À partir de la comparaison de quatre romans écrits à différentes périodes du XXesiècle, dans des langues et des lieux différents, mais tous marqués par un commun héritagejuif polonais – Dans les forêts de Pologne de Joseph Opatoshu, Satan à Goray d’IsaacBashevis Singer, Le Dernier des Justes d’André Schwarz-Bart et Voir ci-dessous : Amour deDavid Grossman – l’objet de cette étude est d’observer les transformations et lesdéplacements de la mémoire juive dès lors que celle-ci passe de l’univers sacré de la traditionà la littérature. L’attention portée aux questions d’imitation et de subversion permet de saisirles phénomènes de continuité et de discontinuité qui accompagnent la dissolution descommunautés traditionnelles et le passage à la modernité. Pour comprendre comment cestransformations s’opèrent au niveau textuel, dans le travail de mise en récit par lequel seredéfinit la culture, on mettra en relation les stratégies proprement littéraires d’intertextualité,de pastiche, de citation ou de parodie avec les actes mimétiques d’identification, de projectionet de jeu auxquels se livrent les personnages. La récurrence des questions de fidélité et detrahison, d’imitation et de rivalité, invite à interroger le rôle des modèles culturels et lamanière dont le transfert et le renouvellement de ceux-ci participent à la redéfinition de lamémoire du groupe. Le romanesque, parce qu’il met en acte des processus mimétiques qu’ilobserve de manière distanciée, rejoue et déjoue tout à la fois les mythes identitaires créés parla modernité. / Through the comparison of four novels written at different periods of the 20th century,in different languages and different places, but each marked by a common Polish-Jewishheritage – In Polish Woods by Joseph Opatoshu, Satan in Goray by Isaac Bashevis Singer,The Last of the Just by André Schwarz-Bart and See Under: Love by David Grossman – theobject of this study is to observe the transformation of Jewish memory as it passes from thereligious sphere to that of secular literature. By investigating the themes of imitation andsubversion in literature, it is possible to understand the process of continuity and discontinuitywhich accompany the dissolution of traditional communities and their passage to modernity.To see how this transformation operates on a textual level, in the constitution of newnarratives by which culture is redefined, we will connect the literary strategies ofintertextuality, pastiche, reference or parody on the part of the authors with the mimetic actsof identifying, projection, and play performed by the characters. The recurrence of thequestions of fidelity and betrayal, of imitation and rivalry, invites us to investigate the role ofcultural models and the manner in which their transfer and renewal redefine group memory.The novel, by enacting mimetic processes which are observed from a perspective of distance,manages to both reproduce and at the same time dismantle the myths of identity created bymodernity.

Dans l’aire arabofrancophone, la valeur littéraire de la fiction narrative tend souvent à se confondre avec sa dimension subversive. Le présent travail aborde cette notion problématique de subversion en tant que modalité discursive et posturale. Sont analysées les perturbations infligées aux codes linguistiques, énonciatifs et génériques à la lumière du postulat suivant lequel le bilinguisme et le biculturalisme des écrivains favorisent cette veine et la nourrissent. C’est, en effet, autour d’une double appartenance, feinte ou avérée, que se rejoignent les poétiques d’auteurs aussi éloignés que Rachid BOUDJEDRA, Albert COSSERY, Edmond Amran EL MALEH, Émile HABIBI et Paul SMAÏL. L’articulation de l’analyse textuelle à celle des postures auctoriales permet de discerner une dynamique littéraire dans laquelle ce qui s’offre a priori comme une littérature politique s’avère un avatar d’une politique de la littérature. / In the Arabo-Francophone culture, the literary value of narrative fiction often tends to intermingle with its subversive dimension. The present study deals with this problematical notion of subversion considered as a posture and a discursive modality. The disturbances inflicted on linguistic, enunciative and generic codes are analysed under the assumption that the writers' bilingualism and biculturalism favour this type of inspiration and nurture it. Indeed, the poetics of authors as different as Rachid BOUDJEDRA, Albert COSSERY, Edmond Amran EL MALEH, Émile HABIBI and Paul SMAÏL seem to meet around this double belonging, whether it is real or simply assumed. Together, text analysis and authors' postures observation enable us to discern a literary movement in which what is a priori offered as a political literature ends up being a metamorphosis of a literary policy.

