Dans la France du XVIe siècle, la justice traque l’hérésie chez les auteurs et les imprimeurs attirés par la Réforme : on connaît les poursuites à répétition contre Clément Marot et l’exécution d’Étienne Dolet sur le bûcher en 1546. Mais cette politique répressive ne se limite pas à ces condamnations tristement célèbres, ni aux seuls sujets touchant la foi. Plusieurs autres poètes, connus et méconnus, sont mis en cause pour leurs compositions religieuses, mais aussi satiriques, voire, dans quelques cas isolés, obscènes. Les contentieux portant sur la propriété littéraire mettent également aux prises les différents acteurs de la fabrication du livre. Il s’agit alors de comprendre comment de telles contraintes judiciaires ont pu déterminer l’écriture de la poésie à la Renaissance. Il faut d’abord reconstituer les opérations de censure des textes poétiques, depuis le repérage du texte suspect jusqu’à l’interrogatoire du poète, en passant par l’octroi de l’autorisation d’imprimer ou l’enquête sur les vers satiriques placardés aux carrefours de la ville. On prend ainsi la mesure du régime de contrôle auquel les poètes font face en tentant de défendre leur liberté d’écrire – droit à la satire, droit de chanter leur foi, liberté de jouer avec les codes de la poésie érotique. Aussi l’idée de liberté d’expression ne leur est-elle pas si étrangère qu’on pourrait le croire, car ils peuvent donner un sens politique à la notion de « licence », qui, d’ordinaire, justifie les excentricités du langage poétique. Grâce à l’écriture, les poètes essaient de faire avancer leurs procès et se réapproprient leur expérience de la justice : ces usages spécifiques font de la poésie judiciaire l’équivalent d’un genre à la fois en prise avec le réel et ouvert aux échappées irréelles de la réécriture des événements. / In XVIth century France the legal system hunts down heresy among the writers and printers attracted by the Reformation. Some well-known examples are the repetitive legal actions against Clément Marot and the execution of Étienne Dolet, burned at the stake in 1546. But this repressive policy was not limited to only these sadly famous cases, nor to matters of religious faith. Many other poets, famous and unknown, are put on trial because of their religious, satirical, and, in a pair of isolated cases, even obscene writings. Moreover the various actors implicated in the making of the book confront each other in some cases concerning literary ownership. This study aims to understand how such legal constraints influenced the writing of poetry in the Renaissance. The first steps are to reconstruct the process in which poetic texts were censored, from the identification of the suspicious text to the interrogation of the poet, including the licensing of the book and the investigation of satirical verses posted at town intersections. This is the system of control which poets stand up against, attempting to defend their freedom of speech, –the right to write satire and to sing their religious beliefs, the freedom to play with the codes of erotic poetry. In fact, the idea of freedom of speech is not so foreign to them as we could think, as they give political meaning to the notion of « license », which ordinarily justifies the excentricities of poetic language. Through their writing, poets try to advance their cause and to reappropriate their experience of the law : these specific goals make legal poetry a genre of its own, both in dealing with the reality and in recreating the events in an unrealistic manner.

For the last forty years, Jane Eyre criticism has understandably focused on Bertha Mason Rochester as a marginalized, abused, and silenced mixed-race woman. Although Jane's childhood friend Helen Burns is a very different and much less controversial character, she and Bertha suffer similar deaths from the culpable neglect of their guardians. Both women serve as the impetus of a bystanders dilemma: the perennial question of whether a person is obligated to protect another's life or dignity at the risk of his or her own. Because contemporary law imposed no duty to rescue upon bystanders, this paper uses the commentary of Victorian legal theorist John Austin to create a standard against which to judge the ethical merit of the choices made by bystanders throughout the novel. Maria Temple, superintendent of Lowood, is a bystander to the fatal abuse heaped upon her students; she has the power to expose the schools brutal conditions, but chooses to remain silent so that she can keep her job and her limited power. Her choice, while practical, makes her complicit in Helen's death. When Jane becomes bystander to Bertha's dangerously negligent captivity, she chooses to flee Thornfield rather than intervene. Though many critics have decried her selfishness, Jane makes a practical and ethical choice because she has so little chance of helping Bertha and so much to lose in the attempt. Just as Miss Temple is able to protect Jane because of her self-serving decisions, Jane in turn is able to protect Adele. Yet all these successes are predicated upon earlier neglect of persons unable to protect themselves, as Helen and Bertha remind us. There is no comfortable solution to the bystanders dilemma.

