[pt] Este trabalho investiga a produção historiográfica e os artigos políticos do historiador português Joaquim Barradas de Carvalho no período em que viveu no Brasil na condição de exilado político (entre os anos de 1964 e 1970). O principal objetivo é demonstrar que a produção acadêmica de Barradas é influenciada e influencia sua visão política. O pesquisador e professor da USP é um espelho do membro do Partido Comunista Português e opositor do Salazarismo – espelho que reflete e, ao mesmo tempo, é refletido. Verificou-se que experiência de Barradas enquanto exilado no Brasil tem uma importância fundamental na definição de suas posições acadêmica e política (influindo tanto na imagem que traça do Regime Salazarista como na sua própria auto-imagem enquanto intelectual). Procura-se, também, entender a singular forma como o historiador caracteriza o período dos Descobrimentos – entendido como auge da História Portuguesa, e centro em torno do qual se organizam todos os outros períodos. Com esse objetivo analisam-se as influências teóricas na obra de Barradas, especialmente a do discurso decadentista – grupo de autores portugueses que tinham em comum uma denúncia da decadência da sociedade lusitana relacionada a um sentimento de saudade do seu passado glorioso. Por fim, constatou-se que essa visão histórica de Barradas determina e é determinada pela sua oposição ao salazarismo (entendido como verdadeira antítese da cultura dos Descobrimentos). / [en] This work investigates the historiographic production and the political articles from the Portuguese historian Joaquim Barradas de Carvalho in the period that he lived in Brazil in exile (from 1964 to 1970). The main goal is to show that Barrdas` academic production is influenced and it also influences his political point of view. The researcher and USP`s professor is a mirror from the member of the Portuguese Communist Party and opponent to Salazarism - mirror that reflects and is reflected at the same time. It was noticed that Barradas - experience as an exile in Brazil has a fundamental importance on the definition of his academic and political positions (influencing either on the image that he creates of the Salazarist scheme or on his own auto- image as an intellectual person). It is also sought to understand the singular way the author characterizes the discoveries period seen as the peak of the Portuguese History, and the center in which all the other periods are organized. With this objective, it is verified the theoretical influences on Barradas` work, specially on the decandestist speech group of Portuguese authors that had in common a warning for the decadence of the Portuguese society related to a saudade feeling from its glorious past. Finally, it is noticed that this Baradas` historical view determines and is determined by his opposing to salazarism (seen as a truly antithesis from the culture of the discoveries).

A tese apresenta um estudo comparativo entre a obra poética do moçambicano Rui Knopfli (1932-1997) e a do português Manuel Alegre (1936-) a partir do conceito de \"escrita de si\" (M. Foucault, 1983). Acompanha e reflete sobre o percurso literário de ambos os autores, estabelecendo relações com suas experiências de conhecimento público e suas concepções quanto à literatura, política e pátria. Em suma, os sujeitos poéticos de Knopfli e Alegre, tais quais aqueles sujeitos históricos, manifestam-se como descentrados em relação a quaisquer discursos \"oficiais\", seja o mais restrito das Academias e da Crítica Literária, seja o mais amplo do Estado Novo português - e mesmo o de grupos políticos contrários a este, incluindo, no caso do escritor africano, o da Frente de Libertação de Moçambique (Frelimo). São, portanto, vozes \"deslocadas\", de um eu \"insilado\". Todavia, tal sentido não se restringe ao figurativo: ambos os literatos, em sua realidade objetiva, ainda que em momentos alternados, foram marcados pela saída, traumática e por motivos políticos, de seu local original, de seu espaço, de sua pátria; conheceram de fato o exílio físico e, igualmente, transformaram tal experiência em matéria poética. Ao longo de seus percursos, sempre sob a sina de deslocados ou descentrados, a poesia de ambos revela-se igualmente ativa e repleta de caminhos e descaminhos bastante próximos - e, se a História e o mundo sensível vão ganhando ares de desilusão para aqueles homens, o discurso poético mostra-se como mais do que um meio para se denunciarem