Tesi sul tema "Massacre, 1943"

This dissertation examines the trial of Japanese war crimes conducted by Australia between 1945 and 1951; although the study commences in 1943, when the Government first focussed on the issue, and ends in 1961, when the issue was closed. Beyond providing an overview of the trials the thesis addresses the major criticism of the trials by looking at whether the trails were fair and if they fulfilled Australian aims. This is addressed within the context of the two elements of international law, the political, and the legal, and examined in each of the three sections. The Policy section establishes the political context of the trials by examining the influence of the international community and the Australian Government. Both influenced structure and progress rather than the final application of the law. When Australian attitudes were incongruous with international views, a perception that Australia was harsh and repressive developed even though justice was an important part of the Government???s agenda. A study of legal aspects of the trials commences in the Procedures section. Australia???s legislation and regulations are explained with particular emphasis on the more controversial aspects, and a comparison is made with the war crimes instruments of other Allies trying the Japanese showing many similarities between the regulations used by other nations and Australia???s. Procedures also discusses the framework for the Australian trials, the procedures used to bring a case to trial, the process used in court, the review process and the carrying out of sentences. Such a thorough study of the procedural basis is necessary to evaluate the individual trials. Practical examples of some of the procedural problems are also discussed in the following section ??? Practice. This section reviews a number of trials and the various types of crimes and the claims made in defence to show how Australia applied and interpreted the law. The study finds many similarities between Australia???s application of the law and the practice of other nations, indicating that Australian courts were applying what was considered to be customary expectations of behaviour. Throughout the trials there was little evidence of vindictiveness or revenge, either by Government or in the courts. Both were faced with significant problems, which were not always dealt with well but overall the trials were fair and those involved were concerned that justice should not only be seen to be done, but actually be done.

Les partisans soviétiques ont formé pendant la Deuxième Guerre mondiale un des principaux mouvements de résistance armée à l'occupation allemande en Europe, implanté dans les vastes forêts de Biélorussie, du nord de l'Ukraine et de Russie occidentale. En croisant les archives allemandes et soviétiques, les sources institutionnelles, celles des unités de partisans elles-mêmes et des ego-documents, ce travail explore l'expérience et la culture de guerre des partisans soviétiques, en centrant l'analyse autour de la nature, des racines et des effets de la violence politique telle que subie et exercée par les partisans. Il analyse l'impact de la violence d'occupation allemande, l'émergence et la structuration du mouvement partisan, les relations complexes des partisans avec l'Etat-Parti soviétique, leurs conceptions de la patrie soviétique, les relations entre civils et combattants et les dynamiques de radicalisation de la violence en territoire occupé. Il montre que les partisans soviétiques étaient le produit à la fois d'une culture politique spécifique héritée de la Révolution et de la violence d'occupation allemande: ils comprenaient leur action comme un moment essentiel d'une apocalypse révolutionnaire ouverte en 1917, sans que leur mouvement s'inscrive dans la simple continuité des conflits qui avaient marqué l'URSS jusqu'à la guerre.

Cette thèse, au croisement de l’histoire et de l’anthropologie, prend pour objet les représentations d’un massacre colonial, la répression sanglante de tirailleurs sénégalais survenue au camp de Thiaroye, à proximité de Dakar, le 1er décembre 1944. Il s’agit d’abord de mieux documenter l’événement historique lui-même qui, soixante-dix ans après les faits, reste un sujet de controverse historiographique. D’autre part, inscrire les réappropriations passées et actuelles de ce drame dans diverses temporalités donne à lire la trajectoire de la nation sénégalaise postcoloniale à travers le prisme de la mobilisation de référents historiques. Ce travail sur la mémoire de cet événement s’appuie sur plus de soixante entretiens, l’analyse des œuvres d’art traitant de cet événement, un travail d’archives – des sources coloniales mais aussi différents journaux depuis 1945 jusqu’à aujourd’hui –, enfin une dimension ethnographique de recherche action, notamment auprès de lycéens sénégalais. Aujourd’hui, au Sénégal, les représentations attachées à l’événement du 1er décembre 1944 apparaissent comme un des paradigmes de la mémoire coloniale. Tenter de décrire ces usages du passé sur plus de soixante-dix ans permet alors d’envisager l’articulation entre des mémoires dominantes – officielles ou non –, des formes particulières de rappel du passé et le rôle de ce passé dans certaines dynamiques identitaires
By connecting history and anthropology, this thesis analyses the representations of the Thiaroye massacre, a repression of the tirailleurs sénégalais, Western African conscripts of the French army, in the Thiaroye camp on the outskirts of Dakar that took place on December 1st, 1944. First, it aims at documenting the event that, sixty years after, remains a controversial issue among the historians. Secondly, this thesis aims at analysing both the past and current use of this tragedy in different periods of time-scales. As a consequence, it helps to read the path of the post-colonial senegalese nation through the use of historical referents. This work dealing with the history of Thiaroye massacre is based on more than sixty interviews, the analysis of the works of art representing the event, different kind of archives (colonial sources and press journals published since 1945 until today), and the ethnographic investigation (for instance among the college students). The representation of the December 1st 1944 is currently one of the paradigms of the colonial memory in Senegal. By trying to describe the use of the past during more than sixty years, it is possible to consider the links between the dominant memory – official as well as unofficial – or the specific forms of remembrance and the role of this past in the some identity dynamics

Thesis (M.A.)--University of Wollongong, 2003.
Title from PDF title page (viewed on Aug. 13, 2005). Ill., maps, and facsims. in print version are lacking in electronic version. Includes bibliographical references.

