O filme Cópia fiel (2010), de Abbas Kiarostami, configura um objeto estranho dentro da filmografia desse autor iraniano. Ao mesmo tempo que muito dialoga com questões já apresentadas em trabalhos anteriores do diretor, o filme marca uma ruptura, indica um novo caminho. Se sua obra continuamente explorou os cruzamentos entre ficção e realidade, Cópia fiel, por sua vez, parece mergulhar na ficção sem se referir a uma realidade que lhe seja exterior ou contígua. A dramaturgia e as construções formais do filme (enquadramentos, montagem, mise en scène) elaboram uma reflexão conceitual sobre a própria ideia de ficção e representação artística, explorando os conceitos-chave da obra: cópias e originais. Esta dissertação busca, através da análise fílmica, investigar tais procedimentos do filme que competem para tensionar a própria ideia de ficção cinematográfica. Dividimos nosso percurso em três partes para dar conta de distintos aspectos da ficção que o filme aborda, sintetizados nos termos palco, espelho e janela. O palco representa o ponto em que a ficção se coloca como evidentemente separada da realidade: lugar de paradoxos e de fricções entre ator e personagem. O espelho representa as infinitas repetições e duplicações da estrutura do filme e a relação de identificação-projeção do espectador com a obra. Por fim, a janela explora o viés realista do filme, sua vocação \"transparente\", problematizando a possibilidade de se acessar um determinado real, o original de todas as cópias. / The film Certified copy (2010), by Abbas Kiarostami, is a strange object within his filmography. It continues to work on issues presented in the director\'s prior works, but it also represents a rupture, indicating a new path. His works continually explored the entanglements between fiction and reality, whereas Certified copy seems to abolish any perspective on an exterior reality to the film\'s fiction. The dramaturgy and the formal constructions of the film (framings, montage, mise en scène) build a conceptual reflection on the very idea of fiction and artistic representation, exploring key-concepts of the work, such as copies and originals. This dissertation intends to investigate through filmic analyses the procedures that tension the notion of cinematic fiction. The text is divided in three parts, each of them aiming at a particular aspect of the fiction explored by the movie, each compressed into one symbolic notion: stage, mirror and window. The stage represents the strict division between reality and fiction: a place of paradoxes and frictions between the actors and their characters. The mirror investigates the infinite repetitions and duplications within the film structure, and also the spectator\'s process of projection and identification. Finally, the window explores the realistic aspect of the film, its \"transparent\" vocation, questioning the possibility of a true access of the real, the original to every copy.

Loin de la scène politique, Abbas II en exil, Nubar en retraite, chacun enregistre ses Mémoires pour offrir à la postérité leur précieux témoignage, en français non seulement sur leur vie publique mais aussi sur l’Égypte des vice-rois et sur les faits de leurs temps. Nubar, ce pacha d’origine arménienne qui a servi tous les vice-rois de l’Égypte depuis Mohamed Ali jusqu’à Abbas II, insiste dans ses Mémoires sur les projets qu’il a le plus défendus et les défis qu’il a relevés au fil des années : la réforme de la justice, la défense des droits du fellah, son refus du projet du canal de Suez, ainsi que son opposition aux caprices de Saïd et surtout à ceux d’Ismaïl qui ont conduit progressivement l’Égypte à la faillite.Abbas II se défend dans ses Mémoires devant l’Histoire et surtout contre les accusations de son rival Cromer, le consul général britannique, publiées dans Modern Egypt et dans Abbas II. Le Khédive met en avant la lutte nationaliste qu’il a menée aux niveaux politique, éducatif, culturel, entre autres, afin de faire face à l’occupation anglaise. Il explique l’évolution de sa relation avec les généraux britanniques de la politique de rupture sous Cromer à celle de l’entente qui a commencé en 1907 après l’incident de Denchaway (1906).Cette forme d’écriture de soi se distingue de ses formes voisines (le journal, l’autobiographie, le récit de voyage) par son identité mixte (historique, juridique, politique et esthétique). Cela explique la variété des stratégies suivies par le pacha et le Khédive dans leurs Mémoires : stratégie de dénégation, de disqualification de l’adversaire, de l’interprétation, de prudence, etc. Nous étudions ces deux textes en insistant sur le côté littéraire des Mémoires, qui est d’habitude marginalisé au profit de leur dimension historique.Les Mémoires constituent une arme de l’homme politique qui lui permettent de bénéficier d’une grande liberté grâce à leur identité mixte. Le mémorialiste homme de pouvoir multiplie les stratégies d’écriture pour prouver sa crédibilité. Il se défend et fait de son ouvrage un monument capable de traverser les siècles aussi bien par sa valeur historique qu’esthétique. Malgré le débat sur la subjectivité du mémorialiste et sa relation avec l’écriture de l’Histoire, la valeur historique des Mémoires est indéniable. Au terme de notre travail, nous revendiquons l’insertion des Mémoires dans l’enseignement : un moyen parmi d’autres pour tirer ce patrimoine précieux de l’oubli et lui octroyer la place qu’il mérite dans la mémoire collective. / Away from the political scene, Abbas II in exile, Nubar retired, each one has written his Memoirs to offer to the posterity their precious testimony in french, not only about their public life but also about Egypt’s vice-kings and about their time.Nubar, this pacha of armenian origin, and who served all the vice-kings of Egypt since Mohamed Ali to Abbas II, insists in his Memoirs on the projects which he defended the most and his won challenges over the years: the justice reform, the defense of the fellah’s rights, the rejection of the canal of Suez project, his opposition to the whims of Saïd and especially those of Ismaïl which have led Egypt to the bankruptcy.Abbas II defends himself in front of the history, especially against his rival’s charges: Cromer, the general British consul published in Modern Egypt and in Abbas II. The Khedive highlighted his nationalist struggle that he led in several fields: political, educational, cultural fields in order to face the British occupation. He explains the evolution of his relation with the British generals from the discord policy under Cromer leadership to the agreement that began in 1907 after the Denchaway incident (1906).This form of personnal writing differs from its related forms (the diaries, the autobiography, the travel novels) by its mixed identity (historical, legal, political and aesthetic). This explains the variety of the strategies followed by the pacha and the Khedive in their memoirs: strategie of denial, of disqualification of the opponent, of the interpretation, of the caution, etc. We study these texts focussing on the lirerary side which is usually marginalized in the benefit of their historical side.The Memoirs are weapons of the politician which give him free style due to their hybrid identity. The political memoirist multiplies his writing strategies to prove his credibility. He defends himself and makes his book a monument able to cross the centuries by both historical and aesthetic value. Despite the debate about the subjectivity of the memoirist and its relationship with writing the history, the historical value of Memoirs is undeniable. At the end of our study, we reclam to insert the Memoirs in the education programs: a way among others to save this precious heritage from oblivion and give it its rightful place in the collective memory.

