Ao longo das duas Guerras Mundiais, observou-se o rompimento da humanidade com as normas de conduta inauguradas pelo Iluminismo, legitimando a violência como algo intrínseco à sociedade moderna. Essa mudança de valores foi acompanhada pelo crescente investimento científico e tecnológico, que atingiu um elevado desenvolvimento durante o século XX e trouxe, como um de seus resultados, os maiores genocídios realizados pelos Estados autoritários em nome de seus interesses políticos e econômicos. A barbárie nos leva a considerar um elemento para a reflexão: as testemunhas. Essas corporificam a necessidade de um resgate da humanização, da retomada dos valores morais perdidos com a banalização da violência. Assim, o testemunho confronta a história e demonstra que o desenvolvimento tecnológico não é sinônimo de desenvolvimento humano. Pelo contrário, permitem questionar a verdadeira intenção das nações que, em busca de hegemonia, destroem maciçamente populações inteiras. Nesse contexto, emergem as seguintes questões: o que é o testemunho e qual a sua importância para a sociedade moderna? O que levou, historicamente, ao surgimento das testemunhas? Qual o contexto histórico que proporcionou o desenvolvimento da bomba atômica? Por que houve a necessidade, por parte das nações em guerra, de exterminarem milhares de pessoas, principalmente civis? Qual a consequência do rompimento das normas de civilidade pelas duas Guerras Mundiais? Para responder a essas perguntas, investigou-se o Museu Memorial da Paz de Hiroshima no que diz respeito a sua exposição permanente, seus objetivos no que se refere à luta contra o esquecimento da catástrofe atômica e à coleta de testemunhos. Após esse primeiro momento da pesquisa, procedeu-se ao estudo do contexto histórico que culminou nas atrocidades cometidas ao longo das duas Grandes Guerras, os resultados dos extermínios em massa para a sociedade moderna e, finalmente, o estudo sobre o trauma e o testemunho em relação aos sobreviventes do bombardeio atômico de Hiroshima / Throughout the two World Wars, a disruption between humankind and the standards of conduct inaugurated by the Enlightenment was observed, legitimizing violence as something intrinsic to modern society. This change in values was followed by the increasing scientific and technological investment, which reached a high development during the twentieth century and brought, as one of its results, the greatest genocides carried out by the authoritarian States on behalf of their political and economic interests. The barbarism leads us to consider an element for reflection: the witnesses. They embody the need for redemption of humanization and the resumption of the moral values, both lost in the trivialization of violence. Thus, the testimony confronts history and shows that technological development is not a synonymous for human development. On the contrary, they allow us to question the true intent of the nations that, in their quest for domination, massively destroy entire populations. In this context, the following questions arise: what is the testimony and what is its importance to modern society? Historically, what had led to the appearance of witnesses? What is the historical context that provided the development of the atomic bomb? Why was there the need, by the nations at war, to exterminate thousands of people, mainly civilians? What is the consequence of breaking the rules of civility by the two World Wars? To answer these questions, the Hiroshima Peace Memorial Museum was investigated regarding its permanent exhibition, its goals regarding the struggle against forgetting the atomic disaster and the gathering of testimonies. After this first stage of the research, it was proceeded the study of the historical context that culminated in the atrocities committed during the two Great Wars, the results for modern society of the mass exterminations and finally, the study of trauma and testimony regarding the survivors of the Hiroshima atomic bombing

Esta tese analisa quatro livros publicados entre 2000 e 2001, quando foi lançado um grande número de livros escritos por homens encarcerados: Diário de um detento, de Jocenir, Sobrevivente André du Rap (do Massacre do Carandiru), de André du Rap e Bruno Zeni, Memórias de um sobrevivente, de Luiz Alberto Mendes, e Vidas do Carandiru, de Humberto Rodrigues. Sustento que a disposição material desses livros e o modo como a matéria narrativa é enformada sejam indícios de que as narrativas do cárcere brasileiro tragam as marcas dos modos de sociabilidade daquele ambiente, em que se reconhece a condição de preso, mas se almeja o estatuto de escritor. / This work analyses four books published between 2000 and 2001, when there was a boom of prisoners narratives: Diário de um detento, by Jocenir, Sobrevivente André du Rap (do Massacre do Carandiru), by André du Rap and Bruno Zeni, Memórias de um sobrevivente, by Luiz Alberto Mendes, and Vidas do Carandiru, by Humberto Rodrigues. I argue that the material disposition of these books and the way the narrative substance is constructed are signs that the narratives from Brazilian prisons carry marks of the sociability of that environment, in which one acknowledges the condition of prisoner, but also aims at a writer status.