Summaries in Afrikaans and English / In hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-­‐romans. / In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Summaries in Afrikaans and English / In hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-­‐romans. / In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This thesis discusses the interaction between the concepts of ”justice” (ma‛at) and ”law” (hpw) in ancient Egypt. Ma‛at, one of the earliest abstract terms in human speech, was a central principle and, although no codex of Egyptian law has been found, there is abundant evidence of written law, designed to realise ma‛at on earth. The king, as the highest legal authority, was the nexus between ma‛at and the law. Egyptologists have few sources of knowledge about law and justice in ancient Egypt because the ancient Egyptians used commonplace language in legal documents and they only had a few imprecise technical terms relating to law. For Egyptology to advance, therefore, we need to reappraise its sources. The Tale of the Eloquent Peasant has a strong legal background and should be treated as an additional source of information about how law and justice were perceived and carried out in ancient Egypt. / Classics and Modern European Languages / M.A. (Ancient Languages and Cultures)

The Rights of Creativity is a study of Swedish copyright history from the birth of Sweden’s first copyright legislation in the early 19th century to the passing of the current law in 1960. As the title suggests, the law is regarded as part of a wider cultural context and the dissertation moves beyond the borders of legal history and analyses the law in relation to the history of literature, film, television and other media that partly reflect and partly intersect with the legislative process. The main object of the study is to see how the author is constructed in legal and cultural discourses during the 19th and 20th century. The dissertation focuses on three Swedish copyright laws from 1877, 1919 and 1960, but these laws and their preambles are also related to a few contemporary cultural intertexts, namely: August Strindberg’s novel Röda rummet [The Red Room] from 1879; the director Mauritz Stiller’s films Gunnar Hedes Saga [The Blizzard] and Gösta Berlings saga [The Saga of Gösta Berling] from 1923 and 1924, and finally the television shows Hylands hörna and Skäggen from 1962 and 1963. Apart from this it also pays some attention to the Freedom of the Press Act from 1810 that came to include Sweden’s first copyright statement, as well as to the development after 1960. Eventually it aims to show how the historical legacy has affected the copyright legislation and debates of today. / Skapandets rätt handlar om hur den juridiska synen på upphovsmannen rätt och skapandets villkor har förändrats i förhållande till den kulturella utvecklingen i Sverige under 1800 och 1900-talet. Avhandlingen består av en kronologisk studie av de upphovsrättslagar som antogs 1877, 1919 och 1960, men den behandlar också 1810 års tryckfrihetsförordning och de senaste årens rättsutveckling i korthet. Denna upphovsrättshistoriska exposé placeras in i ett litteratur- och mediehistoriskt sammanhang och lagtexterna underkastas en intertextuell analys där deras relation till några olika kulturella intertexter analyseras. Inledningsvis diskuteras hur 1810 års Tryckfrihetsförordning kom att innefatta Sveriges första upphovsrättsbestämmelse. Därefter kontrasteras Sveriges första separata upphovsrättslag från 1877 mot August Strindbergs genombrottsroman Röda rummet, allt i ljuset av Jürgen Habermas teori om den borgerliga offentligheten. 1919 års lagstiftning relateras sedan till Mauritz Stiller filmatiseringar av Selma Lagerlöfs romaner En herrgårdssägen och Gösta Berlings saga. Instiftandet av dagens upphovsrättslag från 1960 analyseras slutligen mot bakgrund av den nya tidens TV-medium som här exemplifieras av Hylands hörna och Skäggen. Avslutningsvis knyts allt samman i en kapitel där historiens lärdomar appliceras på dagens debatt. Här diskuteras hur tre föreställda oppositioner mellan konstnär-publik, privat-offentligt och original-kopia har format upphovsrättens historia och hur de fortfarande färgar samtidens upphovsrättsdiskussioner.

The first rule of writing is an important one: writers should not plagiarize; what they write should be their own. It is taken for granted. But who made the rule? Why? And how is it enforced? This dissertation traces the history of proprietary authorship from the earliest distinctions between imitation and misappropriation in the humanist schoolroom, through the first recorded uses in English of the Latin legal term plagiary (kidnapper) as a metaphor for literary misappropriation, to an inchoate conception of literary property among a coterie of writers in early modern England. It argues that the recognition of literary misappropriation emerged as a result of the instrumental reading habits of early humanist scholars and that the subsequent distinction between authors and plagiarists depended more upon the maturity of the writer than has been previously recognized. Accusations of plagiarism were a means of discrediting a rival, although in this capacity their import also depended largely upon one’s perspective. In the absence of established trade customs, writers had to subscribe to the proprieties of the institutions with which they were affiliated. They were deemed plagiarists only when their actions were found to be out of place. These proprieties not only informed early modern definitions of plagiarism; they also helped define the perimeters of proprietary authorship. Authors who wished to make a fair profit from labours in print had to conform to the regulations of the Stationer’s Company, just as authors who maintained a proprietary interest in their manuscripts had to draw upon legal rhetoric, such as plagiary, in the absence of a legally recognized notion of authorial property. With new information technologies expanding the boundaries of proprietary authorship everyday, the proprieties according to which these boundaries were first defined should help teachers and researchers not only better to understand the nature of Renaissance authorship but also to equip their students for the future.

