (Father Victory) is forever etched in the French national memory. Yet, next to his public political action, Georges Clemenceau had a genuine underground writing activity which is little or badly known. It seemed important to us to bring to light those written works which range from novel to essay to biography to play, to wonder about the genesis and the quality of his writings and to try to understand why those written works the output of a man who had become a myth met with so little in their days and have remained unknown. To this end, we have first endeavoured to bring to the fore the importance of the act of writing in Georges Clemenceau's life and to analyse how his continuous writing made its way from journalism to literature after the determining experience of translating the works of the philosopher Stuart Mill and his stay in the United States of America as a correspondent of Le Temps at the end of the Civil War. In the second part, in the light of the texts, we have tried to determine the transition from social discourse a sterilising ground for literary creation to more fruitful narratives of fiction. This reversal in perspectives which took place with the Chinese-style play Le Voile du Bonheur was not spontaneous in Georges Clemenceau and he had to overcome strong intellectual as well as philosophical reluctance. In actual fact, as a doctor and a positivist, Clemenceau mistrusted imagination. In spite of that, his writings slowly matured around the "I", ending in the very distinctive introspection of the last comprehensive appraisal that Au Soir de la Pensée is. In the third part, we have defined what Georges Clemenceau's literary universe was by bringing it together with the Romantic Movement which he acknowledged and challenged, and by focusing on the study dedicated to Claude Monet's painting Les Nympheas which established him in the art of writing. Finally, we have analysed his contemporaries' reactions and criticisms to demonstrate how Clemenceau became cut off from readers and how, to some extent, the politician and the orator smothered the writer that deep down he undoubtedly was
Vernozy, Delphine. "Le livre de ballet, un objet littéraire ? : écrivains et chorégraphes en France des années 1910 aux années 1960." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040214.
Full textMeant to be danced, the libretto should have been a transitory text, hence lacking in literary value. Yet the period from the Ballets Russes to the 1960s saw an unprecedented rise in collaborations between writers and the ballet. Jean Cocteau, Blaise Cendrars, Paul Claudel, Louis-Ferdinand Céline, René Char, Jean Anouilh, Jean Genet and Eugène Ionesco all wrote librettos. But what were writers looking for in this a priori ephemeral form? Did they want to seize hold of the libretto and deliver it, as poets would, of its utilitarian status, transform it into a literary work, worthy of appreciation in itself? The libretto also drew its value from the access it gave to an alternative space of collective creation and performance, to a kind of work where the stage and the body eclipse the text and where the writer can break with literature and dream of being a choreographer. This dual tendency placed the libretto at the heart of the evolutions that shaped literature and choreography during the twentieth century. Whereas literature saw its status as a dominant art waver, dance won its autonomy and the choreographer asserted himself. Unlike the investigations of modern dance, ballet continued to make dance rely on text, retaining a place for the writer in choreographic creation in order to better question the precedence of language. What is literature? What is dance? These are the questions that the ballet libretto poses
Andréolle, Donna. "Dialectique idéologique et sociale dans la science fiction féminine aux Etat-Unis, 1966-1996 : querelles du présent, utopies du futur." Grenoble 3, 1998. http://www.theses.fr/1998GRE3A002.
Full textAshour, Mohamed. "La nouvelle lybienne au vingtième siècle : traduction en français et étude commentée." Paris 4, 1995. http://www.theses.fr/1995PA040019.
Full textThis projet of research start making following : two big parts make up the contents of this piece work. In the first part, we have three chapters. The first one treatise the cultural life in Libya and a general idea of historical and geographical of Libya. The second chapter presents the Arabic short story in general and an analogical between the classic and the modern Arab is short story. The third chapter show the place of the short story in the intellectuals’ thought. The second part, we have two chapters: the first one presents the short story writers of the years thirty, the second one presents the short story writers of the years fifty. The third part will be consecrated to the short story writers-woman in Libya
Baudorre, Philippe. "La revue "Monde" (1928-1935) : contribution à l'étude du débat littéraire franco-soviétique." Bordeaux 3, 1986. http://www.theses.fr/1986BOR30009.
