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This thesis research relations between Czechoslovakia and the Mongolian People's Republic during the normalization process. The work is focused on the transformation of relations between both countries from the Prague Spring period to the revocation of Yumjaagiin Tsedenbal in 1984. The remaining five chapters, covering the time scope of foreign policy, monitor economical relationships, ideological and cultural section of Czechoslovak-Mongolian relations during the normalization process. The content of the thesis draws chiefly primary sources: government delegations, period articles, official reports, cultural campaigns and other archival material. Thanks to these sources it was possible to authentically describe relations of both countries

Le sujet posé a pour but d’identifier le théâtre importé de Pologne et de déchiffrer le rôle qu’il joue dans la vie théâtrale française ainsi que dans le contexte culturel de la France. La présence du théâtre polonais de 1989 à nos jours en France est conditionnée par plusieurs facteurs : les relations historiques et culturelles entre les deux pays, l'activité des institutions et des personnes médiatrices, la vie théâtrale française et ses composantes. Jerzy Grotowski et Tadeusz Kantor continuent à garder leur importance pour le milieu théâtral français. Il se crée dans la conscience du spectateur/critique français une opinion que le théâtre polonais, comme celui de Kantor et de Grotowski, est un endroit laboratoire, où le temps du spectacle est sacré. Ce sont les théâtres d'art de Krystian Lupa et de Krzysztof Warlikowski qui s'avèrent de nouvelles révélations artistiques. Leurs œuvres démontrent la complexité de l'homme. Leur réception s'élargit sur les stages, les créations avec les artistes français et les mises en scène d'opéra pour Warlikowski. Cependant, ces metteurs en scène viennent en France très rarement avec les adaptations d’œuvres dramatiques polonaises. Les auteurs dramatiques polonais ont donc une certaine réception en France, surtout Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek qui passe par le chemin des traductions et des mises en scène proposées par des artistes français. La lecture de l'autre à travers le théâtre est supposée rester une lecture partielle, le récepteur n'ayant pas le même vécu historique que l'objet perçu. Néanmoins, malgré sa partialité, elle jette une nouvelle lumière sur le théâtre polonais. / This study represents an attempt to identify the Polish theater brought to France since 1989 and to analyse the role it currently plays in contemporary theatre in France as well as in the broader cultural context. Its very presence depends on several factors: historical and cultural relations between the two countries, related institutional and individual activity, as well as the French theatrical life itself and its components.Jerzy Grotowski and Tadeusz Kantor continue to maintain their iconic status in the French theater community. There is a well-rooted understanding of the Polish theater as an experimental space (by French theatergoers and critics alike and accomplished precisely through Kantor's and Grotowski's impact), where bearing witness to on-stage action is a sacred. Krystian Lupa's and Krzysztof Warlikowski's art theater appears to be the latest to date of artistic discoveries. Their works are seen as primarily dealing with complexities of human nature. What follows are internships, joint projects with collaborating French artists and opera productions (Warlikowski). Simultaneously these very same stage directors rarely bring their own adaptations of Polish drama repertoire to France.However, Polish playwrights in general do generate interest. This is particularly true for Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek, but tends to happen another way through French translated and staged versions.Understanding the other through theater is often assumed to be an incomplete reading, as the reader does not have the same baggage of lived history as the object of his or her perception. Yet despite this obvious bias, this reading sheds a new light on the Polish theater.

