10 research outputs found
Free Energy Model for Lithium Intercalation in Graphite: Focusing on the Coupling with Graphene Stacking Sequence
No full textInternational audienceDuring intercalation, some layered intercalation compounds undergo phase separation between several stable phases, known as stages. Of particular interest is the case of graphite, widely used in negative electrodes of batteries. Here, thermodynamics and kinetics of stage formation are studied using a multilayer free energy framework based on mean-field theory, accounting for both intralayer and interlayer interactions. More specifically, an order parameter is introduced to describe the local evolution of the stacking sequence of graphene sheets around lithium islands, enabling the distinction between the liquid-like stage 2L and the stage 2. In particular, we show that an interlayer interaction between the lithium ions and the host structure is necessary to counterbalance the enthalpic term of the lithium intralayer energy and allow the formation of islands with intermediate concentrations, characteristics of the liquid-like phases. Introducing the developed free energy model in Cahn-Hilliard's and Allen-Cahn's equations, we study the stages emergence during spinodal decompositions. Staggered domains of lithium surrounded by different graphene stacking arise naturally with characteristics typical of stages 1′, 3L, 2L, 2, and 1
Numerical modelling of Plateau-Rayleigh instability in capillary tubes of fuel cells
No full textInternational audienceLiquid/vapour water flows are encountered in a variety of fields, such as in Proton Exchange Membrane Fuel Cell (PEMFC), an emerging technology for energy decarbonation. In PEMFC, two-phase water flows are observed in the gas fuel channels (GFC) used to supply the reactive species to the cell. In these millimetric-size GFC, the Plateau-Rayleigh instability may lead to the formation of liquid plugs. The present work aims at understanding the plug formation mechanism and its implications on the fuel cell operation. A numerical approach, based on a Front-Tracking method (TRUST-TrioCFD software), is used to perform 2D-axisymmetrical simulations of liquid water plug formation in a model problem of a circular capillary tube. The plug formation is first studied in absence of an imposed gas flow and compared to a lubrication model. A stability analysis is also performed and demonstrates the importance of both inertia and viscosity in the liquid/vapour water system. A gas flow is then imposed. Correlations between flow rates, void fraction and pressure losses are obtained from permanent regime simulations and will later be used to develop a 1D macroscopic two-phase model of the PEMFC channels
A multi-layer phase field model to study lithium intercalation in graphite: focusing on the coupling with graphene stacking sequence
No full textInternational audienceDuring lithium intercalation in graphite, the active material undergoes phase separation between a succession of several stable phases, known as stages. This staging phenomenon corresponds to the appearance of an ordered sequence of intercalant layers separated by planes of the host-layered material. The stages are defined according to the number of host layers that periodically separates two successive intercalant layers. This phenomenon influences critical properties of graphite like its equilibrium potential, lithium diffusion or lithium insertion kinetics.Here, thermodynamics and kinetics of stage formation are studied using a multi-layer free energy framework based on mean-field theory, accounting for both intra-layer and inter-layer interactions. More specifically, we go beyond the multi-layer Cahn-Hilliard framework by adding an order parameter to describe the local evolution of the stacking sequence of graphene sheets around lithium islands. The introduction of this order parameter enable the distinction between the liquid-like stage 2L and the stage 2. Key in this approach is the form of the underlying free-energy model and the associated intra- and inter-layers interactions between lithium ions and the host structure.Following an empirical approach, we show that an inter-layer interaction between the lithium ions and the host-structure is necessary to counterbalance the enthalpy term of the lithium intra-layer energy and allow the formation of islands with intermediate concentrations, characteristics of the liquid-like phases as will be illustrated in the computed phase diagrams. The proposed interactions between the graphite structure and the lithium concentration let the stage 3, now in a dilute liquid-like form 3L, to appear at an average filling fraction around 0.2, a value that is closer to experiments than the value of 0.33 obtained without accounting for the graphene stacking order. Similarly, two stages of periodicity 2 are now solutions of the model. A dilute stage 2L with intermediate filled layers and a graphene staking sequence of the form /AB/BA, where carbon layers are staggered around empty layers, but eclipsed around filled ones and the ordered stage 2 where the graphene stacking sequence is of the form /AA/AA, where carbon layers are eclipsed around both filled and empty layers. This new framework therefore leads to a more complex phase diagram with the presence of the stages 3L, 2L, and 2. Interestingly, with the chosen parameters, the transition between the stages 2L and 2 disappears below 280 K, as reported in the literature.Introducing the developed free energy model in Cahn-Hilliard's and Allen-Cahn's equations, we can also simulate the evolution of lithium concentration, as well as graphite stacking during spinodal decompositions and follow the emergence and evolution of these stages in a graphite particle. Staggered domains of lithium surrounded by different graphene stacking arise naturally with characteristics typical of stages 1', 3L, 2L, 2 and 1