Full textThe thesis proposes to study the answers brought forward both by the french and soviet literatures to the problem of connections between literature and revolution, through the history of monde review (19281935). According to henri barbusse, the founder, monde should be the magnet for many intellectuals belonging to no party. The review actually played this part from 1928 to 1932. In the literary field it united an accusation of all great ills belonging to "bourgeois" literature and wide and creful considerations of appearance of a proletarian literature. It was srongly criticized by all communist organisations (kharkov congress, 1930). But it remains faithful to its want of objectivity and the reproof of any literature of propaganda. The editional staff was changed in 1933 and many of those who built the spirit of the review went away; a homogeneous communist group took the place, which betrayed the initial spirit of monde. This evolution allowed to catch in depth the relations then established between french and soviet literatures and threw light on the commitment of french intelligentsia. From 1934 socialist realism took the place of a reflexion on proletarian literature the french communist party and the komintern gave up their provocative sectarism, wich allowed the creation of the united front of intellectuals that triumphed in paris congress (1935). At the very time when the principles it championned were proclaimed, monde was disclaimed and must give in. There paradoxal results show the limits and the real significance of a movement trying to unite intellectuals and considered as an outstanding event in french cultural life of the thirties
Jagtiani-Naumann, Lalita. "Briser le moule de Sita : statut et libération de la femme indienne dans une sélection de romans d'Anita Desai, Shashi Deshpande et Githa Hariharan." Rennes 2, 2002. http://www.theses.fr/2002REN20047.
Full text@What is the image of Indian women that emerges in these writings? What are the literary techniques exploited by the writers to discuss the issues related to the status of women? By fusing an Indocentric methodology with Western approaches to narratology the thesis shows that the novels, selected on the basis of gender rather than their feminist concerns, reveal, through the use of allegory and myth, how centuries of patriarchal dominance in Indian women's lives are being challenged by women in the post-colonial era. The writers create new myths to replace male-oriented ones by narrating them from a woman's viewpoint. The protagonists of the novels reverse the position of power as they break out of the myth of the Sita-mould. A significant difference between the Indian and Western feminsit emerges : while the novels' Western-educated, middle-class protagonists are willing to negociate their liberation from the hold of tradition, they are unwilling to break the Indian social continuum in their quest for indivuation. The three sections of the thesis, order, disorder and reorder, reflect the upward spiral that gathers momentum in the progress that the female characters make in moving beyond the threshold of marginalizing limitations. The subsequent instability as they explore hitherto out-of-bound spaces becomes the impetus that deconstructs the stability within patriarchal norms
Siatkowska-Callebat, Kinga. "Le roman de Karol Irzykowski et la prose polonaise de l'entre-deux-guerres : un héritage inconscient?" Paris 4, 2005. http://www.theses.fr/2005PA040031.
Full textThis thesis undertakes a comparative study on the one hand of the henceforth mythical Pałuba, a novel by Karol Irzykowski, the eminent literary critic, published in 1903; and on the second hand of novels from the period between the wars by four famous polish writers: Nałkowska, Witkiewicz, Schulz and Gombrowicz. Many ideas, that later flourished in literature originate in this allegedly forgotten and inaccessible roman. Not only possible inspiration, but also similarities testify to the common interest shared by these five writers in the main European thoughts of the first half of the 20th century (Freud, Nietzsche, Mach). Through a study focused on narration and as well on more specifically the construction of the novelistic character, the work leads to an interesting idea about the role of literature with which all five writers seem to agree, even though each of them keeps specific. Pałuba, considered by the polish critics as a work that initiated textual autoreflection in that country, originates in the romantic irony (Beniowski by Juliusz Słowacki). After his novel was published, Irzykowski hardly came back to works of fiction, whereas he kept writing all his life long various diaries that constitute an amazing example of autobiographical prose at the time. The novel by Irzykowski, that has not been translated into French so far, appears as amazingly " modern ", and as one of the foundation stones of the polish " modernity " - if not of the European one
Lucien, Renée. "Résistance et Cubanía : trois écrivains de la génération de la révolution cubaine." Paris 4, 2003. http://www.theses.fr/2003PA040018.