esteticamente a ditadura e a colonização portuguesas e a dor e o sofrimento dos envolvidos nas guerras coloniais/independentistas. A Poesia é também o espaço, processo e resultado para e de uma reflexão por parte do ser, constituindo essa sua discursivização como uma \"escrita de si\". Ademais, a Poesia, que por fim se torna a Pátria possível, ultrapassa os limites político-geográficos do território onde se encontram ou gostariam de se encontrar e, até mesmo e acima de tudo, os da morte, o exílio derradeiro da vida, sempre à espreita e que se (pré-)sente cada vez mais com a passagem do tempo. / The thesis presents a comparative study between the poetic work of the Mozambican Rui Knopfli (1932-1997) and that one of the Portuguese Manuel Alegre (1936-) from the concept of \"self writing\" (M. Foucault, 1983). It accompanies and reflects on the literary course of both authors, establishing relations with their experiences of public knowledge and their conceptions regarding literature, politics and homeland. In short, their poetic subjects, just like those historical subjects, are decentered in relation to any \"official\" discourse, whether the narrowest of the Academies and the Literary Criticism, or the broadest of the Portuguese Estado Novo and even that one of political groups opposed to it, including, in the case of the African writer, the one coming from the Frente de Libertação de Moçambique (Frelimo). They are therefore \"displaced\" voices, from an I in inner exile. However, this sense is not restricted to the figurative: both in their objective reality, even in alternated moments, were marked by the exit, traumatic and for political reasons, from their original place, from their space, from their homeland; they did indeed know the physical exile and, likewise, transformed this experience into poetic matter. Throughout their journeys, always under the sign of displaced or decentralized, the poetry of both is equally active and full of paths and misfortunes quite close and if History and the sensitive world are gaining airs of disillusionment for those men, the poetic discourse shows that it can be beyond the means to denounce aesthetically the Portuguese dictatorship and colonization and the pain and suffering of those involved in the colonial / independence wars. Poetry is also the space, process and result for and of a reflection on the part of the being, constituting this discursivization like a \"self writing\". In addition, Poetry, which finally becomes the possible homeland, goes beyond the political-geographical limits of the territory where they are or would like to be and even and above all the limits of death, the ultimate exile of life, always on the look-out and that can be felt more and more as time goes by.

Made available in DSpace on 2016-07-27T13:46:29Z (GMT). No. of bitstreams: 1 ROSEMARY FRANCISCA NEVES SILVA.pdf: 1742800 bytes, checksum: 180594893eef6da5b49506d72a814399 (MD5) Previous issue date: 2014-02-28 / The solidary Servant of YHWH with the slave people of Babylon has as purpose to analyze the four songs of the servant of YHWH, as memory of slavery in the Babylonic exile. It emphasizes the concept of slavery, the serch history, the figure of the Servant/slave and the conception of society, from the social context lived by the Servant/slave in the Babylonic exile. By means at analysis of the slavery category, it s possible to affirm that the exiled of the Babylonic exile were slaves because they were living in other nation, far from their temple, and from their roots. The search shows the Servant/slave figure that is presented in four servant songs of YHWH using as reference theoric to prove the hypothesis, the search history of the four Songs of the Servant of YHWH the historic critical and the controversial Reading that eneables a better comprehention of the proposal perícope (Is 42,1-4; Is 49,1-6; Is 50,4-9 and Is 52,13-53,12). In the first chapter it is presented the history of the search of the four songs, that are inserted in Deutero-Isaiah, accoveling to the hypotesis of the three Isaiah. In the second chapter are presented the songs and the exegetic analysis of every one, as well as the thems that permeate them. On the other hand, the third chapter speeaks about the Servant/slave of four songs of the Servant of YHWH in the view of the conflited Reading to evidence the quotidian of the exiled that was marked by the slavery. It shows yet the political