Thesis (M.A.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2008/03/12). Includes bibliographical references.

Dans un Beyrouth en pleine mutation, les habitats délaissés sont des lieux en suspens, condamnés à terme par la spéculation foncière. Notre recherche se propose d’examiner les transformations subies par ces architectures hors d’usage. Basé sur le terrain (près de 750 édifices répertoriés), les archives, témoignages et histoires orales, le travail réévalue également les pratiques artistiques et les regards qu’elles ont posé sur la ville. Cette imprégnation est d’autant plus importante que son déclencheur est un projet photographique entamé par l’auteur sur ce sujet. Trois chapitres sont consacrés aux interventions guerrières. Le premier, la bataille des hôtels aborde un espace disputé, le second explore la ligne de démarcation et le troisième s’intéresse aux baraquements, prisons et lieux de torture. Le quatrième chapitre réunit habitats informels, squats et autres réappropriations. Ces fonctionnalités qui s’enchevêtrent découlent de flux migratoires consécutifs à des violences. La guerre, plutôt les guerres, restent en toile de fond. / In a rapidly changing Beirut, neglected dwellings are places in abeyance, condemned to disappear as a result of land speculation. Our research aims at examining the transformations that these obsolete architectures undergo. The study, carried on site (nearly 750 buildings have been identified), based on archives, testimonies and oral history, also re-examines artistic endeavours and the way artists have viewed the city, which is particularly important considering that its trigger has been a photographic project undertaken by the author. Three chapters are devoted to belligerent activities. The first, on the “Battle of the hotels”, addresses contested space; the second explores the demarcation line and the third examines the military barracks, prisons, and torture centres. The fourth covers informal dwellings, squatted buildings and other reappropriations. It observes the background of entangled features stemming from migration flows that were triggered by the violence of war, or rather wars.

<p>I uppsatsen som följer har jag använt mig av David Galulas COIN teori. Jag har sedan använt den teorin och analyserat kriget mellan Israel och Libanon 2006. Kriget blev känt som ett misslyckande ur israelisk synpunkt, då de inte lyckades att besegra Hezbollah eller stoppa deras raketskjutningar in i Israel. Detta trots att de har den mest högteknologiska armen i mellanöstern och hade luftoperativkontroll. I denna uppsats så har jag fört ett resonemang för att svara på frågeställningen: Går Galulas teorier att använda mot en organiserad motståndare som Hezbollah? Efter att ha skrivit denna uppsats så har jag inte kommit fram till ett absolut svar, men är personligen övertygad om att det går. I fallet Hezbollah är det väldigt problematiskt i och med att de var så väl förberedda på att det skulle bli krig. Det faktum att Israel dessutom hade skurit ner på sitt försvar och inte hade utbildat sina soldater och chefer inför denna typ av krig gjorde att de inte kunde strida på ett effektivt sätt. För att Israel skulle ha lyckats vinna, tror jag att en större markoperation hade varit nödvändig då Hezbollah var så väl förberedda. Detta är i linje med det första steget i Galulas COIN teori där man med truppnärvaro strävar efter att separera befolkningen från insurgenterna i detta fall Hezbollah.</p> / <p>In the essay that follows I have used David Galulas COIN theory. I have then used Galulas theory and analyzed the war between Israel and Lebanon in 2006. The war from the Israeli point of view was a failure, as they failed to defeat Hezbollah and stop their rockets from firing into Israel. Despite the facts that the Israel had the most technologically advanced army in the Middle East and that they had air superiority in the area. In this essay I have discussed the following question: Are Galulas theories usable against an opponent like Hezbollah? After having written this essay, I have not beenable to conclude a definite answer, however I am convinced that it is possible. The reason for the Israeli failure was the fact that the Hezbollah were so well prepared for war. Whereas the Israeli forces were ill-prepared because of a substantial decrease in numbers compared to earlier years, and because the Israeli soldiers and officers were not trained for this type of war. In my opinion, the Israeli forces would have needed to focus much more on ground operations because the Hezbollah were so well prepared. This is exactly what stage one in Galulas COIN theory advises, where through military presence, separate the civilian population from the insurgents.</p>