Full textThis thesis about Cuba writers resistance and its relationship with cubanity, which concerns particularly the work of three authors of the Cuban Revolution Generation, -Eliseo Alberto's autobiography and narrative fiction, Leonardo Padura's tetralogy and Zoé Valdés' tales and novels, -is composed of four parts. The first one presents an "archaeology" of this literary resistance till the years of socialist realism, to explain the historical circumstances which provoked subversive manifestations; its maintains that the literary resistance in the first half of the nineteen century and national sentiment or "cubanía" emerge together and that, subsequently, an ontological obsession about national identity cristallazises never satisfied aspirations and then, constantly oriented toward national utopian realization. In the three other parts, the examination of the authors' work reveals their originality which result of a common critical disenchanted vision of revolutionary society of the Special Period, weakened by postmodern dystopia after disappearence of the Soviet Union. Our work demonstrates that the texts expresses anxiety about "cubanía", by thematic and aesthetic choices and narrative strategies, and, dialectically, reactions of vitality against the depression of disenchantment
Gaillard, Sophie. "Écrivains et metteurs en scène à l'école du Cartel. L'épreuve de la collaboration." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA178.
Full textThe accounts given by writers and directors, widely reported by dramatic and academic critics, have given rise to legends concerning the theatrical work, and have reduced the partnerships between creators to one of either conflict or perfect harmony. By comparing the teachings of the Cartel school – from the foundation of the Vieux-Colombier (1913) to the achievements of its legacy – and the collaborations begun in the theatre and at the writer’s desk, we propose to bring to light the logic determining the balance of powers between creators and to explore its effect on the practice and the poetry of the theatrical.The first part of the study sheds light, from a historical perspective, on the relations between writers and directors in the first two-thirds of the century and shows the central role played by the Copeau school. It examines the way in which the collaborators perceive one another and the way they conceive their work within a collaborative setting.The second part is dedicated to the relationships of five heirs of the Cartel school (Barsacq, Meyer, Serreau, Barrault and Blin) with three generations of authors (Claudel, Gide, Anouilh, Couturier, Ionesco, Beckett, Schehadé and Keineg) and considers, from a genetic perspective, the role of the writers in the stage production. It highlights the efforts of dramatists to assert their legitimacy and questions the place of the text in the creators’ debates. The third part of the study examines the range of functions of the director during the writing process and explores the possible influence it has on the poetry of dramatists and on the printed work
Vanuxeem, Demoulière Marie-Claude. "Crise d'identité dans le roman d'expression anglaise de l'écrivain gallois Emyr Humphreys." Brest, 1996. http://www.theses.fr/1996BRES1005.
Full textIn this thesis, we have considered the individual and collective identity problems of the Welsh society and culture from the twenties (1920) up to the eighties (1980) within the north Wales non conformist communities mainly. The own identity difficulties of the welsh are in fact well-set out by the writer Emyr Humphreys who uses the novel as an appropriate pedagogical tool. The problematic issue we have given importance to deals with "the identity crisis answer in wales as brought up by Emyr Humphreys in his novels". We have determined the writer's position in welsh literature and defined his literary technique through a study of his work. First of all, the analysis of the identity crisis is concerned with the dimensions of anglicization and internal differences in Wales. Then, through the reference to welshness, it is supplemented by an analysis of the main Welsh identity referents : literature, nation, language, culture, religion, morale and myth. So, the writer's specific answers to the identity crisis are set out according to each dimension or referent. Finally, a synthesis gives us the writer's overall answer to the identity crisis
Martin-Cardini, Karine. "Du futurisme au réalisme mythique : choix d'écritures de Carlo Carrà." Paris 4, 1997. http://www.theses.fr/1997PA040001.
Full textBalinga, Emile. "Amadou Hampâté Bâ, l'homme et l'oeuvre : oralité et création littéraire." Paris 4, 1988. http://www.theses.fr/1988PA040083.
Full textThe literary production of Amadou Hampâté Bâ covers different forms. It embraces history, hagiography, the novel, poetry, ethnology, stories and myths. In this thesis, we seek to determine the extent to which oral tradition has influenced the life of this writer and presided over the birth of his literary vocation. We consider it indispensable to give a definition of this concept according to the author before going on to discover the textual manifestations. To Amadou Hampâté Bâ, orality is not just a simple expression of interpersonal communication. It is the privileged mode of communication for a tradition, that is to say the ensemble of values belonging to a civilization. It is built in the importance of the spoken word and on the virtues of initiation. It is a form of literary expression and its insertion into the written literature raises the problems of the cultural and political identity of Africa
Jimenez, Lidia. "L'adolescente dans la littérature espagnole de la "Posguerra"." Toulouse 2, 1996. http://www.theses.fr/1996TOU20076.
