De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peinture. / Many traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting.

Dans ce travail de thèse, j’ai dressé un tableau de la situation actuelle de la peinture contemporaine iranienne pour montrer dans quelles conditions celle-ci a évolué : tantôt elle a été opprimée et condamnée, tantôt elle s’est relevée et a continué sa progression vers l’avant. J’ai analysé la situation générale de la peinture contemporaine iranienne en tenant compte du contexte historique, politique, social et culturel de l’Iran. L’histoire et la culture ancienne de ce pays, et la vie quotidienne des iraniens sont soumises à un certain nombre d’événements qui pèsent sur la vie du peuple. Les invasions étrangères et l’arrivée des puissances qui gouvernaient le pays tout en convoitant ses ressources et ses richesses, ont fait que les Iraniens ne se soucient guère de l’avenir et qu’ils essaient plutôt de saisir le présent ! L’attachement profond des iraniens aux traditions, aux valeurs, aux relations humaines et surtout à l’image que les autres se font d’eux, les a souvent amenés à se donner qu’une place secondaire par rapport aux autres. Consciente de cet état d’esprit, la jeune génération d’artistes iranien est bien avisée, et sait parfaitement que pour rejoindre l’art mondial, elle doit se nourrir principalement de ses propres racines. / In this research project, I have analyzed the current contemporary Iranian painting and its evolution composed of periods of oppression in one hand and periods of progression on the other hand. This analyze is based on historical, political, social and cultural events in Iran. As long as one can remember, this country and its people has been invaded and exploited by foreign countries and even local governments which at all time, they have used resources and cultural treasure of Iran. For all these reasons, a national philosophy has taken place in the country, which pushes Iranian to think less about the future by trying to appreciate the present. The young generation of Iranian artist knows that it has to consider and to use its own roots and culture to get the opportunity to join the world-wide art.

La Turquie forme un cadre exceptionnel pour l’étude de la question d’asile dans le sens où les politiques mises en œuvre concernant ce sujet ne correspondent pas à la complexité de la réalité sur ce territoire. C’est l’un des rares pays au monde qui applique – encore aujourd’hui - la Convention de Genève avec deux réserves, géographique et temporelle. Cette version de la Convention indique que seuls les réfugiés et demandeurs d’asile « européens » fuyant des événements antérieurs au 1er Janvier 1951 peuvent demander le statut de réfugiés auprès de l’Etat turc. En conséquence, aujourd’hui, l’Etat turc ne délivre pas le statut de réfugié aux demandeurs d’asile non-européens mais fournit seulement un statut temporaire. Les personnes, qui obtiennent le statut de réfugié d’après la définition internationale, sont autorisées à rester dans le pays uniquement jusqu’à ce que leur réinstallation dans un pays tiers soit organisée par le Haut Commissariat des Nations Unies pour les Refugiés (HCR).Basée sur des recherches effectuées sur les demandeurs d’asile iraniens à Van, une ville frontière de l’est de la Turquie, cette étude analyse le fonctionnement du processus de légalisation des personnes dans un contexte transitoire en se concentrant sur la relation entre les différents acteurs : les Etats, le HCR, les acteurs informels et les demandeurs d’asile. Elle explore la relation simultanée entre la légalité, la temporalité et le statut de réfugié à trois différents niveaux : local, national et transnational. Cette étude examine comment le statut transitoire du demandeur d’asile structure la relation de l’individu avec la légalité et comment il oriente la personne dans ses stratégies politiques et l’organisation de sa (sur)vie pendant cette période. Ainsi sont étudiées les conséquences des notions de légalité et temporalité sur l’expérience des demandeurs d’asile en Turquie. / Despite the increasing number of people entering Turkey as asylum seekers, the Turkish state has maintained the “rule of geographical reservation” that does not allow non- European asylum seekers to remain in Turkey as refugees. Accordingly, the on-going asylum system does not offer refugee status for non-European asylum seekers, but merely provides a temporary status. So-called “Temporary Guest”, these individuals are only allowed to stay within the country until their resettlement in a third country has been arranged by the United Nations for High Commissariat of refugee. This research concerns itself with the study of the experiences of Iranian asylum seekers and refugees residing in Van, a border satellite city in Eastern Turkey, currently in the process of transition. It analyzes the experience of being a refugee and being “in transit” in a country geographically proximate to the country of one’s origin. It examine individuals’ legalization struggle within transitory, local, national and transnational context by focusing on interacted/intersected relationship between states, international refugee regime, informal actors and asylum applicants. In so doing, it suggest exploring the ways in which legality and temporality come to be so intricately related as to form one’s refugee experience in Turkey.

