Esta tese reconstitui a trajetória de Sami Feder (1906-2000), diretor de teatro judeu polonês que atuou no contexto do movimento de resistência artística e emocional sustentado por artistas, atores, diretores, autores e espectadores durante o período em que o nazifascismo dominou grande parte da Europa (1933-45). Estendemos a análise para o período imediatamente após a liberação dos campos de concentração, especialmente o de Bergen-Belsen, por ser o Campo onde Feder permaneceu dias antes e 5 anos no final da Segunda Guerra. A relevância deste estudo está em resgatar e analisar historiograficamente o percurso e a atuação de Feder, que, por meio da arte teatral, aliada à música, literatura e poesia, buscou o exercício ético do acolhimento coletivo e da cidadania. O artista desenvolveu um teatro, pouco documentado devido às circunstâncias de reclusão e proibição e, ao mesmo tempo, de denúncia, crítica e reflexão subterrâneas durante a vigência do regime nazista. Mais tarde, com o fim da guerra, institucionalizou-se este teatro, com maior registro, criando-se a Companhia Kazet Theater, no Campo de deslocados DP Camp Bergen-Belsen (1945-50), onde a reabilitação e recuperação da dignidade humana tornou-se uma urgência frente ao desenraizamento e ao trauma. Ações intervencionistas como estas se propagaram pelas cidades ocupadas, guetos e campos de concentração, enquanto reação ao processo de desumanização sustentado pelo Estado nacional-socialista e países colaboracionistas. Posteriormente, significaram também uma forma de participar da reconstrução de uma identidade, de um povo, de uma cultura. / This thesis restores the path followed by Sami Feder (1906-2000), the Polish Jewish theater director, who worked during the resistance art and emotional movement supported by artists, actors, directors, authors and audiences during the period in which Nazi fascism dominated most of Europe (1933-45). We extend to the time immediately after the concentration camp liberation, stressing on the Bergen-Belsen camp, where Feder stayed some days during World War II and up to five years after its end. The relevance of this study is to retrieve and perform a historiographic analysis of Feders path and performance, that by theatrical art together with music, literature and poetry searched the ethical work of collective refuge and citizenship. The artist developed a poorly documented theater, due to reclusion and prohibition, not to mention underground complaint, criticism and reflection during the Nazi regime. Later, following the end of the World War, this theater was established, therefore better documented, and the Kazet Theater Company was founded in the Bergen-Belsen Displaced Persons Camp (1945-50), where rehabilitation and recuperation of human dignity became a matter of urgency, owing to the rootlessness and trauma. Interventionist actions like that were disseminated in occupied cities, ghettos and concentration camps as a reaction to the dehumanization sustained by the national socialist state as well as collaborationist countries, and afterwards, as a way to participate in the reconstruction of an identity, people and culture.

O presente trabalho é um estudo da poética do escritor, jornalista e militante argentino Rodolfo Jorge Walsh. Tradutor, editor e autor de relatos policiais, soube fazer da atividade literária um ato de reflexão sobre a história do seu país e da própria ação militante. Os procedimentos de escrita utilizados dentro da sua obra procuravam a eficiência persuasiva, mas também a eficiência na representação dos problemas que estavam colocados para o escritor na sua ação política. São objeto de estudo deste trabalho: a passagem do policial de enigma para o hard-boiled e o posterior abandono do subgênero; a opção pela forma breve do conto e não do romance; o abandono da escrita estritamente literária que seria retomada só nos últimos meses da sua vida -processos que coincidiram com o desenvolvimento de investigações sobre crimes de Estado e seu ingresso na militância- e a retomada da autoria, pouco antes de morrer, para a produção de uma série de cartas pessoais no contexto da ditadura que se iniciou em 1976 e da polêmica do autor com a direção da organização Montoneros, na qual militava. / The present work is a study of Rodolfo Jorge Walsh\'s poetry. He was an author, a journalist and an activist. Also a translator, editor an author of police short stories. He knew how to transform the literary activity into an act of reflexion about the history of his country and the activist action itself. The writing procedures used inside his works searched not only for a persuasive efficiency, but also the efficiency in representing the problems faced by the author in his political action. They are object of study: the passage from police enigma to hard-boiled and the following desertion of the sub gender; the option for the brief form of the short story and not the novel; desertion of the writing strictly literary that would be taken up again in the last months of his life - processes that coincided with the development of State crime investigations and his participation in an activist life - and getting back the authorship, shortly before his death, into a production of personal letters in a dictatorship context that began in 1976 and the controversy of the author in relation to the direction of the Montoneros organization, for which he was an activist.

Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T13:12:14Z (GMT). No. of bitstreams: 1 Santos_BrunoMendesdos_M.pdf: 1426800 bytes, checksum: d5e451f4db00da1f0cfd93ce9ad5765b (MD5) Previous issue date: 2014 / Resumo: Este trabalho trata dos limites entre memória e ficção em algumas obras de Günter Grass (1927-) - a saber, O tambor (1959), Gato e rato (1961), Anos de cão (1965) e Nas peles da cebola (2006) - tendo em vista o seu teor testemunhal sobre o período entre guerras e pós-guerra, levando em conta a situação do autor como sujeito e objeto social, em um dos ambientes mais representativos da história global no século XX. Com o suporte de teorias da literatura, da cultura e da filosofia, além do aparato de textos críticos, ensaísticos e jornalísticos, bem como de outros textos literários sob perspectiva comparativa, deseja-se observar os processos de ficcionalização da memória individual, de romanceação da autobiografia e de construção da memória cultural através da literatura / Abstract: This work deals with the boundaries between memory and fiction in some pieces of Günter Grass (1927-) - namely, "The tim drum" (1959), "Cat and mouse" (1961), "Dog years" (1965) and "Peeling the onion" (2006) - taking into account its testimonial content from Nazism and postwar era, considering the author's position as social subject and object, in one of the most representative environments of world history in the twentieth century. Using theories of literature, culture and philosophy as support, as well as critics, essays and journalistic texts, besides other literary texts in a comparative perspective, it aims to observe the processes of fictionalizing individual memories, writing an autobiography in the form of a novel and building cultural memory through literature / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T14:58:23Z (GMT). No. of bitstreams: 1 Diniz_Cristiano_M.pdf: 2308544 bytes, checksum: a738dacf8717ff4931c92a90408ac489 (MD5) Previous issue date: 2012 / Resumo: Hilda Hilst (1930-2004) é considerada pela crítica uma das maiores expressões da literatura brasileira contemporânea. São quase cinco décadas de produção poética e três de prosa de ficção, além de oito peças teatrais e um conjunto de crônicas publicadas no jornal Correio Popular de Campinas entre 1992 e 1995. A escritora concedeu quase uma centena de entrevistas durante sua trajetória literária. Esses diálogos começaram logo no início de sua carreira nos anos cinquenta e foram até poucos meses antes de seu falecimento. O objetivo principal desta dissertação foi reunir um conjunto dessas entrevistas e analisar as imagens construídas por Hilst em torno de si mesma e de seus escritos. Devido ao longo período que a autora se dedicou à literatura, a dissertação destacou, principalmente, as mudanças ocorridas em seu discurso. Para tanto, procurou reunir entrevistas que buscaram ir além da publicidade e da divulgação de uma obra específica, ou seja, que tentou explorar de maneira mais ampla a experiência pessoal da escritora, sua visão de mundo, da história e da literatura contemporânea e dos sujeitos que as compõem. A reunião se inicia em 1952, quando Hilst contava apenas com dois livros publicados, mas, já tinha o reconhecimento da crítica, e termina com uma entrevista realizada em 2003 / Abstract: Hilda Hilst is considered by critics as one of the greatest voices of contemporary Brazilian literature. The author's work consists of almost five decades of poetry production and three of prose fiction, plus eight theatrical plays and a set of chronicles published in the newspaper Correio Popular (Campinas, São Paulo), between 1992 and 1995. The author gave almost a hundred interviews during her literary career. These dialogues started early in her career in the fifties and lasted until few months before her death. The main objective of this dissertation was to gather a set of these interviews and analyze the images constructed by Hilst around herself and her writings. Due to the long period the author devoted herself to the literature, the dissertation points out the changes in her discourse. To do so, it has gathered interviews that went beyond the promotion and dissemination of a particular work that is those that tried to explore more fully the author's personal experience, her world view of the history and contemporary literature and the individuals who compose it. The collection begins with interviews from 1952, when Hilst had only two published books. She had, however, already won the critical acclaim. Her last interview was conceded in 2003 / Mestrado / Teoria Literaria / Mestre em Teoria e História Literária

