Cette étude a pour ambition de mettre au jour la trajectoire du poète Hispano-Mexicain Tomás Segovia et de définir sa poétique. On tente ainsi de montrer comment son œuvre, conduite par le tropisme du nomadisme, mène de la reconnaissance des origines, à l’acceptation de l’héritage de l’exil puis au dépassement de cette problématique. La poétique du nomadisme touche à différentes sphères, elle est perceptible dans la thématique, l’écriture, les figures, les formes poétiques ou dans les effets de transfert entre les différentes formes d’arts. Ce sont là autant de points d’analyse à prendre en compte pour explorer les possibilités de cette esthétique nomade qui tend définitivement à brouiller les frontières. Des figures comme la synesthésie, l’oxymore ou la personnification emblématisent la propension à l’échange et au mouvement de la poétique « ségovienne ». Le poète explore aussi l’éventail des possibilités que lui offre la variété des mètres différents dans la silva et dans le rythme hendécasyllabique. Il s’essaye à diverses formes poétiques et explore les modalités de l’entre-deux. Il met à profit l’image du poème. Il dialogue avec d’autres pratiques artistiques et tire parti des mots de la musique et de la peinture. Son écriture procède par d’habiles entrelacements de mots, elle est toute sensorielle, à l’écoute du corps et elle s’offre généreusement dans des vagues langagières puissantes. Fidèle aux valeurs et aux luttes héritées de l’Espagne « peregrina », sa poésie n’entre pas dans la polémique de l’hispanité ou de l’américanité, elle a irrémédiablement choisi le drapeau du nomadisme pour réaliser son anagnorèse et ainsi déchiffrer et saisir le monde avec liberté. / The objective of this study is to reveal the trajectory of the Hispanic Mexican poet, Tomás Segovia, and define his poetry. We will therefore try to show that his work, driven by the impulse of nomadism, leads from the recognition of his origins to the acceptation of his heritage of exile and finally to the conquering of this problem. The poetics of nomadism touch different spheres perceptible in terms of topics, themes, writing style, figures of speech, poetic forms or even the effects of transferring notions between different domains of art. So many points of analysis must there be taken into account in order to explore the possibilities of this nomadic esthetic which certainly has the tendency to blur the borders. Figures of speech such as synaesthesia, the oxymoron or personification emblemize the propensity of exchange and the “Segovian” poetic movement. This poet also explores a range of possibilities which offer him a variety of different meters within the silva and in the Hendecasyllabic rhythm. He tests out diverse forms of poetry and explores the sensory perceptions between them. He takes advantage of the imagery of a poem. He dialogues with other artistic practices and pulls from them words from the worlds of music and painting. His writing proceeds from a clever interlacing of words; it is entirely sensory, it listens to the body, and it offers itself generously to powerful linguistic waves. Faithful to his values and struggling from a “pilgriming” Spain, his poetry does not enter into the polemic debate of what it means to be Hispanic or American, but rather chooses the emblematic cover of nomadism to fulfill its anagorisis, thus, decoding and seizing the world with freedom.

