This thesis focuses on the problem of transcendence as it appears in Patočka's most relevant papers covering all periods of his work. The problem, conceived as an act of an individual, is examined in its three structural moments - its How, Whence, and Whereto. As for the How, the thesis discerns two kinds of transcendence: a constant and unconscious one that is mostly a matter of sensual perception, and a deliberate one that consists in reflection and, in Patočka's papers from the 60s on, in practical action as well. The Whence is usually the sphere of calculability and utilitarity, or a state when man is distracted in manipulating things and identifies himself with roles that are connected with this manipulation. In all this, human mortality is in control. The Whereto, in Patočka, is symbolized as World, Universal Life, Idea, Being, Appearing and suchlike. In the experience of transcendence, the thesis discovers an active and a passive aspect that may be stressed more or less in particular descriptions. The same applies to the aspects of affirmation and negation between the act of transcendence itself and its empirical manifestations. The thesis, at last, shows three possible failures of transcendence, as indicated by Patočka. Powered by TCPDF (www.tcpdf.org)

Esta dissertação estuda comparativamente o grotesco presente no manuscrito Alices Adventures Underground, de Lewis Carroll e no filme Alice (1988) do diretor Jan Svankmajer. Considerando a diferença dos campos narrativos em que atuam, relevou-se a especificidade de cada suporte, identificando como cada artista desenvolveu a estética em seu trabalho. Para focar a análise, selecionamos alguns aspectos: o início das histórias, o personagem do coelho branco, as mudanças de tamanho sofridas por Alice, a união do humor e do horror e o encerramento das narrativas. Observamos como esses elementos, marcantes no manuscrito de Carroll, reverberam na obra do cineasta surrealista, levando à construção de um filme capaz de ampliar, com maestria, os elementos da estética do grotesco, estabelecendo um diálogo criativo com o escritor vitoriano. / This thesis studies, through comparison, the grotesqu e found in the manuscript by Lewis ,jer. In view of the difference between their narrative fields, the specific traits of each medium were taken into consideration, and it was recognized how both the writer and the film director developed aesthetics in their work. To refine the analysis, some aspects were selected: the beginning of the stories, the White Rabbit character, the size changes through which Alice goes, the joining together of hu mor and horror, and the ending of the tales. We remark how these elements, so distinguished in Carrolls manuscript, echo in the work of the surrealist filmmaker, leading him to the creation of a film capable of masterly increasing the elements in the aesthetic of the grotesqu e, establishing a creative dialogue with the writer from the Victorian era.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-16T13:11:30Z No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:13:31Z (GMT) No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:13:58Z (GMT) No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Made available in DSpace on 2016-07-13T14:13:58Z (GMT). No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) Previous issue date: 2015-08-13 / As Aventuras de Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou Lá , os livros mais famosos de Lewis Carroll, foram amplamente traduzidos intersemióticamente nos últimos 150 anos. Uma enorme quantidade de ilustrações, peças, balés, músicas, filmes, programas de TV e outros foram feitos por artistas conceituados e menos conhecidos. Não existe, no entanto, uma abordagem sistemática desse fenômeo no campo específico da intermidialidade e da tradução intersemiótica. Dois exemplos notáveis servirão para análise: uma famosa série de TV de Jim Henson, The Muppet Show , que foi ao ar entre 1976 e 1981, estrelando fantoches e uma pessoa convidada em que um episódio da quinta temporada levou Brooke Shields interpretando Alice em 1980; e um filme de 1988 com uma mistura de stop motion e animação pelo muitas diretor tcheco vezes premiado, Jan Švankmajer, intitulado Neco z Alenky . Pretendemos aqui comparar essas duas traduções dos romances de Alice, em que os tradutores escolheram características do livro opostas entre si, porém ambas de importância fundamental para a fonte. / Alice’s Adventures In Wonderland and Through the Looking Glass And What Alice Found There , Lewis Carroll’s most famous books, have been widely intersemiotically translated throughout the last 150 years. A number of illustration, plays, ballets, songs, movies, TV shows and others was made by renowned and lesser known artists. There is not, however, a systematic approach of this phenomenon in a more strict field of analysis of intermediality and intersemiotic translations. Two notable examples will serve for analysis: a famous TV series by Jim Henson, The Muppet Show , aired from 1976 to 1981, featuring puppets and a human guest, in which an episode from the fifth season starred Brooke Shields playing Alice in 1980; and 1988 film with a blend of stop motion animation by multiple prize winner Czech director Jan Švankmajer, called Neco z Alenky . We intend to compare these translations of Alice’s novels, in which translators choose opposingly distinct characteristics of the books, but both of fundamental importance to the source.

