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This reflection aims to probe the methods of inserting humor within the corpus of three Judeo-Tunisian authors of the 20th century, very different from each other, to show how the keyboard of writing is enriched by humorous ranges who modulate the thread of their stories. If for Albert Memmi, and particularly from the reading of  La Statue de sel  (1953), humor appears only as a very rare note, paradoxically placed on the literary score to mark a pinnacle in the tragic representation of the he lived event, with Marco Koskas, the humorous posture is rather an intrinsic component of the narrative fiber of  Balace Bounel  (1979), insofar as the flow of this account of collective memory is nourished and stimulated by comic visions and even burlesques coming to counterpoint the trauma and the melancholic feeling of loss that underlies the exercise of remembrance. Finally, with Katia Rubinstein who, the same year, gave us  Mémoire illettrée d’une fillette d’Afrique du Nord à l’époque coloniale,  humor is also a discursive and tonal barrier erected against pathos, but above all it marks the reappropriation jubilation of the Judeo-Tunisian cultural territory, by a poetics where humor functions as a shibboleth of the retrospective narrative of childhood.

D’Albert Memmi à Marco Koskas et Katia Rubinstein : Déclinaisons judéotunisiennes de l’humour en littérature