The following is a collection of works of fiction set in Kazakhstan during World War II, modern-day Budapest, with one short story taking place in Richmond, Virginia. No characters in this collecting of fiction is meant to depict any real, live person, though some of the settings are real. These works were written between February, 2012, and April, 2014.

Through a study of the work of three important writers, this thesis engages with the traumatic memories of the second half of the twentieth century in Czechoslovakia in order to highlight the value of literature in widening critical understandings of the continuing legacy of this complex era, which was dominated by totalitarian regimes under the Communist governments which gained control after the upheaval of the Second World War. Whilst these years were not unilaterally traumatic, many lives were dramatically affected by border closures and by the experience of living under a regime that maintained control through methods including confiscation of property, surveillance, arbitrary imprisonment, show trials, and executions. Many of the stories of this era could not be published openly because of censorship, and the persecution of intellectuals led to a wave of emigration, during which a number of writers moved to France. Using theories of trauma, exile, illness, and of self and other, this thesis opens up a dialogue between the work of three writers who engage, albeit from very different perspectives, with this little-explored intersection between Czech and French. The first chapter explores Daniela Hodrová's translated Prague trilogy as a first-hand witness to her nation's dispossession and as a form of resistance to the deletion of memory. The second chapter considers the painful transgenerational legacy of the era as it plays out in the work of bilingual writer Jean-Gaspard Páleníček. Chapter Three considers the ways in which the Prague novels of established French author Sylvie Germain negotiate the fine line between an appropriation of the stories of the other and a moral responsibility to bear witness. By bringing these authors together for the first time and locating their work within French Studies, my work foregrounds the need for Western criticism to pay attention to other valuable voices who can contribute to our understandings of the traumatic experience that has shaped modern history.

The Development of Tibetan Cultural and Religious Identity among Tibetans Living outside of Historical Tibet The topic of my thesis was to find out changes in Tibetan society inside Tibet and in Tibetan exile in last 50. years and how do changes help to progress social capital. Inside Tibet is problem with high percent of nonliterary and high percent of incoming Han people, which cause that Tibetan people are getting on the edge of society, because they didn't have developed their human potential. The main problem is that Tibetan people don't know Chinese language well and this language is becoming more useful for daily life in Tibetan autonomous region. Tibetans, who are very religious, don't have opportunity to practice Tibetan Buddhism under communistic rule of Chine. Tibetans have to renounce His Holiness dalajlama and deny part of their Tibetan identity. Those reasons influence them to escape into exile. The second part of my thesis is concerned to describe push and pull factors of migration. As I found in materials, the main reasons to escape into exile were political, religion, education, economical problems and renounce dalajlama. In my research, Tibetan didn't divide those reasons to those categories, because they think of those problems in holistic way. The last part of thesis in...

This thesis starts with the introduction of the general historic moments of postwar Czechoslovakia. Attention is paid to the February 1948, Prague Spring and the events of August 1968. These dates established two waves of emigration from Czechoslovakia. In this context, there are presented personalities of Jiří Pelikán and Pavel Tigrid as leading personalities of exile. The analytical part focuses on the comparison of Tigrid's Svědectví and Listy published by Jiří Pelikán. Analysis is based on important events in postwar history. The thesis is mainly focused on the different perceptions of the Prague Spring and Charta 77.

IN QUEST OF FREEDOM. REINALDO ARENAS AND HIS NOVEL THE DOORMAN Abstract The subject of this thesis is to analyse the novel The Doorman (El portero) by Cuban writer Reinaldo Arenas and to situate it in the context of the author's life. This work focuses on the part of life of Arenas which he spent exiled in the United States of America. When writing the novel The Doorman, Arenas draws from his own experiences and observations of phenomena in the North American society. At the same time, in this novel appears the motif of seeking freedom and also the theme of escape from the environment of oppression, which are very characteristic themes of Arenas. Key words: Reinaldo Arenas, Cuba, exile, the USA, The Doorman, freedom