The aim of this study was to examine how Abbas Rezai, the first male victim of honor- related violence that received media attention in Sweden, was portrayed in swedish news journalism. The questions examined were: How was Abbas Rezai and the perpetrators portrayed in swedish news journalism and how did the portrayal of the characters change over time. We made a critical discourse analysis with Faircloughs model as a base. We examined fourteen articles from a morning paper and a tabloid, during a period of six years. The result showed that Abbas Rezai was portrayed as a honest, considerate and innocent victim, which makes him relatable to the western world. But regardless of the good portrayal noted, however, that he is all this despite the fact that he is an "Afghan asylum seeker". Which makes the news reporting ambiguous, and leaves Abbas Rezai on the borderline between “us” and “them”. When it comes to the perpetrators they are portrayed as heartless, brutal and uneducated. Which by the reporting manifests itself in their cultural and religious background. During the six-years-period that we studied, we noticed that the reporting of one of the perpetrators changed remarkably. He goes from a coldblooded murderer to a victim of his own culture. Which has its explanation in the constant flow of new information. The biggest difference we found between the morning paper and the tabloid was how they selected their sources. The morning paper focused on confirmed fact from the police and the court, meanwhile the tabloid more often choose unconfirmed sources. Our study overall shows that news reporting are producing and re-creating stereotypes and preconceptions.

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The history of Banu Umayya has since the collapse of the caliphate occupied a major part in Islamic historiography. The present thesis analyses the presentation of the Umayyads in Ibn Khaldun’s al-Muqaddima and its relation to previous historical traditions. The thesis examines the social and intellectual context in which Ibn Khaldun stood and how it is represented in his historiography, while also providing an overview of the various socio-political, intellectual and historiographical developments in Islam. The theoretical perspectives are based on the concept of agency, examining the intellectual room for manoeuvre that the historian disposed of while composing the works. The relation between the past-as-history and the historical past is emphasised and analysed by examination of narrative arrangements and content in relation to the historians’ contexts. Rather than viewing Ibn Khaldun as an exception, the study clarifies his contextual representativity by analysing his views on the Umayyads. The thesis also discusses the historiographical significance of the Umayyad history for the later development of Islam, while thereby attempting to open the field of research regarding the Umayyad history and its importance as self-definitions among later movements, historians and traditions of Islam.