La thèse reconstitue les liens culturels entre Paris et Modène pendant les règnes de François Ier (1629-58) et Alfonso IV (1658-62) et explique comment les artistes français à la cour des Este ont contribué à la définition de l’image du pouvoir ducal. La correspondance diplomatique de l’abbé Ercole Manzieri, résident de François Ier à Paris, a révélé le trafic intense des portraits, des bijoux et des vêtements expédiés de Paris à Modène, certifiant une profonde influence française sur le goût et le costume des Este. En décrivant les liens entre les deux cours, la thèse traite de la figure de Girolamo Graziani, poète et secrétaire d’État au service des Este et, en même temps, salarié de Louis XIV pour des panégyriques négligés jusqu’à maintenant. L’étude se concentre ensuite sur Jean Boulanger, premier peintre de François Ier, dont la formation et les commandes ducales sont clarifiées. L’accent est mis sur ses peintures dans le Palazzo Ducale de Sassuolo et, en particulier, sur la galerie de Bacchus, dont l’architecture, l’iconographie et la fonction se sont révélées inspirées par des modèles français. La dernière section est dédiée aux commandes « françaises » d’Alfonso IV et se concentre sur les fresques de Boulanger dans la villa ducale de Pentetorri, cycle disparu et analysé entièrement pour la première fois, et sur les funérailles voulues par Alfonso pour commémorer son père et décrites dans l’Idea di un prencipe. Cet ouvrage, l’un des plus prestigieux du XVIIe siècle, modèle l’image du pouvoir ducal grâce à un riche répertoire d’illustrations qui a vu la participation de plusieurs artistes, notamment français, dont les noms et les modes d’engagement sont spécifiés. / The thesis is about the cultural links between Paris and Modena during the government of Francesco I (1629-1658) and Alfonso IV (1658-1662) and explains how the French artists at the Este court contributed to define the image of ducal power. The diplomatic correspondence of Abbot Ercole Manzieri, resident of François I in Paris in 1650, revealed an intense traffic of portraits, jewelry and clothes that came from Paris to Modena, testing a large French influence on the taste and the Este costume. Outlining the links between the two courts, the thesis deals with the figure of Girolamo Graziani, poet and secretary of state at the service of the Este and, at the same time, sponsored by Louis XIV for some panegyrics not well known until now. The study then focuses on the activities of Jean Boulanger, first painter of Francesco I, clarifying his formation and his role at the Este court. This work focuses on his paintings in the Palazzo Ducale in Sassuolo and, in particular, the Bacchus gallery, that turned out to be inspired by french models for its architecture, iconography and function. The last section is dedicated to 'French' commission by Alfonso IV and focuses on Boulanger decorative cycle in the lost ducal villa of Pentetorri, analyzed for the first time in its organic structure, and on the funeral that Alfonso wanted to commemorate his deceased father as immortalized in the Idea di un prencipe. This work, one of the leading printing examples of the seventeenth century, shapes the image of ducal power thanks to a rich repertoire of illustrations in which several artists took part, including French artists, whose names and ways of recruitment are specified here as well.

Questo studio tratta dei rapporti della cooperazione internazionale per lo sviluppo che favorisce lo scambio tra culture. Si tratta di una ricerca socio-antropologica sull’orientamento cognitivo di entrambi gli attori della cooperazione: chi fornisce e chi riceve l’aiuto. Lo studio è realizzato su due fronti: in Mozambico, in un progetto di cooperazione, e in Italia con membri delle ONG. La tesi sostiene che la cooperazione non solo propone progetti atti a modificare una situazione nei PVS, ma unisce culture favorendo lo scambio di contenuti, opinioni divergenti, abitudini, ecc., trasformandoli in un continuo processo di ‘miscegenation’. La maggior parte delle ONG implementa progetti sul principio della sussidiarietà affrontando difficoltà per stimolare l’‘azione’ per apportare cambiamenti dal basso. La cooperazione è anche fautrice della fusione di culture che genera nuove correnti di pensiero, creando opinioni critiche nei confronti delle idee prevalenti, e provvede voce a movimenti sociali dal basso. In una macro-prospettiva, la globalizzazione continua ad avere un ruolo preponderante nei PVS: il Mozambico non è ancora decolonizzato. Il termine ‘sviluppo’ mantiene tuttora un pregiudizio evolutivo Eurocentrico, e non dovrebbe essere più associato alla crescita economica, e per ottenere un mondo equo non basta ‘empower’ i poveri, è necessario ‘disempower’ i ricchi. / This study addresses the relationships on international cooperation for development that put cultures into motion. This is a socio-anthropological research that outlines the cognitive orientation of both sides in the international cooperation: who provides and who receives Aid. The locus of the investigation is an international cooperation project in Mozambique, along with interviews with Italian NGOs practitioners. The thesis argues that international cooperation not only provides projects apt to change situation in developing countries, but unites cultures that mutually exchange meanings, disagreements, habits, etc., in a continuous process of cultural ‘miscegenation’. Although most NGOs propose bottom-up approach to development, usually projects start from the top, and they face difficulties to stimulate the agency to change from below. International cooperation also generates new lines of though, and usually gives voice to counter-current social movements. In a macro perspective, globalization continues to play a dominant role in the poorest countries, and Mozambique has not been fully decolonized yet. The meaning of the term Development still maintains an Eurocentric and evolutionary bias. However, development should not be anymore associated to economic growth and if we really want to achieve an equal world, there is also the need to ‘disempower’ the rich.