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-25T15:46:06Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Milene Maciel Carlos Leite - Dissertação - Letras.pdf: 2041693 bytes, checksum: 11a05e27ceb38d8138f4b412e0ea206e (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-10T18:43:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Milene Maciel Carlos Leite - Dissertação - Letras.pdf: 2041693 bytes, checksum: 11a05e27ceb38d8138f4b412e0ea206e (MD5) / Made available in DSpace on 2017-05-10T18:43:21Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Milene Maciel Carlos Leite - Dissertação - Letras.pdf: 2041693 bytes, checksum: 11a05e27ceb38d8138f4b412e0ea206e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa, realizada em nível de Mestrado, interessa-se pelas produções de sentido para a infância na atualidade. Sob o embasamento teórico-metodológico da Análise do Discurso de orientação francesa, com base em Pêcheux (1997 [1969], 2009 [1975], 2012 [1983]), na França, e Orlandi (2001, 2012, 2013), no Brasil, propomos uma análise discursiva de três fotografias em circulação nos jornais Folha de São Paulo, O Globo e Extra, todos em suas versões online, na tentativa de compreender o processo sócio-histórico-ideológico de significação para a infância em cena. Neste intento, partimos dos trabalhos de Orlandi (2003), Lagazzi (2009) e Lunkes (2014), que abrem espaço a discussões que considerem o não verbal como objeto, ou, conforme Lagazzi (ibidem), distintas materialidades significantes como foco de análise. Mobilizamos, nas análises empreendidas, as noções de sujeito, posições-sujeito e gestos de interpretação, considerando a incompletude da imagem e as suas múltiplas possibilidades de leitura, o que reafirma a condição de linguagem do não verbal. Uma das imagens analisadas permitiu ao fotógrafo um prêmio na categoria "Melhor fotografia", em concurso interno ao jornal O Globo. Diante disto, nos perguntamos: Melhor fotografia para quem? O que há nessa imagem que seja digno de reconhecimento? Propomos, como hipótese na presente análise, que as fotografias, no espaço dos jornais, sustentam-se sob o efeito de neutralidade ideológica. Os processos discursivos, para Pêcheux (2009 [1975]), se desenvolvem sobre a base linguística, mas também estão aí imbricadas relações ideológicas de classe, cujas raízes estão na contradição. Mariani (1996) aponta, a respeito do discurso jornalístico, que o pronto efeito de “falar sobre” é tornar objeto aquilo sobre o que se fala. Considerando que fotografar é tornar objeto aquilo que se fotografa, pensamos e propomos o funcionamento da imagem como “discurso sobre” (MARIANI, 1996) uma infância. Pelo teor do que torna visível, pela afetação e por o que têm a transmitir, propomos, de um lado, o valor testemunhal do discurso imagético aqui trazido à análise; de outro, na condição de produto, consideramos a possibilidade de refletir sobre o valor mercadológico das imagens, o que instaura uma contradição. Ao levarmos em conta a materialidade significante específica da imagem, produzimos, à luz da teorização de Pêcheux (ibidem) uma discussão que considera o atravessamento ideológico e inconsciente na produção e circulação de imagens na imprensa (e destas imagens, em específico), considerando a condição do sujeito assujeitado (pelo ideológico e pelo inconsciente) / This research, performed at Master's degree, is interested in the production of meaning about childhood today. In the light of the French discourse analysis based on Pêcheux (1997 [1969], 2009 [1975] 2012 [1983]) on France, and Orlandi (2001, 2012, 2013) in Brazil, we propose a discursive analysis of three photographs circulating in Folha de São Paulo, O Globo and Extra newspapers, all in their online versions, for the attempt to understand the sociohistorical and ideological process