Plateau-Rayleigh instability in a capillary: assessing the importance of inertia
No full textInternational audienceLiquid plug formation in thin channels due to the Plateau-Rayleigh instability of a liquid film is observed in a variety of fields. In this paper, complementarity between theoretical solutions and Direct Numerical Simulations (DNS) based on a Front-Tracking algorithm is explored to evaluate the importance of inertia for the case of a cylindrical capillary. A linear stability analysis is first performed and DNS results are then used to investigate the spatial distributions of inertial, convective and viscous terms of the Navier-Stokes equation. The existence of both viscous and inertial regimes is evidenced with a threshold given by the film thickness. The presence of the core fluid slows down the instability. In the viscous regime, predictions of the lubrication theory are verified. An example of liquid water as outer fluid film and water vapour as inner core fluid is simulated with application to the fuel cells
Adversaire, adversaires: mise en scène du diable et diabolisation dans les tragédies protestantes du XVIe siècle (1550-1572)
No full textSixteenth-century French religious theater inherited the character of the devil from the Middle Ages; more specifically, from “Medieval” mystery plays whose popularity was still strong, if increasingly controversial, at the time. However, the period’s religious schism and subsequent wars produced a shift in the traditional role of this character. In addition to being presented as the “adversary” of the believer in general, it also came to symbolize and “otherize” a Christian faith (namely, Catholicism) presented by Protestants as a corruption of the true one. It was much later, at the height of the civil war, that Catholics in turn – Ligueurs to be exact – put the devil (or a stand-in) on stage as a figure of their enemies, who in this case were “moderate” Catholics, favoring a compromise with the Huguenots, rather than the Huguenots themselves.
So, the latter were first to put the devil on stage, in the 1550s and 60s. Accordingly, our dissertation focuses on this initial moment. It asks why, how, and to what effect pioneering French Calvinist playwrights, in order to convey their message, chose on the one hand to write tragédies (thus invoking a classical model) and chose, on the other hand, to retain Satan in their cast of characters, while ruling out the representation of God, which was allowed in mystères but was considered sheer idolatry by the Reformation. In moralités, polemical morality plays, which some of their colleagues favored, the presence of Satan and other devils among allegorical figures would seem less strange in itself; but in the tragédies saintes studied by this dissertation, the devil inevitably stands out. Why did writers such as Théodore de Bèze and Louis Des Masures, advocates of sola Scriptura, not only make deliberate and purposeful changes to the key Biblical narratives they chose as subjects for their plays, but end up doing so by inserting in them – and showing on the stage – a supernatural agent of evil?
The ultimate question that we are aiming at is this: by endeavoring to entertain, educate, and above all encourage their coreligionists (their primary audience) in this way, namely by using a Satanic figure to account for the challenges faced by such Old Testament characters as Abraham or David, as well as – via an implicit analogy – for the persecution of their own faith at the hands of Catholics, did these writers end up “demonizing” the latter more than they intended to? Did they displace and trivialize, consciously or not, the wicked role played by the devil in the life of any believer, as described by Reformation thinkers such as Jean Calvin? At what moment does a spiritual diagnosis of the presence and role of evil in certain persons become a social and political tool to “demonize” the persons themselves, as individuals and as a group? Did our writers risk overshadowing or undermining the message they intended to convey in their plays, regarding faith and divine grace, by helping to foster or justify, however unwittingly, a physical war, where the likes of Saint Paul and Calvin only urged a spiritual one? Furthermore, were they not elevating the status of the devil, the enemy of Christians and iv a hindrance to their salvation, by drawing too much attention to him, thus exaggerating his power, not just in the world, but vis-à-vis God Himself?
