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

This thesis examines narrative techniques and the theme of unrootedness and exile in Christa Wolf’s novel Stadt der Engel oder The Overcoat of Dr. Freud. By using Genette’s terminology on narratology and close-reading of the novel the thesis shows that a sense of distance and unrootedness is created within the novel and that the theme of unrootedness and exile creates a frame for the narration, which lacks of a plot in a traditional meaning and which’s main character’s subject is fragmented, which is typical for a poststructuralist novel.

Diploma thesis "Milan Kundera's 'The Joke' supervised. Critical reception of the novel in the context of its release and today" deals with critical reflection of the novel 'The Joke' in the period from the end of the 1960's up to current reviews. The author dedicates first chapters to the cultural and political background of the release. The core of the thesis focuses mostly on critical reception of the novel, which is divided into three historical periods. In the first part of the critical historical analysis and qualitative analysis, the author examines critical acceptance of the novel in the aftermath of its release (1967- 1969), in the Czechoslovakian and exiled journals and literary magazines in particular. The second part considers critical reaction to the novel throughout 1970's and 80's, and stresses outcomes of the reception in the sixties, official normalized critical reviews and the acceptance in the exile and samizdat literature as well. Finally, the last part of the thesis offers contemporary critical response to 'The Joke', analyzed on the basis of journals, literary magazines and newly emergent Kundera's monographs. Summarizing critical reception in each period, historical context is of primary importance to a profound understanding of the topic. The aim of the thesis is to find out...

1 Abstract This thesis provides an overview of the journalistic work and life story of the cultural publicist A. J. Liehm acting from the 1940s in the most important Czechoslovak cultural periodicals. Furthermore, the thesis shows the contemporary context of the last century and turning points in our history. The most important periodicals, in which content the author was involved, are described in two separate chapters. They relate to the weekly periodicals Kulturni noviny and Literarni noviny. Other periodicals are mentioned particularly in relation to author's exile work. Finally, the thesis explores the French magazine Lettre Internationale, which the author founded in the 1980s in Paris. The author used to meet a huge number of culturally and artistically oriented personalities, especially from the film industry. After emigrating from Czechoslovakia in 1969 he continued to publish from exile and repeatedly has been involved into discussions and interviews related to the Prague Spring and Czechoslovak culture. This thesis aims to collect information both from various official sources and by virtue of personal contact with the author himself and to provide an overview of his personality and life.

Nombreux sont les écrivains malgaches francophones vivant en exil, tirant de cette expérience personnelle leur sujet ; un itinéraire culturel dont le point de départ est le bilinguisme et la volonté d’échapper à l’embrigadement que suggère l’insularité. Cela donne au texte le cachet de l’œuvre accomplie: liant à la fois la volonté d’aller à la rencontre de l’autre et la quête de soi, livrant de fait, l’intime, le profond à la surface, à l’universel. L’écriture est perçue et vécue en tant qu’acte cathartique contre l’égarement de l’ego sans doute mais surtout de l’environnement soumis, offert et dévoilé à l’écrivain ; une fin utopique peut-être, mais néanmoins essentielle pour celui qui entrevoit la création littéraire comme une épée pourfendant les faiblesses de la réalité, servant à se rapprocher, à entrevoir et à modeler les caractéristiques de son monde idéal. Avec, évidemment, la complicité du double imaginaire du créateur, ce jumeau sombre par lequel Faulkner désigne le narrateur. Se dégage la difficulté de vivre avec l’autre, une coexistence annonciatrice d’un phénomène de scission, d’assimilation, pour une mise en exergue de l’espace et de la psychologie des protagonistes: complexité et dialectique du caractère où révolte et soumission, héroïsme et apathie, s’entremêlent pour dévoiler l’itinéraire commun et le parcours individuel de leur créateur qui prend le choix de la réalité décadente comme matière de l’inspiration romanesque. En somme, si la littérature malgache d’expression française est fortement enracinée dans la culture malgache, elle met aussi face à une écriture qui constitue un espace de rencontre et de tension avec l’autre, où le français apparaît comme la langue de l’ouverture, salutaire ou non. / Many Malagasy French speaking authors live in exile and make their personal experience their topic ; their personal experience represents a cultural itinerary arising from their bilingualism and their will to escape from regimentation due to insularity. Their personal experience provides to their text the achieved work character, combining their will to meet the other and their will to look for themselves, therefore revealing their depths, their inmost being to the universe. Writing is perceived and experienced as a cathartic action probably against self distraction but chiefly against the distraction of the environment which has been submitted, offered and revealed to the author. This purpose may appear utopian, nevertheless it appears essential for the one who foresees literary creation as a sword assailing the weaknesses of reality in order to get closer, foresee and make the characteristics of his ideal world. This creation occurs obviously with the complicity of the author imaginary double, this dark twin [« jumeau sombre »] by which Mr Faulkner refers to the narrator. From all this it emerges a difficulty to live with the other, a coexistence that forewarns a splitting and assimilating phenomena tending to highlight the space and psychology of protagonists: the complexity and dialectic of the character intermixing rebellion and submission, heroism and apathy finally reveals the common itinerary and individual background of the author who decides to draw his romantic inspiration from the decadent reality. In short if the Malagasy French language literature is deeply rooted into Malagasy culture, it also offers a writing allowing to meet and interact with the other and therefore makes the French language an open-minded language.