Dramaturge, metteur en scène, romancier, essayiste et peintre, Gao Xingjian, « artiste total », s’est affranchi dès 1983 des conventions théâtrales qui prévalaient en Chine. Il s’est imposé comme l’un des pionniers du théâtre et de la littérature d’avant-garde. Condamné pendant la campagne de répression « contre la pollution spirituelle », il a été interdit de publication. Exilé en France en 1987, il a dès lors créé des pièces en français, impliquant peu de personnages, entre farce et tragédie, exprimant souvent une vision de la vie désenchantée, dans un langage aléatoire mais équilibré, avec des décors minimalistes. Il excelle dans une forme de théâtre destiné uniquement à la représentation, où joue l’expérimentation scénique et corporelle. Notre thèse porte sur la forme et l’expérience de la représentation théâtrale, en examinant la façon dont Gao repousse les limites linguistiques ou visuelles pour parvenir à une conception dépouillée du drame. Procédant à l’analyse de ses dramaturgies, tout en nous appuyant sur ses écrits et ses peintures, nous verrons comment la représentation théâtrale s’agence entre visible et invisible, qui se situe au seuil de la conscience ou qui relève de l’esthétique — ceci, selon trois possibilités : le rapport acteur/spectateur, le texte lui-même, et la scène proprement dite. Tenant compte de l’épreuve existentielle de l’exil et du phénomène de bilinguisme perceptible dans l’écriture, nous traitons des idées de l’espace théâtral et de l’art dramatique, en suivant quatre orientations principales : la dramatisation, les modes de narration, la langue en tant que rupture dans le texte, et l’« incarnation » du personnage par l’acteur qui le joue. / Playwright, theater director, novelist, essayist and painter — the multi/inter-disciplinary artist, Gao Xingjian first defied the theatrical conventions dominating China for more than fifty years with his absurdist play Bus Stop in 1983. Since then, he has established himself as one of China’s pioneering avant-garde playwrights and writers. Persecuted during the “Oppose Spiritual Pollution” campaign, he was banned from publication. After moving to France in 1987, he began writing plays in French, his adopted language. Relying on few characters, they probe drama between farce and tragedy, expressing a frequently disenchanted vision of life in seemingly random, yet measured, language with minimal decor. Experimenting with the scenic and the corporal, Gao excels in an organic theatre created solely for performance. Using the form and experience of a performance, this thesis explores how Gao revisits linguistic and visual boundaries in an effort to define “drama.” Analyzing his plays, as well as his other writings and paintings, we identify in his work a theatrical performance — visible and invisible, liminal or aesthetical — via three possibilities: actor/spectator, text, and stage. Considering exile and bilingualism in literature, we examine notions of theatrical space and drama that emerge from this study in four main approaches: dramatization, modes of narration, language as rupture in text, and character “enfleshed” by its actor.

More than 400 Polish medical refugees were associated with the Polish School of Medicine (PSM) at the University of Edinburgh between 1941 and 1949. This dissertation argues that the history of the PSM can fully be understood only as a part of the refugees’ broader experience of impelled or forced migration during and immediately after the Second World War. The key findings of this case study demonstrate that the opportunity to study or work at the PSM enabled the majority of Polish exiles to overcome, to a varying extent, their refugee predicament, while medical qualifications, transferable skills and trans-cultural competency obtained in wartime Britain allowed them to pursue professional and academic careers in different countries of post-war settlement, thus in turn contributing to a global circulation of medical knowledge and practice, especially between the University of Edinburgh and Poland. This specific case study contributes to the existing knowledge of Polish wartime migration to Britain in three interrelated ways. Firstly, an overarching transnational approach is used to combine and transcend Polish and British scholarly perspectives on, respectively, emigration or immigration. Secondly, the conceptual insularity of the existing literature on the topic is challenged by analysing archival, published and digital sources pertaining to the PSM with the help of various theoretical models and concepts borrowed from forced migration and diaspora studies. Thirdly, the conventional historiography of Polish-British wartime relations is challenged by emphasising the genuinely global ramifications of the PSM’s history. By interpreting the history of the PSM with the help of different analytical tools, such as Kunz’s and Johansson’s models of refugee movement and Tweed’s theory of diasporic religion, this dissertation provides a conceptual blueprint for further research on Polish wartime migration to Britain. In turn, this case study contributes to the development of forced migration and diaspora studies not only by empirically testing the explanatory power of existing theoretical models, but also by suggesting possible new conceptual avenues, such as analysing the pre-existing trans-cultural experiences of both Polish medical refugees and their hosts at the University of Edinburgh, and adding to the ‘triadic relationship’ of diaspora, homeland and host society a fourth dimension, i.e. conflict and cooperation between different migrant or refugee communities within the same host society.

The present study argues that a series of programmatic additions were made to the oracles concerning the nations in Isa 13-23 during the late-exilic period by the same circle of writers who were responsible for Isa 40-55. These additions were made to create continuity between the ancient oracles against the nations from the Isaiah tradition and the future fate of the same nations as the late-exilic redactor(s) foresaw. The additions portray a two-sided vision concerning the nations. One group of passages (14:1-2; 14:32b; 16:1-4a; 18:7) depicts a positive turn for certain nations while the other group of passages (14:26-27; 19:16-17; 23:8-9, 11) continues to pronounce doom against the remaining nations. This double-sided vision is set out first in Isa 14 surrounding the famous taunt against the fallen tyrant. 14:1-2, before the taunt, paints the broad picture of the future return of the exiles and the attachment of the gentiles to the people of Israel. After the taunt and other sayings of YHWH against his enemies, 14:26-27 extends the sphere of the underlying theme of 14:4b-25a, namely YHWH's judgement against boastful and tyrannical power(s), to all nations and the whole earth. The two sides of this vision are then applied accordingly to the rest of the oracles concerning nations in chs 13-23. To the nations that have experienced similar disasters as the people of Israel, words of hope in line with 14:1-2 were given. To the nations that still possessed some prominence and reasons to be proud, words of doom in line with 14:26-27 were decreed. Only later in the post-exilic period, for whatever reason, be it changed international political climate or further spread of the Jewish diaspora, was the inclusive vision of 14:1-2 extended even to the nations that were not so favourably viewed by our late-exilic redactor (19:18-25; 23:15-18).