It is important not to rush to conclusions with respect to such large questions, which we consider here from the narrow angle of theater writing only. To understand why the devil is on stage in the first Calvinist tragedies, we must describe what he is doing there, and how he is doing it; while also comparing different plays in this regard, including one where Satan does not appear. What we are proposing, therefore, is a comparative analysis of the texts themselves.
The first chapter, however, gives an overview of “demonization” precedents in the Medieval period, against other faiths – Jews particularly – and marginalized groups, as well as against women. We pay special attention to witches, whose persecution flourished at the end of the Middle Ages and even more so during the 16th and 17th centuries, with Protestants and Catholics both supporting it: a reminder that the most criminal forms of demonization, at that time, assumed the actual presence or action of the devil himself in certain human beings. Next, we take a preliminary look at the ways in which Satan came to represent one’s religious opponent, Protestant or Catholic: thus, was birthed a mutual demonization, based on different interpretations of the Scriptures.
The second chapter examines the (relative and complex) demonization of theater itself by both Catholics and Protestants, who objected to its seductive power and ability to simulate reality: there was, to the eyes of many, something inherently diabolical in a theater performance. Such objections focused particularly on the representation of God and the Saints, as well as on the often-grotesque way in which Lucifer or Satan were portrayed in the mystères. While such views were strongest on the Protestant side (and ultimately led to a total ban on theater), Catholics shared them at least in part, which led to attempts to ban the mystères, most famously in Paris in 1548. At the same moment, traditional religious theater was also rejected for secular reasons, in favor of classical models for poetry, theater included, advocated by the likes of Joachim Du Bellay (in his 1549 Deffence et illustration). This meant that Christian playwrights on both sides felt pressured to reconcile their religious inspiration and subjects with aesthetic models and constraints borrowed from Antiquity: Seneca’s tragedies first and throughout; then, increasingly, rules inspired by Aristotle’s Poetics, most visible in the plays and ideas of Jean de La Taille, another Protestant writer. The religious conflict only made this synthesis more urgent, on the Reformed side first, then on the Catholic side. With the onset of the Guerres de religion, theater written à l’antique came to echo, or even directly represented, contemporary events, and the dreadful consequences of the war.
Chapter three analyzes the first French Protestant tragédie, Abraham sacrifiant, based on chapter 22 of Genesis (the sacrifice of Isaac) by the theologian, preacher, and leader Théodore de Bèze, who, in the service of his Calvinist message, attempted to strike a middle course between “Medieval” theater and classical models. The trilogy of tragédies saintes by Louis Des Masures (David combattant, David triomphant, David fugitif), which we study in chapter four, uses a similar strategy with key events in the life of young David, the future king of Israel. Neither playwright adopted a truly classical form, yet both were accomplished humanists, fully trained in the knowledge and appreciation of Antiquity. This allowed them (Bèze especially) to create original plays that streamline the sprawling matter of the mystères into a more focused shape, so as to concentrate the reader or spectator’s attention on one course of action and on the acute vi spiritual drama of characters facing faith-threatening ordeals. In both chapters, about all four plays, we study the role played by the character of Satan.