questions, economic and socials, as well as the ethnic identity of the group of the exiled and the religious experience of them in the exile of Babylon. The fourth chapter is an hermeneutic approximation between the servant figure of the four songs and the black woman in the Brazilian colonial period, evidenced the approximations of slavey, solidarity and liberty as much the exiled from the Babylonic period as the ensloved black woman in the colonial Brazil. It is hoped that, the results of this search can be very important for future reflections and the teaching of the servant songs of YHWH, as well for its contribution in searches about slavery in exile from the four servant songs of YHWH. / O Servo de YHWH solidário com o povo escravo da Babilônia tem como intuito analisar os quatro Cantos do Servo de YHWH como memória de escravidão no exílio babilônico. Enfatiza o conceito de escravidão, a história da pesquisa, a figura do Servo/escravo e a concepção de sociedade, a partir do contexto social vivido pelo Servo/escravo no exílio babilônico. Por meio da análise da categoria escravidão, é possível afirmar que os exilados do exílio da Babilônia eram escravos porque estavam vivendo em outra nação, longe de seu templo e de suas raízes. A pesquisa mostra a figura do Servo/escravo que é apresentado nos quatro Cantos do Servo de YHWH tendo como referencial teórico, para comprovar a hipótese, a história da pesquisa dos quatro Cantos do Servo de YHWH, o método histórico-crítico e a leitura conflitual que possibilita uma melhor compreensão das perícopes propostas (Is 42,1-4; Is 49,1-6; Is 50,4-9 e Is 52,13-53,12). No primeiro capítulo apresenta-se a História da Pesquisa dos quatro Cantos, que estão inseridos no Dêutero-Isaías, segundo a hipótese dos três Isaías. No segundo capítulo são apresentados os Cantos e a análise exegética de cada um, bem como os temas que os permeiam. Já o terceiro capítulo aborda o Servo/escravo dos quatro Cantos do Servo de YHWH na ótica da leitura conflitual para evidenciar o cotidiano dos exilados que foi marcado pela escravidão. Mostra ainda as questões políticas, econômicas e sociais, bem como a identidade étnica do grupo dos exilados e a experiência religiosa destes no exílio da Babilônia. O quarto capítulo faz uma aproximação hermenêutica entre a figura do servo dos quatro Cantos e a mulher negra no período colonial brasileiro, evidenciando as aproximações de escravidão, solidariedade e libertação tanto dos exilados do período babilônico, como das mulheres negras escravizadas no Brasil colonial. Espera-se que os resultados desta pesquisa sejam relevantes para futuras reflexões e ensino dos Cantos do Servo de YHWH, bem como que deem sua contribuição nas pesquisas sobre a escravidão no exílio a partir dos quatro Cantos do Servo de YHWH.

O exílio é um tema recorrente, embora pouco explorado, em Albert Camus. Sua obra é organizada em dois ciclos de criação: o absurdo e a revolta. Apesar de situado pelo autor no ciclo da revolta, propõe-se neste trabalho uma nova leitura de La Peste, obra que permite captar em um único texto a multiplicidade da temática do exílio em Camus, caracterizando-a como livro de transição entre esses dois conceitos, com a lucidez como elemento comum. O homem absurdo se percebe como tal pela consciência que tem de seu universo. Para o homem revoltado, a lucidez permite o combate. Em La Peste, o exílio, sob três aspectos, físico-social, psicológico e metafísico, integra a condição humana metafísica, em contraponto à condição histórica, tornando possível compreender tanto sua perspectiva como a do reino neste autor. / Exile is a recurring subject, though little explored, in Albert Camus. His work is organized in two creation phases: absurdity and rebellion. Even though situated by the author in the rebellion phase, this work proposes a new reading of La Peste, which allows seizing in only one text the thematic multiplicity of exile in Camus, characterizing it as a book of transition between these two concepts, with lucidity as their common feature. The absurd man thus perceives himself by means of the conscience he has of its universe. For the rebellious man, lucidity allows struggle. In La Peste, exile, under three aspects, physical-social, psychological and metaphysical, integrates the metaphysical human condition, in counterpoint to the historical condition, making it possible to understand its perspective, as well as the perspective of the kingdom, in this author.