Cette thèse se propose d'interroger l'existence possible d'une francophonie littéraire du Viêt-Nam. En cernant le profil si particulier des œuvres francophones de ce pays, notre démonstration consiste à éclairer leur position dans le champ littéraire. Leur marginalisation a semblé être un élément crucial à analyser, posant la question des causes, mais aussi des conséquences sur leur réception. En effet, leur difficulté à se constituer en ensemble littéraire autonome au sein d'une littérature nationale ou à s'intégrer dans la littérature française est apparue de façon prégnante. Cette oscillation tant au niveau d'un ensemble que d'une œuvre particulière a été un des moteurs de notre analyse. Marquée du sceau de l'origine de ses acteurs et actrices, elle est perçue comme singulière. Mais elle n'est pas un volet de la littérature nationale du Viêt-Nam. Où est donc son avenir ? C'est pour mieux comprendre cette singularité que nous avons étudié les œuvres de trois écrivaines contemporaines : Kim Lefèvre, Anna Moï et Linda Lê. Elles sont le visage le plus connu de cette francophonie, sans que leur projet initial soit de s'y inscrire. Elles empruntent des chemins littéraires différents, illustrant ainsi leur difficile quête d'ancrage. Leur place spécifique dans le champ critique francophone nous a obligée à des incursions critiques développées, d'où l'ampleur de la bibliographie. Celle-ci prépare et ouvre d'autres voies d'exploration. / This thesis investigates the potential existence of a French written literature from Vietnam. In exploring these singular works from this country, our aims are to highlight their specific position in the literary field. The marginalization of these works emerges as a key point to explain their origin as well as the consequences on their reading and broadcasting. The difficulty to constitute a separate field in the national Vietnamese literature or to be fully integrated in the French literature is evident. The oscillation of a particular work or a group of works between these two statuses was the foundation of our analysis. In addition, while they displayed defined specificities, they are not considered as an individual field in the national Vietnamese literature. What should be the future of such literary style? In view of a better understanding of its singularity, we specifically analyzed the works of three of the most famous contemporary women writers in this field: Kim Lefèvre, Anna Moï and Linda Lê. While their initial purpose was not to be a part of this literary trend, these authors used different ways to achieve works that could be classified in similar manner. This illustrates the difficulty to integrate them into a specific literary field. To analyze their specific position in the Francophone critical field, we constantly had to perform numerous critical incursions, which explains the large amount of bibliography. This thesis prepares and opens the way for further explorations.