O presente trabalho tem como corpus central de análise A hora da estrela, de Clarice Lispector(1920-1977), pensada em suas fronteiras com o ensaio e com as escritas de limiar paratextos, prólogos, epígrafes, entre outros e com as proposições do instrumental crítico de Giorgio Agamben.A pesquisa está organizada em três momentos. O capítulo I objetiva localizar a literatura da autora em sua contemporaneidade, extraindo das estratégias compositivas as singularidades de sua produção em relação à tradição e ao seu presente. Para isso, aproxima-se a narrativa clariceana do pensamento meditativo, fragmentário, errático, que está na base do método ensaístico de Michel de Montaigne e que compõe um ritmo profundamente harmônico com a percepção estética de Clarice Lispector.No capitulo II, a investigação rastreia as escritas de borda, ou seja, os paratextos e seus congêneres, tomando-os como linhas condutoras de uma voz crítica e reflexiva nas margens híbridas da ficção clariceana.A ideia de prólogo estendido, tal como proposto aqui, estaria na própria estrutura de A hora da estrela que se abre com os trezes títulos, atravessa a dedicatória e se estende por muitas páginas do texto central.No capítulo III,defende-se que, em A hora da estrela, por meio do jogo de projeção autoral entre Clarice/Rodrigo, condutor do gesto meditativo, crítico e ensaístico alinhavado no texto, é possível trazer para a narrativa um tom testemunhal na modulação do narrador interposto, Rodrigo. Macabéa, dobra desta projeção autoral, emerge entoando um canto quase anafórico, mas que tece, com sua voz marginal, o tom mais agudo e central do texto clariceano / The central corpus of analysis of this work is Ahora da estrela, by Clarice Lispector (1920-1977), thought of in its frontiers with the essay and the interval writings, prologues, epigraphs, amongst others and with the propositions of critical instrumental by Giorgio Agamben. The research is organized in three moments. Chapter I endeavors to locate the authors literature in her contemporaneity, extracting from the compositional strategies the singularities of her production related to tradition and to her present. In order to achieve that, the Clariceans narrative approaches the meditative, fragmentary, erratic thinking which is the base of the essayistic method of Michel de Montaigne and that composes a profoundly harmonic rhythm with the aesthetic perception of Clarice Lispector. In Chapter II the research tracks the marginal notes, that is, the paratexts and its counterparts taking them as conductive lines of a critical and reflective voice in the hybrid margins of the claricean fiction. The idea of an extended prologue, as it is suggested here, would be contained in the structure of A hora da estrela that opens with the 13 titles, goes through the dedication and continues for many pages of the main text. In Chapter III, a defenseis made that in A hora da estrela, through the authorial projection game between Clarice/Rodrigo, conductor of the meditative, critical and essayistic gesture, stringed in the text, it is possible to bring to the narrative a testimonial tone in the modulation of the in-between narrator, Rodrigo. Macabéa, a duplicate/fold of this authorial projection, emerges chanting a song almost anaphoric, but is woven with its marginal voice, the highest and most central tone of the claricean text

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-08T14:36:38Z No. of bitstreams: 1 scheilamarabatistapereiralopes.pdf: 715976 bytes, checksum: b57f4f6cd6696b4c9a69ebb442f8e1fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:46:12Z (GMT) No. of bitstreams: 1 scheilamarabatistapereiralopes.pdf: 715976 bytes, checksum: b57f4f6cd6696b4c9a69ebb442f8e1fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:50:45Z (GMT) No. of bitstreams: 1 scheilamarabatistapereiralopes.pdf: 715976 bytes, checksum: b57f4f6cd6696b4c9a69ebb442f8e1fc (MD5) / Made available in DSpace on 2016-04-24T03:50:45Z (GMT). No. of bitstreams: 1 scheilamarabatistapereiralopes.pdf: 715976 bytes, checksum: b57f4f6cd6696b4c9a69ebb442f8e1fc (MD5) Previous issue date: 2013-10-11 / O presente texto propõe uma reflexão sobre a linguagem como instrumento de resistência e de elaboração e reelaboração de traumas vividos em tempos de exceção. Através da sobreposição das camadas sujeito-memória-história, a linguagem vai dando forma ao silêncio que envolve a necessidade de narrar o que foi vivido, mas que se confronta com a impossibilidade de relatá-lo, por parecer inverossímil. Para orientar nosso estudo, tomamos como objeto o romance Tudo o que tenho levo comigo, da escritora romena Herta Müller. A questão que move nossa pesquisa é como a linguagem vem sendo construída para narrar experiências traumáticas, vividas em períodos de exceção, posto que neles o sujeito sofre um processo de dessubjetivação e fragmentação da identidade. No decorrer deste estudo, traçamos características peculiares da escritura mülleriana que, política e esteticamente, constroem um discurso, convocando o leitor a olhar, numa perspectiva metonímica, a história existente por detrás de uma outra história que – oficial – oculta a dos oprimidos. / This paper proposes a reflection on language as a tool of resistance and (re)formulation of traumas experienced at times of oppression. Owing to the overlapping subject-memory-history layers, the language starts giving way to the silence that involves the necessity to report events that took place in a certain time, but it is confronted with the impossibility of narrating them as they seem not to be true. To guide our study, we based on the novel The Hunger Angel, by Herta Müller. The question that drives our research applies to how the language has been constructed to narrate traumatic experiences during oppression cycles. In the course of this research, peculiar features of the literature written by Müller will be outlined, thus constructing a discourse in a political and aesthetic way and drawing the attention of the reader to look at the existing history which stands behind another history in a metonymic perspective that – being official – conceals the history of the oppressed.

Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T05:04:56Z (GMT). No. of bitstreams: 1 CeballosGalvis_JacquelindelCarmen_M.pdf: 1724864 bytes, checksum: b81a44b406654ec17c343685bfa4b2d5 (MD5) Previous issue date: 2014 / Resumo: A partir da obra Necrópole do escritor esloveno Boris Pahor, aborda-se a questão do testemunho e pesquisa-se, na narração da experiência traumática, o mal-estar dos modelos tradicionais de representação. Por meio de uma leitura interdisciplinar e levando em conta as artes e as reflexões críticas de pensadores como Jacques Derrida, Georges Didi-Huberman, Emmanuel Levinas, e Walter Benjamin, entre outros, propõe-se um encontro que permitirá que mais de uma voz passe outros traços na abertura do pensamento às artes, no intuito de perceber as implicações e tensões de narrar o trauma, entre a sua impossibilidade e a sua necessidade. Com o propósito de estabelecer diálogos e traduções entre os limiares da imagem e da literatura que, por sua vez, levam ao aprofundamento das questões postas, aborda-se a obra do fotógrafo Evgen Bavcar, a partir da exposição intitulada: Une lumiere dificile, dedicada ao seu encontro com Boris Pahor e a imagem sombria do horror, ao redor dos vestígios do campo de concentração de Natzweiler-Struthof. Assim, diante da (im)possibilidade de representação da catástrofe, revaloriza-se os elementos escriturais da imagem e as dimensões imagéticas da escrita. Finalmente, a partir das propostas de alguns artistas colombianos contemporâneos, trata-se de pensar nas políticas e poéticas do testemunho da violência, pois o pensamento não pode ser indiferente, aos restos, ruínas, vestígios, memórias de resistência, que deixam vir, acontecer traços, instalações, que solicitam aprender a sentir e pensar de outro modo, em fim, assumir a fragilidade dos corpos expostos a realidades desmedidas, catástrofes que, ainda que pareçam impossíveis, são reais / Abstract: From the work of the writer Boris Pahor, Necropolis, it addresses the question of the testimony and is made research in the narration of the traumatic experience, the malaise of traditional models of representation. Through an interdisciplinary reading and considering the arts and critical reflections of thinkers such as: Jacques Derrida, Georges Didi-Huberman, Emmanuel Levinas, Walter Benjamin, inter alia, it is proposed an encounter that will allow that one more voice transmits others lines at the opening of thought to the arts, with the intention to understand the implications and tensions to narrate the trauma, between its impossibility and its necessity. For the purpose to establish dialogues and translations between thresholds of the image and literature, that allows to deepen the questions proposed, it addresses the work of the photographer Evgen Bavcar, from the exhibition titled: Une lumiere dificile, dedicated to his meeting with Boris Pahor and the sober picture of horror around the traces of the concentration camp Natzweiler-Struthof. So in front of the catastrophe's representation, it revalued book elements of the image and the magnetic dimensions of written. Finally, according to the proposals of some contemporary Colombian artists, it comes to thinking about the political and the poetic witness of violence, because the thought cannot be indifferent to the remains, ruins, traces, memories resistance, allowing happen traits, installations, requesting to learn to feel and to think otherwise, take on the fragility of the bodies exposed to excessive realities, disasters that seem impossible, but they are real / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Le cinéma d’Atom Egoyan présente la particularité d’être difficilement classable, par son obstination à maintenir son caractère "fermé", sans craindre d’explorer ses possibilités dans des champs cinématographiques divers. Le sentiment de perte de sens, qui traverse l’organisation de son œuvre, semble jouer le rôle le plus important quant à la réception de ses films. La recherche essaye de commenter son univers filmique captivant, préférant l’examiner par l’autre côté, là où il se tait et se cache, tout en empêchant la lecture lucide d’une analyse filmique. Se fondant d’abord sur le rôle capital du découpage, nous essayons de comprendre comment le cinéaste canadien bâtit son univers