Bèze and Des Masures refrained, in fact, from presenting the devil as a full-fledged “character,” directly participating in the action and dialogue, as was the case in the mystères. In this respect too, they struck a middle course. Satan is there, yet not materially, except as a theater device, a prop: only the spectators see and hear him on the stage. The other characters do not: they only “hear” him in their souls, as an inner voice inducing fear, despair, pride, etc. What Satan says is either in the form of monologues or “pseudo-dialogues,” in which only interior interaction takes place between him and someone else. Abraham and David feel unconsciously tempted by his “words,” then consciously reject temptation, not on their own volition, but thanks to their faith. Thus, the spectators get to “see” how Satan operates yet understand that they do not “really” see him, since he resides inside the other characters, as he does inside each of us. This device illustrates the Calvinist notion of evil as our very condition, from which only God’s grace can save us. In this way, Bèze and Des Masures limit the risk of embodying Satan on the stage. They show him in a manner that is both spiritually sound and highly dramatic: in his pseudo-dialogues with David or Abraham, what is at stake is faith itself. Yet because he is only a prop, he can also be dressed by Bèze as a Catholic monk, for example: thus, implicitly pointing to another enemy doing the devil’s work.
The fifth and final chapter analyzes the tragedy of Aman, based on both versions of the book of Esther by André de Rivaudeau. While Rivaudeau was a Calvinist too, he rejected the hybrid form developed by Bèze, and wrote his play according to the strict classical model advocated by Du Bellay among others. It follows that he would not put vii Satan on the stage: the task of representing and (this time) fully embodying evil was given to Aman, planning to exterminate the Jews and talking in the violent style of Seneca’s furieux. Rivaudeau’s refusal to make a character out of Satan, be it as a prop, led him to intensify the actual presence of evil on the stage. La Taille’s Saül le furieux, under Aristotle’s influence, went in the opposite direction: the playwright ended up mitigating his protagonist’s wickedness. Rivaudeau, on the other hand, made sure to select the worst possible character, and had him speaking as though he were already burning in Hell. In Bèze or Des Masures, Satan rages at times, but he can also speak calmly, with finesse, even candor occasionally. The fact that the audience was invited to recognize a Catholic oppressor in a monster like Aman suggests that demonization accelerates when Satan himself is not on stage and we only see those he possesses.
Our writers were indeed obsessed with the devil: first because he is the “author,” as Calvin puts it, of evil in all of us; but also, because he came to embody their Catholic persecutors. While Bèze and Des Masures took care to “dematerialize” Satan’s presence on the stage, it still had the power to persuade the faithful that the oppression they endured was his work, and the oppressors his agents. In Aman, paradoxically, Satan’s absence ended up proving that fact even more. While we understand why the Protestants needed to point to the source of the evil they were facing and used theater to show it, we should note the incitement potential of this theatrical demonizing, which fanaticized Ligueurs would adopt in turn later on. It may have not directly caused it, but neither can it be absolved from the religious violence that ensued, in violation of the teachings of Saint Paul and Calvin, which advocated for peaceful resolutions of conflicts through prayer and the active reading of the Scriptures, sola Scriptura.Ph.D.Includes bibliographical reference
Convective-absolute and dripping-jetting transitions in core-annular flow within fuel cells
No full textInternational audienceLiquid/vapour water flows are encountered in a variety of fields, such as in Proton Exchange Membrane Fuel Cell (PEMFC), an emerging technology for energy decarbonation. In PEMFC, two-phase core-annular water flows are observed in the gas fuel channels (GFC) used to supply the reactive species to the cell. Formation of liquid plugs may occur via the Plateau-Rayleigh instability in these millimeter-size GFC [1]. This instability is however modified by the presence of an imposed core gas flow which may non-linearly saturate its development and prevent the formation of plugs [3]. Both convective and absolute instabilities are observed under these conditions. A 2D-axisymmetrical two-phase lubrication model is developed to investigate this instability transition. It is solved numerically for two configurations: (1) in an open domain with a finite-difference