of signification for childhood on stage. To this end we start with the works of Orlandi (2003), Lagazzi (2009) and Lunkes (2014), which open room for discussions which consider the non-verbal as an object or, according to Lagazzi (ibidem), distinct significant materialities as an analytical focus. We mobilized, in the performed analysis, the notions of subject, subject-positions and interpretation gestures, considering the incompleteness of the image and its multiples reading possibilities, which reinforces the language condition of the non-verbal. One of the analyzed images allowed the photographer to be awarded for the "Best Photograph" category on an internal contest of O Globo newspaper. From this, we ask: Best photograph to whom? What is in this image worth being recognized? We propose as an hypothesis of the current analysis that photographs, on newspapers, are sustained under the effect of a ideological neutrality. According to Pêcheux (2009 [1975]), discursive processes develop under a linguistic basis, but also interwined are class ideological relations, whose roots are in the contradiction. Mariani (1996) points out that, regarding the journalistic discourse, the prompt effect of "talking about" is to turn into object what is being talked about. By taking into account that photographing is to turn into object what is being photographed, we think and propose the image functioning as a "discourse about" (MARIANI, 1996) a childhood. For the content of which makes visible, for the allocation and what they have to transmit, we on one hand propose the testimonial value of the imagetic discourse here brought to analysis; on the other hand, in the condition of being a product, we consider the possibility to reflect about the marketing value of the images, which introduces a contradiction. By taking into account the specific significant materiality of the image, we produce, in the light of Pêcheux's (ibidem) theorization, a discussion which considers the ideological and unconscious crossing during the production and circulation of images on the press (and from these images, specifically), considering the unsubjected subject (by the ideological and the unconscious)

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2014-09-16T21:22:46Z No. of bitstreams: 2 VERSÃO FINAL DISSERTAÇÃO - MESTRADO.pdf: 631609 bytes, checksum: 15c39e0e16c633cedb1e3fd8e40c20b0 (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2014-09-16T21:40:49Z (GMT) No. of bitstreams: 2 VERSÃO FINAL DISSERTAÇÃO - MESTRADO.pdf: 631609 bytes, checksum: 15c39e0e16c633cedb1e3fd8e40c20b0 (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) / Made available in DSpace on 2014-09-16T21:41:02Z (GMT). No. of bitstreams: 2 VERSÃO FINAL DISSERTAÇÃO - MESTRADO.pdf: 631609 bytes, checksum: 15c39e0e16c633cedb1e3fd8e40c20b0 (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Previous issue date: 2014-05-30 / Sem bolsa / Esta dissertação analisa duas narrativas de experiência carcerária, publicadas em 2001: Diário de um detento: o livro, de Jocenir e Memórias de um sobrevivente, de Luiz Alberto Mendes. A análise destas duas obras está baseada na relação do relato carcerário com a categoria testemunho e com a busca pela legitimação de seu discurso. Por sua posição deslegitimada frente a uma cultura letrada, esse sujeito se apropria de elementos e recursos pertencentes a esta cultura, não somente para contar a sua história, mas para testemunhar com um relato contundente a violência da prisão tomando a posição de um observador. / This dissertation analyzes two narratives of prison experience, published in 2001: Diário de um detento: o livro of Jocenir and Memórias de um sobrevivente, Luiz Alberto Mendes. The analysis of these two works is based on how this subject incarcerated searches the legitimacy of his speech, since this is delegitimized both the experience itself, that is, the content of the story, as reported by the speech that, due to the fact that the author does not belong to legitimate means of literate culture. Thus, this prisoner appropriates resources of literacy to not only tell your story, but with a hard-hitting reporting portray the reality of the prison, taking the position of an observer from prison.