O ano de 1974 foi de mudanças tanto para Portugal quanto para o Brasil. Em 25 de abril, Portugal, por meio de um golpe de estado levado a cabo por militares de esquerda, desfazia-se de uma ditadura que quase amargava o cinquentenário, vivendo-se então a euforia de um processo revolucionário em que colocava na ordem do dia a esperança do povo português em sair do estado de repressão, guerra colonial e silêncio. No entanto, o Brasil, naquele mesmo mês de abril, já havia completado seu décimo aniversário sob a égide de um regime ditatorial militar e, naquele momento, alterava o principal ator do poder executivo que, muito timidamente, indicava a possibilidade para o ocaso do regime militar de direita, a partir de uma nova agenda que promoveria uma abertura lenta, gradual e segura. Para as oposições brasileiras, ambos os fatos eram extremamente relevantes: por um lado, a oposição que ainda permanecia no Brasil assinalava, mesmo que de forma sutil e desconfiada, a esperança de novos rumos para a vida política nacional. Por outro, a Revolução dos Cravos adquiria, para os que estavam vivendo no exterior, expectativas de novas experiências em um ambiente revolucionário que não haviam conseguido alcançar no outro lado do oceano. Nesta tese, é este segundo grupo que será enfocado, ou seja, os brasileiros que fizeram de Portugal sua terra de acolhida a partir daquele abril de 1974. Evidentemente, haverá espaço para tratarmos das relações institucionais entre os governos português e brasileiro, que servirão de pano de fundo para este trabalho, onde serão evidenciadas as suas disparidades ideológicas e interesses comuns. Mas, nosso objetivo com este texto é tratar das vivencias políticas entre militantes brasileiros exilados junto aos portugueses, mas sem deixar de lado as relações humanas entre os indivíduos que possuíam história, língua e cultura comuns. Identificamos Portugal como sendo um dos campos férteis para os debates das organizações no exílio, em especial ao que se refere a reafirmação ou abandono das posições pela manutenção do modelo revolucionário de luta, assim como pelas discussões referentes à reestruturação e acomodação partidária no que viria após o retorno. Desta forma, o trabalho que ora apresentamos, tem por objetivo, a partir do estudo do exílio em Portugal, trazer à tona as trajetórias, rupturas, continuações e influencias deste fenômeno para os brasileiros e para o Brasil no processo de transição. / The year of 1974 was of changes for both Portugal and Brazil. On April 25, Portugal, by means of a coup d\'état carried out by left-wing militaries, broke away from a dictatorship that almost reached the fiftieth anniversary, experiencing the euphoria of a revolutionary process which put in the agenda the hope of the Portuguese people to leave the state of repression, colonial war and silence. However, in that very same April, Brazil had already completed its tenth anniversary under the auspices of a military dictatorial regime, and at that moment it altered the main actor of the executive power who, very timidly, indicated the possibility of a dusk for the right-wing military regime, starting a new plan that would promote a \"slow, gradual and safe opening.\" For the Brazilian oppositions, both facts were extremely relevant: on the one hand, the opposition that still remained in Brazil pointed out, hopefully, even in a subtle and suspicious way, the prospect of new directions for national political life. On the other hand, the Carnation Revolution acquired, for those living abroad, expectations of new experiences in a revolutionary environment they had not been able to reach on the other side of the ocean. In this thesis, it is this second group that will be focused, that is, the Brazilians who have made Portugal their host country from that April 1974. Unmistakably, there will be room for institutional relations between the Portuguese and Brazilian governments, which will serve as a backdrop for this work, where their ideological differences and common interests will be highlighted. But our objective with this text is to deal with the political experiences between Brazilian militants exiled together with the Portuguese, but without neglecting human relations between individuals who had a common history, language, and culture. We have identified Portugal as one of the fertile grounds for the debates of the organizations in exile, especially as regards the reaffirmation or abandonment of positions for the maintenance of the revolutionary model of struggle, as well as for the discussions regarding the party restructuring and accommodation in what would come after the comeback. In this way, the purpose of the present work is to study the trajectories, ruptures, continuations and influences of this phenomenon for Brazilians and Brazil in the transition process.

