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The academic field of Ecocriticism has in recent years developed into an increasingly interdisciplinary, multifaceted field that no longer only concerns literary studies. This thesis aims to find a new angle that mostly has been overlooked by academics so far. It is therefore suggested to draw a connection between Ecocriticism and Cultural Memory Studies since both fields share interests in their considerations of place. The development of global and transcultural concepts in ecologically oriented literary studies, illustrated by Ursula Heise's concept of an eco-cosmopolitanism are discussed and related to new approaches in Cultural Memory Studies about Heimat (homeland) and belonging to certain places. The study then exemplifies these theoretical concepts by aiming for a close reading of Peter Handke's novel Die Obstdiebin (The Fruit-Thief) where traditional perceptions of Heimat and a local affiliation are criticized and simultaneously new, deterritorialized perspectives introduced.

Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated.  Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text.

Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "

Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "

Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

The study is focused on the Old Norse "contemporary sagas" (texts composed with a short time distance from the events of the twelfth and thirteenth centuries that are recorded in them) and some of the bishops' sagas as images of the thirteenth- and fourteenth-century Icelanders' identity and their relationship to other lands, especially Norway. It aims at analysing the roles and meanings of various identity bearers portrayed in these sources - chieftains, royal representatives, ecclesiastical dignitaries, and saintly bishops. The approach to the sources is based on an analysis of how recent historical events were transformed into a narrative discourse, in which they were connected to the more distant past that formed the medieval Icelandic society's cultural memory. That way, these events themselves became a part of this society's cultural memory, and the given historical knowledge was endowed with specific meanings, which were not inherently present in the knowledge itself, but were based on its contextualization. The study shows how the narrativization of the recent events and their integration into the cultural memory creates a meaningful relationship between the past and the present. The objective of the study is to show how the narrative sources reflect the society's perception of its recent...

While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.