Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero. / This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.

L’écrivain tchèque Jan Cep (1902-1974), qui compta au nombre des médiateurs importants des rapports culturels franco-tchèques dans l’entre-deux-guerres, fut, à la suite du Coup de Prague en 1948, contraint à quitter son pays. Ami et traducteur de Pourrat et de Bernanos, il choisit naturellement la France comme patrie d’adoption. L’exil parisien s’avère pour Cep une rude épreuve existentielle. Conditions matérielles dures, déracinement linguistique, manque d’écho favorable pour son oeuvre, tout cela fait que Cep vit en marge de la vie littéraire française. Il s’engage d’autant plus dans diverses structures de l’émigration tchèque, notamment dans la rédaction tchécoslovaque de Radio Free Europe où il déploie son art de l’essai dans des méditations imprégnées d’humanisme chrétien. L’essai autobiographique Ma soeur l’angoisse que Cep écrivit directement en français dans les années 1960, représente la somme de sa vie et de sa pensée / The Czech writer Jan Cep (1902-1974), one of important mediators of French-Czech cultural relations between the two World Wars, was forced to emigrate after the Communist coup in 1948. As Cep was the friend and translator of Pourrat and Bernanos, he naturally chose France as his adoptive homeland. Nevertheless, exile in Paris turned into a harsh existential ordeal for Cep. Difficult material conditions, linguistic disunity, and the fact that his writing was not accepted by a new audience made Cep an outsider in a French literary life. This status led to his increased involvement in the Czech émigré community, especially work on the Czechoslovak editorial staff of Radio Free Europe, where he developed his essay style in meditations infused with Christian humanism. The autobiographical essay My Sister Anxiety, written in French in the 1960s, repesents a summary of Cep’s life and ideas / Ceský spisovatel Jan Cep (1902-1974), jeden z významných prostredníku meziválecných cesko-francouzských kulturních vztahu, byl po komunistickém puci v roce 1948 prinucen k emigraci. Jako prítel a prekladatel Pourratuv a Bernanosuv si za svou adoptivní vlast zcela prirozene zvolil Francii. Parížský exil se však Cepovi stal drsnou existenciální zkouškou. Tvrdé materiální podmínky, jazyková rozpolcenost, neprijetí jeho díla novým publikem, to vše je prícinou, že Cepuv exil se odehrál na okraji francouzského literárního života. O to více se Cep zapojoval do ruzných struktur ceské emigrace. Zcela mimorádný byl jeho prínos v ceskoslovenské redakci Rádia Svobodná Evropa, kde rozvinul své umení eseje v meditacích skrz naskrz proniklých krestanským humanismem. Sumu svého života a myšlení podal Cep v autobiografickém eseji Sestra úzkost, kterou napsal v šedesátých letech prímo francouzsky

Cette thèse vise à démontrer que les travaux de l’historien d’art et d’architecture britannique d’origine allemande Nikolaus Pevsner (1902-1983) ont joué un rôle majeur dans l’accession de l’histoire de l’art et de l’architecture au statut de discipline universitaire au Royaume-Uni à partir des années 1930-1940. L’étude de ce cas particulier et des constellations et réseaux qui entrent en jeu durant son émigration vers l’Angleterre en 1933 apportent un éclairage différent sur le champ de l’histoire des migrants intellectuels en rappelant le conflit latent entre l’idéal d’universalisme de la science et les vecteurs socio- culturels nationaux qui président aux déplacements transnationaux.Notre recherche se concentre sur les transferts méthodologiques, institutionnels et historiographiques qui ont fait de la carrière de Pevsner un moment-clé de l’historiographie de l’art, de l’architecture et du design et aborde les domaines suivants : la question du Mouvement moderne, l’utilisation du concept d’espace dans le discours architectural d’après le principe de l’empathie (Einfühlung) ou encore dans l’exploration, à travers la méthodologie de la géographie de l’art, de la production artistique et du patrimoine architectural du pays d’accueil de Pevsner.Il s’agit de montrer que l’oeuvre de médiateur d’un historien d’art entre sa matière et la société se déploie aussi hors du seul cadre universitaire. Cette thèse expose comment Pevsner se fait une place dans la culture britannique en tant qu’éditeur, homme de radio, critique d’art, autant d’activités qui se basent sur des modèles allemands, mais qui font progressivement de l’historien déplacé, interprète de sa culture d’accueil, une véritable institution culturelle. / This thesis demonstrates how the works of art and architectural historian Nikolaus Pevsner (1902-1983), a British scholar of German origin, played a major part in the accession of the history of art and architecture to the status of an academic discipline in the United Kingdom in the 1930s and 40s. This case study, along with the various networks that played a part in his displacement from Germany to Britain in 1933, sheds a different light on current research on the history of émigré intellectuals, as it seeks to show that there is a latent conflict between the ideal of universalism in science and the national socio-cultural vectors at play in transnational displacements.Our research focuses on methodological, institutional and historiographical transfers that made Pevsner’s career into a milestone in the historiography of art, architecture and design. It tackles the main aspects of his contribution, from the issue of the Modern movement, through the use of the concept of space in the architectural discourse based on the principle of empathy (Einfühlung), to the exploration of the artistic production and the architectural heritage of Pevsner’s country of adoption.Our contention is that the role of an art historian as a mediator between his subject and society goes beyond the realm of academia. This thesis shows how Pevsner found a place in British culture as editor, broadcaster and art critic, while basing these activities on German models, and how these activities gradually transformed an interpreter of culture into a cultural institution.

