This thesis, entitled "Beyond history: insight into identity and memory in Andrei Makine’s work "provides an original analysis of the relationship between history, memory and literature in the work of this Russian French writer. Overall, the thesis tends to show that the Marinian universe is marked by both an encapsulation and a distance from history: the geographical migration and identities forced by history are juxtaposed by other forms of deterritorialisation, ontological and poetic, which project characters in a different world. The work, while rooted in history, defends an idealised vision of art, love and nature as territories of sacred. The first part, entitled "From myth to mirage: identity Perspectives ", starting with a flight of the founding myths of Franco-Russian imagination, explored from the perspective of the history of its intercultural dynamics. The strategies for embracing this legacy by Makine are then analysed using ‘neighbouring’ characters and symbols, i.e. at the crossroads of the French and Russian worlds. The argument in the thesis tends to support the idea that the richness of the work lies not only in its biculturalism but also, and above all, in the relationship to the identity which he reveals, explored through a whole network of optical metaphor; the eye on the other is constantly blurred by mirror, effets-deceptive, in a confusing style for the reader, which in turn can hardly escape the traps of the narrator’s thoughts. As a result, the doubt is written in an indelible manner, which, throughout Makine’s work, marks the appearance of alterity. The second part, "From indictable to unnamed: the voices of beauty and violence’, proposes a diachronistic reading of the work and focuses on the concept of ‘linguistic overconsciousness’ (Gauvin), which is expressed in Makine by focusing on voice and renunciation. This analysis highlights the relationship of dominance between different forms of speech (ideological, individual, collective, etc.). The aim is to show how, in Makine, history, the community, interposes itself in human relations and forms an obstacle to the expression of the characters, confused with an inwarded persecutory voice or a dominant hegemonic discourse. These voices are obstacles to the creation of the discursive ethos of the characters, which tends to become a strong, meaningful and resilient voice over the course of the work. Against a thought obscured by the mechanisms that govern it, intertextuality plays the role of referencing, which occupies a large part of the symbolic space of the first novels. However, that function of intertextuality is called into question in the latest works of the writer, where there is a comparison between an increasingly accepted figure of writer and various forms of authority such as the institution, the law or the publisher. The third part, ‘History, memory, affiliations’, deals with the philosophy of Makine’s history, the exercise of memory and the temporal configurations of the novel. The analysis of the representation of history in the Marinian novel tends to show that it is dependent on direct or indirect memory of dictatorship and war, and has the function in the novel of disrupting human destinies. This leads to an understanding of the poetic project of the writer, which aims to combat the instrumentalisation of humans by ideologies in order to highlight the singularity of each human life. It is concluded that mythified memory is an alternative narrative to an ubiquitous hegemonic discourse, and strikes the wounds of the past and the present. Against a representation of history whose walking seems inexorable, the makinian character will survive thanks to reterritorialisation in a poetic and even sacred space. At the end of the line, history is instrumentalised by the novel, where it is both ubiquitous and rejected, and becomes a real metaphor of the human condition.