aporétique, à l’aide de toute sorte de figure de juxtaposition. Essayer d’assimiler la construction d’un tel univers d’observer comment les personnages, finalement, y vivent. Lutter contre l’inquiétude, qui touche parfois même la terreur, équivaut, chez Egoyan à la lutte de ses personnages contre le découpage. La perte de sens, ne pourrait qu’être le résultat d’une vérité filmique désarmée. / Atom Egoyan’s cinema is special in that it is not easily classifiable, since it manages to retain its ‘closed’ character while, at the same time, not afraid to explore its potential in various cinematic fields. The organization of his work is permeated by the sense of losing ‘sense’, which is a characteristic of modernism, and seems to be playing an important role in the way his films are shot. This research attempts to comment on his fascinating cinematic universe, daring to examine its other side, the one which, as it remains hidden and silent, resists straightforward filmic analysis. Based on the predominant role of decoupage in his films, we attempt to understand how the Canadian director constructs his paradoxical universe, employing all kinds of juxtapositional forms. Attempting to assimilate the construction of such a universe can have but one objective, and that is to observe how its characters inhabit it. Toiling against anxiety which sometimes borders on terror is equivalent in Egoyan’s work with the struggle of his characters against decoupage. The loss of ‘sense’ is nothing if not the result of a disarmed cinematic truth.

The aim of this work was to investigate the genre testimonio, in its social, political and cultural Hispanic-American context from the 60 s; which has evidenced significant resonances in the Brazilian publishing market. However, the trajectory of this model of representation raises a series of discussions aiming to understand its anatomy , mainly because its fundamental peculiarity is giving way to voices which are aside the cultural and political process and take the written word to reveal a significant event in the constitutive process of their group. In addition, it s necessary to consider that, from its emergence to its institutionalization and migration to other cultural spaces, this genre acquires functions and distinct senses. It is the case of A Prisioner s Diary: the book, 2001, from Jocenir, used here to analyze a literary work which illustrates the testimonio in Brazil. This book presents some situations related to the prison s routine, which carry the intention to make public the marginal experience, represented by an individual who is not acquainted to the literate conventions. It is in this circumstance that lies most of the impasses to be established, as there is a constant process of negotiation between dissonant social-cultural contexts, necessary to guarantee the insertion of this narrative in the literate space. / Neste trabalho pretende-se investigar a configuração do gênero testimonio, presente no contexto social, político e cultural hispano-americano a partir dos anos 60, e que tem evidenciado significativas ressonâncias no espaço editorial brasileiro. Entretanto, o percurso desse modelo de representação desencadeia uma série de discussões em busca do entendimento de sua anatomia , ainda mais por apresentar como peculiaridade fundamental a abertura para vozes à margem do processo cultural e político, que se apropriam da palavra escrita para revelarem um evento marcante no processo constitutivo de seu grupo. Ademais, não se pode perder de vista que, desde sua emergência até sua institucionalização e migração a outros espaços culturais, esse gênero assume funções e sentidos distintos. É o caso da narrativa Diário de um detento: o livro, 2001, de Jocenir, tomada aqui para o exame de uma obra ilustrativa da configuração do testimonio no Brasil. Nela são narradas situações concernentes à rotina carcerária, que se carregam de pretensões de denúncia da experiência marginal, formalizada por um sujeito pouco familiarizado às convenções letradas. É nessa circunstância que reside grande parte dos impasses que se estabelecerão, na medida em que se instaura um constante processo de negociação entre esferas sócio-culturais dissonantes, o qual se faz necessário para garantir a inserção dessa narrativa no espaço letrado.