Full textIn spanish fiction and particularly in the kind of written fiction by women-novelists after the civil war, teenagers are often drawn. We feel we are confronted with real, genuine portraits while, before readers had to be content with mere tentative sketches ; indeed in the fiction published, at that time, the very young girls and also the young ladies they often had grown into,take up stances which are surprisingly new. Infact their creators thus achieve a kind of perfection in that respect, insisting, as they do, on the adolescent period of their fictitions feminine characters. Spanish women-writers often insists on the particular period of time of adolescence for their heroins, often imparted their own most intimate hidden, convictions, and are naturally nourished with foreign models but it was also fraught with their own knowledge of death, and love, acquired during the various wars they had gone through. The consequence is the portraying of adolescent characters as drawn by spanish fiction writers ans the reader feels that many personal memories break through the bedrock of the tales that are told. For instance, rosa chacel during all that period does draw such a character in teresa and memorias de leticia valle. In nada and la isla y los demonios carmen laforet renews the genre making conveying to them the shock it was for most people. Ana maria matute writes short stories and in luciernagas tells the memories of a teenager of that time. Carmen martin gaite writes short stories about meregirls and young ladies while reflecting
Malli, Nisrine. "La parole politique des femmes dans la seconde moitié du XXe siècle (France - Moyen- Orient) : une étude comparative de deux corpus arabe et français." Paris 8, 2011. http://www.theses.fr/2011PA083306.
Full textThis thesis provides a reflection on the paradoxical articulation between the “political speech” which is at the public level and the “literature expression” which is at the singular level. The dissertation relies on making a comparative study considering the French female writers from one side and those of Middle-East from the other side. Therefore, we have underlined fundamental questions concerning the status and identity of the women. We have specially focuses on its challenging relation with the world of expression, creation, and innovation; more generally, with the public domain. During the critical periods of the modern history, the publications of Arab and French women, especially in the domain of wars and political conflicts, have highlighted their potentials and motivate the redefinition of their role in the oriental and occidental socio-political world. Basically, the women introduce effectively in both the political and poetical worlds modern concepts and values through the usage of linguistically tools of challenge and revolution. This implicitly seeks to liberate her from the assigned minor position in the society through the power of expression and the strength of word. Then, this leads to figure out a world under a harmonious and even mystic relation among its human beings where the differences are absorbed by the syncretism of expressions and values. Such Cultural Revolution, based on the dialog of civilizations, provides a better world liberated from the frontiers of the “difference”
Amsallem, Daniela. "Le Génocide et la figure du survivant dans les oeuvres des écrivains juifs italiens contemporains." Grenoble 3, 1988. http://www.theses.fr/1988GRE39016.
Full textThis thesis is devoted to the genocide and the image of the death-camps survivor in the works of contemporary jewish-italian writers, like primo levi, giorgio bassani, giorgio voghera, natalia ginzburg, carlo levi and umberto saba. The survivor, an autobiographical or fictional character, who is associated to certain symbols and archetypes, is described, with his difficulties to reintegrate society, his irrational guilt complex towards the dead, and his choice to live on which he finally makes. The confrontation with the torturer, the relations between fascism and the italian jews, the behaviour of both oppressors and victims are also studied. Finally the repercussions of the genocide in the religious field, the jewish identity and the degree of assimilation of these writers and their relations with the state of israel as well are analyzed. The conclusion takes into account the necessity felt by the death-camps survivors to bequeath their testimony to future generations, in order to oppose the action of those who deny history, so that the memory of auschwitz be preserved
Younes, Kaddis Youssef Anwar. "La société bourgeoise française au XIXe et au XXe siècle vue par les écrivains contemporains." Strasbourg, 2011. https://publication-theses.unistra.fr/public/theses_doctorat/2011/YOUNES_KADDIS_YOUSSEF_Anwar_2011.pdf.