L’œuvre fictionnelle et critique de Maurice Blanchot entretient des rapports intenses avec la philosophie et la littérature allemande. Alors que la relation de Blanchot à la philosophie allemande a été largement étudiée, la thèse suivante porte sur son rapport à « l’espace littéraire »allemand – beaucoup moins analysé – et en particulier sur le « genre » fragmentaire qui fonde toute l’œuvre blanchotienne. Après un bref retour sur cette notion polysémique et complexe, on découvre dans les différents chapitres les empreintes profondes laissées par Franz Kafka et Paul Celan dans l’œuvre de Blanchot autour de cette « expérience du fragmentaire » vécue par les trois auteurs selon des modalités différentes.La première partie expose les liens qui unissent les trois auteurs afin d’explorer dans la deuxième partie les caractéristiques communes aux trois écritures fragmentaires. L’exil, la rupture imposée par la Shoah, la lecture comme processus de fragmentation, le rapport entre inconscient et écriture fragmentaire, l’esthétique du blanc et du vide, qui habite ces écritures, sont quelques uns des axes principaux de cette étude. Un des apports de cette recherche est la redéfinition du fragmentaire comme « style » à part entière. De plus, l’ensemble du travail est enrichi d’annexes regroupant notamment des manuscrits de Blanchot qui permettront au lecteur de saisir cette expérience à l’œuvre. / Both fictionnal and critical works of Maurice Blanchot have intense relations with the germanliterature and philosophy. But, whereas Maurice Blanchot’s relation to the german philosophy hasbeen widely studied, the following thesis cares about the german « literary space » – far lessanalysed – and more particularly about the fragmentary « genre » that structures the whole of Blanchot’s work. After briefly going back on this complex and polysemous notion, we discoverthrough the different chapters the deep imprints that both Franz Kafka and Paul Celan left onBlanchot’s work around this « fragmentary experience », which the three authors each livedaccording to different modalities.The first part of the work shows the links uniting the various authors so as to explore in the secondpart the common features to the three fragmentary writings. Among the various axis of this studyare the notion of exile, the breaking imposed by the Shoah, the experience of reading as a processof fragmentation, the relation between unconsciounesss and fragmentary writing, the aesthetics ofwhite and emptiness present in the works. One of the contributions of this research is that itredefines the fragmentary genre as a full-fledged style. Further more, the whole of the work is enhanced by annexes bringing together in particular some of Blanchot’s manuscripts. These willhelp the reader understanding this experience in process.

