Esta dissertação apresenta o estudo de todos os textos poéticos e ensaios que o escritor espanhol Max Aub publicou na revista Cuadernos Americanos, de 1947 a 1971. Além dessa produção, integra o corpus do trabalho a fortuna crítica composta pelos textos escritos em homenagem póstuma ao autor publicados na revista em 1973. Tanto os textos poéticos como os ensaios situam sua obra, escrita durante os anos de exílio no México, como sendo tributária das condições da época. A dissertação dedica-se, assim, a destacar como Aub interpreta seu contexto histórico nesses textos, formulando hipóteses que nem sempre coincidem com os estudos críticos de 1973. / This dissertation presents a study of poetic texts and essays written by the Spanish writer Max Aub, during his exile in Mexico, published in a Journal called Cuardernos Americanos from 1947 to 1971. We added to this corpus critical writings, a posthumous tribute to Aub, which were published in Cuardernos Americanos in 1973. Not only Aubs poetic texts but also his essays situate his work in his historical reality. This study highlights how the this historical context appears in his texts, formulating hypothesis which do not agree with the critical writings.

Esta dissertação apresenta o estudo de todos os textos poéticos e ensaios que o escritor espanhol Max Aub publicou na revista Cuadernos Americanos, de 1947 a 1971. Além dessa produção, integra o corpus do trabalho a fortuna crítica composta pelos textos escritos em homenagem póstuma ao autor publicados na revista em 1973. Tanto os textos poéticos como os ensaios situam sua obra, escrita durante os anos de exílio no México, como sendo tributária das condições da época. A dissertação dedica-se, assim, a destacar como Aub interpreta seu contexto histórico nesses textos, formulando hipóteses que nem sempre coincidem com os estudos críticos de 1973. / This dissertation presents a study of poetic texts and essays written by the Spanish writer Max Aub, during his exile in Mexico, published in a Journal called Cuardernos Americanos from 1947 to 1971. We added to this corpus critical writings, a posthumous tribute to Aub, which were published in Cuardernos Americanos in 1973. Not only Aubs poetic texts but also his essays situate his work in his historical reality. This study highlights how the this historical context appears in his texts, formulating hypothesis which do not agree with the critical writings.

Thesis (Ph. D.)--University of Chicago, Committee on the Ancient Mediterranean World, August 2002. / Includes bibliographical references. Also available on the Internet.

The main topic of this diploma thesis is the Exile Experience in Bertolt Brecht?s Flüchtlingsgespräche. On the background of political and social change this thesis deals with the question of exile identity as well as with the relationship to home, in this case Germany. Further on, there is an analysis of the boundary and virtue motif. Finally, this diploma thesis deals with the change in the use of language and analyses images of exile life in the time of World War Two.

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Este trabalho propõe-se a examinar a obra Jardín cerrado (1946) de autoria do poeta espanhol Emilio Prados, exilado no México. Tem por objetivo apontar o jardín cerrado como um território de busca da identidade do sujeito lírico, onde se realiza um deslocamento simbólico que é associado ao processo de elaboração poética. O trabalho constrói-se a partir da análise de sete textos poéticos, na sequência dos livros que compõem a obra, e pretende analisá-los sob o signo do trânsito que marca a experiência do exílio republicano espanhol para delinear a proposta de uma poética do escritor. / The proposed study aims to examine the literary work Jardín cerrado (1946) written by the Spanish poet Emilio Prados, exiled in Mexico. It aims to define \"jardín cerrado\" as a search territory of the identity of the lyrical subject where there is a symbolic displacement associated to the process of poetic creation. The study builds on the analysis of seven poetic texts presented according to the sequential books which compose the work. The study intends to analyse them under the image of the passage that describes the experience of the Spanish republican exile to outline the author\'s poetic proposal.

Este trabalho propõe-se a examinar a obra Jardín cerrado (1946) de autoria do poeta espanhol Emilio Prados, exilado no México. Tem por objetivo apontar o jardín cerrado como um território de busca da identidade do sujeito lírico, onde se realiza um deslocamento simbólico que é associado ao processo de elaboração poética. O trabalho constrói-se a partir da análise de sete textos poéticos, na sequência dos livros que compõem a obra, e pretende analisá-los sob o signo do trânsito que marca a experiência do exílio republicano espanhol para delinear a proposta de uma poética do escritor. / The proposed study aims to examine the literary work Jardín cerrado (1946) written by the Spanish poet Emilio Prados, exiled in Mexico. It aims to define \"jardín cerrado\" as a search territory of the identity of the lyrical subject where there is a symbolic displacement associated to the process of poetic creation. The study builds on the analysis of seven poetic texts presented according to the sequential books which compose the work. The study intends to analyse them under the image of the passage that describes the experience of the Spanish republican exile to outline the author\'s poetic proposal.

The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.

This thesis starts with the introduction of the general historic moments of postwar Czechoslovakia. Attention is paid to the February 1948, Prague Spring and the events of August 1968. These dates established two waves of emigration from Czechoslovakia. In this context, there are presented personalities of Jiri Pelikan and Pavel Tigrid as leading personalities of exile. The analytical part focuses on the comparison of Tigrid's Svedectvi and Listy published by Jiri Pelikan. Analysis is based on important events in postwar history. The thesis is mainly focused on the different perceptions of the Prague Spring and the Velvet Revolution in 1989.

Thesis advisor: David S. Vanderhooft / I contend that Ezekiel's portrait of the Glory represents an understanding of Yahweh's earthly presence that is markedly different from how the earthly divine presence is understood in Deuteronomistic Name theology. As formulated in Deuteronomy and maintained in the Deuteronomistic History, "Name theology" understands the divine earthly presence to be restricted to the "one place that Yahweh will choose," which is designated as the Jerusalem Temple. Contrary to traditional scholarly understanding, this does not divorce Yahweh from his Temple and place him in Heaven alone, and does not relegate the Temple to symbolic status only. Rather, Name theology not only affirms the divine presence in the Temple, but views it as the only legitimate location for that presence. From his position of exile, Ezekiel depicts the Glory with no exclusive connection to the Temple or the land; the Glory vacates the Temple to allow for its destruction and appears outside sanctified precincts in Babylonia, where God disputes the Jerusalemites' contention that the exiles are now far from him (Ezek 11:15-16). I maintain that Ezekiel's portrait of the Glory finds its inspiration in the Priestly account of the Exodus wanderings before the Tabernacle's existence; in Priestly tradition, this was the only time the Glory appeared outside sanctified precincts. These appearances occurred outside Israel, amidst dislocation, with no physical sanctuary - a situation homologous to Ezekiel's own. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.