Cette thèse étudie des œuvres littéraires arabo-américaines contemporaines écrites par des femmes, plus spécifiquement les écrits d’Evelyn Shakir tels que Bint Arab, ainsi que plusieurs autres romans dont Arabian Jazz et Crescent de Diana Abu Jaber, The Inheritance of Exile de Susan Muaddi Darraj, The Night Counter d’Alia Yunis, et Once in a Promised Land de Laila Halaby. Elle montre comment ces œuvres construisent des univers où peuvent être interrogées les notions d’identité, de culture, d’ethnicité, et de genre. Les conflits quotidiens autour de l’identité sont traités en se fondant à la fois sur les œuvres critiques des femmes arabo-américaines et sur les études psycho-sociales du biculturalisme. De plus, ce travail met l’accent sur la formation de solidarités entre les femmes de couleur, en élargissant le concept de « conscience des zones frontalières » d’Anzaldua pour inclure les œuvres des écrivaines arabo-américaines. Les théories développées après la colonisation, particulièrement les études sur l’orientalisme à la suite d’Edward Said, sont également invoquées pour remettre en question le modèle oriental de la féminité. Enfin, cette thèse analyse la narration et son rôle dans la création d’un point d’ancrage pour les identités « exilées », insistant plus particulièrement sur la figure de Shéhérazade. Ce travail montre ainsi la façon dont les productions littéraires peuvent créer de nouveaux espaces pour comprendre les problèmes sociaux, politiques, culturels, ou ethniques. / This dissertation analyses contemporary Arab-American literary productions by female writers, specifically, Shakir’s collection of memoirs Bint Arab and her two short stories “Oh Lebanon” and “Name Calling,” as well as a selection of novels, Abu Jaber’s Arabian Jazz and Crescent, Darraj’s The Inheritance of Exile, Alia Yunis’s The Night Counter, and Laila Halaby’s Once in a Promised Land. It shows how these works construct a space which enables them to investigate questions of identity, culture, ethnicity and gender. Identity conflicts around everyday matters like physical appearance, color, dress codes, veiling, chastity, and marriage are addressed by drawing upon critical works by Arab-American female writers and psycho-social studies on biculturalism. Moreover, this work emphasizes coalition-building with women of color by extending Anzaldua’s concept of the “consciousness of the borderlands” to encompass works by Arab-American female writers. Theories by post-colonial thinkers, particularly Said’s studies on Orientalism, also contribute to the dissertation’s questioning of the Oriental model of womanhood. Finally, this dissertation envisages critical works that study storytelling and its role in creating a surrogate home for “exilic” identities, with special emphasis on the Scheherazadian narrative. This project views literary productions as an appropriate way to investigate social, political, cultural and ethnic issues. It shows how writings by Arab-American women contribute to exploring inner identity conflicts, how they connect with other minority groups, and how they create a new sense of home.

L’exotisme primaire, tel que décrit par Victor Segalen, est toujours très prégnant dans la société contemporaine, surtout quand il est lié à l’insularité. Ce phénomène est entretenu non seulement par les nombreuses productions littéraires des périodes de conquête coloniale et de création des empires mais aussi par les médias et le cinéma galvaudant inlassablement l’imagerie idyllique de l’île. En revanche, ce type de représentation s’estompe largement dans la littérature de l’océan Indien où la seconde génération d’écrivains notamment s’affranchit des canons coloniaux encore perceptibles chez la première génération. L’objectif initial de notre étude est donc de mettre en exergue les archétypes insulaires forgés pendant la colonisation et de démontrer les différents processus de leur effritement dans la littérature indianocéanique au fil des générations. Il s’agit ensuite de comprendre pourquoi les parangons insulaires sont déconstruits dans ce champ littéraire. À travers leur démarche, les auteurs indianocéaniques veulent-ils exprimer le désir d’une réappropriation identitaire, linguistique, territoriale et historique ? Souhaitent-ils par ailleurs affirmer leur inscription dans une littérature régionale pour mieux s’ouvrir à la mondialité, comme définie par Édouard Glissant ? En ayant pour support les théories, mouvements et concepts postcoloniaux parallèlement repris par les différentes recherches menées sur l’Exotisme, l’Insularité, la Créolité et la Littérature-Monde, nous voulons ainsi proposer des pistes d’analyse et de réflexion menant à une meilleure appréhension si ce n’est compréhension des univers esthétiques présents dans le bassin de l’océan Indien. / Primary exoticism as defined by Victor Segalen is still very relevant to the modern society mainly when it refers to insularity. This phenomenon is not only maintained by the numerous literary productions of the periods of colonial conquest and the establishment of empires but also by the media and the cinema overusing indefatigably the idyllic imaging of the island. However, this representation recedes widely in Indian Ocean literature where the second generation of writers in particular frees itself from the colonial ideals always perceptible in the first generation. The initial objective of our study is therefore to highlight the insular archetypes forged during the colonial period and to demonstrate the various processes of their erosion in the literature of the Indian Ocean over the generations. It is then a question of understanding why are the island paragons deconstructed in this literary field. Through their approach, do the authors of the Indian Ocean want to express the desire of an identity, linguistic, territorial and historic reappropriation ? Do they besides wish to assert their inscription in a regional literature to open better to the mondialité as defined by Édouard Glissant ? With the support of postcolonial theories, mouvements and concepts at the same time taken up by different studies on Exoticism, Insularity, Creoleness and Littérature-Monde, we so want to propose avenues for analysis and reflection leading to a better comprehension if not apprehension of the aesthetic universes found in the Indian Ocean basin.