À Guelma dans l'Est de l'Algérie française, le 8 mai 1945, plutôt qu'un soulèvement nationaliste comme on le pensait, il y eut une subversion des Européens. Son origine est à rechercher dans la peur d'être submergés par des Musulmans de plus en plus nombreux et dans l'opposition aux réformes coloniales du gouvernement. Cette réaction prit la forme d'un massacre de Musulmans et d'une politique de terreur. Elle bénéficia de la complicité des autorités civiles et de la police dans le département de Constantine. Cette réaction subversive dans une région rurale et peuplée par une large majorité de Musulmans préfigura celle de TOAS dans les métropoles algériennes en 1960-1962,. Des institutions illégales remplacèrent les pouvoirs légaux et défièrent les autorités de l'État. Les Musulmans tués par les miliciens furent officiellement portés disparus. Entre 1945 et 1954, ces faits furent insidieusement recouverts par la raison d'État. Les gouvernements de la IVe République pensèrent que c'était le prix à payer pour poursuivre leur politique de réformes en Algérie à un moment où le monde entrait dans une période de décolonisation
On the day of the WW II victory, on may 8th, 1945, instead of a nationalist uprising in Guelma, there was a reaction of a subversive nature on the part of the French, triggered by their fear of being outnumbered by the Muslims and their opposition to the reforms of the government. It took the form of a massacre of Muslims and a terrorist policy, with the complicity of the civil authorities and police of the Constantine département. This subversive reaction in a rural and predominantly Muslim département, prefigured that of the OAS in the Algerian cities in 1960-1962, at the end of the Algerian War. It was a challenge to the metropolitan and French Algerian authorities and their reforms. Illegal institutions replaced legal ones. French militiamen killed large numbers of Muslims, officially declared missing. Between 1945 and 1954, under pressure from the settlers, the facts were shrouded by reasons of state, from the bottom to the top of the state apparatus. The French governments of the Quatrième République agreed to keep those violent and illegal acts secret, in the hope of saving their reform policies in Algeria, when the world was entering a period of decolonisation

Le massacre de Sharpeville du 21 mars 1960, faisant 69 morts et près de 200 blessés, est considéré dans l'historiographie et la vie politique sud-africaines comme un tournant majeur de l'histoire nationale. Depuis l'origine pourtant, deux versions dites antagonistes des faits coexistent et s'alimentent : d'une part, celle d'une tentative de soulèvement et de renversement du pouvoir, d'autre part celle d'une manifestation patente de la nature violente et inhumaine du régime. L'onde de «mystère» qui entoure les circonstances exactes du drame et la crise qu'il provoqua ont entretenu l'affrontement de ces thèses et, selon les périodes, conditionné les analyses historiques, la transmission mémorielle du fait, de même que la nature de ces commémorations. La chape de plomb qui, depuis lors, s'abattit sur le pays jusqu'en 1976 a également favorisé la dimension légendaire et symbolique de l'événement souvent au détriment de sa connaissance historique. Ce travail, fondé sur la comparaison et l'étude critique de sources primaires et secondaires, retrace le processus complexe de construction des narrations et évocations du massacre au cours des quarante dernières années et leurs utilisations politiques. Plutôt que d'invalider simplement la portée symbolique de l'événement, cette étude, à l'appui d'une enquête historique, vise à décrire et expliquer cette dimension au regard des évolutions de la société sud-africaine au cœur et au sortir de l'apartheid
The Sharpeville massacre (March 21, 1960), where the police shot down 69 South Africans and wounded almost 200, is regarded, both in history and politics, as a major historical turning point. From the very beginning, two (apparently) antagonistic interpretations of the event were developed : the first one sees it as a failed attempt to overcome the appartheid regime, and the second one as an obvious evidence of the violent and barbaric nature of apartheid. A shadow of mystery on the very circumstances of the tragedy, as well as the crisis that followed, have influenced, for forty years historical analyses, transmissions of the memory of the event, and the nature of its commemorations. From 1960 up to 1976, a wall of silence has surrounded the country and favoured the legendary and symbolic dimension of the event often to the detriment of historical knowledge. This study based on the comperative critics of primary and secondary sources, draws on the complicated building process of the narratives and evocations of the massacre, along forty years, and their use in politics. Instead of simply disqualifying the symbolistic scope as such, this work describes and explains that dimension, on the ground of historical investigations and in the eyes of the evolutions of the South African society in the mists and the fall of apartheid

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Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible
A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível

Le style littéraire de Louis-Ferdinand Céline repose sur l'emploi de la langue parlée populaire. A première vue, la procédure linguistique de Céline peut donner parfois l'impression d'être globalement conforme à la règle générale de la grammaire traditionnelle. Cependant, son champ d'application déborde très largement celui de cette règle. Il consiste à imprimer au langage parlé une certaine déformation de telle sorte qu'une fois écrit, à la lecture, il semble au lecteur qu'on lui parle à l'oreille. Pour ce faire, il a su intégrer dans ses œuvres de nombreux ingrédients, d'ordres divers et parfaitement aléatoires : variations de prononciation, choix de lexies appartenant à la fois aux registres et aux niveaux les plus hétérogènes, syntaxe mêlant tous les degrés de niveau grammatical. D'autre part, il simplifie les démarches en les dépouillant des lourdeurs du dogmatisme et de fausses règles. Il multiplie également les points de vue qui correspondent à l'infinie variété de constructions que pourrait offrir la langue française. Céline est donc un écrivain qui s'oppose à la tradition littéraire en s'ouvrant une nouvelle voie. Son talent et sa célébrité prennent ainsi leur source dans l'originalité de son style
Louis-Ferdinand Céline's literary style lies on the use of the popular spoken language. In fact, his linguistic process looks like to conform to the traditional grammar rule. However, its application field largely overflows the one of this rule. It consists in communicating some distortion to the spoken language so that it seems to the reader that someone whispers something in his ear. To set up his process, Céline integrated in his works many ingredients: variation of pronunciation, choice of the vocabulary belonging simultaneously to the most heterogeneous registers and levels, syntax mixing every degrees of grammar level. He simplified the classical process by casting off many heaviness of dogmatism. He also multiplied the points of view and mistaken rules to the infinite variety of the sentences structure that French could offer. Therefore, Céline is a writer who opposed to the literary tradition and opened a new way of writing in French literature. His talent and his celebrity are probably due to his original style

La guerre civile qui s'est déroulée dans l'ancien empire russe après 1917, a constitué pour les populations juives d'Ukraine la pire persécution avant la Shoah, une confrontation avec une guerre terrible et meurtrière ainsi qu'une nouvelle vague de violences spécifiquement antisémites. Le présent travail explore donc les raisons de l'émergence d'une nouvelle forme d'antisémitisme, pétri de ressentiment religieux et économique, mais renouvelé en profondeur par l'émergence du mythe du judéo-bolchevisme. L'antisémitisme connut une embellie suite à la révolution de 1917 parce que la figure du Juif servait tout particulièrement de repoussoir aux mouvements nationalistes ukrainien et russe qui s'affrontaient avec les partisans d'un pouvoir soviétique en Ukraine. L'antisémitisme servit par conséquent de base à la gestion au quotidien par les armées combattantes, de plus de deux millions de Juifs ukrainiens. Et il ouvrit sur des séries de pogroms extrêmement violents dont la perpétration est analysée en détails dans ses constantes et ses variations. Une attention toute particulière est donnée aux formes les plus extrêmes de cette violence antisémite portée par des voisins contre leurs voisins juifs, confinant à des cas de nettoyage ethnique et d'extermination. Dans un dernier temps sont analysés les effets immédiats et à plus long terme sur les victimes de cet déchaînement de violences : réfugiés de guerre gérés brutalement par les pays voisins, recomposition de la population et intégration à la nouvelle société soviétique
Civil War that ravaged the former Russian Empire after 1917, was also the moment of the worst anti-Jewish persecution before Holocaust, a mix between a deadly war and a new wave of specific violence against Jews. This work explores why emerged a new form of anti-Semitism, fulfilled with religious and economic resentment, but also deeply renewed by a new powerful myth : judeo-bolshevism. Anti-Semitism worsens after 1917 revolution because the Jew's image was a powerful imaginary antagonism for nationalisms - both Ukrainian and Russian - that fought against the supporters of a soviet regime in Ukraine. Anti-Semitism was therefore a basic category in daily management of civilian populations, and especially of the two million Jews in Ukraine, by fighting armies. This context led to mass perpetration of anti-Jewish pogroms that are analysed in details in their patterns and variations. The most extreme forms of violence are emphasized, especially cases of violence from Christians against their Jewish neighbours that moulded a politic of ethnic cleansing and sometimes of extermination. Finally are analysed the immediate and long term effects of violence on the victims. Massive war refugees were brutally managed by neighbour countries, in a last moment of violence. Recomposition of the Jewish population and its prompt integration to the new Soviet society closed this sequence of a decade of war