Au lendemain de la guerre au Liban [1975-1990], de jeunes cinéastes refusent de faire l’impasse sur le passé et œuvrent par le biais de leurs films à rendre la mémoire salutaire. La présente recherche étudie les nouvelles configurations cinématographiques de ce nouveau cinéma d’après-guerre, caractérisé par une rétrospective mémorielle et comptable au sein d’une époque révolue. En s’appuyant sur un corpus filmique d’une vingtaine de films, analysés comme des traces matérielles et symboliques, les différentes parties de cette recherche explorent les convergences et les problématiques qui posent la dialectique Mémoire-Histoire à travers la représentation. L’étude scrute également les traces de la mémoire en parcourant les processus relatifs au conflit, au travail de deuil et à l’oubli, en s’interrogeant sur les capacités du cinéma libanais, émergeant d’une société au pluralisme identitaire, à calibrer son potentiel d’expression et son aptitude à problématiser les déboires d’une société meurtrie. Les pistes d’analyse se déclinent autour de la figuration de Beyrouth, comme ville anthropomorphique et emblématique. En dernière partie l’étude aborde les manifestations et les profils d’un sujet symptomatique en quête de son identité au sortir de la guerre au Liban. / After the war in Lebanon [1975-1990 ], young film-makers refuse to ignore the past and work by means of their movies to restore a wholesome memory. The present research studies the new films configurations of the post-war Lebanese cinema, characterized by a memorial and countable retrospective within bygone days. By leaning on a cinematic corpus of about twenty movies, analyzed as material and symbolic tracks, the various parts of this research investigate the convergences and the problems which put the dialectic Memory - history through the representation. The study also scrutinizes the tracks of the memory by going through the processes relative to the conflict, to the work of mourning and the oblivion by questioning the capacities of the Lebanese cinema, to calibrate its potential of expression and its capacity to analyze the setbacks of a bruised society. The paths of this research will also examine the representation of Beirut, as anthropomorphic and symbolic city. In last part, the study approaches the profiles of a symptomatic subject in search of its identity at the end of the war in Lebanon.

I uppsatsen som följer har jag använt mig av David Galulas COIN teori. Jag har sedan använt den teorin och analyserat kriget mellan Israel och Libanon 2006. Kriget blev känt som ett misslyckande ur israelisk synpunkt, då de inte lyckades att besegra Hezbollah eller stoppa deras raketskjutningar in i Israel. Detta trots att de har den mest högteknologiska armen i mellanöstern och hade luftoperativkontroll. I denna uppsats så har jag fört ett resonemang för att svara på frågeställningen: Går Galulas teorier att använda mot en organiserad motståndare som Hezbollah? Efter att ha skrivit denna uppsats så har jag inte kommit fram till ett absolut svar, men är personligen övertygad om att det går. I fallet Hezbollah är det väldigt problematiskt i och med att de var så väl förberedda på att det skulle bli krig. Det faktum att Israel dessutom hade skurit ner på sitt försvar och inte hade utbildat sina soldater och chefer inför denna typ av krig gjorde att de inte kunde strida på ett effektivt sätt. För att Israel skulle ha lyckats vinna, tror jag att en större markoperation hade varit nödvändig då Hezbollah var så väl förberedda. Detta är i linje med det första steget i Galulas COIN teori där man med truppnärvaro strävar efter att separera befolkningen från insurgenterna i detta fall Hezbollah. / In the essay that follows I have used David Galulas COIN theory. I have then used Galulas theory and analyzed the war between Israel and Lebanon in 2006. The war from the Israeli point of view was a failure, as they failed to defeat Hezbollah and stop their rockets from firing into Israel. Despite the facts that the Israel had the most technologically advanced army in the Middle East and that they had air superiority in the area. In this essay I have discussed the following question: Are Galulas theories usable against an opponent like Hezbollah? After having written this essay, I have not beenable to conclude a definite answer, however I am convinced that it is possible. The reason for the Israeli failure was the fact that the Hezbollah were so well prepared for war. Whereas the Israeli forces were ill-prepared because of a substantial decrease in numbers compared to earlier years, and because the Israeli soldiers and officers were not trained for this type of war. In my opinion, the Israeli forces would have needed to focus much more on ground operations because the Hezbollah were so well prepared. This is exactly what stage one in Galulas COIN theory advises, where through military presence, separate the civilian population from the insurgents.