Au crépuscule d'une expérience génocidaire comme la catastrophe arménienne ou la Shoah, les témoins font face à la gageure d'une reconstruction, tant physique que morale, dans une société humaine aux contours éthiques brisés : tout sens et tout repère semblent ruinés. Chacun affronte un ardu retour à l'humanité et à une identité niée par les bourreaux. Cet itinéraire de reconstruction, qui mène de l'inhumain à l'humain, met en évidence une posture difficile entre parole et silence, qui frappent sur l'écueil de l'indicible. Du caractère indicible de l'expérience génocidaire découle le dilemme invalidant vécu par le témoin tiraillé entre une mémoire sclérosante et un nécessaire devoir de mémoire. L'indicibilité du crime masque plutôt une incommunicabilité : l'expérience est tellement hors de toute limité qu'elle semble annihiler toute possibilité de compréhension d'un tiers. Les survivants optent alors pour une échappatoire scripturaire qui n'est pas sans entraîner une refondation des concepts de réception, et une tentative ou tentation de poser les bases d'une esthétique littéraire inédite, propre aux témoignages issus de génocide, par delà les paradoxes, la littérature servant la vérité. Les rescapés arméniens, confrontés à la négation de la catastrophe, refusent ce recours à la littérature et condamnent malgré eux leurs témoignages à la confidentialité. Seule la culture et le jeu de ses références, lien entre le déporté et le tiers récepteur, parvient à dépasser la barrière éthique que s'imposent les survivants arméniens. La culture, mise à mal et révélée par les génocides, s'avère une force à même de sublimer l'existence la plus abjecte et l'écriture la plus improbable. / At the end of a genocidal experience like the armenian catastrophe or the holocaust, witnesses have to reconstruct themselves, both physically and morally, in a society that has lost its ethical foundations: all meanings or references seem ruined. each deportee has to find a way to get his humanity and his identity (denied by his torturers) back. this reconstruction, from inhuman to human, shows a difficult behaviour between speaking and silence, and bring to the fore the inexpressible nature of the genocidal experience. witnesses experience moreover the dilemma between a disabling memory and an essential obligation to remember. it appears that the crime is more unreportable than indescribable: the experience is so extreme that it seems to annihilate all chance of understanding from a third party. then, the survivors choose to write down their experiences, modifying receipt concepts, and trying to build the new foundations of an original literary esthetics, in which art, imagination and truth can coexist. the armenian survivors, having to deal with the denial of the turkish genocide, refuse to write literary testimony and seem to censure their own works and limit, in spite of themselves, the impact they should encounter. only culture and its references, last link between the deportee and a third party, manages to go beyond the ethical limit that armenian survivors assert themselves. culture, subjected to doubt and revealed because of genocides, is confirmed as a power able to sublimate the most awful existence and the most unlikely writing.