Full textWriting history by depending on the literature may seem surprising. Thus history can be seen as a human science its purpose is the study of the past, while the literature book written within a culture, age and gender. So we can say that the literature can serve as a literary source as well as any other historical document. Consequently, I do not find its difficult to select some literary works that serve my research and help me to describe the bourgeois community at that time as correct as possible. The study is divided into four parts. The first part is examining the bourgeois community, during the Restoration and the July Monarchy, according to Balzac's Father Goriot. In the second part of the thesis, i discussed the bourgeois community during the Second French Empire through the works of of Georges Feydeau and those of Zola. The third part is entitled « bourgeois community at the beginning of First World War as seen by Roger Martin du Gard. » and the last part of the thesis deals with the French bourgeois community between the two major wars according to the autobiography of Simone de Beauvoir « Memoirs of a willful Daughter ». [. . . ]
Atzenhoffer, Régine. "Écrire l'amour kitsch : approches narratologiques de l'œuvre de H. Courths-Mahler (1867-1950)." Paris 4, 2003. http://www.theses.fr/2002PA040262.
Full textH. Courths-Mahler's fictional work (1867-1950) has not been the subject of a thorough and scientific study so far. This fact is revealed in the introduction of the dissertation entitled "Present state of the research" in which a portrait of the novelist is depicted through the few studies devoted to her. In the first part, entitled "H. Courths-Mahler's position", a new light is thrown on Courths-Mahler's background and the emergence conditions of her fiction. The second part "Fictional space : the impacts of life styles, etiquette and sets of values" addresses itself to the fictional space, examines the social tissue where social order takes precedence over individual destiny and living conditions hamper heart inclinations. The third part "Paper characters" investigates the set of different heroes and heroines, assesses the importance of characters as role models on the reader, sets out the links between aesthetics and ethics in the novels and shows the ideological visions of the narration. The fourth part "Heart over mind" and its presentation of the main themes of her fictional work clarifies Courths-Mahler's idea of love and her representation of women's conditions. The last part "Narrative techniques for best sellers" is devoted to the attention paid to titles and narrative techniques. The conclusion endeavours to throw a light on the keys for success of those love stories. Courths-Mahler's work has been submitted to a multifaceted reading scrutiny and the dissertation is the fruit of a manifold approach derived from literary analyses and criticism resting on sociology, sociopoetics, psychoanalysis and structuralism, both flexible and unbiased, based on the positioning of the text in its context. Courths-Mahler is worthy of interest because she is a literary phenomenon with its own importance and place, both historically and culturally, against a literary background, more varied than is expected, according to the standards of traditional literary history
Kleinlercher, Alexandra. "Le passé trouble de l'Autriche vu à travers sa littérature : Le cas Heimito von Doderer." Paris, EPHE, 2006. http://www.theses.fr/2005EPHE4070.
Full textAlthough he started publishing in 1923, the Austrian writer Heimito von Doderer (1896-1966) remained unknow until he met with success in the fifties, and was promoted to the foreground of Austrian cultural life. A first part describes the literary context of the period from the thirties to the sixties in order the show the continuities marking the fifties as well as the breaks that occurred between 1945 and 1966. In the second part, Doderer's biography is examined with a particular emphasis on his relation to Nazism, the evolution of his anti-Semitism, the years he spent as an officer in the German army and his fate at the time of denazification. The destiny of the persons of Jewish descent whom Doderer had kown before Anschluss, including his first wife Gusti Hasterlik, is recounted, on the basis of the letters of the Hasterlik family and of common friends of Doderer and his wife. The third part offers a detailed analysis of two of Doderer's most significant works for the topic considered: Die Dämonen des Ostmark (not yet published), written until 1936 as a novel with an anti-Semitic theme, and 'Unter schwarzen Sternen', a short story published in 1963 which takes place in Vienna during Second Word War. The dissertation appraises the extent to which Doderer has overcome his affinities with Nazism and his anti-Semitism, and analyses the way in which he tried to get round his own past, while thinking about the 'Total State'
Elkarati, Noureddine. "La constitution de la population algérienne du département de Seine-Saint-Denis (1921-1999) : Etude de géographie historique." Paris 13, 2004. http://www.theses.fr/2004PA131031.
