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The diploma thesis deals with theme of racism and its narrative representation in art. It consists of three main parts. The first part of thesis defines racism and explains essential themes and concepts which bear on racism. It also briefly points out the historical development of racism. In the second part thesis deals with the narratology as theory of narrative. It explains what the story is and shows the main parts of each story - event, character, environment. In the third and last part of thesis, it focuses on analysis of selected film and literary stories where is rasism the important topic. It focuses on the way of picture the racism in narrative structure and its impact on characters and human society. That part describes storyline or characters related to racism.

Over 50 years ago, Marshall McLuhan (2003), a specialist in communication issues, said that the world is becoming smaller and smaller every starting day, a result of the emergence of modern communication around the world. This situation has given birth to the conept `new technology´. This article will break down this new concept by looking at it through the lens of oral literature, which is used in Swahili communities. However, oral Swahili literature uses Kiswahili language, which is the languagge of communication at different levels throughout East and central Africa. The article will examine the ideals and opinions connected to oral literature described in the existing academic literature, and as one of the genres of narrative literature. It will look at the way in which the concept of new technology is explained by specialists, and in which ways this connects to oral literature. Advantages and effects which came about in the society after the coming of this notion will be discussed. The article ends with a conclusion and possible recommendations.

Given the strong emphasis on plurality, which is so characteristic of current masculinity studies, the relationship between masculinity as a concept and its plural forms has to be rethought. If we conceive of masculinity as having a largely discursive and narrative structure and accept that narrative is an ontological condition of social life which exemplarily manifests itself in literature and the arts, it is precisely here that a plethora of narratives of masculinity becomes ‘visible’, with the performative function of narrative allowing for a variety of new masculine gender identities and subject positions that only become available through their conception in literature/the arts.

Paiwan（排灣）祖源及遷徙敘事相當豐富與多元，反映出此民族組成的複雜程度與多層面。口傳敘事乃一民族之集體記憶、知識、感官與思想，具有歷史性、文化性之價值。因此，本論文即以Paiwan（排灣）祖源及遷徙口傳敘事為素材，試圖進行起源敘事脈絡、文化面貌以及民族史溯源的分析。 本論文章節安排除緒論與結論外，共分為五章進行探討。第壹章以排灣口傳敘事文學的義界與評述為主，針對口傳敘事文學之定義、歷來研究成果的回顧與評論，並由前人採錄成果來診斷目前口傳敘事的活力。第貳章聚焦於「地」生起源敘事的分析，從Paiwan（排灣）土地思維切入，探索包含石生、竹生、蛇生、壺生、人類再生等母題。另外，也解析階級系統與Vusam（長嗣）思維與起源敘事之關連以及象徵意涵，接著分析其分布區域。第參章以太陽卵生敘事討論為主，針對其文學性質、象徵意涵、Naqemati神權觀念與分佈等進行深度分析。第肆章則進入遷徙敘事文學的探究，從遷徙動因、過程，以及遷徙後的部落社會，理出遷徙階段的模式。另外，進一步探討新王族的誕生對階級文化的影響。第伍章則對於祖源及遷徙說之脈絡進行分析，以及探討其穩固階級制度、維護部落秩序之功能，最後對於歷來Paiwan（排灣）起源史脈絡的論述提出反思，進而提出本文之觀點。 本研究結果發現，祖源其遷徙口傳敘事反映umaq（家）的思維，而且概念也投射至整個社會文化。再來，祖源敘事之形成脈絡是由石生→竹生→太陽卵生、蛇生、壺生→人再生，其象徵與生命起源、農耕社會有關。另外，透過考古資料與本研究成果交相比對，推測出祖源敘事有其對應人群間接證實Paiwan（排灣）起源的多元性。遷徙敘事方面，本文發現Paiwan人遷徙有多種動因，並且其模式可得出「重新出發型」與「持續探索型」兩種。接著，本文也探究出移居地新王族的產生模式出現“創立式”、“封立式”、“協議式”王族等類型。最後，經由多元混生的發現，歸納出Paiwan（排灣）人的起源脈絡，歷經原始遷徙與漂流時期→新文明時期→多元發展時期。 / This thesis is based on the origin and migration of Paiwan ancestors oral narrative material, attempted origin narrative context, cultural landscape, analysis of national history traceable. Chapters arranged in addition to the introduction of this thesis and conclusions, is divided into five chapters explore. The first chapter is to discuss the Paiwan oral narrative literature. The second chapter focuses on the analysis of the origin of terrestrial narrative. The third chapter in the sun Oviparous main narrative discussion. The fourth chapter is to explore narrative literature of migration. The fifth chapter is the analysis of ancestral origin and migration of narrative context. The results of the study found that the source of their ancestral migratory oral narratives reflect Umaq (home) thinking, and the concept is also projected to the whole of the social and cultural. Second, the ancestral origin of the formation of the narrative context: Born from the stone→bamboo→sun→snakes, pot→humans. Its symbol and the origin of life, farming community concerned. In addition, through the archaeological data and the results of this study compare. Found that narrative has its corresponding source ancestral population, and can further confirm the origin is the diversity of the Paiwan. Narrative aspects of migration, we find Paiwan people migrate for many reasons, and "re-start type" and "continue to explore the type" modes. The study also found that emigrated to produce leaders modes are: creation, division, agreement. Finally, through the Amalgamation concept, can find the origin of the context of the Paiwan people through: The original period of migration and drift→The new era of civilization→ Multiple development period.