S'engager à étudier la correspondance et les journaux personnels de Paul-Jean Toulet, c'est se pencher sur un mystère, celui d'une fêlure secrète où cohabitent une sensibilité excerbée et un cynisme dérangeant. Une mélancolie changeante affecte sa création littéraire, la situant entre immobilité et errance, et choisir de parcourir cette écriture de l'intimité en explorant le champ de solitude du poète, c'est tenter d'aller voir au-delà des apparences.C'est aussi révéler les correspondances intimes tissées entre les lettres et les journaux et mettre au jour l'espace intérieur à la source de l'imaginaire et de l'oeuvre en gestation. Il existe dans cette écriture une cosmogonie intérieure, des lieux et des territoires qui parcourent les journaux et la correspondance de voyage – l'enfance en Béarn, le séjour à Paris, le retour précipité en Aquitaine – autant d'exils et de nostalgies, d'amitiés ou d'inimitiés mettant en scène le dandy arrogant, familier des milieux nationalistes maurrassiens ou le poète fasciné par la vie de bohème ou le charme vénéneux de l'opium, Si les journaux personnels sont aussi des journaux de voyage, leur dépaysement est illusoire, l'écriture vagabonde se limitant toujours aux frontières de l'exil intérieur, celui de l'enfant inconsolé qui marche dans les traces des siens à l'île Maurice, en quête de l'image de la mère prématurément disparue. Quant à la correspondance de Toulet, elle constitue un trésor épistolaire témoignant de la vie artistique et mondaine de la Belle Epoque, offrant une réflexion avisée sur l'Art et la guerre, ses projets d'écriture et ses échecs, sa recherche d'un style proche de la perfection, Ainsi l'écriture épistolaire développe-t-elle en son coeur un discours et une réflexion sur l'oeuvre, offrant une certaine conception de la littérature. / When you get involved in studying the correspondence and personal diaries of Paul-Jean TOULET, you look into a mystery, the one of a secret crack where an exacerbated sensitiveness and a disturbing cynicism live side by side. A changing melancholy affects his literary creation which is thus set between immovability and wandering; and to choose to go through this writing of the innermost recesses of his privacy by exploring the poet's field of loneliness is to attempt to go and see beyond appearances. It is also to bring to light the intimate relations weaved between the letters and the diaries and to reveal the inner space which is at the very origin of the imaginary and the work in gestation. In this writing lies an inner cosmogony, places and territories which are present all the way through the diaries and the correspondence – the childhood in Béarn, the stay in Paris, the hurried return to Aquitaine – as many exiles, nostalgias, friendship, enmities putting to stage the arrogant dandy, regulary in touch with the Maurrassian nationalist circles of the poet fascinated by a bohemian life or the poisonous charm of opium. If the intimate diaries are travel diaries as well, their change of scenery is illusory since the wandering writing always confines to the frontiers of the inner exile, the one of the disconsolate child walking in the steps of his forebears on Mauritius, searching for the picture of his untimely departed mother. As for Toulet's correspondence, it constitutes an epistolary treasure: as a matter of fact, it does give an account of the artistic and society life of the Belle Epoque, it offers a sensible reflection on Art and war, the writings he planned, the ones he failed, his looking for a style nearing perfection. Thus, epistolary writing does develop in its very heart a discourse and a reflection on the work and offers a certain conception of literature.