Thesis (Masters) -- The College of Saint Elizabeth, 2010. / Typescript. Available at The College of Saint Elizabeth - Office of Graduate Programs. "March 2010"

À la fin des années 1940, une nouvelle avant-garde théâtrale fait son apparition dans les petites salles de la Rive gauche à Paris : le théâtre « de l’absurde », désigné ainsi par le critique britannique Martin Esslin. Cette écriture dramatique novatrice, qui parvient à s’imposer rapidement auprès du public français et international, connaît sur les scènes ouest-allemandes un succès durable. La présente thèse s’emploie à mettre au jour le processus de transfert et les modalités de réception en République Fédérale d’Allemagne des œuvres des principaux représentants de ce mouvement : Arthur Adamov, Samuel Beckett, Jean Genet et Eugène Ionesco.À partir de sources inédites issues des archives, il s’agit de reparcourir les trajectoires des médiateurs de cette importation culturelle, de retracer la chronologie de la réception et de souligner la diversité des supports utilisés, théâtraux, radiophoniques et télévisuels. La circulation des œuvres dans le paysage théâtral ouest-allemand entre 1949 et 1989 est étudiée dans ses différentes étapes, de leur découverte par les maisons d’éditions à leurs traductions, créations scéniques majeures et enfin leur accueil par la presse spécialisée et le public dans son ensemble. Par nature cosmopolite, le répertoire théâtral « de l’absurde » a été doté dans la culture d’accueil ouest-allemande d’une dimension internationale qui a favorisé la réussite de son intégration. Ce travail ouvre ainsi un chapitre inédit dans l’histoire de l’Allemagne, de sa culture et de son théâtre comme, plus largement, des relations culturelles franco-allemandes. / At the end of the 1940s, a new theatrical avant-garde appears on the small stages of the Left Bank in Paris: the theatre of the “absurd”, as conceptualised by the British drama critic Martin Esslin. This innovative dramatic writing style succeeds in establishing itself with the French and international public, and enjoys a long-lasting success in West German theatres. This thesis aims at uncovering the process of cultural transfer and the modes of reception in the Federal Republic of Germany through the main representatives of this movement: Arthur Adamov, Samuel Beckett, Jean Genet and Eugène Ionesco. Based on previously unpublished archival sources, this work retraces the path of the mediators of this cultural import, follows the chronology of the reception and highlights the diversity of the types of media used: theatre, radio and television. The individual steps through which the theatrical works were circulated in the West German theatre landscape between 1949 and 1989 will be analysed from the discovery by publishing houses via different translations, to major stage productions and finally the acceptance by the theatrical press and the general public. Thanks to its cosmopolitan nature, the theatre of the “absurd” was endowed by the West German host culture with an international dimension that contributed to its successful integration. Hence this study opens a new chapter in the history of Germany, its culture and theatre as well as, more widely, the French-German cultural relations.