Cette thèse se propose d'interroger l'écriture littéraire de l'esclavage dans une perspective diachronique et comparée entre la France et ses colonies et les États-Unis, et en regard de la construction de la mémoire de l'esclavage transatlantique et de sa transmission. La dimension diachronique vise à éclairer l'écriture contemporaine de l'esclavage, notamment à partir d'un constat initial : plusieurs centaines de témoignages d'esclaves – regroupés sous le terme générique "slave's narrative" – ont été publiés aux États-Unis, plus rarement en Angleterre, à partir du XVIIIe siècle ; aucun texte de ce type n'a été recensé dans la sphère francophone. Une disparité saisissante qui a semblé un signe fort à analyser, posant la question des causes ou de l'origine de cette disparité, mais aussi de ses conséquences sur la mémoire et surtout sur l'écriture de l'esclavage. En effet, la littérature africaine américaine est souvent présentée comme une héritière de ces témoignages. Sous la désignation de « neo-slave narratives », la critique américaine a même réuni et analysé nombre de romans africains-américains portant sur l'esclavage depuis la fin des années 60. Point d'aboutissement de ce travail, l'écriture caribéenne francophone de l'esclavage est ainsi appréhendée au regard de la production africaine-américaine et de sa différence notable quant à l'héritage mémoriel et discursif des slaves' narratives. Constatant leur absence dans le champ critique francophone, il s'agit également de proposer les premiers jalons d'un appareil critique et d'une analyse de l'écriture caribéenne francophone contemporaine de l'esclavage ainsi qu'une terminologie générique : récit d'esclave francophone. / This thesis proposes a two-fold examination of the literary writing of slavery in France and its former colonies, and in the United States, using both a diachronic and comparative approach. It also takes into account the perspective of the construction and transmission of the memory of transatlantic slavery. The diachronic dimension adopted in this work aims to enlighten on the contemporary writing of slavery. Indeed, several hundreds accounts of slaves– known as “slave narratives” – had been published in the United States, more rarely in England, as early as the 18th century, but there were no such narratives in the francophone world. This striking disparity turned out to be a case worth analyzing to find out about its causes, its origins and its consequences on both the memory and the writing of slavery. As a matter of fact, African American literature bears the direct influence of these testimonies. Identified as “neo-slave narratives”, African American novels dealing with slavery have been collected and analyzed by critics since the 1960's. The last part of this dissertation focuses on the Francophone Caribbean writing of slavery. It is examined in comparison with the African American production and the striking difference noted in the historic and discursive heritage of the slave narratives. This lack in the francophone critical field led us to prepare the ground for the analysis and the review of the contemporary Francophone Caribbean writing of slavery, and for a generic expression: francophone slave narratives.

This study engaged in pushing the current political limitations created by the political impasse of the Palestinian-Israeli conflict, by imagining new possibilities for radical political change, agency, and subjectivity for both the international activists volunteering with the International Solidarity Movement as well as Palestinians enduring the brutality of life under occupation. The role of the witness and testimony is brought to bear on activism and rhetoric the social movement ISM in Palestine. Approaches the past studies of the rhetoric of social movements arguing that rhetorical studies often disassociated 'social' from social movements, rendering invisible questions of the social and subjectivity from their frames for evaluation. Using the testimonies of these witnesses, Palestinians and activists, as the rhetorical production of the social movement, this study provides an effort to put the social body back into rhetorical studies of social movements. The relationships of subjectivity and desubjectification, as well as, possession of subjects by agency and the role of the witness with each of these is discussed in terms of Palestinian and activist potential for subjectification and desubjectifiation.