Jan Tschichold (1902-1974), typographe et théoricien de la typographie, est célèbre pour la rupture qui scinde son travail en deux corpus en apparence inconciliables selon les catégories traditionnelles de l’histoire de l’art : modernisme et traditionalisme. Dans les années 1920, il est en Allemagne, l’un des défenseurs de la « Nouvelle Typographie », conception avant-gardiste de la discipline influencée notamment par le Bauhaus. Après avoir émigré en Suisse suite à l’arrivée au pouvoir des nazis, il devient à partir de la fin des années 1930, un érudit de l’histoire de l’imprimerie, replaçant la forme traditionnelle du livre au centre de ses préoccupations. Comment expliquer cette rupture ? Nous proposons de répondre à cette question en décentrant notre regard des travaux de conception de Tschichold pour s’attacher à ses pratiques de lecture et d’écriture. Cela permet d’envisager son activité comme celle d’un professionnel intégré contraint de s’adapter à la mécanisation et l’automatisation de processus de travail autrefois artisanaux, en décalage avec l’image du créateur avant-gardiste franc-tireur dont il jouit parfois. En superposant aux outils conceptuels de l’histoire de l’art, les grilles d’analyse des historiens du livre, de l’industrialisation ou des sociologues, nous tentons d’apporter de nouveaux éléments de compréhension, non seulement concernant Tschichold, mais également le courant de la Nouvelle Typographie. De manière plus générale, nos recherches questionnent les notions de « typographie » et de « typographe », ainsi que les relations qu’entretiennent typographie, design graphique et publicitaire, peinture, photographie et architecture au XXe siècle. / Jan Tschichold (1902-1974), typographer and theorist of typography, is famous for the break that divides its work into two apparently irreconcilable corpora in the traditional categories of art history: modernism and traditionalism. In the 1920s, he is in Germany, one of the “New Typography” advocates, avant-garde design discipline particularly influenced by the Bauhaus. After immigrating to Switzerland (after the Nazis came to power), he became from the late 1930s, a scholar of the history of printing, replacing the traditional form of the book at the center of its concerns. How to explain this failure? We propose to answer this question by offsetting our view of Tschichold design work to focus on practices of reading and writing. This allows considering its work like a professional forced to adapt a craft to mechanization and automation, stepping out with the legend of the avant-gardist artist who is propagated by many books on the history of graphic design. By superimposing on the conceptual tools of art history, the analysis grids of the historians of book and printing, of the industrial revolution or the tolls of sociologists, we try to bring new elements of understanding, not only for Tschicholds career, but also the “artistic” movement of the New Typography. More generally, our work questions the notions of “typography” and "typographer" and the relationship between typography, graphic and advertising design, painting, photography and architecture in the twentieth century.

The thesis deals with the significant western Bohemian noble family of the younger Rabštejns in the turbulent "Hussite Century", known also as the short 15th century (1400-1485). The primary focus of the research is the examination of the lives and careers of individual members of the family, the most prominent of which are the Chancellor Prokop († probably 1470) and the humanist Jan (1437-1473), author of the famous Dialogus. Their critically written biographies, appropriately set in the context of the political, religious and cultural history of the given period, review the factual errors of present research and answer the question of how specific nobles of the Rabštejn family managed the dramatic events of the "Hussite Century". The explication elaborated based on a classic genealogical and biographical approach is supplemented by sections on the social and economic rise of the younger Rabštejns in the 15th century, using knowledge from a modern, dynamically developing study of social mobility, royal court issues and noble representation. This, along with extensive source and literary heuristics on which the thesis is based, enables us to look at the history of the studied noble family with multiple lenses and place it in a wider context. The sources used are critically examined, and their selection...