Essa pesquisa tem como objetivo central mostrar que os projetos de integração latino-americana por meio da canção, construídos ao longo da década de 1960 e dos anos iniciais da década de 1970, não foram destruídos pelas ditaduras militares que se instalaram nesse período na América Latina. Ainda que os novos regimes tenham tido como objetivo claro aniquilar toda e qualquer experiência de arte política, tentando desarticular as redes de arte engajada que haviam se formado nos períodos pré-golpes, os artistas acabaram encontrando estratégias de sobrevivência diante do novo contexto. Aqueles que ficaram em seus países seguiram militando na clandestinidade. Mas o destino de grande parte dos músicos engajados latino-americanos na década de 1970 foi o exílio. A instalação desses grupos nos países de acolhida dependeu em grande medida da articulação de redes de solidariedade, que pretendiam dar suporte aos exilados e também organizar ações de resistência e denúncia da violência das ditaduras. Esses movimentos de solidariedade encontraram na produção de discos um caminho de ação política; refletir sobre essa rede musical de solidariedade, tomando os discos como fontes principais e objetos de análise, é um dos objetivos principais deste trabalho, a fim de entender como a mobilização da resistência passou pela veiculação de discursos políticos por meio de canções. Para além dos discos produzidos pela solidariedade, outro importante objetivo deste trabalho é refletir sobre a obra musical desenvolvida no exílio por importantes artistas ligados à nueva canción latino-americana. A consciência de que a experiência do exílio não seria tão breve e provisória quanto se havia imaginado inicialmente fez com que os músicos buscassem espaço na indústria cultural dos países de acolhida de modo a retomar suas obras fonográficas, que passaram a refletir sobre a experiência do exílio e os caminhos possíveis para a resistência ao autoritarismo. / The main aim of this research is to show that Latin American integration projects by music, built during the 1960s and early 1970s, were not destroyed by the military dictatorships that settled in Latin America by this time. Although the new regimes had the clear objective of annihilating any experience of political art, trying to destroy the networks of committed art that had been formed in the pre-coup periods, the artists ended up finding strategies of survival in the new context. Those who stayed in their countries went underground. But most of the Latin American committed musicians in the 1970s went to the exile. Their stay in the host countries was largely determined by the articulation of solidarity networks, which tried to support the exiles and also organize actions of resistance and dictatorships violence reports. These movements of solidarity found in the disc production a path of political action; one of the main aim of this work is to reflect on this \"musical network of solidarity\", taking the discs as sources and objects of analysis, in order to understand that the mobilization of the resistance has been based on the transmission of political speeches through songs. In addition to the albums produced by solidarity, another important aim of this work is to reflect on the musical work developed in exile by important artists linked to the nueva canción. The awareness that the exile experience would not be as brief as they had imagined at first made the musicians seek space in the cultural industry of the host countries in order to resume their phonographic works, which began to reflect on the experience of exile and possible ways of resistance to authoritarianism.

The subject of this dissertation is the representation of temporality, trauma and sexuality in Antanas Škėma’s fiction. The chapter “Temporal structures” examines temporal order in the writer’s novella “Isaac” according to Genettes narratology. The analysis reveals deliberately inserted mechanisms in the construction of the text, which disrupt the narrative investigation. A survey of temporal structures exposes invented events in the text and the definitions of “factual reality” and “imaginary reality” are introduced. The narrative analysis results in a hypothesis that Škėma’s text has been constructed as an imitation of human memory and as a representation of the factual reality outside the text. The chapters “Representation of trauma” and “Representation of sexual perversion” use Freud’s trauma theory and sexual theory as a method. Trauma appears to constitute the construction of the narrator and his urge to distort temporal links between the narrative and the story. When the narrator in Škėma’s “Isaac” focuses on the depiction of sexually perverted consciousness, the text affects the reader by forcing him to break off his horizons of expectation. The depiction of rape in Škėma’s fiction links the themes of sexuality and power and of sexuality and trauma. The writer detaches the representation of sexuality from the definition of love: sexuality, portrayed in the analyzed texts, appears to create its own norms. This is one of many ways to transform the depiction of sexual perversion into a social norm in Škėma’s narrative. The chapter “Škėma’s Autobiography and literary critics” provides a re-reading of the writer’s autobiography and his journalistic texts. The chapter ”Publication and reception of Škėma’s fiction” provides a compiled reading of earlier research and a survey of the writer’s books published in exile.

The most important 1920’s men’s choral composer, Erwin Lendvai, is used in this lecture as an example to demonstrate some compositional steps that were taken to save the genre. Contemporaries praised him as a bold innovator of men’s choir. His writing is highly professional and his experience as a conductor shows in every detail. Stylistically, his music is a mixture of chromatically altered extended tonality and polyphonic principles found in the kind of boyish and unmannerly Renaissance songs Lendvai was familiar with, due to his transcriptions in the style of the “Jugenmusikbewegung”. He connects two ultra-modern tendencies of the time, namely linear counterpoint (no longer exactly in the sense of Ernst Kurth) and a morbid post-wagnerianism, both en vogue and equally fascinating.