TITLE: The characters of the emigrants in two German novels (Der Umbruch oder Hanna und die Freiheit by Alice Rühle-Gerstel and Die Straße des Verrats written by Hans Natonek) AUTHOR: Lucie Chalupníčková DEPARTMENT: of Germanic Studies SUPERVISOR: PhDr. Viera Glosíková, CSc. ABSTRACT: This diploma thesis focuses on the main characters in two novels: Die Straße des Verrats and Der Umbruch oder Hanna und die Freiheit. The protagonists are anti-fascist emigrants living during the 1930s. The theme is examined in the context of german literature since 1933. The attention is focused on Prague as an exile centre (a shelter for german emigrants). The theoretical part of this diploma thesis is dedicated to the outline of the exile of the antifascists after 1933. Subsequently, the main part analyses the emigrant characters (mainly the protagonists of these novels). Moreover, their destiny, which is connected to Prague, is described. KEYWORDS: emigration, Nazism, Communism, Jews, the exile centre Prague

Les perspectives dites des « cliniques de l’exil » se présentent souvent, dans la littérature psychopathologique et clinique, comme une clinique de ce qui a été perdu, dont le sujet se voit séparé de force. Une clinique de l’objet perdu donc, perçu comme manque ; cette perte est le plus souvent posée comme douloureuse et pensée comme détermination d’un état mélancolique. Or la clinique freudienne de l’objet perdu insiste sur sa construction, son avènement comme toujours déjà perdu et invite à saisir l’exil comme modalité de la séparation d’avec le Wohl primordial. C’est une séparation nécessaire pour advenir comme sujet de l’énonciation. Lacan pointe pour sa part une logique des exils au pluriel. Nos patients d’origine « étrangère » indiquent comment l’exil et le recours à une langue étrangère sont élevés au rang de symptôme et donc à accueillir et soutenir en clinique. Cette clinique « de la vie quotidienne » enseigne que l’exil implique la question de la filiation. Se pose ainsi la question du père. De la tuchè du père, quel automaton ou quelles inventions subjectives pour trouver une place dans le monde ? Cette clinique nous ouvre à des considérations qui nous font relire la littérature de manière renouvelée et repenser la « clinique de l’exil » en « clinique de l’exilé ». / « Exile » is presented in literature as an awful experience where the subject cries desperately after the lost object. Freudian psycho-analysis shows how important it is for the infant to get exiled from the primordial Wohl. The Lacanian definition of « exile » suggests to talk about « exiles », a plural, i.e as a structural disharmony. We have, therefore, wanted to examine the relationship between « exile », foreign langage » and their function for a foreign patient. The other side of our work is to examine the effects of exile upon the next generations. Actually, the main question is in what way both exile and foreign langage are symptoms when the father’s function is inefficient. We have based our everyday work with foreign patients upon a clinical approach which respects the psychic structure, the symptom and the various solutions or subjective inventions looking for a place in this world among men.Key words

In this paper, I will detail the process of making the graduate thesis film Historia Naturalis. I will begin with how the idea came into being in the first part. Next, I will outline the methodology from screenwriting to completion- examining all the major creative and production related elements. Finally, I will attempt to personally analyze the success of the final project.