L’avancée considérable des dispositifs de vraisemblance, l’imposante combinaison de l’art et du virtuel, le souci d’archives, la volonté de réalité etc. qui marquent notre temps ont mis la question de "pourquoi la fiction ?" au centre des réflexions poétiques et philosophiques. Question qui, à ses deux extrémités, implique le discours littéraire et le discours historiographique. Pour y répondre, la pensée en Occident fait traditionnellement appel à ses origines grecques. De manière quasiment invariable, la réponse a été recherchée dans un cadre bipolaire et référentiel constitué du réel et du fictionnel. Dans le présent travail, il s’agit de remonter jusqu’aux Grecs, à la recherche d’une pensée de l’art et du fictionnel qui ne se contenterait pas du cadre référentiel. Ainsi, sont repérés les éléments d’une autre lecture grecque qui se trouve être à l’origine de la poétique élaborée au sein de l’islam iranien : une poétique orientale qu’il faut considérer comme un autre devenir de la poétique grecque. À partir des discours théorique, littéraire et historiographique irano-islamiques, il est montré comment cette poétique orientale exige de penser la fiction dans le cadre d’un schème tripartite : le rapport du réel au fictionnel fait immanquablement entrer en ligne de compte un troisième pôle qu’on appelle la vérité ou le réel de la réalité. D’un point de vue comparatif, le schème tripartite permettra de penser la question de la fiction sous un nouveau jour. / The ingenious progress of the means of likelihood, the required combination of art and the virtual, the interest for archives, the will of reality ect., that characterize our time, have given a particular interest to the question of "why fiction?", both in the philosophical reflections and the poetical investigations. In its two end-points, this question concerns both literary and historiographical discourses. Western thought has traditionally referred to its Greek origins in order to answer the question. Yet most of the time, the answer is formulated in a bipolar, referential framework consisting of the real and the fictional. Instead, in the present work, the issue is to move back up the Greek legacy in search of some art and fiction thought which goes beyond this referential framework. Doing this, we can identify the elements of a different reading of Greek thought which is actually involved in the very starting point of the poetics developed within the Islamico-Iranian cultural world : an oriental poetics which is to be considered another becoming of Greek poetics. Through theoretical, literary and historiographical discourses in Post-Islamic Iran, the author tries to show this oriental poetics requires thinking fiction now in a tripartite schema : the relationship between the real and the fictional takes necessarily into account a third pole that one can call the truth or the real of reality. From a comparative perspective, the tripartite schema could help to think the general issue of fiction in a different way.

La présente recherche interroge l'écriture littéraire de la Grande Guerre et de la guerre Iran-Irak, vecteurs de choc et de bouleversement, qu'a racontée maint récit et roman, partagés entre restitution et invention. L'enquête porte sur la capacité de la fiction à dire le phénomène guerrier. Après avoir démêlé les contextes littéraires, elle établit les tendances majeures de la poétique du genre du récit de guerre et scrute alors les récits du front. Dans le feu de l'action, une première vague de textes est marquée du souci de témoignage dans une optique réaliste. Malgré leurs divergences de style et d'axiologie, Le Feu de Barbusse, récit à la fois concret et symbolique, et Le Voyage de Déhghân, plus sommaire et documentaire, traduisent le même désir à dire l'indicible du feu et de l'horreur. Ces récits proprement mimétiques suivent la logique linéaire du souvenir et se veulent lisibles. Mais une deuxième vague de textes, postérieure aux combats, privilégie le fictionnel sur le factuel. Cris de Gaudé et Le Scorpion d'Abkénar, avec leur approche post-apocalyptique de l'événement, renouvellent le genre. La mise en scène de la guerre, loin d'être véridique ou vérifiable, est ici fragmentaire, voire lacunaire, avec des éléments de rupture et d'incohérence. Le soldat progresse dans un monde d'errance et de cauchemar. Plus ou moins adossée à une nouvelle image de la guerre, la narration contemporaine défie la possibilité de totaliser l'expérience de guerre et dénonce le vide qu'elle a causé. Mais la fiction romanesque table sur ce vide pour renouveler l'esthétique du sujet. / This research investigates the literature of the Great War as well as Iran-Iraq war, instigators of shock and disruption, narrated by a myriad of novels and fictions which are shared between restitution and invention. It focuses on the expressive capacity of fiction to illustrate the phenomenon of war. By unraveling contexts of the comparing literatures, the major tendencies of poetic of the novel of war are established first. Then the frontline stories are studied. In the core of the action, the first movement of the texts has testimonial and realistic concern. Under fire of Barbusse is a realistic and symbolic novel, while Journey of Dehghan is more brief and documentary. Despite their differences in terms of style and axiology, both have been contributed with the same desire to demonstrate inexpressible fire and horror of war. This part of literary war novels follows the mimetic pattern of the logic of memories and expected to be legible. But the second movement of texts – written following the end of main battles - favors the fictional to factual form. Screams of Gaudé and The Scorpion of Abkénar with their post-apocalyptic perspective comprise a new kind of fiction. The staging of war - far from being accurate and verifiable - is fragmented and even lacunar with signs of bursting and incoherency. The soldier rises through wandering and nightmare. Almost based on the new image of war, the contemporary narratives challenge the possibility of depicting a complete panorama of war and denounce the vacuum it leaves behind. The novelistic fiction, however, avails itself of such vacuum to revive the aesthetics of the subject.

