This diploma thesis (Journalism of Social Democratic Exile after February 1948 /1948- 1953/) studies the history of social democratic party in exile between the years 1948 and 1953 with special focus on journalism, news service and propaganda. The thesis describes formation of party fractions and deals with how they defined themselves, communicated and presented themselves in the media. The thesis then goes on to analyse the newspaper format, production and financing thereof as well as the number of copies. It looks into broadcasting activities of social democrats and their plans related to the setup of illegal radio. Based on the cases of party secretary Vilím Blažej and Bohumil Laušman, the last party chairman prior to February 1948, the thesis analyses the question whether single groups within the party in the given time period tried by its journalistic activities to primarily influence events in Czechoslovakia or whether these efforts slowly faded due to rivalry between fractions and frustration over hopeless political situation and lack of audience in such an extent that media outputs were later on confined only to discussions within the party and to barely expressing political views.

Introduced diploma thesis John Heartfield's stay in Czechoslovakia 1933-1938 deals with artistic creation and stay of the origin German artist John Heartfield in Prague from 1933 till 1938 which had become his haven after Hitler's after Hitler's takeover of power. This thesis analyses Heartfield's work in Czechoslovakia, from creating photomonages and political caricatures, which he was publishing in workers newspapers, Arbeiter-Illustrierte Zeitung and Volks-Illustrierte, move of berliner publisher The Malik to Prague, participation in the Oskar Kokoschka Bund, to book covers for Czech publishers or his participations in Prague exhibitions like International exhibition caricatures and humour or International exhibition of photography. Provided historical-cultural analysis also examines other Heartfield's activities linked with his Prague stay. These are his relationship to Czechoslovakia formed by artistic, social and working contacts with Czech leftist orientated intellectuals and artists and reflections his works in Czech environment. Heartfields fruitful stay in Czechoslovakia was ended in a hurry thanks to occupation of Czechoslovakia in 1938 and by his moving into exile in London.

Depuis sa fondation en 1794 par Catherine II, Odessa, cité portuaire de la mer Noire, ne laisse personne indifférent. Conçue pour devenir une utopie urbaine au sein d’une Russie très contraignante, la ville nouvelle – libre de servage, tolérante et entreprenante – attire des populations venues des quatre coins de l’Europe. Les premiers migrants sont en majorité des déshérités, des infortunés et des Juifs persécutés de l’Empire en quête d’un refuge. La société juive naissante éprise de liberté saisit sa chance en s’impliquant activement dans la réalisation de ce chantier ambitieux. Dès les années 1860, premiers frémissements d’un « bonheur juif », des banquiers, des négociants, des intellectuels, des artistes, des bandits et des « Juifs ordinaires » écrivent pareillement le « modernisme » et les légendes colorées d’Odessa la Juive. Le XXe siècle pris entre guerres et révolutions, sonne le glas de l’âge d’or des Juifs d’Odessa avec le retour des pogromes et des massacres de masse. Bon nombre d’entre eux repartent sur les routes de l’exil à la recherche de ports d’attache : onze villes nord-américaines portent le nom d’Odessa. Les Odessites vouent à leur ancienne terre d’adoption un véritable culte, sous des formes plurielles, œuvres littéraires, musicales, picturales et cinématographiques. A la lumière de l’Histoire et de la micro-histoire, l’enjeu de cette recherche sur la communauté juive odessite est d’identifier l’« espace de vérité » de la ville d’Odessa entre mythe et réalité. / Since its creation by Catherine the IInd in 1794, Odessa, a harbour on the Black Sea, leaves no one indifferent. Designed to become an urban utopia within a very compelling Russia, the new town – tolerant, enterprising, and from its origins free from serfdom – has attracted populations from across Europe. The first migrants were mainly poor, hapless people and persecuted Jews from the Empire in search of a refuge. The emerging Jewish society, freedom-loving, seized the opportunity to build an ideal city, culminating in the birth of a “Jewish happiness”. From 1860 onwards, great bankers, merchants, intellectuals, artists, gangsters and labourers all contributed to the “modernism” and the colourful history of the Jewish Odessa. Caught between wars and revolutions, the 20th Century sounded the knell of the golden age for Odessa Jews, with the return of pogroms and mass slaughters. A number of Jews went back to the roads of exile, looking for a new home: eleven North American towns have taken the name of Odessa. “Odessity” worship Odessa-mama: music works, paintings and movies aim at celebrating the glory of the homeland. Considering both the historical and micro-historical legacy, the challenge of this research on the Jewish community from Odessa aims to identify and establish a “truth space” between the real and the imaginary city.