O presente trabalho tem por objetivo analisar a trajetória política de Leonel de Moura Brizola entre os anos de 1964 a 1977, período em que esteve exilado no Uruguai devido ao golpe civil militar de 1964. Pretende-se, dessa forma, traçar um roteiro desde a ocasião em que o político esteve na clandestinidade, os preparativos para sua saída do Brasil, o pedido de asilo e a repercussão de sua chegada na imprensa uruguaia. Busca-se também discorrer sobre o envolvimento de Brizola com Cuba, sua participação em movimentos de guerrilha, mobilização junto aos demais exilados e forças políticas brasileiras, além de sua resistência diante do endurecimento do regime ditatorial brasileiro e da escalada do autoritarismo uruguaio. Objetiva-se ainda analisar a conexão entre os dois países, demonstrando como Brizola foi alvo do forte aparato repressivo por parte da ditadura brasileira mesmo estando em terras estrangeiras. / This work aims to analyze the political activities of Leonel de Moura Brizola between 1964 and 1977, period in which he lived in exile in Uruguay because of the 1964 Brazilian civilmilitary coup d’état. We thus address his path from living underground, the arrangements for his departure from Brazil, his request for political asylum and the repercussions to his arrival by the Uruguayan press. We also seek to discuss Brizola’s involvement in Cuba, his participation in guerrilla movements and mobilization efforts with other exiles and Brazilian political forces. Additionally, we elaborate on his resistance to the hardening of the Brazilian dictatorship and the escalation of Uruguayan authoritarianism, also analyzing the connection between the countries, demonstrating that Brizola was a target of the strong repressive apparatus of the Brazilian dictatorship even while living in foreign lands.

Made available in DSpace on 2016-08-03T12:19:05Z (GMT). No. of bitstreams: 1 HELDER BLESSA KANASHIRO.pdf: 1564128 bytes, checksum: df0be16c22e6696f22ec9dea2de0cbfe (MD5) Previous issue date: 2011-09-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper will deal with a passage from chap. 26, of v. 12-19 of the book of Deuteronomy. Through the sociological method we propose to try to understand it, first as a community that is poor in the countryside, before the catastrophe of the pre-exile in 722 BC, so in the northern kingdom. According to this poor formed a community alive and vibrant, and to overcome resistance against the inner strength that was a monarchy and an external force against the Assyrian invasion, and not just one group of subjects (Levite, the stranger, orphan and widow) lamented that only the face of difficulties. With the use of sociological tools, we believe allowed us to discover that this community of poor people had hope, hope and indeed thought a breakthrough. / O presente trabalho se ocupará com uma perícope do cap. 26, dos v. 12-19 do livro de Deuteronômio. Através do método sociológico propomos compreendê-la, primeiro como uma comunidade de pobres que está no campo, diante da catástrofe do pré-exílio em 722 a.C., portanto no reino do norte. Segundo que estes pobres formaram uma comunidade viva, vibrante, de superação e de resistência, contra a força interna que era a monarquia e contra uma força externa a invasão assíria, e não somente um agrupamento de sujeitos (levita, estrangeiro, órfão e viúva) que somente se lamentava diante das dificuldades. Com a utilização deste instrumental sociológico, nos possibilitou descobrir que esta comunidade de pobres tinha esperança, e aliás pensou uma esperança inovadora.

Na pesquisa desenvolvemos um percurso por Bertolt Brecht na especificidade do seu exílio. Objetivamos traçar relações entre sua posição de exilado e as camadas do pensamento brechtiano verificado por Fredric Jameson (2013), no livro Brecht e a questão de método. A constituição do exílio de Brecht é entendida como um deslocamento, dentro do estado de exceção, de uma situação de exílio para uma posição de exílio (DIDI-HUBERMAN, 2008) que, entre diferentes características, evidencia a própria exceção (AGAMBEN, 2004). Ao final do percurso, trabalhamos, a partir de autores da psicanálise e do pensamento utópico, com a hipótese de que Brecht fez de sua situação de exílio um sintoma. / In this research, a path was developed for Bertolt Brecht specifics of his exile. The main focus was to draw relations between his position as an exiled person and the layers of brechtian thoughts verified by Fredric Jameson (2013), in the book Brecht method. The nature of Brecht's exile is understood as a displacement, within a state of exception, of an exile situation to a position of exile (DIDI-HUBERMAN, 2008) in which, among different characteristics, Brecht puts in evidence himself his own exception (AGAMBEN, 2004). At the end, psychoanalyst authors and utopian thinkers were used, bearing in mind the hypothesis that Brecht made a symptom out of his exile situation. / En la pesquisa desarrollamos un recorrido por Bertolt Brecht en la especialidad del su exilio. Objetivamente trazar relaciones entre su posición de exilado y las capas del pensamiento brechtiano verificado por Fredric Jameson (2013), en el libro Brecht y el Método. La constitución del exilio de Brecht es entendida como un desplazamiento, dentro del estado de excepción, de una situación del exilio para una posición de exilio (DIDI-HUBERMAN, 2008) que, entre distintas características, evidencia la propia excepción (AGAMBEN, 2004). Al fin del recurrido producimos, a partir de autores de la psicoanálisis y del pensamiento utópico, con la hipótesis de que Brecht hizo de su situación de exilio un síntoma.