Malgré les avancées considérables dans l’analyse des preuves matérielles, et le développement ces dernières années de la police scientifique, les témoignages oculaires occupent encore aujourd’hui un rôle primordial dans les décisions de justice. Et pourtant, ces témoignages sont faillibles. En effet, de nombreux facteurs se trouvant au croisement de processus mnésiques et/ou cognitifs et de processus sociaux et/ou sociocognitifs, peuvent les impacter de façon irréversible. C’est dans ce contexte, et dans le but de mieux comprendre certaines variables à l’origine de leur fragilité, que nous avons réalisé les sept expérimentations présentées dans cette thèse.De façon plus précise, les trois premières études s’intéressaient à une technique d’audition efficace, appelée l’entretien cognitif. Notre objectif était alors de développer et d’évaluer, en laboratoire et sur le terrain, un protocole modifié d’entretien cognitif fondé sur le principe de multiplication des rappels libres. Toutefois, dans cette thèse, nous souhaitions adopter une approche plus dynamique et situationnelle de l’entretien cognitif que celle rencontrée jusqu’à présent dans la littérature. C’est pourquoi, dans une seconde partie, nous avons examiné l’efficacité de ce protocole en lien avec trois variables évaluatrices indissociables des situations d’auditions, et pouvant dans les faits impacter fortement et négativement la qualité des témoignages oculaires. Ces trois variables sont: (a) les scripts que partagent les individus à propos des évènements criminels, (b) les discussions entre témoins, et, (c) les stéréotypes associés aux témoins par le biais de leursappartenances groupales.Plusieurs résultats ont alors été montrés. Tout d’abord, nous avons confirmé l’efficacité d’une version modifiée d’entretien cognitif (ECM). Plus précisément, un protocole composé de deux rappels libres, incluant les consignes d’exhaustivité et de remise en contexte ainsi qu’une nouvelle technique destinée à favoriser le souvenir, la focalisation périphérique guidée, a permis d’améliorer, dans toutes nos études, la richesse du rappel des participants sans nuire à son exactitude. Son efficacité a d’ailleurs été montrée aussi bien en laboratoire que sur le terrain. De plus, ce protocole intègre les consignes cognitives les plus efficaces et omet les moins effectives. Parallèlement, nous avons confirmé l’impact néfaste des scripts et des discussions entre témoins sur les témoignages oculaires. Certains effets des stéréotypes liés à l’appartenance groupale du témoin ont aussi été suggérés. Enfin, concernant l’efficacité de l’entretien cognitif, et plus précisément de la versionmodifiée, certains effets délétères de ce protocole et des consignes qui le composent ont été observés en lien avec les trois variables évaluatrices considérées. Toutefois, plusieurs bénéfices intéressants ont également été révélés dans ce cadre.Ces résultats seront discutés au regard des données disponibles dans la littérature à ce jour. Des recommandations appliquées seront également émises. / Despite many advances in analyzing physical evidence, and the development these past years of the forensic police, eyewitnesses’ testimonies remains decisive in the decisions of justice. Nevertheless, these testimonies are fallible. Numerous factors, at the crossroad of memory and/or cognitive processes and of social and/or sociocognitive processes, can impact them in an irreversible manner. In this context, we realized the seven experimentations presented in this dissertation. The aim was to understand better some variables responsible for the fragility of eyewitnesses’ accounts.More precisely, the first three studies presented in the first part of this work were dealing with an effective technique for interviewing eyewitnesses, called the Cognitive Interview. Our purpose was to develop and evaluate, in the lab and in the field, a modified version of Cognitive Interview, based on the principle of multiplication of the free recalls. However, in this dissertation, we chose to adopt a more dynamic and situational approach that the one encountered in the literature until now. Therefore, in a second part, we examined the efficacy of this protocol in interaction with three estimator variables, inseparable from the context of hearing witnesses, and which can in the real life strongly and negatively impact the quality of their accounts. These variables are: (a) the scripts shared by individuals about criminal events, (b) the talk between witnesses, and, (c) the stereotypes associated with witnesses through the social groups they belong to.Several results were shown. First, we confirmed the efficacy of a modified version of the Cognitive Interview (MCI). More precisely, a protocol composed of two free recallattempts, composed of the report all and the context reinstatement instructions, as well as a new technique designed to enhance memories, the guided peripheral focus, increased in all the studies the richness of participants’ recalls without impairing their accuracy. Its efficacy was shown in the lab and in the field. Moreover, this protocol includes the most effective cognitive instructions and omits the less beneficial. Then, in the second part, we confirmed that the scripts and the talk among witnesses have a detrimental impact on eyewitnesses’ testimonies. Some effects of the stereotypes linked to the group membership of the witness were also suggested. Finally, concerning the efficacy of the Cognitive Interview, and more precisely the modified protocol, some negative effects were observed in interaction with the three estimator variables considered. However, some interesting benefits of this protocol and of the cognitive instructions it includes were also shown.These results will be discussed in regards with the literature available today. Some applied recommendations will also be emitted.