Pedro Orgambide (1929/2003), escritor argentino, foi exilado e viveu nove anos no México. Durante seu período de exílio, entre outras obras, escreveu El arrabal del mundo, primeiro volume de uma trilogia intitulada de la memoria, que foi publicado em 1983. A presente dissertação pretende analisar as representações identitárias nesse romance que trata do processo de independência argentino. Nele, o autor ficcionalizou suas experiências, propondo uma versão da história e da memória coletiva argentinas por meio de uma narrativa projetada num espaço e num tempo reconhecíveis pelos leitores. Dividido em três capítulos, o trabalho percorre a obra no que concerne à sua caracterização e aos seus elementos constitutivos, buscando as possíveis relações de Orgambide com a historiografia acerca do período histórico romanceado e traçando, também, um paralelo com a experiência e o presente da escrita do autor. / Pedro Orgambide (1929/2003), Argentine writer, was exiled to Mexico, where he lived for nine years. During his exile, among other works, he wrote El arrabal del mundo, which was the first volume of a trilogy entitled \"de la memoria\", published in 1983. This dissertation aims to analyze the identity representations within this novel regarding Argentinas independence process, whereas the author fictionalized his experiences, proposing his own version of Argentinas history and collective memory, through a narrative in a perceptible space and time. Divided in three chapters, this text addresses the questions about the novel, its caracterization and elements in relationship with Orgambide and the historiography, also addressing the parallel of the experience of being exiled and the authors writing process.

[pt] Esta dissertação tem como propósito apresentar as fotografias de Alice Brill e sua relação com a trajetória pessoal da fotógrafa. O ponto de encontro entre as fotografias que ela produz e sua vida é o exílio, que transforma sua compreensão sobre o mundo a sua volta. Alice Brill nasceu na Alemanha em 1920 e residiu em Hamburgo até 1934, quando foi obrigada a deixar o país por causa de sua origem judaica. Neste período de exílio, ela percorreu um longo caminho até seu destino final, o Brasil. Está trajetória transformou o olhar de Brill e sua adaptação na cidade de São Paulo foi auxiliada pela sua arte. Dessa forma a artista expressou as dissonâncias que estava vivendo. Dentre sua vasta obra está a fotografia, que ela construiu ao longo da década de 50, apresentando um olhar distinto sobre as escolhas dos temas fotografados. Dentre os conjuntos que Brill construiu, as fotografias do hospital do juquery feitas em 1950 são importantes por diversos aspectos, pelo valor documental e artístico. / [en] The purpose of this dissertation is to present Alice Brill s photographs as well as their relationship with her personal life. The meeting point between her photographs and personal life is exile, which changes her understanding of the world. Alice Brill was born in Germany in 1920 and she has lived in Hamburg until 1934, when she was forced to leave her country due to her Jewish background. While in exile, she has traveled a long journey until her final destination, Brazil. These life experiences transformed Brill s gaze and her settlement in the city of São Paulo was facilitated by her art. In this way the artist expressed the dissonances she was experiencing. Among her vast work is photography, which she has built throughout the 1950s, presenting a distinct look to the subjects of her photography. Among the sets that Brill built, the photographs of the Juquery Hospital made in 1950 are important for several aspects, especially for their documentary and artistic value.

This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.