Esta tese investiga o vínculo entre o signo mar, o exercício da memória e o trabalho com a palavra na poesia escrita por Rafael Alberti (1902-1999) durante seu exílio na Argentina e no Uruguai (1940-1963). Trata-se de um conjunto que chama a atenção pelo processo de escritura praticamente simultâneo, o qual, embora compartilhe motivos e problemas, apresenta uma grande diferença formal. A variação também sugere que o movimento é, efetivamente, um traço constitutivo da voz poética albertiana. Em meio a esse canteiro de obras, aparece Retornos de lo vivo lejano, cujos quarenta e cinco poemas se intitulam retornos, dando corpo a uma nova forma criada pelo poeta. O movimento de retorno não é só a atitude de um sujeito que revisita o passado, mas a escolha da nostalgia como perspectiva crítica sobre a história, postura a partir da qual se constrói uma poesia (do) possível. Propomos um percurso analítico que se inicia com Marinero en tierra, obra de estreia do poeta, de 1925, em que se lançam as bases da relação triádica entre mar, memória e poesia. Retornos de lo vivo lejano será tomado como um ponto de inflexão da trajetória de Rafael Alberti por permitir pensar a um só tempo o vínculo com o signo mais presente em sua obra, o mar, seu compromisso (po)ético com o exercício da memória, e sua concepção do trabalho poético. / The present thesis investigates how the sign \"sea\", the exercise of memory and the poetic work connects in the poetry written by Rafael Alberti (1902-1999) during his exile in Argentina and Uruguay (1940-1963). Due to its almost simultaneous writing process and similar issues, this set of books is remarkable. At the same time, they present formal differences, which suggests the movement is, in fact, a constitutive characteristic of Alberti\'s poetic voice. In this worksite, we found Retornos de lo vivo lejano, in which all the forty-five poems are titled \"retornos\", the new form the poet creates. It claims the return movement is not only an attitude of revisiting the past, but it means the poet assumes nostalgia as a critical perspective over history, from which he builds up his poetry of the possible. We propose an analitical path that begins in Marinero en tierra, Alberti\'s first book (1925), because it contains the foundation of the triad sea-memory-poetry. Retornos de lo vivo lejano will be considered as an inflection point of Alberti\'s itinerary, as it allows us to think the poet\'s bond with the greatest sign of his poetry, the sea, his (po)ethical commitment to the exercise of memory, and his conception of the poetic work.