Bahram Beyzaie, né en 1938 en Iran, est considéré comme un très grand cinéaste et auteur dramatique de sa génération. Si certains de ses films sont bien connus, son théâtre est moins célèbre à l’étranger parce qu’il a été peu traduit et peu joué. Pour lui le théâtre est le lieu par excellence où renouer avec les formes traditionnelles de spectacle non pas pour les reconstituer mais pour parler au public d’aujourd’hui et lutter contre l’amnésie. Il nourrit donc ses pièces de théâtre, ses films, ses contes et ses narrations de l’héritage culturel oublié de son pays. Cette thèse propose d’examiner l’influence, dans son oeuvre dramatique, des spectacles traditionnels d’Iran tels que le Ta’zieh, le Naghâli ou l’Art du conteur, les marionnettes, la farce du Siyâh Bâzi, ainsi que la trace des mythes et de l’histoire de l’Iran. Dans tout ce qu’il écrit, une importance extrême est accordée à la langue perse utilisée avec virtuosité. De nombreux extraits d’ouvrages de recherche et de pièces sont proposés ici en traduction française. Une importante iconographie accompagne cette étude et rend compte des spectacles que Bahram Beyzaie a mis en scène. Il continue son travail artistique en Californie car il est actuellement un auteur en exil. / Born in 1938 in Iran, Bahram Beyzaie is considered as a great filmmaker and playwright of his generation. While some of his films are well known, his theater is less famous abroad because it has been little translated or performed. For him theater is the place where to keep in touch with tradition, not to just preserve it, but to reach today’s public and fight against amnesia. He thus feeds his plays, his films, his tales and his narrations of the forgotten dramatic legacy of his country. This thesis proposes to examine the influence, in his dramatic work, of traditional Iranian performances such as Ta'zieh, Naghali or the Art of Storytelling, Puppet Theater and Siyâh Bâzi or Farce, as well as the traces of the myths and history of Iran. In everything he writes, a prominent place is dedicated to the Persian language used with utmost virtuosity. Many excerpts of texts on the theater and plays are here translated for the first time into French. A very rich iconography, mainly of his own staging of his plays, illustrates the study. Beyzaie continues his artistic work in California where he is presently an author in exile.

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Victimes des persécutions du régime national-socialiste, près d’un demi-million d’Allemands et d’Autrichiens furent contraints à l’exil entre 1933 et 1945, en Europe puis outre‑mer. Plusieurs milliers d’entre eux trouvèrent refuge en Bolivie, le pays le plus pauvre d’Amérique du Sud. Nous nous proposons d’étudier la crise identitaire provoquée par la rupture de l’exil chez les personnes concernées ainsi que les stratégies identitaires qu’elles mirent en place pour tenter de la dépasser. Nous avons ainsi choisi d’interroger les difficultés spécifiques des exilés de langue allemande qui furent confrontés dans la république andine à un environnement socio-culturel très différent de celui qu’ils connaissaient en Europe et qui n’offrait que peu de repères identificatoires. Devant l’impossibilité d’une acculturation rapide, les exilés germanophones en Bolivie durent activer des mécanismes de défense et de (re)construction identitaire qu’ils mirent en place dans des espaces interstitiels transnationaux recréés sur place. Cette étude a pour objet l’analyse de la nature de ces espaces et des processus de recomposition identitaire différents, parfois divergents, mis en place chez les exilés de langue allemande en Bolivie. Notre réflexion s’inscrit ainsi dans le cadre de la sociologie des identités en contexte migratoire centrée sur les espaces socio-culturels et politiques collectifs ainsi que sur la (re)définition d’individus victimes d’une assignation identitaire discriminante. / Nearly half a million of German and Austrian nationals, fleeing persecution at the hand of the national‑socialist regime, were forced into exile in Europe and overseas. A few thousands of them found refuge in Bolivia, then the poorest country in South America. In our study, this dissertaition will analyse the identity crisis caused by the rupture of exile as well as the identity strategies those who were affected developed to overcome this crisis. We chose to focus on the specific difficulties of the Germann speaking exile who in Bolivia had to face a sociocultural environment widely different from what they had known in Europe and in which they couldn’t find any references to relate to. Since fast acculturation was nearly impossible, the exiles had to recreate transnational in-between spaces that would enable them to activate defensive mechanisms to (re)build their identities.Our study aims to analyse the nature of these spaces as well as the different - or even divergent - processes of identity reconstruction the German–speaking exiles established in Bolivia. Our work relies on the sociology of identity in a migratory context with a specific focus on collective sociocultural and political spaces and on the redefining of identities for people who were the victims of a discriminating label.

The diploma thesis analyzes the activities of the Czechoslovak journalist Pavel Tigrid, as one of the leading representatives of the first post-war exile. This thesis analysis his impact in the context of the cultural, social and political development of Czechoslovak emigration in the years 1948-1953. It focuses mainly on the Tigrid's texts published in Czech and Slovak language exile periodicals. During the time, which were magazines Doba, Svoboda, Svobodný zítřek and the monthly Skutečnost. The thesis is based on resources available in the Prague Libri Prohibiti library, on memorial books and basic secondary literature. It has also devoted a substantial part of his radio speeches from Radio Free Europe between 1951 and 1952, when he was program director of the Munich section. Keywords: Pavel Tigrid, press, culture, radio, exil, Radio Free Europe