SAMMANFATTNING Det finns en problematik med städer som innehåller otrygga och exkluderande stadsrum,eftersom den demokratiska rätten till staden då hotas. Problemet grundar sig i detstrukturella förtryck mot personer som skiljer sig från den förväntade normen kring kön,etnisk tillhörighet, klass, sexualitet, funktionsvariationer samt könsidentitet och könsuttryck(Almén 2014). Detta ställer krav på planerare och arkitekter att inkludera olika målgrupper ien stadsutvecklingsprocess, för att på så sätt säkerställa att stadsrum både är utformade föroch används av en bred målgrupp. I syfte att främja den sociala hållbara stadsutvecklingen ären högst grundläggande faktor för att en plats ska kännas trygg att få folk att stanna kvar påplatsen och inte bara passera förbi. “Placemaking är […] att omvandla otrygga, outnyttjade stadsmiljöer till platser med enstark identitet som lockar människor. […] syftet är att öka användningen av det offentligarummet samt att skapa ett mervärde i stadsmiljön.” (Stiftelsen Tryggare Sverige 2018b) Utöver det egna insamlade empiriska materialet har en tillämpning av teoretiska perspektiv- i form av forskning, kartläggningar och konkreta modeller för platsutveckling - legat tillgrund för att föra studien framåt, både i förståelse av ämnet men även i form av praktiskatillämpningar. Underlaget har vidare delats in i följande kategorier: Placemaking, Feministisk Stadsplanering och Kartläggning av av mänskliga beteenden i urbana miljöer. Genom fyra faser används blandade metoder för att på ett varierat sätt undersöka deproblemformuleringar som ställs. Det hela startar i en enkätundersökning, som leder till enjämförande studie, vilken i sin tur leder till en etnografisk studie på den utvalda platsen, somslutligen mynnar ut i ett gestaltningsförslag. Hela studien är beroende av den föregåendefasen då slutresultatet är baserat på allt tidigare material som blivit insamlat. Utifrån det insamlade materialet, tidigare publicerad statistik och litteratur i feministiskstadsplanering formuleras en hypotes och teori som kan förklara varför kvinnor respektivemän upplever (o)trygghet i offentliga miljöer. Därmed gör vi ett eget teoretiserande omvarför samhället ser ut som det gör. Slutsatserna ur det observerade faktumet härleds ochexemplifieras i den sista fasen, genom ett gestaltningsförslag på Värnhemstorget. / ABSTRACT There is a problem with cities that contain unsafe and exclusive urban spaces since thedemocratic right to the city is threatened. The problem is based on the structural oppression ofpeople that differs from the expected norm regarding gender, ethnicity, social class, sexuality,disability, gender identity, and gender expression (Almén 2014). This requires planners andarchitects to include different target groups in the urban development process, to ensure thaturban spaces are both designed for and used by a broad target group. In order to promotesocially sustainable urban development, a fundamental factor for a place to feel safe is to getpeople to stay in the place and not just pass by. “Placemaking is […] about transforming unsafe, unused urban environments into placeswith a strong identity that attracts people. […] the aim is to increase the use of publicspace and to create added value in the urban environment.” (Stiftelsen Tryggare Sverige2018b) In addition to the own collected empirical material, an application of theoretical perspectives -in the form of research, surveys and concrete models for site development - has been the basisfor advancing the study, both in understanding the subject but also in the form of practicalapplications. The data has been further divided into the following categories: Placemaking,Feminist Urbanism and Mapping of human behavior in urban environments. Through four phases, mixed methods were used to examine the problem formulations in avaried way. It all started with a survey, which led to a comparative study, which then led to anethnographic study at the selected site, which ultimately resulted in a design proposal. Thewhole study was dependent on the previous phase as the finished result was based on allprevious material that had been collected. Based on the collected material, previously published statistics, and literature in feministurbanism, a hypothesis and a theory was formulated that could explain why women and menexperience (un)safety in public environments. Thus, we made our own theorizing about whysociety works the way it does. The conclusions from the observed fact were derived andexemplified in the last phase, through a design proposal for Värnhemstorget.