Full textIn the Paris area, the algerian immigrants especially reside in the Seine-Saint-Denis department. The algerian immigration is old in Seine-Saint-Denis. In "afirst age" (1921-1946), the algerian immigration is weakly introduced in the north suburb of Paris. In "a second age" (1946-1976) the immigration flow explodes, particulary when wives and children arrive. At that time the algerian immigrants live in insalubrious accommodations, in furnished hotels or in group of huts. It's only during "the third age", from 1976 onwards, the algerian come today, the algerian immigration is growing old
Turbiau, Aurore. "Pensées et pratiques féministes de l'engagement littéraire (France, Québec, 1969-1985)." Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL078.pdf.
Full textThis thesis aims to examine, in the light of the notion of literary engagement, the political thoughts and practices of literature put into play by writers of the women's liberation movement in France and Quebec between 1969 and 1985. It focuses on a vast corpus of women writers, including Nicole Brossard, France Théoret, Louky Bersianik, and Madeleine Gagnon in Quebec, and Monique Wittig, Hélène Cixous, Françoise d'Eaubonne and Christiane Rochefort in France. As heirs to the existentialist theories that preceded and accompanied them, these writers reenvision the primarily ethical and critical dimension of literary engagement, opposing the authoritarian principle of “roman à thèse” writing. In various ways, they renew the notion of “situation”, central to the thought of Jean-Paul Sartre as much as Simone de Beauvoir, and forge several concepts at the crossroads of the political, the epistemological, and the poetic - in particular by re-problematizing the notions of subject, action and recognition, and history, key concepts in canonical literary engagement. Questioning the identity of “woman” that describes their position in the social and literary space, these writers also create and elaborate on the concept of “gender” from their specific point of view. They deploy and reorient the oppositions articulated at the time between literary engagement and the avant-garde, often disqualifying them and thinking of them in terms of utopian imaginaries that are half-pragmatic, half-idealistic; they question the place that violence and insolence can occupy in new literary politics, whose aesthetics of rupture are also largely projects of foundation and bonding between women - in so doing, they also scrutinise the dimension of their work that is sometimes said to be “unreadable” and challenge this reproach, turning it into a pledge of dialogue with the literary history of modernity
Negură, Petru. "Nationale par la forme, socialiste par le contenu : littérature et politique en Bessarabie roumaine et Moldavie soviétique durant la période stalinienne." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0107.
Full textThis dissertation proposes a sociological analysis of the Union of Moldavian Writers, the institution responsible for promoting "socialist realism" in Soviet Moldavia during the Stalinist period (1924-1956). In the particular context of Soviet Moldavia (a disputed territory between the USSR and Romania), this work shows how the Soviet Moldavian writers contributed to the formation and diffusion of a model of "Moldavian" identity (construed by opposition to its "Romanian" counterpart), by resorting to the creation of a standardized language, a literary heritage and a "method" of creation, intended for their target audience: the Moldavians. The literary language, the literary heritage and the literary canon of "socialist realism" represented important stakes in the balance of power between the writers and the Soviet authorities. At another level of interpretation, these factors played a crucial role in the power struggle between the Moldavian writers themselves, as groups or individuals
Williams-Wanquet, Eileen. "Les romans d'Anita Brookner de 1981 à 1992 : l'écriture de la subversion." Montpellier 3, 1996. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/H/99_wanquet.pdf.
Full textAnita Brookner's novels have been called "mills & boon for bluestockings" and are usually set in the tradition of the conventional realistic novel by critics, who qualify them as "pre-modern" and "decidedly non-experimental”. The novels do present the outward signs of classic realist texts by their use of conventional methods to represent reality. However, beneath this deceptive appearance, another text can be discerned, as suggested by the various forms of intertextual ity used. Brookner's novels pose as traditional realism, using the latter's conventions to undermine its philosophical principles from inside. The premises of realism are pushed far enough to remorselessly lay bare the illusions it conveys. This subversive text is "modern" by way of its pessimistic, ironical vision of the world. Brookner's modern parodies denounce the ideology behind traditional realism, showing that christian virtue does not win out in the amoral twentieth century, in which neither god nor reason can be relied upon. But, not content with dismantling the traditional novel's message of comfort, the author lays bare the sterility of a purely ironical vision, which, in its turn, gives way to a metaphorical text, the manifestation of an abstract circular structure which re-introduces a mythical poetic world-view of the unending circularity of life. The novels are postmodern by their metafictionality, by their questioning of the very nature and existence of reality, by their self-reflexivity, which is a direct consequence of their autobiographical aspect. The writer, at one with her narrator focaliser heroine, uses literature itself to explain how her life has been "ruined by literature”. But, even if writing allows her to re-edit her life and to survive, it cannot cure her melancholy and she seems condemned to keep on writing the same novel
Feix-Hupé, Tania. "L' inscription du féminin/masculin dans la création contemporaine : l'oeuvre e Camille Laurens." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10100.