Leaving Little Havana is the story of a young girl who leaves her comfortable middle-class home in La Habana just after the Cuban Revolution and, fighting to overcome cultural and language barriers, forges a new life in Miami. Dealing with a torn identity and discovering her voice are at the center of the narrative. After an endless string of escapades, she finally pulls herself together, learns the value of her inner strength by rising above bleak circumstances and gets accepted to journalism school in California. The book examines the devastating effects of immigration on a family and the struggle of a child of Cuban exiles, coming of age in a foreign society, to beat the obstacles that stand in her way to a stable and satisfying life. The narrator shows that Cuban immigrants share similar challenges with all who have aspired to make America their home.

Cette étude vise à apporter une première approche critique de l’ensemble des œuvres littéraires des Italiens émigrés en Tunisie. À mi-chemin entre colonisateurs et colonisés, mais confrontés à l’acculturation française, les Italiens de Tunisie revendiquent leur identité, leur langue et leur culture ancestrales. De quelle façon la nouvelle Rome pourra racheter l’Afrique « latine » et enfin reconquérir Carthage, que la France coloniale a usurpée, au détriment de l’Italie en imposant un protectorat ?Il s’agira dans un premier temps d’analyser l’émergence d’une écriture sui generis intimement liée à la présence d’une colonie d’expatriés réclamant l’héritage d’un passé lointain dont les vestiges ont façonné les paysages d’un pays qui représente, à bien des égards, une terre promise. Quelle est la mission de cette écriture tunisienne multiculturelle et d’expression allogène, aux marges des littératures française et italienne ?Dans le débat culturel qui se développe entre Français et Italiens, quelles sont les réflexions des uns et des autres au sujet de la question identitaire, de l’interprétation de l’Histoire, des multiples expérimentations littéraires ? Il sera question aussi d’étudier les différentes représentations de la Tunisie coloniale, de la communauté italienne et de la rencontre de l’Autre à travers séparations et partages. Quelles images d’un univers colonial au carrefour de la France, de l’Italie et de la Tunisie retiendrons-nous de ces écrits variés ?Les principaux textes analysés, au nombre de dix-huit, ont été rédigés par Antonio Corpora, Menotti Corsini, Francesco Cucca, Federico De Maria, Luigi De Paolis, Ercole Labronio, Cesare Luccio, Vito Magliocco, Guido Medina, Adrien Salmieri, Francesco Santoliquido, Giuseppe Sicurella, Mario Scalesi et Clarice Tartufari. / This study aims to provide a critical approach to literary works of Italians immigrated to Tunisia. Halfway between colonizers and colonized and having to face with French acculturation, Italians in Tunisia claim their ancestral identity, their language and culture. By what means the new Rome may redeem "Latin" Africa and finally win Carthage that colonial France usurped with the imposition of a protectorate, at the expense of Italy?First of all we will analyse the emergence of a sui generis literature closely linked to the presence of an expatriate colony claiming the legacy of a distant past whose remains have shaped the landscape of a country that is, in many ways, a promised land. What is the mission of an allogeneic multicultural Tunisian writing at the margins of French and Italian literatures?In the cultural debate that takes place between French and Italians, what are the respective arguments about identity, interpretation of history and the multiple literary experiments? This study also concerns the different representations of colonial Tunisia, the images of the Italian colony and the encounter with the other, through separations and shares. What pictures of a colonial world suspended between France, Italy and Tunisia emerged from these scattered works? The texts examined were written by Antonio Corpora, Menotti Corsini, Francesco Cucca, Federico De Maria, Luigi De Paolis, Ercole Labronio, Cesare Luccio, Vito Magliocco, Guido Medina, Adrien Salmieri, Francesco Santoliquido, Giuseppe Sicurella, Mario Scalesi and Clarice Tartufari.