Le traité de Versailles semble marquer une rupture géopolitique profonde sur la scène internationale. Il place la France dans une position hégémonique (provisoire) en Europe et met le Proche-Orient au cœur des mutations et des innovations de l’entre-deux-guerres. L’effondrement de l’Empire Ottoman avec lequel la France entretenait des liens privilégiés depuis longtemps, la redistribution du pouvoir et des frontières qui en résulte, l’émergence de la SDN, porteuse de la doctrine de la sécurité collective et d’une réflexion sur de nouveaux cadres de domination visant des objectifs et des ambitions renouvelés, sont autant de facteurs qui reconfigurent les relations entre la France et les pays du Levant. En 1919, la France se voit confier par la SDN le mandat de conduire la Syrie à l’autonomie, en l’accompagnant dans son développement économique, social, politique et culturel. Les relations entre la France et la Syrie sont désormais réglées par la Charte du mandat qui encadre et par les usages plus ou moins décalés qu’en font les acteurs en fonction de la conjoncture et des tensions dans la société et entre les nations et du caractère antagoniste ou conciliable des ambitions de chacun… / The Treaty of Versailles appears to mark a profound geopolitical disruption on the international scene. It puts France in a hegemonic position (provisional) in Europe and the Middle East makes the heart mutations and innovations of the period between the wars. The collapse of the Ottoman Empire which France maintained close ties for a long time, the redistribution of power and boundaries that result, the emergence of the League, carrier of the doctrine of collective security and reflection on new domination frameworks objectives and renewed ambitions, are all factors that reconfigure the relationship between France and the Levant.In 1919, France was entrusted by the League of Nations mandate to lead Syria to autonomy, accompanying it in its economic, social, political and cultural. Relations between France and Syria are now set by the Charter of office that oversees and by the way, more or less offset than the actors do depending on the situation and the tensions in society and among nations and character antagonist or reconcile the ambitions of each ...

Orientador: Francisco Foot Hardman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T15:59:56Z (GMT). No. of bitstreams: 1 Batista_EduardoLuisAraujodeOliveira_D.pdf: 2101162 bytes, checksum: 8c60b01a20439d619ccc77c77cbd5bfc (MD5) Previous issue date: 2010 / Resumo: Esta tese defende a relação complementar entre as práticas da literatura de viagem e da tradução, vistas como importantes divulgadores da imagem de uma literatura e de uma cultura além de suas fronteiras linguísticas e nacionais. Defendemos ainda a importância de ambas as atividades na formação da literatura nacional brasileira, por meio da atuação de importantes mediadores entre nossa nação e os centros culturais com os quais o Brasil dialogou ao longo de sua história. Para tal, abordamos a trajetória de quatro viajantes tradutores de diferentes origens nacionais e momentos históricos, proporcionando um breve panorama de nossas relações culturais com o estrangeiro. Foram selecionados para objeto de nosso estudo: o francês Ferdinand Denis, que esteve no Brasil em 1816; o inglês Sir Richard Burton, que viveu no país entre 1865-69 como cônsul britânico; o franco-suíço Blaise Cendrars, que visitou o país por três vezes, na década de 1920; e a norte-americana Elizabeth Bishop, poeta que viveu no Brasil entre 1951 e 1971. Cada um deles desenvolveu sua trajetória própria, divulgando suas imagens do Brasil no exterior, e atuando em diferentes níveis como influência junto a nossos escritores. Denis foi figura chave na origem do movimento romântico no Brasil, autor da primeira história literária a separar a literatura brasileira da portuguesa. Burton foi o pioneiro na tradução de nossa literatura para a língua inglesa. Cendrars atuou junto aos nossos escritores modernistas da primeira geração no desenvolvimento de uma arte moderna nacional brasileira. E Bishop foi uma das introdutoras da literatura moderna brasileira na língua inglesa. Reunidas, as trajetórias desses quatro viajantes-tradutores refazem um longo e importante período de nossa história cultural, mostrando de que forma a presença estrangeira tem participado no desenvolvimento de nossa literatura e cultura nacionais / Abstract: This thesis advocates a complementary relationship between the practices of travel literature and translation, seen as important