Phénoménologie de l'espace politique est une étude à la fois généalogique et phénoménologique d'un sujet auquel la philosophie ne se confronte que rarement, à savoir l'espace politique. Les principaux acteurs en sont Maurice Merleau-Ponty et Jan Patočka. Il s'agit donc d'une thèse de philosophie contemporaine, pour ce qui concerne les auteurs étudiés, tandis que l'objet de notre recherche est politique - comme en témoigne le fait que même l'expression «espace politique» n'est pas utilisée dans le domaine philosophique. Puisque notre objectif est de conduire une recherche à la fois politique et phénoménologique sur l'espace politique, il sera essentiel de l'aborder simultanément de ces deux points de vue. Il s'agira en effet de tracer une généalogie de l'espace politique, précédée par une étude phénoménologique du concept d'espace et de celle de mouvement. Nous en tirerons l'idée centrale de la partie plus proprement politique, à savoir l'opposition, dans la pensée politique moderne, entre apparition et représentation, ou en d'autres termes, entre immédiateté et médiation, que l'on peut trouver respectivement chez Machiavel et Hobbes et chez les auteurs qui, au XXe siècle, ont étudié leurs œuvres, notamment Maurice Merleau-Ponty, Jan Patočka et Carl Schmitt. C'est à partir de ces concepts d'apparition et de représentation, et de leur opposition, que nous allons développer une analyse à la fois phénoménologique et politologique de l'espace politique. / Phenomenology of Political Space is an attempt to provide both a genealogical and a phenomenological account of a subject that philosophy rarely confronts, namely political space. Our analysis thus encompasses all the dimensions of political space - political, historical, geographical, and juridical - without dismissing any of them. It aims at showing the intrinsic connection between phenomenology and modern and contemporary political thought. It does so by identifying the two opposing models of political space, respectively shaped by Machiavelli and Hobbes, which we claim correspond to two opposing systems of visibility: a logic of appearance versus a logic of representation. It then moves to the contemporary phenomenological approach and gives both a phenomenology of movement and a phenomenology of political space. The central idea is the opposition, in modern and contemporary political thought, between appearance and representation, or in other words, between immediacy and mediation, as the terms are used respectively by Machiavelli and Hobbes, as well as by other authors who, in the twentieth century, studied their works (Maurice Merleau-Ponty, Jan Patočka, Carl Schmitt). Our current research focuses on both their conceptions of movement, desire and fear; and on their interpretation of political space.

Sammanfattning Syfte: Med fokus på medelstora och stora svenska företags budgetanvändning syftar denna studie att kartlägga budgetens roll och framtidsutsikter. Detta genom att ta reda på i vilken omfattning budgeten används samt budgetansvarigas uppfattning samt nytta av styrverktyget. Studien syftar även efter att jämföra budgetansvarigas svar mot kritiken för att undersöka hur budgeten eventuellt kan utformas för att hantera den. Metod: En kvantitativ enkätstudie med 226 medelstora och stora svenska företag har genomförts. Studien har använt sig av olika univariata och bivariata metoder för att analysera variabler. Det empiriska resultatet har ställts mot forskares kritik av budgeten, den institutionella teorin samt tidigare resultat från Libby och Lindsays (2010) studie i Nordamerika. Slutsats: Budgetens kritik som studien studerat var från bland annat Wallander (1999), Neely et al. (2003), Hansen et al. (2003), Hope och Fraser (2003a; 2003b) samt Norton och Kaplan (2001). Studiens slutsats visar att kritiken i flera fall var överdriven, med exempel som att budgeten varken för företaget eller chefer tog i närheten av tiden som kritikerna uppgav. Även kritiken om användningen av budgeten som prestationskontrakt och att den skulle vara utbredd var överdriven där endast ett fåtal procent använde budgeten på detta vis. I andra fall används olika lösningar för att hantera kritiken med budgeten, med exempel som att en stor del av svenska företag tillåter revideringar i någon form under budgetåret samt har påskyndandeprocesser på plats för att hantera kritiken om att budgeten hindrar anpassning och är inflexibel.  