Hàm Nghi (1871-1944), empereur patriote selon l’historiographie vietnamienne, victime ou acteur de la résistance anticoloniale selon les historiens français, fut exilé à Alger dans l’espoir de mettre fin au mouvement Cần Vương. Déporté à l’âge de dix-huit ans, pion sur l’échiquier politique de l’Indochine, il était considéré par une partie des autorités françaises comme un homme politique influent. Il fut surveillé toute sa vie et ne fut jamais autorisé à entrer en contact avec l’Indochine. Cependant, celui qui était désormais appelé « prince d’Annam », noua des amitiés avec des élèves vietnamiens au lycée d’Alger, des officiers et des missionnaires français, qui circulaient entre l’Indochine, l’Algérie et la métropole. Ces intermédiaires lui permirent de conserver un lien avec l’Indochine. Hàm Nghi consacra sa vie à l’art. Il devint peintre et sculpteur. Il fut l’élève du peintre orientaliste Marius Reynaud, du sculpteur Auguste Rodin, et fréquenta de nombreux artistes de son époque. Les archives nationales, vietnamiennes et françaises, nous apprennent les aspects administratifs de son exil : seul le point de vue du gouvernement français est alors connu. Les archives privées du fonds Hàm Nghi, récemment découvertes, apportent le regard intime de l’empereur exilé sur sa vie, par l’intermédiaire de sa correspondance. Ces documents permettent d’écrire une biographie et d’établir un catalogue raisonné de son œuvre. / Hàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné.

This diploma thesis deals with the Russian interwar period artist in exile - Ilya Dmitrijevich Shapov. He emigrated to Czechoslovakia in the 1920s and lived there for 25 years. He grew up in Czechoslovakia, graduated from art schools and began his artistic career. The work deals with the life and work of this artist and tries to place his work in the context of Czech art of the first half of the 20th century. In the Czech Republic, Shapov is represented by approximately 120 works (drawings, paintings, but also sculptures), which have not yet been further explored and interpreted. The basis for the elaboration of the thesis were archival materials, mainly from the collections of the Literary Archive of the National Literature Memorial and the Regional Archive of the Czech Republic.

A doctoral thesis “Czechoslovakian modernist illustration of the 1950s and 1960s and its influences in the contemporary Czech visual culture” is focused on how a modernist illustration of the 1950s and 1960s influences Czech contemporary authors, especially illustrators. We can witness a particularly strong influence of the above mentioned modernist illustration and visual culture of that period in general among producers employing digital tools and vector graphics served. The thesis contains a historical study which follows developments of the visual language of graphic arts (illustration in particular) in the 1950s and 1960s in relation to fine arts. There is a special focus on a position of the 1960s’ modernist illustration within the applied arts of the period. Biographical study dedicated to illustrator M. Šašek introduce key figure of the (late) modernist period.

[pt] Este trabalho estuda a sétima visão do profeta Zacarias (Zc 5,5-11). Apesquisa surgiu da análise das interpretações que apresentam as seguintes questões: 1. tendência misógina, que atribui à mulher o mal, em detrimento do significado do todo que foi revelado: o efá; o olho deles em toda a terra; os elementos utilizados para tampar o efá e aprisionar a mulher (disco, pedra e chumbo); 2. a remoção do mal, sem morte e destruição: duas mulheres com asas como de cegonha, com vento em suas asas, levantam o efá entre a terra e os céus e o levam para Senaar, onde uma casa será construída, preparada, e onde será assentado sobre sua base. Chama a atenção uma mulher sentada e aprisionada dentro de um efá. O objetivo do estudo é compreender o sentido da extraordinária imagem visionada e dos elementos revelados, no seu contexto sócio-religioso, e o significado teológico da visão. Para isso, foram feitos pesquisa bibliográfica dos últimos 50 anos, análise textual com utilização do método histórico-crítico e análise sincrônica, considerando o texto canônico. Diferentemente das interpretações existentes, que consideram a mulher pecadora e sedutora, concluiu-se que determinado grupo que retornava do exílio na Babilônia, com ideais proféticos, fiel à religião e às tradições, pretendia a mulher sentada no meio do efá (submetida) e prisioneira, por se mostrar com protagonismo com o qual o grupo não concordava. A remoção do mal com final feliz é a resposta de YHWH a este grupo, uma teologia, na qual prevalece a Pedagogia e o Amor divinos para com a mulher e os transgressores, a quem YHWH concede espaço e cuidado para que voltem e se reintegrem à sociedade. / [en] This essay aims to study the seventh vision of the prophet Zechariah (Zech 5:5-11). The research arose from the analysis of interpretations presenting the following issues: 1. a misogynist tendency, which associates women with wickedness to the detriment of the significance of all that was revealed: the ephah, their eye through all the earth; the elements used to cover the ephah and entrap the woman inside it (disk, stone, and lead); 2. the removal of wickedness without death and destruction: two women with wings like the wings of a stork, with wind in their wings, lift the ephah up between the earth and the heaven and take it to Shinar, where a house will be built and prepared for it, and it will be set there upon her own base. The image of an entrapped woman sitting inside an ephah is noteworthy. The objective of this study is to understand the meaning of the extraordinary image envisioned and the elements revealed in it in their socio-religious context, as well as the theological meaning of the vision. For this, a bibliographical research of the last 50 years was carried out alongside with textual analysis using the historical-critical method and synchronic analysis considering the canonical text. Unlike the existing interpretations that consider women as sinful and seductive, this paper concludes that a certain group of exiles returning from Babylon, faithful to religion and tradition and with prophetic ideals, intended for the woman to be sitting in the ephah, (submitted) as a prisoner, for presenting herself with a leading role with which they did not agree. The removal of wickedness with a happy ending is YHWH s response to this group, a theology in which divine Pedagogy and Love prevails towards women and offenders, to whom YHWH grants space and care to allow them to return and be reintegrated into society.