La profession de masseur kinésithérapeute est officiellement née le 30 avril 1946. A partir de la fin du 19e siècle, le massage, la kinésithérapie, la gymnastique ayant pénétré le champ de la médecine et la loi du 30 novembre 1892 confié aux médecins le monopole de l’ensemble des techniques de soins, ceux-ci vont faire appel à des auxiliaires dont ils auront assurés la formation préalable pour mieux les contrôler. La guerre de 1914-1918 « fléau social » va assurer la promotion empirique de ces méthodes. L’absence de masseurs professionnels ayant limité le bénéfice de ces pratiques, le corps médical va accepter de les déléguer à certains auxiliaires. Il faudra attendre la Seconde Guerre mondiale pour que soient créées la profession de moniteur de gymnastique médicale et celle de masseur médical. Ces textes abrogés en 1945, la loi n° 46.857 du 30 avril 1946 tendant à réglementer l’exercice des professions de masseur gymnaste médical va créer la profession de masseur-kinésithérapeute en lui confiant le monopole légal du massage. Il lui faudra attendre près d’un quart de siècle (1969) pour voir aboutir sa principale revendication : une troisième année d’études et 60 ans pour obtenir Conseil de l’Ordre (2006). Par la suite l’évolution de la profession va être impactée par la mise en place de quotas d’accès aux études qui va inciter un grand nombre de jeunes français(e)s à entreprendre leurs études dans des pays de l’Union européenne. Subséquemment, de plus en plus de ressortissants communautaires viennent exercer en France. Les bouleversements en matière de mœurs apparus au cours des années 1960-1970, ayant aboli un certain nombre d’interdits, a bouleversé les mentalités en favorisant une recherche du bien-être. Les masseurs-kinésithérapeutes ayant abandonné le massage hygiénique et esthétique d’autres le revendiquèrent. La création d’un Ordre professionnel a été sources de graves dissensions intra professionnelles. La raison ayant fini par l’emporter la profession, majoritairement unie, vient d’obtenir une avancée significative symbolisée par l’obtention d’une quatrième année d’études précédée d’une première année d’études universitaire (PACES, STAPS, STC)
The physiotherapist profession is officially born on 30 April 1946. From the late 19th century, massage, physiotherapy, gymnastics having entered the field of medicine and the law of 30 November 1892 given doctors a monopoly all care techniques, they will appeal to auxiliary assured they will pre-service training to better control. The War of 1914-1918 "social evil" will ensure the promotion of these empirical methods. The lack of professional masseurs who limited the access to these practices the medical profession will agree to delegate certain auxiliaries. It was not until World War II that a purely authoritarian manner are created medical gymnastics instructor profession and the medical masseur. These texts repealed in 1945, Law No. 46857 of 30 April 1946 designed to regulate the exercise of the medical professions gymnast masseur will create the profession of physiotherapist by giving him the legal monopoly of the massage. Very quickly this monopoly will be challenged and just as quickly the profession will manifest a desire for emancipation in relation to medical supervision. He will have to wait almost a quarter century (1969) to see its main claim result: a third year of study and 60 years for the Council of the Order (2006). The evolution of physiotherapy was, at first, hampered by the hegemonic designs of the medical profession and in a second stage conditional on regulatory harmonization policy allied health professionals conducted by public authorities and by societal choices. Subsequently the evolution of the profession will be affected by the establishment of quotas for access to studies that will encourage a large number of French youth (s) to undertake their studies in countries of the European Union. Subsequently, more and more EU citizens come to work in France. The upheavals on morals appeared in the years 1960-1970, have abolished a number of prohibitions, has upset the mentalities by promoting research of wellbeing. The physiotherapists who discontinued hygienic and aesthetic massage others vindicated. The first were beauticians who eventually win the case (massages to aesthetic purposes) followed by self-appointed wellness massage practitioners that case law has gradually legitimized. The creation of a Professional Order was the source of serious intra professional dissension. In this case, the energy expended was not put on the professional service, but of a certain conception of the latter. The reason has finally prevailed occupation, mainly united, has obtained significant progress symbolized by obtaining a fourth year preceded by a first year of university studies (PACES, STAPS, STC )

Cette thèse se propose d'analyser les événements internes à l'Empire ottoman envers les Arméniens de 1894 jusqu'en 1914 aux yeux de l'opinion publique française à travers les sources journalistiques françaises. De 1894, début des massacres des Arméniens jusqu'à la prise de pouvoir des Jeunes-Turcs (1908), comment les années d'Abdul-Hamid II envers la population arménienne furent-ils perçus et quelle fut la vision du gouvernement unioniste (1908-1914) face aux Arméniens ? Voilà un aperçu des principales problématiques qui sera abordé à travers notre étude
This thesis aims to analyze the internal events in the Ottoman Empire against Armenians from 1894 until 1914 in the eyes of the French public through the French journalists' sources. 1894 start of the massacres of Armenians to the takeover of the Young Turks (1908), how the years of Abdul Hamid II to the Armenian population were they received and what was the vision of the Union government (1908 -1914) against the Armenians? This is an overview of the main issues that will be addressed through the study