Den jämförande delen av studien visade på flera skillnader mellan de svenska och nordamerikanska företagen. Mindre tid spenderas av svenska företag samt chefer i budgeten samtidigt som graden av detaljrikhet var mindre. Vidare är det enklare för svenska företag att få tillgång till resurser utanför budgeten samtidigt som budgeten i större utsträckning revideras. Slutligen används budgetar som fastställda prestationskontrakt i mindre utsträckning bland svenska företag. Dessa skillnader skulle kunna förklaras av Ekholm och Wallin (2000) samt Neely et al. (2003) som tar upp att Sverige länge har varit ledande inom alternativa lösningar till den traditionella budgeten. Vidare kan skillnaderna även bero på institutionella påtryckningar då de institutionella faktorerna generellt är starkare för den svenska populationen än den amerikanska (Honig och Karlsson 2013). Institutionell isomorfism kan även förklara skillnaderna mellan länderna (Dacin 1997). Slutligen hittades flera samband mellan enkätens variabler. En statistiskt signifikant positiv hittades mellan budgetens värde och graden av detaljrikhet. De nordamerikanska företagen hade dock nästan samma värde av budgeten som de svenska, samtidigt som de hade en högre detaljrikhet vilket leder till frågan när det extra värdet av en ökad detaljrikhet avtar. En signifikant korrelation hittades vidare mellan värde och budgetens koppling till strategi vilket bekräftar att budgetprocessen bör vara kopplad till strategiimplementering som Norton och Kaplan (2001) rekommenderat. Resultatet visade även en statistiskt signifikant korrelation mellan företagets storlek och företagets veckor till budget, men inte mellan företagets storlek och värde. Detta säger delvis emot Vaznonienė (2012) som menar på att större företag har bättre möjligheter att investera i budgeten vilket resultatet bekräftar, däremot förkastas det att mer resurser i form av tid bland de stora företagen bidrar till att budgeten blir mer relevant efter företagets behov då ingen signifikant korrelation mellan storlek och värde hittades. Större företag bör därför se över hur budgetprocessen kan effektiviseras, då den extra spenderade tiden inte adderar värde till budgeten. Det gick inte att hitta en statistiskt signifikant korrelation mellan värdet av budgeten och grad av förutsägbarhet. Att ingen signifikant korrelation hittades kan bero på att kritiken angående anpassning som hypotesen om korrelationen var baserad på inte var rättfärdigad bland de svenska företagen vilket var en av våra slutsatser under hypotes 3. / Abstract Purpose: With focus on the budget utilization of medium- and large-sized Swedish companies, this study aims to map out the role and future prospects of the budget. This by determining the extent to which the budget is used together with the perceptions and usefulness of the tool among responsible managers of the budget. The aim is also to compare the manager's responses with criticism to investigate how the budget can be designed to address these.  Method: A quantitative survey was conducted with 226 medium- and large sized Swedish companies. The study used both univariate and bivariate methods to analyze the variables. The empirical results were put against researchers' criticism of the budget, the institutional theory, and previous findings from Libby and Lindsays (2010) study in North America. Conclusion: The budget criticisms that were studied were from Wallander (1999), Neely et al. (2003), Hansen et al. (2003), Hope and Fraser (2003a; 2003b) and Norton and Kaplan (2001). The study's conclusion shows that the criticism in several cases was exaggerated, with examples such as that the time to budget for neither the company nor managers took close to the time stated by the critics. The criticism about the use of the budget as a performance contract and that the use is widespread was exaggerated, as only a few percent used the budget in this way. In other cases, different solutions are used to handle the criticism with the budget, with examples such as a large part of Swedish companies allowing revisions in some form during the budget year and having “fast-track” approval processes in place to deal with the criticism that the budget impedes adjustment and is inflexible. The comparative part of the study showed several differences between the Swedish and North American companies. Less time was spent on the budget by Swedish companies and managers while the degree of detail was smaller. Furthermore, it is easier for Swedish companies to access resources outside the budget at the same time as the budget is revised to a greater extent. Finally, budgets as established performance contracts are used to a lesser extent among Swedish companies. These differences could be explained by Ekholm and Wallin (2000) and Neely et al. (2003) who point out that Sweden has long been a leader in alternative solutions to the traditional budget. Furthermore, the differences may also be due to institutional pressures as the institutional factors are generally stronger for the Swedish population than the American (Honig & Karlsson 2013). Institutional isomorphism may also explain differences