This thesis applies the concept of religious (national) identity to the cases of Saudi Arabia, Iran and their proxy allies - state and non-state actors - in Lebanon, Syria and Yemen. The aim was to show that in the Middle East, Sunni and Shiite affiliations matter in the relationship between the regional powers and respective proxies, as opposing to realist statement that alliances, conflicts and political developments are only governed by pragmatic power interests. Additionally, the work examines whether religious national identities have impact on the dynamics of proxy conflicts. Overall, the objective was to establish comprehensive image of how ideational/constructivist and pragmatic/realist factors work in combination to influence alliances, enmities and conflicts in the Middle East. Using qualitative methods of research, religious (national) identities of Saudi Arabia, Iran and their allies in Lebanon, Syria and Yemen were constructed so as to create ideational and realist points of departure, and then interlinked to show how convergence of religious identities helps in creating durable alliances if used in targeted manner as a strategic tool which can help safeguard national interests. The work shows notable differences in the use of this tool between Saudi Arabia and Iran, suggesting that it...

Cette étude s'attache au statut des ruines dans la photographie de guerre et en dresse l'inventaire de leurs aspects esthétiques. Le cas de la ville de Beyrouth, défigurée par les bombardements pendant la guerre civile (1975-1990), est à bien des égards exemplaire puisqu'elle a fait l'objet d'une commande photographique confiée à des photographes prestigieux, en 1991, qui avaient pour mission de conserver la mémoire d'un immense champ de ruines. Cette commande photographique est donc, pour cette raison, au centre de notre recherche. Pour saisir pleinement les enjeux des choix effectués par les photographes au cours de cette commande, il était nécessaire dans un premier temps, d'analyser la mise en place de la constitution d'une esthétique des ruines dans l'histoire de la photographie de guerre de 1853 à 1945, à travers des exemples célèbres sur les champs de bataille. Dans un deuxième temps, il était important de considérer les motivations et les objectifs de chacun des photographes dans le contexte de la commande, en les mettant en résonance avec d'autres expériences photographiques menées à Beyrouth pendant et après le conflit, mais aussi en filiation avec les cas étudiés dans la première partie. La troisième partie de cette thèse constitue un compendium des aspects esthétiques dans le traitement photographique des ruines de guerre à Beyrouth qui permet d'affirmer aujourd'hui que, la ruine de guerre est un genre à part entière en photographie. / The present study explores the status of ruins in war photography and draws up the inventory of their aesthetic features. Disfigured by bombing and shelling during the civil war (1975-1990), the city of Beirut is in many respects an examplary case since it was the subject of a photographic commission entrusted to prestigious photographers in 1991, the mission of which was to preserve the memory of an immense field of ruins. For this very reason, this photographic commission is at the core of our research project. Firstly, in order to understand fully what was at stake in the choices made by the photographers within the framework of this commission, we had to analyze how the aesthetics of ruins has been elaborated in the history of war photography from 1853 to 1945, using famous examples from battlefields. Secondly, it was important to consider the motivations and objectives of each of the photographers within the context of the commission. For this purpose we made these elements echo other photographic experiences conducted in Beirut during and after the conflict, then we related them to the cases studied in the first part. The third part of the present thesis forms a compendium of aesthetic aspects in the photographic vision of war ruins in Beirut that makes it possible to assert that war ruins form a fully fledged genre in photography.