Le problématique de cette thèse concerne l’industrie cinématographique son impact sur la la société post-révolutionnaire iranienne, en étudiant le rôle du cinéma dans les changements intervenus depuis 1979 en Iran comme ailleurs. Cette thèse présente trois pôles différenciés du cinéma iranien, celui du cinéma officiel, celui du cinéma en exil et enfin le cinéma alternatif, contribuant à construire l’identité du cinéma iranien dans son ensemble. La thèse permettra de questionner le statut de l’image animée et l’iconographie dans l’islam chiite, son rôle dans un cinéma pré-révolutionnaire. Puis, la thèse analyse des événements clés : la révolution de 1979, le phénomène de l’islamisation massive de la société et la foction du cinéma dans ce contexte, l’impact de la guerre Iran-Irak, le rôle du marché noir, la construction d’une nouvelle identité grâce aussi à un cinéma iranien considéré comme « cinéma islamique », l’évolution de tous les autres services audiovisuels, y compris l’IRIB (la télévision iranienne) et des institutions comme le Centre Artistique et la Maison du cinéma. On assiste à une triangulation focalisée sur deux périodes historiques importantes post-révolutionnaire : la période réformiste de Khatami (1997-2005) et celle ultra-conservatrice d’Ahmadinejad (2005-2013), en traitant l’impact des deux périodes sur l’industrie cinématographique grâce à une étude thématique et comparative des productions filmiques de chaque époque. Cette recherche est nourrie par une enquête de terrain en appoint et des entretiens avec certains réalisateurs de cette période. La question du social devient peu à peu un thème majeur dans les thématiques de fiction traités de manière souvent critiques par le cinéma iranien. Il s’agit aussi de comprendre la part d’autonomie acquise des artistes iraniens pour mener à bien leurs projets cinématographiques, dans le cadre d’une politique culturelle d’Etat autoritaire.Dans la deuxième partie au cinéma en exil, cette thèse aborde différentes pratiques culturelles depuis la révolution de 1979 de cinéastes, d’acteurs etc…dans l’immigration. Il s’agit d’étudier ici des éléments comme la nostalgie, l’intégration, la langue et les contraintes économiques pesant sur les productions cinématographiques en exil. Dans la dernière partie, cette thèse s'interroge sur la circulation des films avec l’émergence de nouvelles technologies, le rôle des réseaux sociaux et leurs impacts sur la société iranienne après 2009. Il s’agit de comprendre l’évolution de l'industrie cinématographique dans un contexte aujourd’hui de globalisation des médias en s’interrogeant sur la fonction des médias iraniens en exil, des nouvelles chaînes paraboliques et du rôle marché des festivals internationaux, permettant aujourd’hui de donner une visibilité nouvelle au cinéma iranien. / The problematic of this thesis based on cinema industry and how it’s influence on Iranian post-revolutionary society by studying the status of cinema industry in all changes that taken place since 1979 in Iranlike anywhere else. This research presents three different branches of Iranian cinema which generate the Iranian cinema identity in general by; Official cinema, Exilic cinema & Alternative cinema. This thesis will question the status of animated image and iconography in Shiite Islam and it’s role in prerevolutionary cinema. Then, the thesis analyzes the key events such as the 1979revolution, massive Islamisation of society and cinema segments, th impact of Iran-Iraq war, the black market, new identity of Iranian cinema “Islamic cinema”, the evolution of different sector of audio-visual services like IRIB (Iranian TV broadcast), Artistic Centre, House of Cinema. The triangulation focused on two important political period post-revolutionary; reformist Khatami (1997-2005) and Ultra-conservative Ahmadinejad (2005-2013) and the impacts of these periods on evolution of Iranian film industry with the comparative film analysing (one of each period) and nourishing by interview with filmmakers. The social issue is gradually becoming a major topic in the feature film which are ooften criticized by Iranian cinema. Also to understand the autonomy acquired by the artists to carry out their cinematographic project under an authoritarian state cultural policy. In the second part due to Cinema in exile, this thesis deals with various cultural practice since the 1979 of filmmakers, actors etc… It is also study elements such as nostologia, integration, language economic constraints on film productions in exile. The last part focusing on film circulation with the emergence of new technologies, the role of social networks and their impact on Iranian society after 2009. Also, the evolution of social media in the context of globalization of media by questioning the function of Iranian media in exile, satellite channels and the role of international film festivals market, allow us today to give a new visibility to Iranian cinema.

Depuis sa fondation en 1794 par Catherine II, Odessa, cité portuaire de la mer Noire, ne laisse personne indifférent. Conçue pour devenir une utopie urbaine au sein d’une Russie très contraignante, la ville nouvelle – libre de servage, tolérante et entreprenante – attire des populations venues des quatre coins de l’Europe. Les premiers migrants sont en majorité des déshérités, des infortunés et des Juifs persécutés de l’Empire en quête d’un refuge. La société juive naissante éprise de liberté saisit sa chance en s’impliquant activement dans la réalisation de ce chantier ambitieux. Dès les années 1860, premiers frémissements d’un « bonheur juif », des banquiers, des négociants, des intellectuels, des artistes, des bandits et des « Juifs ordinaires » écrivent pareillement le « modernisme » et les légendes colorées d’Odessa la Juive. Le XXe siècle pris entre guerres et révolutions, sonne le glas de l’âge d’or des Juifs d’Odessa avec le retour des pogromes et des massacres de masse. Bon nombre d’entre eux repartent sur les routes de l’exil à la recherche de ports d’attache : onze villes nord-américaines portent le nom d’Odessa. Les Odessites vouent à leur ancienne terre d’adoption un véritable culte, sous des formes plurielles, œuvres littéraires, musicales, picturales et cinématographiques. A la lumière de l’Histoire et de la micro-histoire, l’enjeu de cette recherche sur la communauté juive odessite est d’identifier l’« espace de vérité » de la ville d’Odessa entre mythe et réalité. / Since its creation by Catherine the IInd in 1794, Odessa, a harbour on the Black Sea, leaves no one indifferent. Designed to become an urban utopia within a very compelling Russia, the new town – tolerant, enterprising, and from its origins free from serfdom – has attracted populations from across Europe. The first migrants were mainly poor, hapless people and persecuted Jews from the Empire in search of a refuge. The emerging Jewish society, freedom-loving, seized the opportunity to build an ideal city, culminating in the birth of a “Jewish happiness”. From 1860 onwards, great bankers, merchants, intellectuals, artists, gangsters and labourers all contributed to the “modernism” and the colourful history of the Jewish Odessa. Caught between wars and revolutions, the 20th Century sounded the knell of the golden age for Odessa Jews, with the return of pogroms and mass slaughters. A number of Jews went back to the roads of exile, looking for a new home: eleven North American towns have taken the name of Odessa. “Odessity” worship Odessa-mama: music works, paintings and movies aim at celebrating the glory of the homeland. Considering both the historical and micro-historical legacy, the challenge of this research on the Jewish community from Odessa aims to identify and establish a “truth space” between the real and the imaginary city.