between countries (Dacin 1997). Finally, several correlations were found between the variables of the survey. A statistically significant positive correlation was found between the value of the budget and the degree of detail. However, the North American companies had almost the same value of the budget as the Swedish ones, while at the same time having a higher level of detail, which leads to the question when the extra value of increased detail decreases. A significant correlation was further found between value and the budget's association with strategy, confirming that the budget process should be linked to strategy implementation as recommended by Norton and Kaplan (2001). The results also showed a statistically significant correlation between the size of the company and the company's weeks to budget, but not between company size and value. This partly contradicts Vaznonienė (2012) who argues that larger companies have better opportunities to invest in the budget, which the result confirms, but it is rejected that more resources in the form of time among the large companies contribute to the budget becoming more relevant to the company's needs as no significant correlation between size and value was found. Larger companies should therefore review how the budgeting process can be streamlined, as the extra time spent does not add value to the budget. It was not possible to find a statistically significant correlation between the value of the budget and the degree of predictability. The fact that no significant correlation was found may be due to the fact that the criticism regarding adaptation on which the hypothesis of the correlation was based was not justified among the Swedish companies, which was one of our conclusions under hypothesis 3.

This study analyses the various culture-specific items known as realia words from the Italian novel Accabadora, written by Michela Murgia (2009) and translated into Swedish by Barbro Andersson (2012). Moreover, this paper also examines the various translation strategies used in rendering the specific culture items and their grade of frequency based on Jan Pedersen’s model. Finally, this study aims at testing the validity of Pedersen’s translation strategy model mainly aimed for subtitling and audio-visual translations on a literary text. A total of 160 culture specific items were identified and further subcategorized based on Bruno Osimo’s (2011) classification of realia. The ethnographic, geographic, social-political categories as well as the Sardinian realia were mostly translated by means of source text-oriented strategies while the category of idiomatic expressions displayed a slightly different outcome in which the target-text strategies were the most predominant but still featured by source target-text oriented strategies. The most frequent translation strategy in the first category was retention and direct translation whereas in the category of idiomatic expressions, cultural substitution and paraphrase followed by retention were the most frequently used strategies. Finally, the possible reasons for the choice of source-text versus target-text oriented strategies were further discussed. / Questo studio analizza i vari termini culturospecifici conosciuti come "realia" rinvenuti nel romanzo di Michela Murgia (2009) tradotto in svedese da Barbro Andersson (2012). Inoltre, questa tesi intende esaminare le varie strategie traduttologiche adoperate in modo da rendere i realia nella traduzione in svedese e la loro frequenza basato sul modello di Jan Pedersen. L’ulteriore obiettivo di questo studio è di testare la validità del modello delle strategie traduttologiche di Pedersen, le quali sono principalmente disegnate per le traduzioni dei sottotitoli audio visivi su un romanzo letterario. Un totale di 160 termini culturospecifici sono stati individuati e categorizzati secondo la classificazione dei realia di Osimo Bruno (2011). I realia etnografici, geografici, socioeconomici insieme ai realia sardi sono stati tradotti principalmente applicando strategie rivolte verso l’adeguatezza mentre le espressioni idiomatiche hanno mostrato un risultato leggermente diverso in quanto è emersa una forte tendenza di strategie volte verso l’adeguatezza, ma allo stesso tempo caratterizzata da una forte presenza di strategie volte verso l’accettabilità. Le strategie più adoperate nella prima categoria sono risultate retention e direct translation mentre nella categoria delle espressioni idiomatiche hanno avuto la predominanza le strategie traduttologiche come cultural substitution e paraphrase seguita da retention. Infine, lo studio analizza i vari motivi di tali scelte traduttologiche rivolte verso l’adeguatezza anziché l’accettabilità.

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