L’ironie dialogique, favorisée par plusieurs genres littéraires à l’époque des Lumières, est-elle un simple produit de l’esprit du temps ou l’adjuvant tactique nécessaire au progrès des idées ? Sous l’enjouement et le bel-esprit conversationnel des ironistes, comment ne pas discerner le masque rhétorique et ludique d’un examen critique qui, de l’esthétique à la morale et aux mœurs, n’épargne aucun domaine de l’autoréflexivité ? La thèse se place dans cette perspective en observant qu’au-delà de la topique narrative et fictionnelle, au-delà de la satire sociale et psychologique, les cibles cachées des ironistes sont souvent des paravents intellectuels forgés au siècle précédent : la défense raffinée du statu quo par la morale de l’honnêteté et la civilité de la politesse ; l’abstraction du commerce des sexes au moyen du langage de l’amour galant et des bienséances internes et externes; la quête du sublime tragique censé gratifier le sacrifice héroïque du bonheur au devoir d’état ; la comédie comique des vices individuels occultant le débat sur les vices institutionnels, etc. / The rhetorics of Irony in Enlightenment’s written dialogues are no mere by-products of the then prevalent social mode of conversational interplay. Their careful perusal indicates that Irony and Humour were instrumental in the vast reshuffling of moral values, religious and political obedience, aesthetic codes, social behaviours that are a legacy of the period. This dissertation focuses on the four main literary areas where dialogical Irony plays an active role in textual topics: parody, comedy, philosophical dialogue and libertine novels. The hypothesis here offered is that ironic subversion is mostly aimed at mental and behavioural compliances made consensual during the Classical period, i.e.: politeness and “honesty” as paramount signs of social fitness; exaltation of the dramatic sublime as benchmark for excellence in Tragedy; allegory and propriety in the written rendition of love-making; linkage of social hardships to individual violation of Christian rules and not to collective/institutional failures; etc.

Against the backdrop of a possible US military attack on Iran, this report examines a film that advances the case for independent political reform from within Iran’s borders. The case study analyzes the cultural and political instrumentality of satire in Kamal Tabrizi’s film, The Lizard (2004). By determining the socio-political restrictions that inform Iran’s society and film industry, it demonstrates that The Lizard uses satire to transgress the value-system that the Iranian theocracy is upheld by. The study draws on narrative analysis to explore the film’s satiric devices of parody and masquerade and discusses their significance in creating new images of clergy that combine to build an alternative reality to the one portrayed in mainstream Iranian media. The report argues that this utopian space undermines the established order by redefining or rejecting the terms and dichotomies communicated through its official channels.

Esta dissertação busca, em linhas gerais, fazer uma abordagem semiótica da obra de Roberto Piva para, através disso, identificar as bases estruturais do seu projeto poético em cada momento de produção. O organizador dos volumes, Álcir Pécora, faz um divisão da obra de Piva em três momentos poéticos, cada um correspondente a um livro. Um estrangeiro na legião corresponde ao primeiro momento, de viés beat, whitmanniano e pessoano; Mala na mão & asas pretas compreende o segundo momento, de traços psicodélicos e experimentais e Estranhos sinais de saturno compreende o terceiro momento, predominantemente místico e visionário. Este trabalho adotará essa divisão, e buscará explicar, através da semiótica, como é construído o sentido em cada um desses momentos. Segundo Pécora, a opção pela organização dos poemas se deu por ordem cronológica. Essa ordem, no entanto, representa um desenho cronológico particular, pois os três surtos de produção representam, cada um, um momento poético diferente. Este trabalho propõe, através da seleção e análise de poemas que condensem a poética dominante de cada volume, descrever as estruturas fundamentais, as escolhas narrativas e os procedimentos discursivos que compõe a unidade de cada momento poético da obra de Piva. / This work seeks, in general, make a semiotic approach to the work of Roberto Piva, with the purpuse of identify the structural basis of his poetic project in every moment of production. The organizer of the volumes, Alcir Pécora, makes a division of the work into three poetic moments, each one corresponding to a book. Um estrangeiro na legião corresponds to the first moment, with features related to the north american beat literature. Mala na mão & asas pretas is the second book, that is the second moment, of psychedelic and experimental traces. Estranhos sinais de Saturno is the third book, predominantly mystical and visionary. This paper will adopt this division, and seek to explain, through semiotics of Greimas, how the meaning is created in each of these moments. According to Pécora, the option for organizing the poems took place in chronological order. Each book, however, represents a different poetic moment. This paper proposes, through the selection and analysis of some poems from each volume, describe the fundamental structures, narrative choices and discursive procedures that make up the unit of each volume and of the whole work of Piva.