disseminators of the image of a literature and culture beyond their national and linguistic boundaries. We also support the importance of both activities in the formation of Brazilian national literature, through the action of important mediators between our nation and the community centers with which Brazil conversed throughout its history. For this, we examined the course of four travelers translators from different national origins and historical moments, providing a brief overview of our cultural relations with foreign countries. We have selected as the subject of our study: the Frenchman Ferdinand Denis, who was in Brazil in 1816, the Englishman Sir Richard Burton, who lived in the country between 1865-69 as British consul, the French-Swiss Blaise Cendrars, who visited the country for three times in the 1920s, and American Elizabeth Bishop, poet who lived in Brazil between 1951 and 1971. Each developed its own trajectory, spreading their own images of Brazil around the world, and acting at different levels to influence our writers. Denis was a key figure in the rise of the Romantic movement in Brazil, the first author of a literary history to separate Brazilian literature from the Portuguese. Burton was a pioneer in translating our literature into English. Cendrars worked with our first generation of modernist writers in developing a national Brazilian modern art. And Bishop was the introducer of modern Brazilian literature in English. Together, the trajectories of these four travelers-translators remake a long and important period of our cultural history, showing how the foreign presence have participated in the development of our national literature and culture / Doutorado / Historia e Historiografia Literaria / Doutor em Teoria e História Literária

On Tuesday January 19, 1593, after the concluded case of his inquisitorial process, the soldier frontiersman Simon Roiz was imprisoned in the jail of the city of Salvador. Years before, he had left his home in the land of ingenuity Sergipe do Conde (Recôncavo baiano) and he was to the hinterland of the Bahia Province to rescue Gentiles space where found freedom, the loophole that allowed him to take actions that were against Catholic dogmas - Christian was on the coast and in the hinterland gentle, a man with hybrid cultural behaviors. From the sociability of Simon Roiz group, we take as the object of this research the socio-cultural relations between frontiersmen soldiers, Jesuits and Indians in the occupation of northern hinterland Captaincy of Bahia, in the late sixteenth century process. The time frame covers the period between 1590 and 1595, moments in which, respectively, Roiz Simon joined the hinterland and the General Council of the Inquisition was positioned about the sentence he implied. Taking as sources inquisitorial procedures, work from the perspective of cultural history, situating the analysis in the thematic field of |history of beliefs: roundness and cultural hybridity.| In this direction, we use the resources of the Italian micro-history, understood here as an approach that will enable us to know the past through various signs, signals and possibilities. / Na terça-feira de 19 de janeiro de 1593, após os autos conclusos de seu processo inquisitorial, o soldado sertanista Simão Roiz foi preso no cárcere da cidade de Salvador. Anos antes, ele deixara sua morada nas terras do engenho Sergipe do Conde (Recôncavo baiano) e foi para o sertão da Capitania da Bahia para resgatar gentios, espaço no qual encontrou a liberdade, a brecha que lhe permitiu praticar ações que foram de encontro aos dogmas católicos - era cristão no litoral e gentil no sertão, um homem com comportamentos híbrido-culturais. A partir da rede de sociabilidades de Simão Roiz, tomamos como objeto dessa pesquisa as relações socioculturais entre soldados sertanistas, jesuítas e indígenas no processo de ocupação do sertão norte da Capitania da Bahia, no final do século XVI. O recorte temporal compreende o período entre 1590 e 1595, momentos em que, respectivamente, Simão Roiz ingressou no sertão e o Conselho Geral da Inquisição posicionou-se acerca da sentença a ele implicada. Tomando como fontes os processos inquisitoriais, trabalhamos na perspectiva da História Cultural, situando a análise no campo temático da história das crenças: circularidades e hibridismos culturais . Neste direcionamento, fizemos uso de recursos da micro-história italiana, entendida aqui como uma abordagem que nos possibilitará conhecer o passado, através de vários indícios, sinais e possibilidades.