Over 50 years ago, Marshall McLuhan (2003), a specialist in communication issues, said that the world is becoming smaller and smaller every starting day, a result of the emergence of modern communication around the world. This situation has given birth to the conept `new technology´. This article will break down this new concept by looking at it through the lens of oral literature, which is used in Swahili communities. However, oral Swahili literature uses Kiswahili language, which is the languagge of communication at different levels throughout East and central Africa. The article will examine the ideals and opinions connected to oral literature described in the existing academic literature, and as one of the genres of narrative literature. It will look at the way in which the concept of new technology is explained by specialists, and in which ways this connects to oral literature. Advantages and effects which came about in the society after the coming of this notion will be discussed. The article ends with a conclusion and possible recommendations.

Cette thèse de doctorat met en lumière les stratégies narratives déployées dans le récit français actuel pour représenter et construire son présent. L’hypothèse principale que cette recherche vérifie est la suivante : la littérature narrative d’aujourd’hui, par le recours à une énonciation entremêlant discours et narration ainsi que par une utilisation critique et pragmatique du passé, réplique au « présentisme » observé par François Hartog, cette perspective sur les temps dont le point d’observation et le point observé sont le présent. Les écrivains contemporains mettent en place un régime de temporalités où passé et avenir sont coordonnés au présent pour pacifier le rapport entre les trois catégories temporelles et faire apparaître un présent qui, sinon, demeure narrativement insaisissable ou soumis à l’autorité d’un passé ou d’un avenir qui dicte ses actions. En distinguant leurs textes du genre romanesque et du mode narratif qui le compose, Pierre Bergounioux, François Bon, Olivier Cadiot, Chloé Delaume, Annie Ernaux, Jean Echenoz et Olivier Rolin, entre autres, s’inscrivent dans la tradition énonciative du récit, ici entendu comme genre littéraire où l’énonciation et le texte en formation sont à eux-mêmes leur propre intrigue. Le sujet d’énonciation du récit contemporain cherche à élucider son rapport au temps en ayant recours à des scènes énonciatives qui ont à voir avec l’enquête et l’interlocution, de manière à ce que d’une anamnèse personnelle et intellectuelle, de même que de la confrontation d’une mémoire avec son récit jaillissent les caractéristiques d’une expérience du présent. Or, une des caractéristiques du présent expérimenté par le sujet contemporain semble être une résistance à la narration et au récit, rendant alors difficile sa saisie littéraire. Cette opposition au récit est investie par des écrivains qui ont recours, pour donner à voir l’immédiateté du présent, à la note et au journal, de même qu’à des genres littéraires qui mettent en échec la narration, notamment la poésie. En dépit de leurs efforts énonciatifs pour extraire le présent de l’opération qui le transforme en passé, ces écrivains font tout de même l’expérience répétée de la disparition immédiate du présent et de leur incapacité à énoncer littérairement un sentiment du présent. Le seul moyen d’en donner un aperçu reste alors peut-être de chercher à construire le présent à partir du constat répété de l’impossibilité d’un tel accomplissement. / This doctoral thesis highlights present-day French authors’ narrative strategies used to illustrate and conceive the present. Our central hypothesis is that through an act of utterance intermeshing discourse and narration, as well as the critical and pragmatic use of references to the past, today’s narrative literature offers a counterpoint to the “presentism” described by François Hartog (i.e. a retrospective look at eras in which the present is both the vantage point and the point under observation). By so doing, contemporary authors offer a system of historicities where the past and the future are linked to the present in order to reconcile the link between the three temporal categories and reveal a present which, otherwise, would remain narratively elusive or subrogated to the authority of a past or a future that dictates its behaviour. By distancing their works from the fictional genre and from the narrative form it embodies, Pierre Bergounioux, François Bon, Olivier Cadiot, Annie Ernaux, Chloé Delaume, Jean Echenoz and Olivier Rolin, amongst others, are part of the enunciative tradition of the narrative, considered here as a literary genre in which the enunciation and the text in gestation are, in and of themselves, their own intrigue. In the contemporary narrative, the aim of the enunciation subject is to clarify its relationship to time by using enunciative scenes having to do with this quest and the conversation so that from a personal and intellectual anamnesis, as well as from the clash of a memory with its recounting, emerge the characteristics integral to the present experience. And yet, one of the characteristics of the present that the contemporary subject experiences seems to be a resistance to narration and to storytelling, which makes it almost impervious to literary analysis. Authors take up this opposition to storytelling by using, in an effort to bring the immediacy of the present to the foreground, the note, the journal entry, and literary genres that thwart narration, such as poetry. In spite of their enunciative efforts to distil the present from the operation that transforms it into the past, these authors are nevertheless faced, time and again, with having to live the immediate dissipation of the present and their inability to capture in a literary form its essence. Perhaps the only way to offer a glimpse of this is to try to create the present by repeatedly showing the impossibility of such an achievement.

