At Tristia 1.117-120, Ovid refers directly to his Metamorphoses, equating his exilic situation with that of characters from his magnum opus, stating that his parvus liber should report to those in Rome that the vultus of his fortune may now be listed among the mutata corpora. This statement, placed in the opening poem of Ovid’s exilic project, is invested with programmatic value and begs the following questions: How has Ovid been changed? Why does he compare himself to characters from the Metamorphoses? What exactly is the payoff – for Ovid and the audience – of such an intertextual move? This dissertation explores these questions, arguing that this line is central to Ovid’s conception of his entire ‘exilic project’. By equating himself with his earlier characters, Ovid makes himself a character who undergoes the same transformations as they did; thus, his exilic transformation should be interpreted as occurring in the same fashion as transformations in the Metamorphoses. Those transformations, it is argued, were conceived of in terms of speech, community, and memory: whenever a character is transformed, that character suffers speech loss, is exiled from community, and is forgotten. In his exilic project, Ovid portrays himself as passing through these same steps. Furthermore, Ovid depicts his transformation in this way with an eye towards memory: reformulating how his exile would be perceived by his audience and how he, as a poet, would be remembered by posterity. In Chapter One, I begin by 1) setting the study within current scholarly trends and 2) examining what it meant to be ‘speechless’ in Ovid’s Rome. In Chapter Two, I set out the model for speech loss and community for the characters of the Metamorphoses. In Chapter Three, I turn to how Ovid applies this model to himself in his exilic project. In Chapter Four, I connect this model to memory, arguing that Ovid focuses on this model of speech and community because he, as an exile, is attempting to place himself back within the social frameworks of his community not only to be remembered, but to be remembered as he wants to be remembered. / text

Summary: The work deals with the educational system of the Czechoslovak Government-in-exile during the Second World War. The need for Czechoslovak youth education was in this time connected with political education and also with the publicity of Czechoslovak exile among British Allies. Therefore the work classifies the provided education and it also deals with future plans for the students. Educational department of Ministry of Interior had the leading role in the education, and therefore its history and organization is also defined. Czechoslovak education took place in a foreign country, so a cooperation was required. The influence of British authorities on Czechoslovak schools, that followed Czech laws valid before autumn 1938, is described. The cooperation between both states in the post-war situation is also studied, as well as the impact of the exile education on its students after their return to the homeland.

Made available in DSpace on 2016-03-15T19:48:14Z (GMT). No. of bitstreams: 1 GILMAR_MARQUES_CR.pdf: 931739 bytes, checksum: 504c1db74f8f40c279c595a10fe7aa80 (MD5) Previous issue date: 2006-08-30 / Robert Reid Kalley, Scottish missionary and doctor, certainly is considering one of the principal personages exile s protestantism in the history of the world protestantism. However he s a few know and few appreciated in the church history and mission protestantism, considering that he was pioneer of the protestantism in Brasil. This project aspire to ransom the Kalley s biography, with enphasis in his thinking and his work made in Madeira Island and Illinois State, in the United States of America, before arrived to Brazil. The literature about the biography and Kalley s work and personal records from Madeira s remaining refugees in Illinois, show some feature of the exile s protestantism practiced for those communities, whose origin happened in missionary s work of the Madeira Island. For to characterize practice protestantism for Madeira s refugee like exile s protestantism aspired showed the origen of protestant moviment through Protestant Reform sixteenth century and developping social and politcs fight according with confront with religious supremacy in the european continent around politic power of the roman catolicism. Delivery from similar situations, turn back the moviment happened in religious persecution period of Church History. Aspiring to show analogy betwen these moviments and the persecution suffering Kalley and the Madeira Exiles and developping in the Caribean Islands and Illinois. The analylis of the Kalley s missionary work reveal how he always standed context with ecclesiastic politics and social question arised during his life. The analysis of evolution portuguese community in Illinois, to observe that religious origin and tongue was the central estructure of the social life refugees in early arrived in America and during long time of years, the Madeira community crossed process of aculturation being absolving for culture of the country that received them. In this view, gathering this several elements in six category or axis can to trace the type of protestantism that they practiced and identify us alike exiles protestantism. These category are: Persecution, Dispersal, Diffusion, Adhesion, Opposition, Dissension or Assimilation. / Robert Reid Kalley, médico e missionário escocês, pode ser considerado um dos principais personagens do protestantismo de exílio, na história do protestantismo mundial. No entanto, ele é pouco conhecido e pouco valorizado na História da Igreja e na História das Missões. Considerando que Kalley também é um representante do protestantismo de missões, uma vez que ele foi o pioneiro na inserção do protestantismo no Brasil. O presente projeto busca resgatar a biografia de Kalley, enfatizando o seu pensamento e a sua obra realizada na Ilha da Madeira e em Illinois, nos Estados Unidos, antes da sua vinda para o Brasil. A literatura existente sobre a biografia e a obra de Kalley e os documentos pessoais dos remanescentes dos refugiados da Madeira em Illinois, mostram algumas características do protestantismo de exílio praticado por aquelas comunidades, cuja origem deu-se no trabalho missionário da Ilha da Madeira. Para caracterizar o protestantismo praticado pelos refugiados da Madeira como protestantismo de exílio procuramos mostrar a origem do movimento protestante através da reforma protestante do século XVI e os desdobramentos advindos das lutas políticas e sociais relacionadas com o confronto com a hegemonia religiosa no continente europeu em torno do poder político do catolicismo romano. A partir de situações similares, reportamos aos movimentos ocorridos em períodos de perseguição religiosa, na História da Igreja. Procuramos demonstrar a semelhança entre esses movimentos e a perseguição sofrida por Kalley e os exilados da Madeira e os desdobramentos nas ilhas do Caribe e em Illinois . A análise do trabalho missionário de Kalley revela como ele sempre procurou estar contextualizado com as questões eclesiásticas, políticas e sociais que iam surgindo no decorrer da sua vida. Analisando a evolução da comunidade portuguesa em Illinois, pudemos observar que a origem religiosa e a língua foram os eixos de estruturação da vida social dos refugiados nos primeiros anos de vida na América e no decorrer dos anos, a comunidade passou pelo processo de aculturação, sendo praticamente absorvida pela cultura do país que os acolheu. A partir dessas observações, procuramos aglutinar esses diversos elementos em seis categorias ou eixos que podem delinear o tipo de protestantismo que eles praticaram e identificá-los como protestantismo de exílio. Essas categorias são: Perseguição; Dispersão; Difusão; Adesão; Oposição; Dissensão ou Assimilação.