La fragmentation et l’aliénation, thèmes récurrents dans la littérature postcoloniale, sont représentées par le contenu et la forme des œuvres étudiées dans cette recherche. Dans un cadre historique et fictionnel, les romans postcoloniaux de Chinua Achebe et de V.S. Naipaul inscrivent le postcolonisé fragmenté et aliéné dans des lieux et des milieux différents. La quête identitaire de ce dernier, entre tradition et modernisation, a déclenché son déracinement. En effet, tiraillé entre l’Occident et l’Orient, le postcolonisé, dans les romans de ces deux écrivains, est aliéné géographiquement et culturellement, ce qui explique son instabilité et sa quête identitaire interminable. L’espace dans le roman postcolonial est fragmenté pour aliéner davantage le postcolonisé qui cherche à mettre fin à cette aliénation. La double culture – orientale et occidentale – participe non seulement à la perte d’identité culturelle, mais aussi à celle des personnages. À la rencontre de l’Autre ou de l’Occidental, les personnages achibiens et naipauliens essayent de cacher leur « peau noire » avec un « masque blanc » par le biais du mimétisme de cet Autre. Cette littérature est distinguée par son métissage, son intertextualité ainsi que son aspect linguistique qui font d’elle une littérature dialogique avec la littérature occidentale et notamment la littérature coloniale. Une telle littérature indigène, exprimée dans une langue étrangère, reflète un attachement et un détachement. La non-linéarité joue un rôle important dans cette fiction, vu que les récits sont décomposés et fragmentés tout comme les personnages. C’est ainsi qu’on peut dire que selon des thématiques et des stylistiques divers que ces deux écrivains postcoloniaux ont réussi à présenter au lecteur la fragmentation et l’aliénation du postcolonisé dans son milieu et son ère. / Fragmentation and alienation: recurring themes in the postcolonial literature, are represented by the content and the form of the studied literary works in this research. Within a historical and fictional setting, the novels of Chinua Achebe and V.S. Naipaul set the fragmented and alienated postcolonial figures in different places and surroundings. The quest for identity of these postcolonial figures, between tradition and modernization, has caused their uprooting. In fact, in the novels of these two writers, the postcolonial figures, who are torn between the Occident and the Orient, are geographically and culturally alienated. Hence, they are unstable and are in a never-ending quest. The setting in the postcolonial novel is itself fragmented so that it alienates more the postcolonial figures who try to make an end to this alienation. The double culture – oriental and occidental – does not only participate in losing the cultural identity, but also in losing the figures’ ones. While meeting the Other or the Occidental, the characters of Achebe and Naipaul try to hide their « black skin » under a « white mask » through the mimicry of this Other. This literature stands out by its hybridization, its intertextuality, as well as its linguistic aspect, which has turned into a dialogic literature, in a discourse with the occidental literature and notably the colonial one. Such an indigenous literature, revealed in a foreign language, shows an attachment and a detachment. The non-linearity plays an important role in this fiction, given that the tales are distorted and fragmented like the major characters of these stories. In this way, one can say that through varied thematic and stylistic features these two postcolonial writers have succeeded in presenting to readers the alienation and fragmentation of postcolonial figures within their surroundings and in their era.

The topic of this diploma thesis is to prove the author's deep roots in the Romanian literary tradition (Urmuz, I. L.Caragiale), to try to prove that the poetics of his famous plays is actually contained in his work from the 30's and echoes of his personal and artistic experience from Romania can be also found in his French mature creative period. Therefore, Ionesco's writings will be compiled for the first time in our country in its wholeness since Czech and Occidental interpreters and comentators have mostly ignored the author's Romanian period of creation. Key Words Eugen Ionescu, Eugène Ionesco, Romanian literature 20th century, French literature 20th century, The Theatre of the Absurd, Romanian literaly exile