The figure of the Tibetan Buddhist nun as a female monastic is situated within a matrix of complexities and contradictions that are constituted by textual and doctrinal sources, Tibetan social views on gender and female monasticism, and experiential realities. In order to understand the situation of nuns, one first must understand that monasticism, mainly the order of monks, has been a highly respected and financially supported institution in Tibetan society for centuries. However, because the histories of Tibetan nuns and female renunciants have gone primarily undocumented, their lineages and stories are much more opaque than those of Tibetan monks. Therefore, most of the scholarship on female Buddhist practitioners, with the exception of a few extraordinary yoginis, dates after the Chinese occupation of Tibet in the 1950s. Historically it is believed that there were a few great nunneries that existed centuries ago, but the majority of Tibetan nunneries have been smaller and lacking in the lay support and funding granted to monasteries. Currently, however, the landscape of Tibetan nuns is beginning to shift, as new resources and educational opportunities are beginning to be made available for Tibetan nuns in exile. It is on these nuns and nunneries in exile that this thesis will focus.

Al costat de la causa republicana va estar majorment la societat argentina, però el govern es va amagar darrera una política de abstenció amb respecte a la mateixa, primer, i de reconeixement del nou govern espanyol després, encobrint una conducta conservadora que recolzava la causa nacional. El conflicte espanyol va ser un dels fets que majoritàriament va impactar en la societat i política argentina fragmentant partits, produint escissions en els Centres regionals i fent que el govern adoptés mesures opressores a l’oposició, a més de restringir les polítiques migratòries. El refugiat republicà va passar a convertir-se en un refugiat indesitjable. Primer fou la guerra civil, després l’exili provocant que la societat hispano-argentina intensifiqués tot un sistema d’ajudes que havien estat agilitzant des del principi mateix de l’enfrontament, a traves de centenars d’organitzacions i comitès d’auxili pro-republicans. La premsa bonaerense y de Mar del Plata, independent o de partit, a través del seu rol com actriu política i creadora d’opinió pública no fou indiferent a l’esdeveniment espanyol. / A favor de la causa republicana estuvo mayoritariamente la sociedad argentina, sin embargo el gobierno se salvaguardó detrás de una política de prescindencia con respecto a la misma, primero, y de reconocimiento del nuevo gobierno español después, encubriendo una conducta conservadora que apoyaba la causa nacional. El conflicto español fue uno de los sucesos que mayormente impactó en la sociedad y política argentina fragmentando partidos, produciendo escisiones en los Centros regionales y haciendo que el gobierno adoptara medias opresoras a la oposición, además de restringir las políticas migratorias. El refugiado republicano pasó a convertirse en un refugiado indeseable. Primero fue la guerra civil, después fue el exilio provocando que la sociedad hispano-argentina intensificara todo un sistema de ayudas que habían estado agilizando desde el inicio mismo de la contienda, a través de centenares de organizaciones y comités de auxilio pro-republicanos. La prensa bonaerense y de Mar del Plata, independiente o de partido, a través de su rol como actriz política y creadora de opinión pública no fue indiferente al evento español. / Favourable to the republican cause was the Argentinean society, however the government initially chose an abstention’s position and than recognized the new Spanish government, hiding a conservative policy supporting the national cause. The Spanish conflict was one of the events that most had an influence on the Argentinean society and politics dividing parties and Regional Centres. The government passed measures against any possible political extremism and limited the migration policies, as far as possible. Therefore the republican refugees became undesirable exiles. First the Civil War and then the exile pressed the Spanish-Argentinean society to create, and intensify, a system of assistance working through hundreds of pro-republican organizations and committees. The press of Buenos Aires and Mar del Plata, independent or not, through its role as political actor and creator of public opinion was not indifferent to the Spanish event.

My thesis is a critical essay thematically focused on the fate of the body in the postmodern condition. In this thesis a fundamental question is posed: What happens to the (postmodern) body under the double pressure of postmodern technology and culture? Is the postmodern body altered under the pressure of postmodern technology and culture? How contemporary thought and architecture impact the body will also be examined. This thesis discusses the above questions through several key concepts such as exilic conditions, heterotopias and ‘trans’ states of being. After elaborating on these issues, this thesis attempts to design an architectural project “Hamam Complex” on a unique natural island in the Bosporus strait that separates the Western and Eastern worlds.