Full textChauchix, Cheikrouhou Danièle. "L'écriture des femmes de lettres maghrébines d'expression française en comparaison avec l'écriture africaine de Doris Lessing." Rennes 2, 1985. http://www.theses.fr/1985REN20008.
Full textBoivin, Geneviève. "La cohabitation du littéraire, de l'artistique et du politique dans la revue québécoise «Situations» (1959-1962)." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26412.
Full textLe vaste corpus des revues québécoises a déjà fait l’objet de nombreuses études, mais la revue Situations, publiée de 1959 à 1962 aux Éditions d’Orphée, n’a encore jamais trouvé chercheur. Pourtant, nombre d’auteurs notoires ont pris parole en ses pages (Jacques Ferron, Gaston Miron, Claude Gauvreau, Michèle Lalonde, Yves Préfontaine, Patrick Straram ou encore Pierre Vadeboncœur, qui y publia la première version de l’essai « La ligne du risque »). L’objectif de notre mémoire est de démontrer que la revue Situations s’inscrit dans la filiation du Refus global et cherche ainsi à créer en ses pages un espace dialogique où cohabitent les discours littéraire, artistique et politique. Cette tridiscursivité fait sa particularité et lui permet de s’inscrire dans le réseau des revues en tant que carrefour transitoire entre Liberté et Parti pris.
Robert-Chapé, Lucienne. "De George Sand à Noëlle Châtelet : l'émergence d'une écriture féminine à travers la relation mère-fille." Nantes, 2006. http://www.theses.fr/2006NANT3023.
Full textThis work concentrates on a diachronic presentation, through autobiographies and novels written by women of letters, of the evolution of the way in which the relationships between mother and daughter are depicted and of their essential importance in the works. This evolution follows the accession of women to a level of social recognition which has mainly been attained during the 20th century; after having been a novelistic model for Sand and Colette, the mother figure becomes a social emblem under the pen of Leduc and above all of Beauvoir who theorizes her place and exploitation which are amplified in her novels and autobiographical narratives. The mother then becomes an allegorical figure embodying death according to Duras and Yourcenar, before providing Cardinal and Sarraute with the opportunity of a liberation through speech. The following women writers, in an opposite process, turn the mother at the end of her life into a role model, in whom they can recognize themselves to the extent that they submit themselves entirely to her will, in Châtelet’s works. After having freed themselves from the mother figure and having written against her, women writers now write for her; the emergence of a feminine literature followed up a liberation from the mother, but the process has been reversed
Charbonneau, Richard. "Vies et œuvres d'un humaniste du vingtième siècle : Henrique Teixeira de Sousa, écrivain médecin." Rennes 2, 2004. http://www.theses.fr/2004REN20055.
Full textA biographical study of Henrique Teixeira de Sousa, a writer-cum-physician born on the island of Fogo (Cape Verde) in 1919, based on the analysis of his many writings -either sociological, ethnological, political, medical or literary- and of both his professional and intellectual commitments in the view to understand the building-up of a humanist throughout the 20th century in Cape Verde (1919-1938), in Portugal (1938-1946), in Timor (1946-1948), in Cape Verde (1949-1954), in Portugal and in France (1954-1956), in Cape Verde (1956-1975) and finally in Portugal (from 1975). The 12 first chapters are dedicated to the aforesaid study. Chapter 13 deals with the study of the author's main novel, Ilhéu de Contenda, viewed here as a roman à clef, directly linked to his life. The last chapter will present a brief analysis of the two later sequels of Ilhéu de Contenda that thus form the Fogo trilogy