In Peter Weiss debut Från ö till ö (1947) the ‘I’ travels from island to island as a castaway. The island here can signify, or work as a synecdoche for exile and the feeling of isolation that exile often induces. But the movement from island to island also implies a restless state: Peter Weiss shifting from painting to writing to filmmaking and theatre, from German to Swedish and then back to German. The years during exile and the years that followed the exile until his breakthrough in Germany with Schatten des körpers des Kütchens (1960), Abschied von den Eltern (1961) and Fluchtpunkt (1962), were the formative years of Peter Weiss authorship. In Sweden he abandoned a Hesse-influenced new-romanticism – an aesthetical and political dead-end in the 1940s – and oriented towards the Swedish modernists – fyrtiotalisterna – discovered psychoanalysis and became politically “aware”. These happenings – or machines as this essay likes to view them – all influenced and produced Weiss Swedish prose which is this essay’s main focus. Following Gilles Deleuze and Félix Guattari this essay understands Weiss Swedish authorship as a minor authorship. As Franz Kafka was in the German language, Peter Weiss was a stranger in Swedish and in Sweden, a “foreign bird” as one critic calls him. As a minor writer he is a political writer, the political realities are connected to him, his half-Jewish body is intertwined in the (bio)political realities of mid-century Germany; and those realities are visible in his prose, even if he himself, or his contemporaries, see him as an unpolitical author. Therefore there is no unpolitical and political period in the œuvre of Peter Weiss. Instead there are different flows and movements, from the political, from the production of the psychoanalytic-, modernist- and romantic-machine among others. There are lines of flights, deterritorialization and reterritorialization. This essay aims to follow some of these lines in the Swedish prose of Peter Weiss.

[pt] A pesquisa de mestrado intitulada Fazendo a América investiga, de forma teórica e ficcional, o potencial criativo que o exílio enquanto instância subjetiva - não apenas geográfica - desperta no indivíduo. A dissertação entretece discussão teórica à escrita de autoficção, com a apresentação de uma novela sobre uma família com quatro gerações de imigrantes e suas histórias. O formato ficcional permite pensar o exílio, sua potência e seus desdobramentos através da própria escrita, e explorar a sensação de identidade fragmentária e de alteridade geradas tanto pelo exílio geográfico como por diferentes exílios interiores e sociais patentes na contemporaneidade - entre eles o do escritor, que trafega entre o mundo real e o do papel. Partindo da visão flusseriana do exilado não como vítima, mas como vanguarda, Fazendo a América joga luz sobre a ideia de libertação vertiginosa (FLUSSER, 2007) que a força desestabilizadora (SAID, 2006) do exílio carrega, e conclui que as fendas subjetivas abertas pelo exílio são também espaços de potência e fertilidade para a criação artística. / [en] The master s research entitled Making America investigates, in a theoretical and fictional way, the creative potential that the exile as a subjective instance - not just as a geographic one - awakens in the individual. The dissertation intertwines theoretical discussion with the writing of self-fiction, with the presentation of a novel about a family with four generations of immigrants and their stories. The fictional format allows one to think of exile, its power and its unfolding through writing itself, and to explore the sense of fragmentary identity and alterity generated both by geographical exile and by different inner and social exiles evident in contemporaneity - among them that of the writer, who travels between the real and the paper worlds. Making America emphasizes the idea of vertiginous liberation (FLUSSER, 2007) that the destabilizing force (SAID, 2006) of the exile carries with it, and concludes that the subjective gaps opened by exile are also spaces of power and fertility for artistic creation.