scheme allowing to simulate the spatio-temporal evolution of the flow; (2) in a periodic domain using the continuation software Auto-07p which allows to track nonlinear travelling-wave solutions corresponding to the most dangerous instability mode. By comparing these approaches, it is observed that, while both methods predict similar results for a convective instability, significant differences in the predicted wave-length are observed for an absolute instability. Notably, a transition from dripping to jetting is observed; in the dripping regime, the wavelength is selected by the boundary condition. Similar results are also obtained when inertial effects are accounted for by using a WRIBL model [2] implemented in Auto-07p and an open-domain Direct Numerical Simulation solved with TRUST/TrioCFD. The goal of the current work is to understand the dripping regime under the conditions of the absolute instability in order to obtain correlations between the input parameters (liquid/gas flow rates Ql,g and inlet film thickness) and the travelling-wave variables (celerity, maximum/minimum film thickness, wavelength, plug width, etc.). Ultimately, the global pressure drop over a full channel length shall be predicted by this model, enabling the construction of a macroscopic 1D channel model to be coupled to electrochemical and transport models in an integrative model of the fuel cell
Convective-absolute and dripping-jetting transitions in core-annular flow within fuel cells
No full textInternational audienceLiquid/vapour water flows are encountered in a variety of fields, such as in Proton Exchange Membrane Fuel Cell (PEMFC), an emerging technology for energy decarbonation. In PEMFC, two-phase core-annular water flows are observed in the gas fuel channels (GFC) used to supply the reactive species to the cell. Formation of liquid plugs may occur via the Plateau-Rayleigh instability in these millimeter-size GFC [1]. This instability is however modified by the presence of an imposed core gas flow which may non-linearly saturate its development and prevent the formation of plugs [3]. Both convective and absolute instabilities are observed under these conditions. A 2D-axisymmetrical two-phase lubrication model is developed to investigate this instability transition. It is solved numerically for two configurations: (1) in an open domain with a finite-difference scheme allowing to simulate the spatio-temporal evolution of the flow; (2) in a periodic domain using the continuation software Auto-07p which allows to track nonlinear travelling-wave solutions corresponding to the most dangerous instability mode. By comparing these approaches, it is observed that, while both methods predict similar results for a convective instability, significant differences in the predicted wave-length are observed for an absolute instability. Notably, a transition from dripping to jetting is observed; in the dripping regime, the wavelength is selected by the boundary condition. Similar results are also obtained when inertial effects are accounted for by using a WRIBL model [2] implemented in Auto-07p and an open-domain Direct Numerical Simulation solved with TRUST/TrioCFD. The goal of the current work is to understand the dripping regime under the conditions of the absolute instability in order to obtain correlations between the input parameters (liquid/gas flow rates Ql,g and inlet film thickness) and the travelling-wave variables (celerity, maximum/minimum film thickness, wavelength, plug width, etc.). Ultimately, the global pressure drop over a full channel length shall be predicted by this model, enabling the construction of a macroscopic 1D channel model to be coupled to electrochemical and transport models in an integrative model of the fuel cell
The Dramatist Fernando Pessoa: tradition, statism, detheatricalization
No full textEsta tese tem por objetivo examinar, segundo cinco linhas de força principais, os dramas estáticos de Fernando Pessoa, cujo corpus é composto, à exceção d\'O marinheiro (1915), por um número significativo de peças inconclusas ou esboçadas. Partindo da revisão crítico-teórica do imaginário simbolista e da obra teatral de Maurice Maeterlinck, com os quais o teatro do autor português é sistematicamente associado, procura-se ampliar o espectro da abordagem na direção da múltipla tradição do drama moderno e contemporâneo, nos termos em que esta é delineada por estudiosos cujas pesquisas se associam às de Jean-Pierre Sarrazac - entre os quais se destacam Joseph Danan, Mireille Losco-Lena, Alexandra Moreira da Silva, Jean-Pierre Ryngaert e Arnaud Rykner. Cumprida a tarefa de identificação e análise das categorias comuns a esse conjunto de peças, de modo a caracterizar a parcela mais conhecida até o momento do teatro pessoano, busca-se