Cette thèse est consacrée à l’étude en regard l’une de l’autre des œuvres picturales et littéraires de deux artistes nées en Europe, qui fréquentèrent les cercles surréalistes parisiens dans les années 30 avant de s’exiler au Mexique durant la seconde guerre mondiale : Remedios Varo (1908-1963) et Leonora Carrington (1917-2011). Il s’agit de rechercher les points de convergence et les divergences entre les processus créatifs des deux artistes, de faire dialoguer leurs œuvres et d’interroger leurs points de collaboration créative, en se centrant sur la question des images. L’approche proposée dans ce travail est tout à la fois comparative et pluridisciplinaire, puisqu’elle s’élabore au croisement de l’histoire de l’art, de l’analyse littéraire, de l’analyse picturale et de la civilisation.Le concept d’image, dont la délimitation fait l’objet du préambule, est entendu dans quasiment toutes ses acceptions – depuis l’image picturale et l’image verbale jusqu’à l’image mentale, dont l’image onirique – et est conçu comme lieu d’intersection par excellence.La première partie de ce travail explore la question de la fabrique des images ou, pour utiliser une métaphore empruntée au langage alchimique, du laboratoire des images. Le chapitre 1 présente et théorise l’image surréaliste afin de démontrer la manière dont les deux créatrices ont su s’approprier l’« esprit » du surréalisme, invitation à une remise en cause du monde visible, pour mieux le dépasser à travers l’élaboration de « modèles de monde », en analogie avec certains processus alchimiques et occultistes. Le chapitre 2 envisage pour sa part l’exil non pas seulement comme un contexte historique et culturel ayant donné lieu à de profondes dynamiques d’influences mutuelles, mais comme une notion pivot permettant d’appréhender les phénomènes de réappropriations, d’hybridations, de transfusions créatives ou de transgressions à l’œuvre dans leurs productions.La seconde partie approfondit la mise en regard des images des deux artistes suivant un mouvement dialectique unissant images-reflets et images-distorsions. Le chapitre 3 entreprend l’analyse des autoreprésentations féminines et s’attache à mettre en évidence la façon dont celles-ci défient les images du féminin élaborées par les créateurs surréalistes masculins ; les notions de déguisement, de travestissement et de mascarade sont examinées et présentées comme inséparables de la quête de soi. Le chapitre 4, enfin, s’intéresse aux « miroirs de la relation » et à la « relation aux miroirs » des deux artistes. Dans un premier temps sont abordées les représentations de l’amitié créative unissant les deux artistes dans leur œuvre, notamment écrite, et les mécanismes de fictionnalisation qui les soutiennent. Les jeux de miroirs qu’ont disposés entre leurs images les deux femmes en écrivant à quatre mains sont ensuite analysés, ainsi que le motif pictural du miroir, lequel peut être considéré comme un emblème de la démarche créative de Remedios Varo et de Leonora Carrington, objet symbolique et magique plus que dispositif spéculaire. / This PhD dissertation focuses on a literary and pictorial comparative analysis of European-born artists Remedios Varo (1908-1963) and Leonora Carrington (1917-2011) who, in the 1930s, participated in the Surrealist group in Paris and then went into exile in Mexico during World War II. The purpose of this study is to identify points of convergence and divergence in the creative process of these two artists. Equally important, this thesis will endeavor to enable a dialogue between their artworks and to examine their creative collaboration while focusing on the concept of images. The standpoint of this dissertation is at the same time comparative and multidisciplinary, for it is formulated at the junction of art history, literary analysis, pictorial analysis, and history.The notion of image, the conceptual contours of which are explained in the preamble 2 is to be understood in almost all of its significations – from pictorial and verbal image to mind-made image, in which oneiric image is to be included – and is seen as a conceptual intersection point par excellence.The first part of this study questions the construction of images or, using a metaphor borrowed from the alchemical language, the image laboratory. Chapter 1 introduces and theorizes the notion of surrealist image in order to reveal the ways in which both artists integrated into their works the surrealist state of mind, being an invitation to question the visible