Autour des années 1930, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas et les autres lancent le mouvement de la Négritude. Leur lutte s’oriente vers une convocation poétique et une réappropriation de l’Afrique. En effet, après la prise en compte des valeurs africaines et leur mise en pratique, il faut donc penser et écrire à la manière africaine. Les créations littéraires issues de ce mouvement littéraire étaient donc essentiellement orientées vers l’Afrique, vers cet espace topographique connu et fixe. Dans cette revendication légitime, l’identité du sujet nègre est à rechercher en Afrique, la Négritude participe donc à une sorte de « fixité identitaire ». Les années 1990 voient l’émergence d’une nouvelle génération d’écrivains africains francophones qui, pour la plupart, vivent et mènent leurs activités littéraires en Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). Cette quatrième génération d’écrivains africains francophones lutte contre une sorte « d’assignation à résidence » et revendiquent une littérature ouverte sur le monde. À ce sujet, Bessora, comme beaucoup d’autres écrivains de sa génération, évolue en marge d’un espace géographique fermé, elle assume son appartenance à un monde qui abolit les frontières géographiques, esthétiques et même genrologiques. Bien qu’assumant ses origines africaines, Bessora coupe tout lien avec son espace géographique pour inventer et conquérir de nouveaux territoires. Dès lors, Bessora n’écrit plus l’Afrique dans une posture figée et afro-centrée, mais elle invite plutôt à la réalisation du « Tout-Monde » glissantien. / Around Around the 1930s, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas and others launched the Negritude movement. Their struggle is a poetic evocation and a reappropriation of Africa. Indeed, after the taking into account of African values and their implementation, one must think and write in the African way. The literary creations resulting from this literary movement were therefore essentially oriented towards Africa, towards this fixed and known topographic space. In this legitimate claim, the identity of the Negro subject is to be sought in Africa; Negritude is therefore involved in a kind of “fixed identity”. The 1990s saw the emergence of a new generation of francophone African writers who mostly live and conduct their literary activities in Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). This fourth generation of francophone African writers struggle against a kind of "house arrest" and advocate a literature open to the world. In this regard, Bessora, like many other writers of her generation, evolves on the fringe of a closed geographical space; she assumes membership in a world that abolishes geographic, aesthetic and even genrologicals frontiers. While not denying her African origins, Bessora cuts all ties with her geographical space in order to invent and conquer new territories. Consequently Bessora no longer writes about Africa from a frozen and African-centered position, but rather calls for the realization of “All-World” of Glissant.

Peut-on parler de « poétique » pour un phénomène aussi mouvant que l’exil ? Cette notion qui, dans ses diverses acceptions, ne se laisse pas fixer tout à fait, peut-elle faire apparaître un langage spécifique ? Il s’agira de voir par quels mécanismes cette éprouvante manifestation d’interculturalité peut mener à la création d’une langue qui dépasse le cadre de la nation (même en prenant sa source dans celle-ci), et rejoint des invariants et des structures d’expression transnationales et universelles. Pour ce faire nous prenons appui sur trois auteurs choisis dans des aires géographiques et des époques différentes : Hölderlin (aire germanique), Rimbaud (aire latine) et Sarafian (aire arménienne). L’exil se manifeste avant tout par rapport au pays d’origine, conformément à la définition. Mais il devient rapidement un phénomène linguistique, que ce soit dans le choc avec le monde étranger (Sarafian) ou dans la formulation d’une quête esthétique avec la création verbale pour enjeu (Rimbaud), liée pour une bonne part à la recherche d’une nouvelle mythologie et à la confrontation avec l’étranger pour retrouver ce qui appartient en propre à la nation (Hölderlin). Le pivot est ici la nation, originelle et actuelle, dont les poètes sont exilés. L’exil géographique et l’exil de la langue mènent finalement à l’exil spirituel et à la recherche d’une patrie plus élevée, tiers espace pouvant accueillir ou façonner une parole. Ce nouveau lieu serait celui d’une hybridation (ou du moins d’un questionnement) où le verbe de l’exil pourrait se dire, sous des formes différentes chez les trois auteurs, avec toutefois des similitudes frappantes. / Is it possible to speak about « poetics » with respect to a phenomenon which is as fluctuating as exile? May the latter, which, in its various meanings, cannot be totally defined, allow the emergence of a specific language? It is up to us to find out through which mechanisms such a trying expression of interculturalism might lead to the creation of a language which goes beyond the framework of the nation (even when it emanates from the latter) and which reaches out towards transnational and universal invariants and word structures. In order to achieve this, we rely upon three authors which were chosen in different geographic areas and in different periods : Hölderlin (Germanic area), Rimbaud (Latin area) and Sarafian (Armenian area). Exile is primarily defined with respect to the country of origin, in conformity with the definition. But it becomes a linguistic phenomenon, as in the shock with the foreign word after the genocide of the Armenians (Sarafian), or in the formulation of an aesthetic quest with verbal creation at stake (Rimbaud), or in the essential search of a new mythology, along with the confrontation with the foreign world in order to redefine that which belongs specifically to the nation (Hölderlin). Both the geographic exile and the linguistic exile lead to a spiritual exile and to the search for a loftier fatherland. This new spatial entity would result from a hybridization process (or at least from questioning), whereby the word of the exile could be expressed in different formats for the three authors, with, however, some striking similarities.