Iranian film has in recent decades comprised an increasingly important and influential cinema. The Iranian Islamic Revolution of 1979 paved the way for freedom of artistic and literary expression, communicating a new generation of unheard voices in Iranian society. More specifically Iranian cinema has progressed in maintaining an identity that reflects both a contemporary nation and auteuristic cinematics. Abbas Kiarostami is one of the more recent and leading film directors rewarded with critical and filmmaking acclaim out of Iran, producing contemporary snapshots of society and culture. His filmmaking methods and ideals are very much reflective of the style of post Second World War Italian Neorealism. In context and filmmaking principles Kiarostami adapts the conventions of Neorealism in exploring contemporary Iranian socio-cultural problems in a similar manner. This project aims to explore the relationship between the style and context of his filmmaking in terms of mise-en-scène, themes and socio-cultural concerns. It shows how Kiarostami creates a distinctive form of Neorealist filmmaking to get at the ‘truths’ of contemporary Iranian life in a particular way. In doing so an emergent strand of a modern-Neorealism becomes apparent.

Texte remanié de Thèse Lettres Paris 1966. / Contient une trad. du "Kitāb mi'rāj al-tashawwuf ilā ḥaqā'iq al-taṣawwuf" d'Ibn 'Ajība. Bibliogr. p. 293-303. Index.

Uppsatsen beskriver den moderna iranska filmens utveckling med utgångspunkt från några betydande iranska filmer i det iranska samhället. Syftet är att belysa vilka neorealistiska drag som präglar den iranska filmen under olika tidsperioder och vilket inflytande den italienska neorealismen har haft på den iranska filmen från 1960-talet fram till idag. Tre iranska filmer analyseras ur ett neorealistiskt perspektiv samt med utgångspunkt i narrationsteori. Utvecklingen av den digitala tekniken under 2000-talets första decennier lyfts fram som en viktig faktor för unga filmare i dagens Iran liksom betydelsen av iranska filmregissörers internationella framgångar. Resultatet av undersökningen visar att de neorealistiska dragen i iransk film inte är lika framträdande idag som de har varit en gång i tiden. Iransk film har utvecklats i likhet med filmen i övriga världen och har kommit långt från den tid då neorealistisk film spelade en viktig roll i landet.

Une étude de la déformation récente à l'apex des diapirs salifères a été réalisée dans deux contextes différents : dans une région de compression modérée (fosse d'Alsace au nord-est de la France) et dans une chaîne d'avant pays (Zagros au sud de l'Iran). Dans le fosse alsacien, une comparaison de nivellement (1924-1994) permet de proposer un déplacement vertical différentiel jusqu'a 1 mm/an a l'apex des rides salifères par rapport aux zones voisines. Une comparaison entre le soulèvement de la ride salifère longitudinale (0,5 mm/an) et la ride salifère transversale (1 mm/an) montre une activité plus modeste de la ride longitudinale. Cette différence d'activité pourrait s'expliquer par l'effet du champ de contrainte actuel. La ride diapirique transversale (orientée NW-SE) est parallèle à l'axe de la contrainte principale maximale connu dans la région. La monté de sel pourrait être ainsi facilitée par ce champ de contrainte régional. Par contre, l'orientation N-S de la ride longitudinale est moins favorable actuellement à une ouverture permettant la remontée de sel mais son activité est suffisamment importante pour maintenir une réparation entre les bassins de l'Ill et du Rhin qui coulent parallèlement sur plus de 100 km. Dans la deuxième région d'étude (Zagros oriental, nord de Bandar Abbas), une analyse combinée du réseau hydrographique, d'un modèle numérique de terrain et d'un couple stéréoscopique de scènes spot, une étude de la dispersion des séismes et l'identification des alignements de diapirs salifères nous a permis de mettre en évidence cinq familles des linéaments structuraux. Une série des phénomènes associes au diapirisme salifère a été également proposée. Ces phénomènes permettent de mettre en évidence de nouveaux sites diapiriques encore inconnus dans le Zagros. La liaison entre les affleurements de sel et les alluvions récentes montre que les diapirs actifs de la région de Bandar Abbas sont arrives a l'affleurement entre 30000 et 4000 ans B.P.. L'irrégularité des dépôts d'alluvions sur les affleurements de la série de Hormuz montre que le taux de soulèvement n'a pas été constant. En général, un taux de soulèvement supérieur a 2 cm/an pendant la période de forte activité des diapirs et un taux de soulèvement de l'ordre de 1 cm/an pendant la période de faible activité sont réalistes. Une étude du basculement des cônes alluviaux montre une différence entre les cônes situés au contact direct des affleurements de sel (basculement de 4° a 5°) et des cônes de même age bascules uniquement sous l'effet du plissement du Zagros (2,5°). La différence (1,5° a 2,5°) dans la valeur du basculement pourrait être due au soulèvement pur du diapir. En supposant un age pour ces alluvions entre 5000 ans et 8000 ans (estimé par thermoluminuenscence), un taux de basculement de 0,5° pour 1000 ans est donc probable

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