S’inspirant de l’expérience récente de la migration indienne aux Etats-Unis, la fiction de Jhumpa Lahiri se demande si tant la nation que l’individu sont en mesure de revoir les termes mêmes de leur identité. Jhumpa Lahiri met l’accent sur l’adaptation à l’étranger en tant que processus de longue haleine. Car le changement ne prend pas, dans ce contexte, l’aspect d’une transformation subite ; il s’agit davantage d’une lente négociation entre une tradition surdéterminante et un futur sous-défini. Le meilleur éclairage que l’on puisse apporter à cette littérature de la diaspora, qui gagne en consistance et en légitimité avec l’avènement de la mondialisation, est offert par les outils de la critique postcoloniale. Bien qu’elle soit issue d’un contexte politique, cette école de pensée trouve sa pertinence dans la façon qu’elle a de poser les problèmes afférant à la possibilité de surmonter un passé conflictuel. Comment accepter l’étranger en soi ? Que faire de cette culture qui n’offre pas d’autre choix que celui de la capitulation ? Dans quelle mesure peut-on imaginer une identité où les conflits nés de valeurs contradictoires seraient ramenés à leur plus simple expression ? Notre essai consiste à découvrir de quelle manière le déplacement dû à l’exil induit une série de stratégies de préservation et de transformations identitaires. En dernier ressort, nous nous interrogerons sur les retombées de la conception lahirienne de l’identité, puisque cette romancière semble considérer que les racines et les traditions ne sont que d’une toute relative utilité lorsque l’on se trouve en terre étrangère. / Drawing its inspiration from the experience of Indian migrants to the United States, Jhumpa Lahiri’s fiction questions the nation as well as the individual’s abilities to accept reconfiguring their own terms. Jhumpa Lahiri’s works emphasize the day-to-day process of adaptation to foreignness. For change is not a matter of sudden transformation in this particular context; it is rather a slow negotiation between an over-determining tradition and an under-defined future. This literature of diaspora, which is gaining strength and legitimacy in today’s global era, is best understood by applying postcolonial critique tools to its study. Though derived from a political context, this school of thought is pertinent in the ways it questions the possibilities of overcoming a conflicting past. How to accept the alien in ourselves? How to deal with the culture that offers no other way than capitulation? To what extent an identity that is most devoid of conflicts between foreign values can be imagined? Our endeavor consists in uncovering how the dis-placement due to exile triggers of a variety of self-preservative or self-transformative strategies. Finally, we are most concerned with the outcome of Jhumpa Lahiri’s conception of identity, since she seems to suggest that roots and traditions are of little use in a foreign land.

L’hypothèse d’une théorie littéraire du sujet transcendant le territoire et le soi vers un Ouvert postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la réception des romans écrits par des écrivains français d’origine chinoise dans un monde en constant mouvement. A partir de quatre écrivains chinois exilés en France, nous opérons dans la première partie une relecture de leurs œuvres, en lien avec leur vie et leur déplacement. Notre projet invite une démarche de la compréhension de la création à partir d’un cheminement personnel. En retour, leur création s’éclaire grâce à une conception propre de l’espace-temps dans le roman, sans rupture avec les traditions chinoises et occidentales. Leur poétique transculturelle force à envisager autrement la littérarité dans la littérature produite par cette diaspora chinoise. La deuxième partie est consacrée à une comparaison de la réception de leurs romans en France et en Chine populaire visant à faire apparaître la complexité et la transversalité des enjeux culturels, sociaux et les différentes perceptions du monde. La prégnance de cette manifestation artistique renforce l’hypothèse selon laquelle la quête circulaire et la transcendance au moyen du dialogue tant scripturaire qu’imaginaire, peuvent fonctionner comme une différente voix/voie de compréhension du sujet humain en permettant aux auteurs de devenir des résonateurs d’un monde caractérisé par l’incertitude et l’instabilité. / The hypothesis of a literary theory of the subject beyond the territory and the self towards Open postulates that we can clarify certain issues of human existence in the light of the reception of the novels written by Chinese Francophone writers in the world in perpetual motion. From four Chinese writers exiled in France, in the first part we reread their works, relating to their life and displacement. Our project invites a approach of the comprehension of the creation from a personal path. In return, their creation is illuminated owing to the concept of space-time in the novel, without the disruption with the Chinese and Western traditions. Their transcultural poetic forces to consider differently the literariness in the literature produced by the Chinese diaspora. The second part is devoted to a comparison of the reception of their novels in France and in mainland China to show the complexity and the transversality of the cultural, social stakes and the different perceptions of the world. The significance of this artistic manifestation reinforces the hypothesis that the circular quest and transcendence through the scriptural and imaginary dialogue, can function as a different voice /way of understanding the human subject by allowing authors to become resonators of the world characterized by uncertainty and instability.