aproximá-las dialeticamente da dramaturgia de alguns dos autores centrais do gênero, situados na transição entre os séculos XIX e XX. No âmbito europeu, o trabalho confere atenção a nomes como Henrik Ibsen, Gerhart Hauptmann, August Strindberg e Luigi Pirandello, enquanto, no contexto da dramaturgia portuguesa, o teatro de Pessoa é reposicionado à luz de peças de Raul Brandão, D. João da Câmara, Eugénio de Castro, Branquinho da Fonseca, Almada Negreiros e António Patrício, entre outros escritores. Por fim, sugere-se o reexame do apelo cênico do drama estático pessoano por meio da discussão das ideias e práticas teatrais de Aurélien Lugné-Poe, Edward Gordon Craig e Claude Régy, principalmente.This thesis aims to examine, according to five main thrusts, the static dramas of Fernando Pessoa, whose corpus consists of a significant number of unfinished or sketched plays, except for The Sailor (1915). Starting from the critical-theoretical revision of the symbolist imaginary and the theatrical work of Maurice Maeterlinck, with which the theater of the Portuguese author is systematically associated, this work strives to broaden the spectrum of our approach towards the multiple tradition of modern and contemporary drama, in the terms in which it is outlined by scholars whose research is associated with that of Jean-Pierre Sarrazac - among which Joseph Danan, Mireille Losco-Lena, Alexandra Moreira da Silva, Jean-Pierre Ryngaert, and Arnaud Rykner stand out. Once the task of identifying and analyzing the categories common to this set of plays has been completed, a dialectical analysis is carried out in order to characterize the most well-known part of the theater composed by Pessoa, by comparing such plays with the dramatic works of some of the central authors of the genre during the transition period between the 19th and 20th centuries. At the European level, this study takes into consideration names like Henrik Ibsen, Gerhart Hauptmann, August Strindberg, and Luigi Pirandello, while, in the context of Portuguese dramaturgy, the theater of Pessoa is repositioned in the light of plays by Raul Brandão, D. João da Câmara, Eugénio de Castro, Branquinho da Fonseca, Almada Negreiros, and António Patrício, among other writers. Finally, a suggestion is made for a reexamination of the scenic appeal of the static dramas of Pessoa by discussing the theatrical ideas and practices of Aurélien Lugné-Poe, Edward Gordon Craig, and Claude Régy, mainly
Dramaturgies de l'humour dans le théâtre francophone contemporain : détachement et connivence face aux malaises dans l'identification chez Grumberg, Benaïssa et Pourveur
No full textThis dissertation focuses on the role played by humor in the writing of three contemporary Francophone playwrights that investigate the process of identification: Jean-Claude Grumberg, a French and Jewish author, Slimane Benaissa, an Algerian bilingual playwright, and Paul Pourveur, a Belgian playwright who writes both in Dutch and French. Their works have each one a unique aesthetic, thematic and style, but these authors have in common a position of in-between, sharing different cultural affiliations. They also pay particular attention to the issue of identity construction through the French, Belgian and Western societies to which their texts are presented. The evolution of contemporary theater producing laughter in comparison with the principles of traditional comedy has already been observed and recognized by critics and theater studies. However, it still necessary to describe the specificity of the humoristic discourse developed by these works. The dissertation therefore includes a first theoretical part, which focuses on exposition of the the fundamental aspects of humor that appear in the plays written in French by Grumberg, Benaissa and Pourveur. A comparison between the hypotheses of several theoretical essays on humor and the stylistic processes developed by the literary texts leads to a description - which is not an absolute definition – of the humoristic discourse. It combines a funny and even transgressive relation to standards and cultural references, the use of the plurivocity of the signifier, self-deprecating and benevolent complicity. This first part is completed by the observation of a correspondence between the dispositions of the humoristic discourse and the identification process, as described by the Freudian and Lacanian psychoanalysis. Humor is a way of considering identifications that highlights their contingency when they are defined as absolutes, or that allows to assume the arbitrary element that is indispensable for the identity construction of the human subject. In the second part, we show how humor allows each author to develop an aesthetic response to a form of discontent related to the identification