world, and went beyond it through the elaboration of “world models”, by analogy with specific alchemical and occultist processes. Chapter 2 not only considers exile as a historical and cultural context that gave way to profound mutual and dynamic influences, but also as a pivotal notion that enables to comprehend, in their productions, phenomena of reappropriation, hybridization, creative transfusion and transgression.The second part delves deeper into the comparison of images realized by both artists – an analysis that follows a dialectical pattern that combines the concepts of image-reflections and image-distortions. Chapter 3 analyzes female self-representations and is dedicated to reveal the way in which these representations challenge the images of the feminine as elaborated by male surrealist creators. Notions of transvestism and masquerade are examined and presented as inseparable from the quest to self-discovery.Finally, Chapter 4 pays attention to both artists’ “mirrors of relation” and “relation to mirrors”. On the one hand, this analysis addresses the creative friendship that unites both artists in their work, more specifically in their written expression, and the mechanisms of fictionalization pertaining to it. The mirror effects that are at play in the images of both artists who created fourhanded works and the pictorial motif of the mirror are also focused on in this research. Indeed, the mirror may be considered as an emblem of Remedios Varo’s and Leonora Carrington’s creative approach, not only as a specular tool but also and more importantly, as an object of symbolism and magic.

Cette thèse explore et analyse l’œuvre littéraire et artistique de plusieurs artistes et écrivains qui ont eu un lien avec le mouvement surréaliste et se sont exilés au Mexique. Les œuvres de Remedios Varo, Leonora Carrington, Wolfgang Paalen, Alice Rahon, Kati Horna, José Horna, Benjamin Péret, César Moro et Luis Buñuel sont pour plusieurs méconnues ou peu accessibles au grand public. Leurs archives sont dispersées dans le monde et parfois ignorées. Nous avons entrepris de reconstituer une chronologie de cet épisode spécifique de leur vie, d’inventorier leurs œuvres, en particulier celles des années d’exil au Mexique (1938-1963), de montrer le dialogue esthétique qui s’est créé dans le moment exceptionnel de leur rencontre au Mexique, à la fois à partir de leur passé surréaliste et du cœur même de l’expérience exilique qu’ils partagent. Les préoccupations, les activités et les relations qui rapprochent ces artistes conduisent à s’interroger sur la possible définition d’un mouvement. Leurs interactions amicales et artistiques suggèrent, pour un temps au moins, la détermination de points communs esthétiques, littéraires et culturels. Le creuset créatif de leur exil commun est aussi un point de départ pour analyser la réception de ces œuvres et se demander s’il existe une poétique de l’exil spécifique à ces artistes qui ont vécu en proximité sur le sol mexicain. Pour traiter cette question, cette thèse analyse les représentations communes à ces artistes et observe le rôle déterminant qu’ils ont sur l’art et la littérature latino-américains de la seconde moitié du XXe siècle. / This thesis intends to explore and analyse the literary and visual work of a number of exiled artists and writers who have a particular link with the surrealist movement, and fled to Mexico. Several elements of the work of Remedios Varo, Leonora Carrington, Wolfgang Paalen, Alice Rahon, Kati Horna, José Horna, Benjamin Péret, César Moro and Luis Buñuel are often unknown or rarely accessible to a large public. Their archives are scattered around the world and are often ignored. Our aim is to establish a chronological reconstitution of their lives, to inventory their work –particularly from 1938 to 1963, focusing on the exile phase – as well as to examine the aesthetic dialogue between them. The basis, activities and relationships that connect these artists come not only from their surrealist past but also from the exile they share; nevertheless, their interactions challenge their connection as a group. Their artworks communicate with each other and their exile is our starting point in order to analyse the reception of these works. Is there an inherent poetry of the exile in the work of these artists? We will answer this question by studying their common representations and by observing their strong influence in Latin American art and literature from the second half of the 20th century.