Esta dissertação busca, em linhas gerais, fazer uma abordagem semiótica da obra de Roberto Piva para, através disso, identificar as bases estruturais do seu projeto poético em cada momento de produção. O organizador dos volumes, Álcir Pécora, faz um divisão da obra de Piva em três momentos poéticos, cada um correspondente a um livro. Um estrangeiro na legião corresponde ao primeiro momento, de viés beat, whitmanniano e pessoano; Mala na mão & asas pretas compreende o segundo momento, de traços psicodélicos e experimentais e Estranhos sinais de saturno compreende o terceiro momento, predominantemente místico e visionário. Este trabalho adotará essa divisão, e buscará explicar, através da semiótica, como é construído o sentido em cada um desses momentos. Segundo Pécora, a opção pela organização dos poemas se deu por ordem cronológica. Essa ordem, no entanto, representa um desenho cronológico particular, pois os três surtos de produção representam, cada um, um momento poético diferente. Este trabalho propõe, através da seleção e análise de poemas que condensem a poética dominante de cada volume, descrever as estruturas fundamentais, as escolhas narrativas e os procedimentos discursivos que compõe a unidade de cada momento poético da obra de Piva. / This work seeks, in general, make a semiotic approach to the work of Roberto Piva, with the purpuse of identify the structural basis of his poetic project in every moment of production. The organizer of the volumes, Alcir Pécora, makes a division of the work into three poetic moments, each one corresponding to a book. Um estrangeiro na legião corresponds to the first moment, with features related to the north american beat literature. Mala na mão & asas pretas is the second book, that is the second moment, of psychedelic and experimental traces. Estranhos sinais de Saturno is the third book, predominantly mystical and visionary. This paper will adopt this division, and seek to explain, through semiotics of Greimas, how the meaning is created in each of these moments. According to Pécora, the option for organizing the poems took place in chronological order. Each book, however, represents a different poetic moment. This paper proposes, through the selection and analysis of some poems from each volume, describe the fundamental structures, narrative choices and discursive procedures that make up the unit of each volume and of the whole work of Piva.

<p>People are creators of their own acts. That is a premise of this thesis. Social contexts offer action alternatives but given their individuality people, to various extents, put the set of alternatives into question, re-shape them and make them into theirs. What people do in their everyday life has political significance. The theories that frame this work focus on how people reappropriate culture and in so doing bring forth infinitesimal changes in society.</p><p>I have interviewed seven young women in Beirut who take action to get to do what they desire. Given their social conditions and individuality they find different ways around the prohibitions that they are facing. Organized independently and within networks of foremost relatives they find their ways. They negotiate with family and community, make allies and create paths to 'forbidden' spaces. They seize opportunities and increase their space for a day, night or occasion. Then they accord their life to the surrounding's restrictions – until opportunity strikes again. The women also create an imaginary space where they are ruling queens. From there they tell the surrounding to shut up and fuck off, in there they hope, smile and fall in love.</p><p>The thesis then goes on to discuss the socio-political effects of young women's spacing practices. When the women do what they desire they enter, what they claim are, forbidden spaces. Their entry appears to be a threatening force; it diminishes gaps between the 'allowed' and the 'unacceptable' and between the 'good' and 'bad' girl- and womanhood. These practices, sprung from the daily life, challenge the surrounding and young women's spacing is thereby a micro-political phenomenon with subversive potential.</p>