processes, in his own social and historical situation. The humor mechanisms - as we demonstrated in the first part – set up a way of “distanciation”, for a re-appropriation of alienating categorizations - such as stereotypes. Thus, it plays a key role in Grumberg’s work of remembering the arbitrary aspect of cultural origin. Humor constitutes also a major element in the confrontation faced with established identities developed by the Francophone plays of Benaissa, and in the work of paradoxical deconstruction of identity’s issues initiated by the theater texts of Pourveur.Cette thèse s’intéresse au fonctionnement et au rôle de l’humour dans l’écriture de trois dramaturges francophones contemporains qui mettent en scène et en question le processus de l’identification : Jean-Claude Grumberg, Slimane Benaïssa et Paul Pourveur. Leurs œuvres présentent chacune une esthétique singulière, des thématiques et un style propres ; toutefois, ces auteurs ont en commun une position d’entre-deux, de partage entre différentes appartenances culturelles. Ils accordent en outre tous trois une attention particulière pour la problématique de la construction identitaire qui traverse les sociétés française, belge et occidentales auxquelles leurs textes s’adressent. Si l’observation d’une évolution des écritures théâtrales contemporaines suscitant le rire par rapport aux principes de composition de la comédie traditionnelle est partagée par la critique et les études théâtrales, il restait néanmoins à décrire la spécificité de l’énonciation humoristique développée par ces œuvres. La thèse comporte donc une première partie théorique, qui s’attache à exposer les aspects fondamentaux de l’humour qui apparaissent dans les pièces en français de Grumberg, Benaïssa et Pourveur. Un recoupement entre les hypothèses proposées par plusieurs essais théoriques consacrés à l’humour et les procédés stylistiques mis en œuvre par ces dramaturgies aboutit à une description – qui ne prétend pas être une définition absolue – du discours humoristique. Celui-ci combine le rapport ludique voire transgressif aux normes et aux références culturelles, l’exploitation de la plurivocité signifiante, l’autodérision et la connivence bienveillante. Cette première partie est complétée par l’observation d’une correspondance entre les ressorts du discours humoristique et les processus de l’identification tels que décrits par la psychanalyse freudo-lacanienne : l’humour constitue un mode de réappropriation des identifications qui met en lumière leur contingence lorsqu’elles sont essentialisées par certains discours, ou qui permet d’assumer la part d’arbitraire nécessaire au jeu des identifications et de la construction identitaire. Dans la seconde partie, il est question de montrer en quoi le discours humoristique permet à chaque auteur de construire une réponse à une forme de malaise dans l’identification propre à sa situation sociale-historique. L’humour constituant – comme démontré dans la première partie – un mode de détachement et de réappropriation subjective par rapport aux catégorisations et aux identifications aliénantes, il joue un rôle clé dans la démarche de rappel indirect de l’arbitraire identitaire proposée par Grumberg, dans le processus de confrontation des identités instituées élaboré par Benaïssa, et dans le travail de déconstruction paradoxale des interrogations identitaires initié par le théâtre de Pourveur. Le chapitre portant sur la fonction et les inflexions de l’humour chez Jean-Claude Grumberg repère un fil conducteur entre les tendances réalistes ou allégoriques de son œuvre : chacune des pièces de ce dramaturge juif français s’emploie à susciter le sourire en mettant au jour une dynamique de réification et de désubjectivation à l’œuvre à travers les discours et les comportements les plus quotidiens. Ensuite, le chapitre consacré au théâtre en langue française écrit par Slimane Benaïssa met en parallèle la situation politique de l’Algérie depuis la décolonisation avec sa création d’un humour de contradiction, fondé sur le dialogue et la confrontation entre des positions antagonistes. Le renversement des perspectives et des normes impliqué par le discours humoristique constitue pour le dramaturge algérien un rappel de la complexité et la diversité face au refoulement historique ou à la simplification idéologique. Enfin, le dernier chapitre propose une lecture des pièces en français du dramaturge belge bilingue Paul Pourveur : dans un contexte marqué par l’incertitude et la complexité, ce dernier élabore un humour corrosif et farfelu. Il invite les spectateurs à jouer des références médiatiques au-delà des cadres de la bienséance, à découvrir une langue inventive qui s’écarte des représentations identitaires stéréotypées.(LALE - Langues et lettres) -- UCL, 201