Iran´s reactions often seem very controlversial and inapprehensive to the western countries, therefore Iranian Islamic Republic represents an inscrutable actor in the international field. Construstivism introduces a new approach to this issue and it suggests not to consider Iran as an usual rational actor but to take into account the ideological factors as well. This paper deals with the construstivistic analysis of the foreign policy of the Iranian Islamic Republic towards the West and tries to answer the question if there is a role of the Iranian national identity in forming of the Iran´s foreign policy.

In recent years, the IRI has managed to increase its influence in the Middle East. The strategic use of proxy warfare has played a central role as surrounding countries have become destabilised. However, following the positivist logic of structural IR theories, the materially inferior IRI should not be a stronger player in the region’s conflicts than the US and its Arab allies. The Iranian success in proxy warfare, therefore, provides a paradox for the explanatory framework of reductionist IR theories which rely on rational and positivist epistemologies. I argue that this is because these perspectives do not endorse an adequate comprehension of the mutual embedded relations which have served the IRI a strategic advantage in proxy warfare. In a challenge to the parsimonious reductionism of structural IR and security studies, I adopt Feklyunina’s constructivist framework for analysing soft power as a relational identity. Thereby, I switch the focus from a top-down analysis of the IRI to a focus including Iraqi insurgencies’ acceptance or rejection of the IRI’s national identity and foreign policy goals. I argue that identity matter in proxy relations. Hence, I estimate the IRI’s strength in proxy warfare based on potential Iraqi insurgencies’ compatible identities. I employ a longitudinal historical research design tracing the development of collective identities within Iraq. The study finds that the Iraqi Shi’ites share important common facets of their identity with the IRI and have subsequently been willing to fight as proxies against American and Sunni forces in Iraq. However, identity and legitimacy structures in the Middle East are complex, multifaceted, constantly changing, and dependent on context. Iraqi Shi’ites still preserve some reservations and antipathy towards the Iranian regime due to a nationalist sense of community.

Planning of educational and guidance programs is conducted without providing a way for parents and students to express their expectations of that program and without discovering how well the parents and students understand the program which is proposed. Historically, education in Iran has been organized to allow for no involvement of the community in educational planning and change. Students and parents have had to accept the programs without expressing their attitudes toward these programs or raising questions as to their validity. A great number of students and their parents have not been satisfied with the services of the schools, and the result has been that they have lost interest in educational affairs. Consequently, they have tried to ignore all problems having to do with schools and education. The Fourth Plan Program, while introducing counseling and guidance into the school program, nevertheless does not provide for an increased amount of parent and student involvement in the decisions which directly affect them. In order to gain information about the concerns and attitudes of people at all socio-economic levels during the process of the current reforms, direct inquiry from students and parents at the middle and lower socio-economic level is needed. Therefore, it seemed appropriate to survey the extent of the knot/ledge and the attitudes of Iranian school students and their parents toward the new educational system. In addition, it appeared important to gain information about their perceptions and expectations of the role of guidance counselors in the schools.

This study investigated job satisfaction/ dissatisfaction among business administration faculty at selected public Iranian universities. It also examined the relationship between faculty job satisfaction/ dissatisfaction and selected demographic and professional activity variables. Finally, the extrinsic and intrinsic factors associated with faculty job satisfaction were analyzed. It was also concluded that, despite a positive correlation of the intrinsic and the extrinsic factors, Herzberg's two-factor theory is a useful model in a faculty job satisfaction research. Furthermore, Hill's FJS was found to be reliable and valid for use in faculty job satisfaction studies in the colleges and universities in Iran.

This dissertation seeks to explore the social reality of Iranians living in the United States. The main objective is to find out how Iranians (Iranian Americans) maintain, construct and perceive their Iranian identity and to identify factors that could intervene in this process. Another aim is to examine intra-diasporic social relations, social interactions with American society and stance towards Iran. To fulfill the purpose of this dissertation, a qualitative research method was applied. The selected qualitative data consisted of thirty-one in-depth interviews with Iranians in New York City and Los Angeles. The results of the research indicated a strong sense of Iranian pride among all respondents, regardless their religious, inner ethnic or generational affiliation. This pride stems from ancient Iranian cultural heritage (and from Pahlavi era that adopted ancient symbolism into its ideological repertoire) and is still kept alive through pre-Islamic symbols and religiously indifferent traditions. It is obvious that the "pure Iranian identity" belongs to the first generation Iranians only, while the 1.5 and second generations, in their self-concept, proved to be rather hyphenated or torn between three spaces (typically young Iranian Jews). Research revealed their identity is oftentimes chosen,...