This thesis investigates representations of exile in Hollywood cinema in the period between 1930 and 1956 through the films of Peter Lorre, Béla Lugosi and Conrad Veidt. It aims to dispel the remarkably durable assumption prevalent in critical approaches to Hollywood cinema that by virtue of its hegemonic, reactionary and exclusionary modes of representation, especially in what is considered its ‘Golden Age,’ otherness is excluded from, or only obliquely alluded to in Hollywood cinema. This thesis contends that Hollywood uses European émigré actors to speak of the experience of exile, exilic attempts at integration into the host nation, and the sometimes grand, often pitiful failures of these attempts. Dictated largely by its contention that a consistent and fairly constant discourse surrounding exile can be apprehended in Hollywood cinema, this thesis focuses primarily on the film texts that form its corpus. The close reading of key texts is underpinned by a productive clash with existing critical writings on exile, shifting the focus back to the films, themselves, from analyses of the system, historical accounts of migration and exile, or critical evaluations of archival material and the impact of marketing and political strategy on production. The thorough engagement with the films is further supported by an interdisciplinary critical framework. Theories of the nation and national cinema (Hayward, 2000), body theory (Butler, 1993), and critical works on identity, stereotyping and pathology (Gilman, 1985; 1991; 1995) are combined with critical accounts of immigration in the US (Behdad, 2005) and analyses of the significance and symbolism of blood in US concepts of nationhood (Chinn, 2000) to explore the complex system of representation that dictates the onscreen lives and deaths of exilic stars. Critical works on the language of death and bereavement (Seale, 1998; Hallam et al, 1999), the concept of the posthuman (Halberstam et al, 1995), Lefebvre’s theory of space (1991) and Baudrillard’s analysis of interior design are used to elaborate my argument further.

This thesis focuses on the unusual phenomenon of exile from a frontier land, as it is explored by the work of the Istrian writer Fulvio Tomizza. It deals with the diaspora from Istria, a territory at the intersection of different civilizations – the Italian and the Croat-Slovenian – which has historically shaped a mixture of cultures and languages, remarkable for its hybridity. The massive exile which took place at the end of the Second World War, after the redefinition of the Italo-Yugoslav border, presents original features which, by taking advantage of the narrative tool, overturn traditional parameters attributed to exile. Focusing on Fulvio Tomizza’s novels Materada, La ragazza di Petrovia and L’albero dei sogni, and also on some of his most significant essays, I will seek to outline the specific traits that typify the detachment from one’s own native country. In particular, I shall suggest that identity and idioms are called into question even before characters have left their homeland. In addition, exile begins with a clarification of characters’ sense of belonging, which inevitably leads them to split, making the choice of whether to abandon the home country even more complicated. Once abroad, characters will develop a deep sense of estrangement, dictated by the impossibility of fitting into any other context, which will eventually drive them to a double, parallel, unsuccessful exile. In order to investigate fully the characteristics of Fulvio Tomizza’s exile, I will employ some linguistic postulates to examine the bilingualism and diglossia of the origins. The theoretical approaches of Edward Said, Sigmund Freud and Julia Kristeva will be used to inform my analysis of the more subtle mechanisms which rule exile, starting with doubleness and examining the dynamics which commonly characterize the exilic experience, including those in relation to the elaboration of the narrative itself. The novelty of this work lies in its approach to exile without preconceived arguments, which run the risk of limiting the analysis of the topic, and in the exploration of the most crucial aspects of a frontier land shaken by a territorial redefinition. This thesis also aims to reallocate the figure of Fulvio Tomizza, who has as yet not been investigated in any significant manner, most often being neglected or misunderstood. The aim is also to highlight one of the most European writers of the Italian second Novecento and his relationship with Eastern European languages and literatures.

No description available.

How might the arts help to unveil and integrate realities so as to facilitate shared meanings and understandings between peoples and thus generate the conditions for the participatory, creative cultural diversity which may contribute to the construction of more democratic societies? Taking contemporary Chile as its case study, this research delves into the potential of the arts to mirror and integrate fragmented sectors in a society’s drive towards human development. To this end, it uses an interdisciplinary methodology comprising complementary empirical and theoretical approaches so as to investigate the arts as transcultural formative experiences. The former entails a comparative analysis of two groups of Chilean artists (one group in exile in Britain, the other resident in Chile) through data obtained primarily via in-depth interviews. The theoretical approach contextualises and universally grounds these social actors’ discourses in order to identify commonalities which may bind both groups together. The thesis addresses the question of how these artists make art to construct, mediate and sustain meanings, senses of belongings and humanising spaces for transformative learning, exchange and integration in society, giving valuable insights into subjective as well as collective processes of identity construction in the era of globalisation. The findings take the shape of a written text following the logic of the categories emerging from the artists’ narratives, together with a series of video projects - an emergent outcome of the research. This research is situated at the junctures of critical, cultural and educational theory. It is of interest to cultural policymakers as well as scholars of contemporary art theory, social history, political philosophy, Latin Americanism, exilic narratives and the poetics of the audiovisual.

The following is a collection of works of fiction set in Kazakhstan during World War II, modern-day Budapest, with one short story taking place in Richmond, Virginia. No characters in this collecting of fiction is meant to depict any real, live person, though some of the settings are real. These works were written between February, 2012, and April, 2014.