Ma thèse vise en premier ressort à étudier toutes les questions juridiques concernant la ‘question arménienne’.D’abord, le sujet de l’existence des éléments du crime de génocide en 1915 au niveau du droit international conventionnel a été notre première question à étudier. Ensuite, il était indispensable d’étudier la nature du crime commis envers les Arméniens ottomans en 1915.En plus, est-ce que l’Etat Turc actuel peut-il être responsable d’un crime commis par l’Empire ottoman, selon le principe de la succession d’Etats en droit international, surtout que l’Etat Turc n’était créé qu’en 1923 ? Et en cas de l’existence de cette responsabilité, est-ce que l’Arménie a droit à l’action en responsabilité, surtout qu’au moment de la perpétration du crime, il n’y avait pas un Etat Arménien ? Les victimes étaient des ressortissants de l’Empire ottoman mais d’origine arménienne. Donc il faudra étudier la qualité de l’Arménie pour agir en justice, par des moyens judiciaires ou extrajudiciaires, vis-à-vis surtout du principe de la non-rétroactivité des traités, surtout que dans notre cas, le crime a été perpétré en 1915, alors que la Convention sur le génocide n’a été promulguée qu’en 1948.En fait, notre thèse vise en dernier ressort à rapprocher les deux pays et mettre fin réellement au conflit entre eux, à percevoir ce qui les rassemblent et non ce qui les divisent, et trouver une solution équitable et objective pour les deux pays afin de contribuer à mettre fin à leur litige historique, et cela à travers une étude réaliste, impartiale et basée sur la logique et la nature des choses et des circonstances du fait existantes
The main purpose of my thesis is to study all the legal issues concerning the 'Armenian question'.First, the existence of the elements of the crime of genocide in 1915 at the conventional international law, made our first question to consider. Then, it was necessary to study the nature of the crime committed against the Ottoman Armenians in 1915.In addition, can Turkey be responsible for a crime committed by the Ottoman Empire, according to the principle of succession of States in international law, especially that the Turkish state was created in 1923?And in case of such responsibility, has Armenia the right to maintain a lawsuit against Turkey, especially at the time of the crime, there was no Armenian state?The victims were citizens of the Ottoman Empire but of Armenian descent.Also, the quality of Armenia to take legal action, by judicial or extrajudicial processes, must be studied, regarding especially to the principle of non-retroactivity of treaties, especially that in our case, the crime was committed in 1915, while the Genocide Convention was enacted in 1948.In fact, our thesis aims ultimately to bring the two countries closer and actually try to help reach the end of the conflict between them, perceive what gather them and not what divides them, and find a fair and objective solution for both countries, in order to help put an end to their historic dispute, and that through a realistic and impartial study, based on logic and the nature of things and the circumstances of the existing

La représentation de la Shoah et des génocides arméniens, rwandais, bosniaque au théâtre depuis l’après-guerre délimite le cadre de notre thèse consacrée, pour une large part, à l’intrusion massive du récit dans des productions théâtrales allant de l’adaptation de témoignages aux formes les plus élaborées du théâtre documentaire défini par E. Piscator et P. Weiss, du théâtre-récit à l’adaptation de récits autobiographiques monologués. Ce système de formes « non-dramatiques », selon la terminologie de P. Szondi, exclut généralement l’image, en tant qu’archive et en tant que reconstitution scénique. Pourtant, la monstration est une composante du théâtre du génocide, mettant en jeu des expérimentations diversifiées, de C. Delbo à J. Grotowski, d’A. Miller à J. Semprun. Entre récit et monstration, émerge un théâtre de la « survivance » qui révèle les mécanismes traumatiques et tend à les résoudre pour envisager une clôture du travail de deuil chez J. -C. Grumberg, G. Tabori, A. Gatti ou R. Kalinoski.

Notre thèse de doctorat porte sur la crise de Semana Santa, un soulèvement militaire qui a provoqué l’une des plus grandes mobilisations populaires du XXème siècle argentin, entre le 16 et le 19 avril 1987. Elle s’introduit dans les histoires respectives du système judiciaire, de l’Armée, des partis politiques, des médias et du Mouvement des Droits de l’Homme afin de rendre compte de la complexité de l’événement. Elle démontre comment la mobilisation populaire est le résultat d’un changement culturel, qui implique tous les acteurs susnommés, initié avec le nouveau régime démocratique fondé en 1983. Notre thèse cherche aussi des méthodes pour replacer le peuple, comme acteur politique, dans l’historiographie actuelle. Pour cela elle s’inscrit dans l’historiographie de la mémoire, à laquelle elle apporte le concept de « mémoire active » qui permet de dépasser l’approche commémorative du phénomène mémoriel
The subject of our doctoral thesis is the crisis of « Semana Santa », a military rebellion that triggered one of the most massive popular uprisings of the Argentinian Twentieth Century, April 16th and April 19th, 1987. This crisis penetrates the respective histories of the judicial system, the Army, the political parties, the media, the Human Rights Movement, in order to account for the complexity of the event. The thesis demonstrates how the popular mobilization was the result of a cultural transformation that involved all the actors mentioned, and that was pioneered under the new democratic regime founded in 1983. Our thesis is a methodological attempt to restore, in current historiography, the people as a political actor. For that purpose it is connected with the historiography of memory, to which it contributes the concept of “active memory” that allows to surpass the commemorative approach of the memorial phenomenon

Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes. Les quatre romans Zha gen (Prendre racine) par Han Dong, Balzac et la petite tailleuse chinoise par Dai Sijie, The Crazed (La démence du sage) par Ha Jin et Rou zhi tu (Beijing Coma) par Ma Jian seront comparés en tant qu’images des mémoires individuelles de la Révolution Culturelle et du mouvement pour la démocratie qui a eu lieu à Tian’anmen en 1989. Dans la première partie, nous discuterons les nouvelles approches théoriques qui configurent la littérature chinoise contemporaine comme une entité polyglossique et déterritorialisée. Dans la deuxième partie, nous nous concentrerons sur deux exemples d’autofiction, à savoir Zha gen et Balzac et la petite tailleuse chinoise, en comparant leur représentation du temps figuré comme une évolution identitaire de l’individu. Dans la troisième partie, nous analyserons les deux romans The Crazed et Rou zhi tu, en mettant en évidence le caractère spatial de la mémoire, transposé en forme de témoignage fictionnel. Finalement, dans la quatrième partie, nous explorerons les interactions entre la littérature chinoise et la littérature mondiale, en plaçant les cas analysés dans une perspective translinguistique. À travers la comparaison entre les versions chinoise, anglaise et française des romans, nous montrerons comment les mémoires déterritorialisées sont modulées par la traduction et l’autotraduction
This thesis aims to investigate the representation of fictional memories in the context of global Chinese literature, showing how displacement and translingualism affect the works by authors from the Mainland and from overseas, who express their creativity in different languages. The four novels Zha gen (Striking Root) by Han Dong, Balzac et la petite tailleuse chinoise (Balzac and the Little Chinese Seamstress) by Dai Sijie, The Crazed by Ha Jin, and Rou zhi tu (Beijing Coma) by Ma Jian are compared as reflections of individual memories of the Cultural Revolution and of the 1989 Tiananmen Square protests. The first part of the thesis addresses the new theoretical approaches configuring contemporary Chinese literature as a polyglossic and deterritorialised entity. The second part focuses on the analysis of two examples of autofictions, Zha gen and Balzac et la Petite Tailleuse chinoise, comparing their representation of time as reflected in the evolution of the individual. The third part explores the two novels The Crazed and Rou zhi tu, focusing on the spatial character of memory transposed in the form of a fictional témoignage. Finally, the fourth part investigates the interactions between Chinese literature and world literature, placing the cases analysed in a translingual perspective. The comparison between the Chinese, the English and the French versions of the novels shows how deterritorialised memories are modulated through translation and self-translation
La tesi esamina la rappresentazione narrativa della memoria nel quadro globale della letteratura cinese contemporanea, mostrando l’influenza di dislocamento e translinguismo sulle opere di autori cinesi che scrivono tanto dalla RPC quanto dall’estero, in cinese o in altre lingue. I quattro romanzi Zha gen (Mettere radici) di Han Dong, Balzac et la petite tailleuse chinoise (Balzac e la piccola sarta cinese) di Dai Sijie, The Crazed (Pazzia) di Ha Jin e Rou zhi tu (Beijing Coma) di Ma Jian saranno comparati come immagini di memorie individuali della Rivoluzione Culturale e delle proteste studentesche di Piazza Tian’anmen. La prima parte si incentrerà sulla discussione di nuovi approcci teorici che inquadrano la letteratura cinese come un’entità poliglossica deterritorializzata. La seconda sarà dedicata all’analisi comparata di Zha gen e Balzac et la petite tailleuse chinoise e metterà in evidenza la rappresentazione del tempo in termini di evoluzione identitaria dell’individuo. Nella terza parte, il paragone tra The Crazed e Rou zhi tu sottolineerà il carattere spaziale della memoria come testimonianza narrativa. La quarta parte, infine, esplorerà le interazioni tra la letteratura cinese e la letteratura mondiale da una prospettiva translinguistica. La comparazione tra le versioni in cinese, inglese e francese dei romanzi mostrerà come tali memorie deterritorializzate sono modulate dalla traduzione e dall’autotraduzione

Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes. Les quatre romans Zha gen (Prendre racine) par Han Dong, Balzac et la petite tailleuse chinoise par Dai Sijie, The Crazed (La démence du sage) par Ha Jin et Rou zhi tu (Beijing Coma) par Ma Jian seront comparés en tant qu’images des mémoires individuelles de la Révolution Culturelle et du mouvement pour la démocratie qui a eu lieu à Tian’anmen en 1989. Dans la première partie, nous discuterons les nouvelles approches théoriques qui configurent la littérature chinoise contemporaine comme une entité polyglossique et déterritorialisée. Dans la deuxième partie, nous nous concentrerons sur deux exemples d’autofiction, à savoir Zha gen et Balzac et la petite tailleuse chinoise, en comparant leur représentation du temps figuré comme une évolution identitaire de l’individu. Dans la troisième partie, nous analyserons les deux romans The Crazed et Rou zhi tu, en mettant en évidence le caractère spatial de la mémoire, transposé en forme de témoignage fictionnel. Finalement, dans la quatrième partie, nous explorerons les interactions entre la littérature chinoise et la littérature mondiale, en plaçant les cas analysés dans une perspective translinguistique. À travers la comparaison entre les versions chinoise, anglaise et française des romans, nous montrerons comment les mémoires déterritorialisées sont modulées par la traduction et l’autotraduction
This thesis aims to investigate the representation of fictional memories in the context of global Chinese literature, showing how displacement and translingualism affect the works by authors from the Mainland and from overseas, who express their creativity in different languages. The four novels Zha gen (Striking Root) by Han Dong, Balzac et la petite tailleuse chinoise (Balzac and the Little Chinese Seamstress) by Dai Sijie, The Crazed by Ha Jin, and Rou zhi tu (Beijing Coma) by Ma Jian are compared as reflections of individual memories of the Cultural Revolution and of the 1989 Tiananmen Square protests. The first part of the thesis addresses the new theoretical approaches configuring contemporary Chinese literature as a polyglossic and deterritorialised entity. The second part focuses on the analysis of two examples of autofictions, Zha gen and Balzac et la Petite Tailleuse chinoise, comparing their representation of time as reflected in the evolution of the individual. The third part explores the two novels The Crazed and Rou zhi tu, focusing on the spatial character of memory transposed in the form of a fictional témoignage. Finally, the fourth part investigates the interactions between Chinese literature and world literature, placing the cases analysed in a translingual perspective. The comparison between the Chinese, the English and the French versions of the novels shows how deterritorialised memories are modulated through translation and self-translation
La tesi esamina la rappresentazione narrativa della memoria nel quadro globale della letteratura cinese contemporanea, mostrando l’influenza di dislocamento e translinguismo sulle opere di autori cinesi che scrivono tanto dalla RPC quanto dall’estero, in cinese o in altre lingue. I quattro romanzi Zha gen (Mettere radici) di Han Dong, Balzac et la petite tailleuse chinoise (Balzac e la piccola sarta cinese) di Dai Sijie, The Crazed (Pazzia) di Ha Jin e Rou zhi tu (Beijing Coma) di Ma Jian saranno comparati come immagini di memorie individuali della Rivoluzione Culturale e delle proteste studentesche di Piazza Tian’anmen. La prima parte si incentrerà sulla discussione di nuovi approcci teorici che inquadrano la letteratura cinese come un’entità poliglossica deterritorializzata. La seconda sarà dedicata all’analisi comparata di Zha gen e Balzac et la petite tailleuse chinoise e metterà in evidenza la rappresentazione del tempo in termini di evoluzione identitaria dell’individuo. Nella terza parte, il paragone tra The Crazed e Rou zhi tu sottolineerà il carattere spaziale della memoria come testimonianza narrativa. La quarta parte, infine, esplorerà le interazioni tra la letteratura cinese e la letteratura mondiale da una prospettiva translinguistica. La comparazione tra le versioni in cinese, inglese e francese dei romanzi mostrerà come tali memorie deterritorializzate sono modulate dalla traduzione e dall’autotraduzione

Tese de doutoramento em Sociologia, na especialidade de Pós-Colonialismo e Cidadania Global, apresentada à Faculdade de Economia da Universidade de Coimbra
Assumindo o papel insubstituível da figura do fantasma no questionamento do passado, em particular no tocante a momentos da vida individual ou coletiva que representaram cesuras potencialmente traumáticas, proponho-me, na presente dissertação, refletir na escrita do «Massacre de 1953», em São Tomé e Príncipe, como um lugar de imaginação da nação, onde os espetros emergem como sujeitos desafiadores de fronteiras e de processos hegemónicos de produção de conhecimentos.  Ancorada no campo dos estudos literários e aliando-o às ferramentas e metodologias da antropologia, da história oral, da sociologia e dos estudos feministas e pós-coloniais, esta pesquisa transdisciplinar apresenta dois grandes objetivos. O primeiro diz respeito ao levantamento das representações dos eventos de 1953 e à consequente elaboração de um arquivo da imaginação do massacre, a partir da documentação histórica disponível, dos testemunhos, de ensaios, do cinema e da música, mas sobretudo de romances, contos e poemas. O segundo, decorre do inicial, e consiste na análise deste arquivo através do conceito de fantasmagoria de Avery Gordon em articulação com a proposta da sociologia das ausências e das emergências de Boaventura de Sousa Santos, recorrendo ao espetro como elemento de pesquisa indispensável para a avaliação da escrita do massacre como uma teoria dos fantasmas, onde a nação é contada e reinventada. O arquivo da imaginação daquele que também ficou conhecido como o «Massacre de Batepá» vai consistir, como demonstrarei ao longo destas páginas, em narrativas marcadas fundamentalmente pela experiência do colonialismo e pela violência dos eventos de 1953, nas quais os espíritos assumem distintos significados simbólicos e afetivos, descrevendo, por conseguinte, diferentes “comunidades imaginadas” que, através de diferentes épocas, habitam o espaço físico e social do arquipélago. A escrita do Massacre de Batepá é, assim, um lugar criativo onde se encenam as memórias de 1953, permitindo estabelecer e redefinir pertenças, diagnosticar problemas e fazer emergir sujeitos e conhecimentos antes emudecidos nas histórias entrelaçadas de Portugal e São Tomé e Príncipe.
Assuming the irreplaceable role of the ghost figure in questioning the past, in particular regarding those moments in individual or colletive life which amounted to potentially traumatic ruptures, I propose, in this dissertation, to reflect on the writing of the "Massacre of 1953", in São Tomé and Príncipe, as a place for imagining the nation, where specters emerge as a subject that challenges boundaries and hegemonic processes of knowledge production. Positioning itself in the field of literary studies, combined with the tools and methodologies of anthropology, history, sociology and feminist and post-colonial studies, this interdisciplinary research pursues two major goals: first, it aims at mapping representations of the 1953 events and the following elaboration of an archive based on the imagination of the massacre, drawing upon historical documentation available, testimonies, essays, cinema and music, but mainly upon novels, short stories and poems; secondly, it offers an analysis of this archive using Avery Gordon’s concept of haunting, in conjunction with the proposal of a sociology of absences and emergences by Boaventura de Sousa Santos, using the specter as an essential element of research for the evaluation of the writing of the massacre as a theory of ghosts, where the nation is told and imagined. The archive of the imagination of the event also known as the “Batepá Massacre" consists, as shown in the course of these pages, in narratives that are fundamentally marked by the experience of colonialism and the violence of the 1953 events and in which spirits take on different symbolic and affective meanings, describing, therefore, diverse "imagined communities" which, throughout different eras, inhabit the physical and social space of the archipelago. The writing of the Batepá Massacre is, thus, a creative place where the memories of 1953 are enacted, allowing the establishment and redefinition of belongings, the diagnosis of problems and the emergence of previously silenced subjects and knowledge within the intertwined stories of both Portugal and São Tomé and Príncipe.