Este trabalho realiza uma leitura crítica da obra Corpo de baile de João Guimarães Rosa, composta por sete novelas independentes, com foco na sua unidade. O sertão de Corpo de baile constitui-se como um universo comum em suas dimensões geográfica, econômica, social, temporal, cultural e existencial. As personagens vivem sua condição transitória de vaqueiros e trabalhadores no sertão do gado e buscam um novo lugar social e geográfico onde possam encontrar sentido para suas vidas. O sertão também se transforma ao mesmo tempo que se constitui como ambiente quase anímico, encantado, que oferece contato com a natureza, revela o progresso à espreita como possibilidade ambígua de melhoria e ao mesmo tempo aniquilação de suas condições de existência. A morte da personagem Dito de Campo geral é emblema desse sertão que se forma aos olhos do leitor, carregando as condições de sua dissolução. As outras personagens protagonistas repetem os movimentos que configuram esse estado de coisas: o sentimento de exílio e o cálculo social, a identificação com um duplo e a experiência de uma luta de morte e a fixação em desejos, lembranças ou imagens. / This work does a critical reading of Corpo de Baile, by João Guimarães Rosa, focused on the unit of the seven independent short stories of wich it is made up. The sertão(backlands) in Corpo de Baile is a common universe in its geographical, economical, social, temporal, cultural and existential dimensions. The characters live their transitory condition as cowboys and rural workers of the cattle-raising regions of the backlands and seek a new social and geographical place where a meaning for their lives can be found. The sertão also changes itself into something else as it constitutes itself as an almost animical environment, enchanted, that offers contact with nature, it reveals the progress on the lookout as an ambiguous possibility of improvement and annihilation of its conditions of existence. The death of the character Dito from Campo Geral is a symbol of this sertão that establishes itself before the readers eyes carrying the conditions of its own dissolution. The other protagonists repeat the moves that shape that state of affairs: the feeling of exile and the social calculus, the identification with a double, and the experience of a death fight, and the fixation on desires, recollections or images.

A partir da narrativa bíblica, é possível analisar a vida e a atividade profética de Jeremias. Este homem foi um dos responsáveis pela estruturação da religião judaica na diáspora, uma vez que através da sua mensagem aos exilados, uma nova relação com a divindade pôde ser estabelecida. Suas idéias inovaram as condições de relacionamento entre divindade e povo, uma vez que a estrutura anteriormente existente tinha como base uma relação de suserania e vassalagem. Este modelo era encontrado nos tratados realizados entre os governantes dos grandes reinos do Oriente Médio, durante o período da antigüidade. Assim, para se entender as mudanças propostas por Jeremias e suas inovações, foi necessário realizar a caracterização dos modelos de aliança, acima mencionados. A partir disto, estudou-se alianças realizadas anteriormente entre a divindade e o povo de Israel. As palavras de Jeremias serviram para que uma nova forma de relacionamento com a divindade fosse estabelecida pela população judaíta deportada para a Babilônia. Esta nova base permitiu a preservação de uma tradição, cuja origem é muito anterior ao século VI a.C., que hoje denomina-se Judaísmo. / From the Biblical narrative, it is possible to analyze the life and the profetic activity of Jeremias. This man was one of the responsibles for the organization of the Jewish religion in the diaspore, since through its message to the exiled ones, a new relation with the deity could be established. His ideas innovated the foundations of the relationship between deity and people, because the previously existing structure had its base in a relation of suseranity and vassalage. This model was found in the treaties between the kings of the great kingdoms of the Ancient Near East. Thus, in order to understand the changes proposed by Jeremias and its innovations, it was necessary to caracterize the alliance models, mentioned above. From this standpoint, we could study the previous alliances carried out between the deity and the people of Israel. The words of Jeremias allowed the Judeans population deported to Babylon to establish a new form of relationship with the deity. This new base allowed the preservation of a tradition, whose origin goes well before the VI th century B.C., that is called today Judaism.