Cette thèse de doctorat met en lumière les stratégies narratives déployées dans le récit français actuel pour représenter et construire son présent. L’hypothèse principale que cette recherche vérifie est la suivante : la littérature narrative d’aujourd’hui, par le recours à une énonciation entremêlant discours et narration ainsi que par une utilisation critique et pragmatique du passé, réplique au « présentisme » observé par François Hartog, cette perspective sur les temps dont le point d’observation et le point observé sont le présent. Les écrivains contemporains mettent en place un régime de temporalités où passé et avenir sont coordonnés au présent pour pacifier le rapport entre les trois catégories temporelles et faire apparaître un présent qui, sinon, demeure narrativement insaisissable ou soumis à l’autorité d’un passé ou d’un avenir qui dicte ses actions. En distinguant leurs textes du genre romanesque et du mode narratif qui le compose, Pierre Bergounioux, François Bon, Olivier Cadiot, Chloé Delaume, Annie Ernaux, Jean Echenoz et Olivier Rolin, entre autres, s’inscrivent dans la tradition énonciative du récit, ici entendu comme genre littéraire où l’énonciation et le texte en formation sont à eux-mêmes leur propre intrigue. Le sujet d’énonciation du récit contemporain cherche à élucider son rapport au temps en ayant recours à des scènes énonciatives qui ont à voir avec l’enquête et l’interlocution, de manière à ce que d’une anamnèse personnelle et intellectuelle, de même que de la confrontation d’une mémoire avec son récit jaillissent les caractéristiques d’une expérience du présent. Or, une des caractéristiques du présent expérimenté par le sujet contemporain semble être une résistance à la narration et au récit, rendant alors difficile sa saisie littéraire. Cette opposition au récit est investie par des écrivains qui ont recours, pour donner à voir l’immédiateté du présent, à la note et au journal, de même qu’à des genres littéraires qui mettent en échec la narration, notamment la poésie. En dépit de leurs efforts énonciatifs pour extraire le présent de l’opération qui le transforme en passé, ces écrivains font tout de même l’expérience répétée de la disparition immédiate du présent et de leur incapacité à énoncer littérairement un sentiment du présent. Le seul moyen d’en donner un aperçu reste alors peut-être de chercher à construire le présent à partir du constat répété de l’impossibilité d’un tel accomplissement. / This doctoral thesis highlights present-day French authors’ narrative strategies used to illustrate and conceive the present. Our central hypothesis is that through an act of utterance intermeshing discourse and narration, as well as the critical and pragmatic use of references to the past, today’s narrative literature offers a counterpoint to the “presentism” described by François Hartog (i.e. a retrospective look at eras in which the present is both the vantage point and the point under observation). By so doing, contemporary authors offer a system of historicities where the past and the future are linked to the present in order to reconcile the link between the three temporal categories and reveal a present which, otherwise, would remain narratively elusive or subrogated to the authority of a past or a future that dictates its behaviour. By distancing their works from the fictional genre and from the narrative form it embodies, Pierre Bergounioux, François Bon, Olivier Cadiot, Annie Ernaux, Chloé Delaume, Jean Echenoz and Olivier Rolin, amongst others, are part of the enunciative tradition of the narrative, considered here as a literary genre in which the enunciation and the text in gestation are, in and of themselves, their own intrigue. In the contemporary narrative, the aim of the enunciation subject is to clarify its relationship to time by using enunciative scenes having to do with this quest and the conversation so that from a personal and intellectual anamnesis, as well as from the clash of a memory with its recounting, emerge the characteristics integral to the present experience. And yet, one of the characteristics of the present that the contemporary subject experiences seems to be a resistance to narration and to storytelling, which makes it almost impervious to literary analysis. Authors take up this opposition to storytelling by using, in an effort to bring the immediacy of the present to the foreground, the note, the journal entry, and literary genres that thwart narration, such as poetry. In spite of their enunciative efforts to distil the present from the operation that transforms it into the past, these authors are nevertheless faced, time and again, with having to live the immediate dissipation of the present and their inability to capture in a literary form its essence. Perhaps the only way to offer a glimpse of this is to try to create the present by repeatedly showing the impossibility of such an achievement.