Étudier la représentation de l’écrivain dans son rapport à l’Histoire permet d’analyser les enjeux d’un retour de l’Histoire dans la fiction, accompagné d’une volonté auctoriale référentielle, sans retour d’un auteur démiurge ou d’une littérature purement référentielle. Il s’agit alors d’analyser comment Imre Kertész et Antonio Tabucchi conjuguent fictionnalisation de l’Histoire et fictionnalisation de l’écrivain en privilégiant les liens entre littérature et politique, et en s’appuyant sur la place du lecteur dans la construction du sens afin de déterminer une responsabilité des écrivains, dans l’oblicité de la représentation et du témoignage. Les désastres du XXe siècle font retour de manière spectrale dans les récits et la définition d’une poétique de l’inquiétude constitue alors le pivot entre la responsabilité du lecteur et celle des auteurs, pour l’émergence d’une littérature responsable. / Studying the way a writer is represented in his relationship to history allows us to analyse the stakes of a return of history within fiction, along with an author’s referential will, without witnessing any coming back of a demiurgic author or of a purely referential literature. The question, then, is to find out how Imre Kertész and Antonio Tabucchi combine fictionalization of history with fictionalization of the writer by emphasizing the links between literature and politics and by relying upon the reader’s role in the elaboration of the meaning, in order to give rise to a responsibility of writers for oblique representation and testimony. In all the narrations, the disasters of the XXth century are recurrent in a ghostly manner and then the definition of a poetics of disquiet constitutes the pivot between the reader’s responsibility and the authors’ in order to lead to responsible literature.

Le corps humain se définit par sa matérialité envisagée du point de vue de sa forme, de son tempérament, de son fonctionnement physiologique, dans son rapport à l’âme ou à l’esprit. Dans ces conditions, la notion du corps peut servir de critère pour une nouvelle lecture de l’histoire du roman africain de la période se situant entre 1950 et 1960. Pour orienter la perspective analytique, deux démarches ont conduit à saisir la notion du corps dans sa représentation : une, thématique et une autre d’esprit plus sémiotique. La première a consisté à voir ce que l’histoire du roman dit du corps et sur le corps, sa représentation morphologique à partir d’angles thématiques : l’initiation, la féminité, la souffrance et la martyrisation ; sa représentation situationnelle dans sa relation avec son contexte, la perception de ce contexte par les organes du corps, notamment le sens. La démarche d’esprit sémiotique s’est intéressée à ce que la mise en scène du corps dans cette histoire dit, d’une part du roman à travers le réalisme et l’engagement, de l’histoire dont ce roman se fait l’écho ; d’autre part de la culture et de l’idéologie. Ainsi, la mise en évidence des représentations du corps dans les romans de l’époque obéissait en grande partie aux préoccupations idéologiques et fonctionnait sémiotiquement par rapport à elles. L’un des objectifs des romans africains de cette période était la mise en cause de ces stéréotypes coloniaux racistes. Il est vrai que cette contestation du stéréotype culturel n’est évidemment pas explicite et le stéréotype sous-jacent est en filigrane. En tout état de cause, le corps sort réhabilité et prêt à s’affirmer. / The human body defines itself by its materialism envisaged from the point of view of its shape, of its temperament, of its physiological functioning, in its relationship in the soul or in the spirit. In these conditions, the notion of the body can serve as criterion for a new reading of the story of the African novel of period being situated between 1950 and 1960. To direct the analytical prospect, two steps led to seize the notion of the body in its representation: one, theme and other one of more semiotic spirit. The first one consisted in seeing what the story of the novel says about the body and on the body, its morphological representation from thematic angles: the initiation, the femininity, the suffering and the martyrisation; his representation in its relation with its context, the perception of this context by the organs of the body, in particular the sense. The approach of semiotic spirit was interested in what the direction of the body in this story says, on one hand of the novel through the realism and the commitment, of the story this novel of which is made the echo; on the other hand of the culture and the ideology. So, the revealing of the representations of the body in the novels of period obeyed largely the ideological preoccupations and worked semiotically with regard to them. One of the objectives of the African novels of this period was the questioning of these racist colonial stereotypes. It is true that this contesting of the cultural stereotype is not obviously explicit and the underlying stereotype is watermarked. In any case, the body goes out rehabilitated and ready to assert itself.

RÉSUMÉ IN ENGLISH The topic of this master thesis is the principle of promptness in the criminal proceedings because this question is nowadays the subject-matter of numerous discussions, in which it is spoken about overloaded Czech justice system, about delays in court proceedings and about options, how to relieve the system of Czech criminal justice system. The aim of the submitted thesis is to evaluate critically the current legal institutes helping to make the criminal proceedings faster, mainly the investigation of crimes, and to contemplate its potential extension, without having caused any more significant limitation of the right of the accused to defence. Among other principles, which stay often contrary to the principle of promptness and which the legislators always must bear in mind, are the principle of material truth and the principle of contradiction. The thesis is divided into seven basic chapters. The first chapter is the introduction. The second chapter deals with the meaning of promptness of criminal proceedings for each particular subject of the criminal proceedings, mainly for the accused and the injured party. Third chapter presents the statistic data on the average length of proceedings in the Czech Republic and within the European Union: the average length of criminal proceedings leaded...