Esta dissertação constrói a biografia da brasileira Flávia Schilling (1953- ) desde a sua infância, passando pelo seu exílio no Uruguai em 1964, até o seu retorno ao Brasil em 1980. Seu objetivo principal é reconstruir parte da trajetória de Flávia e, em termos mais amplos e abstratos, problematizar, por meio de sua biografia, as formas de constituição do indivíduo na história, buscando respostas para questões como: como se dá a construção do indivíduo – por si e pelo outro? Como se forma a sua identidade? Quais os elementos, escolhas e condicionamentos precisam ser analisados nesse processo? Pretende-se, assim, repensar e discutir como o indivíduo pode ser percebido pelas diversas óticas que o constituem e como ele interage – ativa e passivamente – com o meio em que vive, e aqui mais especificamente, relacionando-o com o período das ditaduras de segurança nacional na América Latina. O exílio, a militância, a clandestinidade, a prisão e a campanha de libertação da referida personagem, juntamente com as ditaduras iniciadas com os golpes civis-militares do Brasil em 1964 e do Uruguai em 1973, são temas analisados ao longo do trabalho. / This dissertation builds the biography of Brazilian Flavia Schilling (1953-) from her childhood, through her exile in Uruguay in 1964, until her return to Brazil in 1980. Its main objective is to reconstruct part of the trajectory of Flavia and, in terms broader and more abstract problematize through her biography, the forms of the constitution of the individual in history, seeking answers to questions such as: how is the construction of the individual - for themselves and for each other? How is your identity? Which elements, choices and constraints need to be analyzed in this process? It is intended, therefore, to rethink and discuss how the individual may be perceived by many that the optics are and how it interacts - actively and passively - with the environment they live in, and here more specifically, relating it to the period of dictatorships national security in Latin America. Exile, the activists, underground, imprisonment and release of that campaign character along with dictatorships began with the civilian-military coup in Brazil in 1964 and Uruguay in 1973, are themes explored throughout this research.

O objetivo desta dissertação é analisar os romances Dreaming in Cuban, de Cristina García, e Memory Mambo, de Achy Obejas. Este trabalho investiga como o exílio e hibridismo podem interferir nos relacionamentos familiares. Em ambos os romances, de escritoras contemporâneas cubano-americanas, os personagens têm que negociar com suas próprias famílias e com diferentes culturas. Nesses romances, a construção de identidade do sujeito diaspórico feminino é intensivamente permeada por relacionamentos familiares e pela política, apesar de as famílias poderem estar ou não separadas por questões políticas. Em Dreaming in Cuban, por meio de estratégias narrativas pós-modernas, Cristina García insere vozes silenciadas pelo patriarcado, descontruindo a história oficial e fornecendo ao leitor uma perspectiva feminina dos eventos. Em Memory Mambo, a memória tem um importante papel na narrativa, demonstrando que a memória pode ser contraditória e que história é uma construção social. Ambos os romances desafiam modos tradicionais de representação e oferecem um fascinante retrato da vida nos cruzamentos de culturas / The aim of this dissertation is to analyze the novels Dreaming in Cuban, by Cristina García, and Memory Mambo, by Achy Obejas. This work investigates how exile and hybridity may interfere in family relationships. In both novels, by contemporary Cuban-American writers, the characters have to negotiate with their own families and with different cultures. In these novels, the construction of identity of the female diasporic subject is intensively permeated by family relationships and politics, even though families may or may not be separated by political issues. In Dreaming in Cuban, by means of postmodern narrative strategies, Cristina García inserts voices silenced by patriarchy, deconstructing official history and providing the reader with a female perspective of events. In Memory Mambo, memory plays an important role in the narrative, demonstrating that memory can be contradictory and that history is a social construct. Both novels challenge traditional modes of representation and offer a compelling portrait of life at the crossroads of cultures