Cette thèse porte sur la presse clandestine au Liban, celle qui – non autorisée par l’État–fut publiée et véhiculée par les partis politiques belligérants durant la guerre au Libanentre 1975 et 1982.Elle étudie dans son ensemble la nature d’une sélection significative, non exhaustive,des publications les plus représentatives de cette époque, ses messages, pour aboutirà la compréhension du public et des moyens de distribution de ces écrits.Travail de première main, cette étude se base sur une recherche d’archives, qui seraplus tard approfondie par l’analyse de contenu, du langage, et de la sémiologiequand la publication le permet. Ainsi, nous repasserons en vue les périodiquesFalastine Assawra, Al Qaeda, Al Marouni, Loubnan et Sawt El Hakika pour mieuxsonder les points de vue sur les sujets traités ainsi que la façon de faire selon lavision de chacun.Ainsi, nous avons affaire à des instruments qui témoignent d’une étape cruciale etfondamentale dans l’évolution de la presse libanaise, notamment celle qui s’occupeessentiellement des zones de crise et des manifestations les plus humaines de laliberté de penser.On en conclura que la guerre est aussi bien médiatique qu’armée quand il s’agit d’unaffrontement d’idéologies, et que dans un pays multi confessionnel comme le Liban,l’histoire est non seulement un point de vue, mais une lutte de construction d'imagequi va plus loin que les faits. Michel Foucault le dit bien : "on a beau dire ce que l'onvoit, ce que l'on voit ne tient pas dans ce que l'on dit". / This thesis focuses on the underground press, or what is known as the clandestine press inLebanon, that was published and promoted by the belligerant political parties during thewar in Lebanon between 1975 and 1982. Noteworthy, these publications were notauthorized by the Lebanese authorities at that time.It analyses the nature of a significant selection of 5 of the most representative publicationsof that period, along with their messages, their readers and their different means ofdistribution.As a first study of its kind, this research is based on archival documents, which contect waslater handled with depth, thus analysing the language and the semiotics when thepublication permitted so. Accordingly, we chose to reflect the views of Falastine Assawra,Al Qaeda, Al Marouni, Loubnan and Sawt Al Hakika, examining the direction of thecommunication in each.Noteworthy, this reseatch deals with instruments that reflect a fundamental and crucialstep in the evolution of the Lebanese press. It is essentialy a means of communication usedduring times of crisis, serving political propaganda, sometimes agendas. Nevertheless,these publication a manifestation of the freedom of speech.We conclude that war is made with both arms and media, especially when it involves aclash of ideologies. It also teaches us tha in a multi- confessional country like Lebanon,history is not only a point of view, but also a clash for image-building that goes beyondfacts. Michel Foucault said it quite well: "we may say what you see, what we see does notalways stand out in what we say."

The thesis "Framing of the conflict in the Middle East in Czech Daily Newspapers" explores how Czech print media report on the conflict in the Middle East through the analysis of Mladá fronta Dnes and Právo news coverage of the Second Lebanon War (2006) and the Gaza war (2008- 2009). The theoretical part of the thesis deals with the role of the media in times of war and focuses mainly on the popular even though somewhat fragmented concept of media framing, which became the basis for the analysis of the above mentioned newspapers. The research draws on the extensive literature on media framing as well as foreign research on framing of the Arab- Israeli conflict, combining quantitative and qualitative analytical tools. The aim of the quantitative part of the analysis was to obtain hitherto missing data about the framing of the conflict in the Middle East by Czech media that could be compared to similar data that are already available for foreign media. Quantitative analysis also focused on news sources and topics used while referring about the Middle East conflict. The purpose of the qualitative analysis was to gain a deeper insight into the problem and generate a list of specific frames used to interpret the conflict in the Middle East by Czech print media.