En 2003, la Commission de vérité et de réconciliation du Pérou (CVR) publie un rapport sur la période de guerre interne et de violence qui a déchiré le pays entre 1980 et 2000. Ce rapport étudie ces deux décennies pour faire la lumière sur les événements et évaluer la position de divers secteurs de la société afin que les Péruviens puissent se réconcilier avec un pan de leur histoire. Dans son rapport, la CVR consacre une section aux médias, notamment la presse écrite, et salue le rôle « important » qu’ils ont joué, tout en notant au passage que leur couverture du conflit n’a pas favorisé la pacification du pays et a même pu la compromettre par moments. Ce mémoire vise à étudier la couverture de la guerre interne par les trois quotidiens péruviens les plus importants pour le tirage, Expreso, El Comercio, et La República. Il porte surtout sur la période comprise entre le début des hostilités, le 17 mai 1980, et le massacre de huit journalistes dans le village andin d’Uchuraccay, le 26 janvier 1983. Un regard est également jeté sur l’évolution du journalisme au Pérou depuis les années 1960, marquées par l’élection d’un gouvernement démocratique et aussi par l’instauration d’un régime militaire qui se maintiendra au pouvoir pendant 12 ans. Les bouleversements au cours de cette période difficile expliquent, au moins en partie, le désintérêt initialement manifesté par ces quotidiens, au-delà des différences idéologiques manifestes, à l’endroit des premiers pas du Sentier Lumineux et de sa « guerre populaire ».
In 2003, the Truth and Reconciliation Commission (TRC) of Peru published a report on the internal war and violence that tore the country apart from 1980 to 2000. The report studied those two decades in order to shed light on the events, investigating the involvement of different sectors of society, so that Peruvians would be able to come to peace with their recent history. In its report, the TRC had a section on the media – including the written press. The report underscored the “important” role the media had played, but also stated that their coverage of the war might not have helped bring peace and may have even at times worsened the situation. This thesis aims to study the coverage of the internal war by the three daily newspapers with the largest circulation, Expreso, El Comercio and La República. It focuses on the period between the start of the war on May 17, 1980 and the massacre of eight journalists in the Andean village of Uchuraccay on January 26, 1983. It also considers the evolution of Peruvian journalism since the 1960s, when a democratic government was elected and a military junta subsequently took power and held it for 12 years. Beyond the ideological differences that characterize the three papers studied, this rocky period accounts for, at least partially, the initial lack of interest shown by the newspapers towards the first guerilla actions of the Shining Path and its popular war.

The debate about whether to label the mass killing of Ottoman-Armenians in the early twentieth century as “genocide” has emerged in geographically distant Australian parliamentary discussions and decisions. The struggle to use and refuse such terms is deeply felt by the Australian-Armenian and Australian-Turkish ethnic-migrant communities, for each of which the reframing is a question of cultural identity and a source of tension. This thesis explores how and why contentious international debates on the histories affecting the Armenians and Turks make their way into Australian State Parliaments, and how the debates and political decisions impact and play out on the lives of the two communities so far removed from the realities of the past. The thesis considers the impacts of these on Australia’s ‘normative’ concepts of multiculturalism. This thesis also provides an overview of the historical background to the mass killing of Ottoman-Armenians in the early twentieth century, and highlights the areas of contention and scholarly disagreement. The purpose of this thesis is not to determine a label for the mass killing of Ottoman-Armenians. The roles of political actors, lobby groups, and the Australian media (both ethnic and mainstream) in framing debates, setting agendas and labels, and promoting activism are considered. Key media and political narratives are examined, to understand the ramifications of the New South Wales and South Australian Parliamentary decisions to recognise the mass killing of Ottoman-Armenians between 1915-1916 as an act of “genocide”. This thesis captures how culture, religious background, education and historical experiences impact unity and distances within and between the two diasporic communities, and presents an understanding of the decreased sense of belonging experienced by members of the Australian-Armenian and Australian-Turkish communities through qualitative and quantitative research findings. This thesis also examines the challenges facing Australia, a geographically distant nation in relation to ongoing struggles between the Armenians and Turks, and argues that the country is no longer “immune” to international warfare affecting ethnic-migrant communities living in Australia. It argues that multiculturalism cannot truly be embraced until the frames and labels, which oversimplify complex discourses and conflicted narratives, are understood.

The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.