<p>HOGARTH'S PROGRESS: `MODERN MORAL SUBJECTS' IN THE ART OF DAVID HOCKNEY, LUBAINA HIMID AND PAULA REGO</p><p>An Abstract by</p><p>Mora J. Beauchamp-Byrd</p><p> Hogarth's Progress: "Modern Moral Subjects" in the Work of David Hockney, Lubaina Himid and Paula Rego, examines three late twentieth-century, British appropriations of William Hogarth's narrative series. Hogarth is best known for the paintings and engravings that he termed "modern moral subjects," exemplified by satirical series such as The Harlot's Progress (1732) and The Rake's Progress (1733-5). These cautionary yet humorous tales evince a period of great social, political, economic and cultural transformation in England, a time of profound change wrought by colonial enterprise, an increasingly powerful middle class, and a heightened public interest in moral questioning. Recent scholarship on Hogarth has increasingly focused on the artist's diverse representations of eighteenth-century London life, his numerous images of servants of African descent, French dancing masters and Italian castrati. Unsurprisingly, for many contemporary artists, Hogarth's narratives provide a complex visual template for a host of present-day issues regarding race, gender, sexuality and national identity. </p><p>The dissertation will investigate how Hogarthian re-workings by artists David Hockney in the early 1960s; Lubaina Himid in the mid-1980s; and Paula Rego in 1999-2000, modify and/or expound upon narratives of gender and sexuality that are already present in the eighteenth century artist's narrative series. The three contemporary works examined here engage with two works by Hogarth: Marriage-a-la-Mode (1745), which chronicles the doomed union of an Earl's son and the daughter of a wealthy merchant, who sells her in marriage to obtain a higher social standing, and The Rake's Progress. Rake recounts the tale of Tom Rakewell, a merchant's son whose exuberant spending and moral decay, aided by a procession of effeminate French dancing masters, prostitutes and criminals, leads to his final residence, the madhouse "Bedlam." </p><p> </p><p>I will first examine David Hockney's early 1960s "Rake's Progress", a series of 16 etchings loosely based on the artist's first visit to the United States, an insertion of his own personal narrative into Hogarth's tale of moral decline. I will then investigate the work of Lubaina Himid, who initiated a Black women artists movement in 1980s London. In 1986, Himid produced a large-scale installation entitled A Fashionable Marriage. The work employs Scene 4 of Hogarth's Marriage-a-la-Mode series to critique the racist and sexist policies of the London art world during this period. Finally, I will discuss the work of Paula Rego, best known for her large-scale paintings of emotionally-charged domestic scenes. Rego has also re-worked Hogarth's Marriage, employing the earlier series to critique arranged marriages in her native Portugal. Rego's triptych entitled After Hogarth: Betrothal; Lessons; Wreck (1999-2001), like much of her work, reveals the psychological anxieties and ambiguities of gender relations and, in a broader sense, human interaction. For Hockney, Himid and Rego, Hogarth's contradictory evocations of eighteenth century London society provide a complex visual template for a host of contemporary issues such as race, gender, sexuality and national identity. </p><p>Also critical to this study is the relationship between the three contemporary artists. Hogarth is present as the key driving factor in all three works, yet also to be considered is the role that Hockney, as a critical figure in late twentieth-century art, played in the construction of both Himid and Rego's later works. </p><p>Although Hogarth's work has been appropriated by a wealth of artists from the eighteenth through twentieth centuries for a wide variety of uses, this dissertation will examine how three relatively recent quotations employ Hogarth as an "ally in subversion," while simultaneously making use of Hogarth's stature within the English art historical canon. I am proposing that these later uses of Hogarth, many of which explored various configurations of race, gender and sexuality, evolved from a key element inherent within the artist's work, a form of `ambiguous narrativity' that yet somehow appeared to crystallize issues of moral questioning as central ideological theme.</p> / Dissertation

<p>Moment Marketing är ett litet företag som arbetar med webbutveckling. För dem är det viktigt med versionshantering och de använder ett fåtal program som underlättar detta arbete. Idag saknar de dock möjligheten att kontrollera olika versioner av databaser. Tillsammans med Moment Marketing och de program som redan används av dem skapas i detta projekt ytterligare applikationer med mål att lösa detta problem. Först görs en undersökning över programmen Subversion, TortoiseSVN, Trac och MySQL för att se de möjligheter som finns att använda dem till att uppnå målet. Därefter skapas ytterligare applikationer som kompletterar dessa program. Det färdiga paketet innehåller program för att hantera strukturen i en lokal databas tillsammans med ett lokalt arbetsprojekt. Tillsammans med de redan tidigare befintliga programmen har ett system bildats som även hanterar databaser. Dessutom har ytterligare möjligheter till förbättrat arbete med databaser undersökts.</p> / <p>Moment Marketing is a small Company working with web development. Version control is an important part of their work and they already use a few programs to handle this. These programs cannot handle different database versions. In this project supplements will be created so that previously installed programs can be used for handling version control of databases. Before the programming begins a study of the programs Subversion, TortoiseSVN, Trac and MySQL will be made.</p>

Enterohemorrhagic Escherichia coli (EHEC) serotype O157:H7 is a foodborne pathogen that causes significant morbidity and mortality in developing and industrialized nations. EHEC infection of host epithelial cells is capable of inhibiting the interferon gamma (IFNγ) pro-inflammatory pathway through the inhibition of Stat-1 phosphorylation, which is important for host defense against microbial pathogens. The aim of this thesis was to determine the bacterial factors involved in the inhibition of Stat-1 tyrosine phosphorylation. Human HEp-2 and Caco-2 epithelial cells were challenged directly with either EHEC or bacterial culture supernatants, stimulated with IFNγ, and then protein extracts were analyzed by immunoblotting. The data showed that IFNγ-mediated Stat-1 tyrosine phosphorylation was inhibited by EHEC secreted proteins. Using 2D-Difference Gel Electrophoresis, EHEC Shiga toxins were identified as candidate inhibitory factors. EHEC Shiga toxin mutants were then generated, complemented in trans, and mutant culture supernatant was supplemented with purified Stx to confirm their ability to subvert IFNγ-mediated cell activation. I conclude that E. coli-derived Shiga toxins represent a novel mechanism by which EHEC evades the host immune system.