The first rule of writing is an important one: writers should not plagiarize; what they write should be their own. It is taken for granted. But who made the rule? Why? And how is it enforced? This dissertation traces the history of proprietary authorship from the earliest distinctions between imitation and misappropriation in the humanist schoolroom, through the first recorded uses in English of the Latin legal term plagiary (kidnapper) as a metaphor for literary misappropriation, to an inchoate conception of literary property among a coterie of writers in early modern England. It argues that the recognition of literary misappropriation emerged as a result of the instrumental reading habits of early humanist scholars and that the subsequent distinction between authors and plagiarists depended more upon the maturity of the writer than has been previously recognized. Accusations of plagiarism were a means of discrediting a rival, although in this capacity their import also depended largely upon one’s perspective. In the absence of established trade customs, writers had to subscribe to the proprieties of the institutions with which they were affiliated. They were deemed plagiarists only when their actions were found to be out of place. These proprieties not only informed early modern definitions of plagiarism; they also helped define the perimeters of proprietary authorship. Authors who wished to make a fair profit from labours in print had to conform to the regulations of the Stationer’s Company, just as authors who maintained a proprietary interest in their manuscripts had to draw upon legal rhetoric, such as plagiary, in the absence of a legally recognized notion of authorial property. With new information technologies expanding the boundaries of proprietary authorship everyday, the proprieties according to which these boundaries were first defined should help teachers and researchers not only better to understand the nature of Renaissance authorship but also to equip their students for the future.

This thesis discusses the interaction between the concepts of ”justice” (ma‛at) and ”law” (hpw) in ancient Egypt. Ma‛at, one of the earliest abstract terms in human speech, was a central principle and, although no codex of Egyptian law has been found, there is abundant evidence of written law, designed to realise ma‛at on earth. The king, as the highest legal authority, was the nexus between ma‛at and the law. Egyptologists have few sources of knowledge about law and justice in ancient Egypt because the ancient Egyptians used commonplace language in legal documents and they only had a few imprecise technical terms relating to law. For Egyptology to advance, therefore, we need to reappraise its sources. The Tale of the Eloquent Peasant has a strong legal background and should be treated as an additional source of information about how law and justice were perceived and carried out in ancient Egypt. / Classics and Modern European Languages / M.A. (Ancient Languages and Cultures)

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-05-10T12:04:38Z No. of bitstreams: 1 tatiananunesdacruz.pdf: 692783 bytes, checksum: 4ccf94a52df4feb8981664165dd6f693 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-10T12:06:25Z (GMT) No. of bitstreams: 1 tatiananunesdacruz.pdf: 692783 bytes, checksum: 4ccf94a52df4feb8981664165dd6f693 (MD5) / Made available in DSpace on 2018-05-10T12:06:25Z (GMT). No. of bitstreams: 1 tatiananunesdacruz.pdf: 692783 bytes, checksum: 4ccf94a52df4feb8981664165dd6f693 (MD5) Previous issue date: 2015-12-16 / PROQUALI (UFJF) / O presente trabalho dissertativo tem por finalidade demonstrar de que forma a temática do adultério feminino – abordada nos contos A cartomante, de Machado de Assis, e A dama do lotação, de Nelson Rodrigues – aponta para a metamorfose do discurso identitário feminino no decurso de aproximadamente um século, descortinando a influência das mudanças próprias da evolução da sociedade (tanto no âmbito jurídico, como no campo da moral e dos costumes) na ficção literária trazida a efeito pelos autores nos referidos contos. Em decorrência da riqueza temática do corpus literário elegido para análise nesta pesquisa, e no intuito de investigar a evolução do discurso identitário feminino em relação ao histórico do crime de adultério no ordenamento jurídico pátrio, desponta a necessidade de utilização de um referencial teórico interdisciplinar para subsidiar as reflexões concernentes ao processo de construção/transformação da identidade feminina, ao adultério (em especial o praticado pela mulher) e à relação entre o Direito e a Literatura. A partir de tais reflexões, fundamentadas no aporte teórico de autores como Antonio Candido, Arnaldo Sampaio Moraes de Godoy, Michel Foucault, e Simone de Beauvoir, dentre outros, pretende-se demonstrar que as escritas empreendidas por Machado de Assis e por Nelson Rodrigues em A cartomante e A dama do lotação, respectivamente, sugerem certa consonância com os panoramas social e jurídico em vigor no Brasil nos diferentes períodos em que os textos foram produzidos. Finalmente, mediante a análise das tramas desenvolvidas no corpus literário em questão, busca-se, ainda, explorar a factível ideia de que o processo inventivo de seus autores terá sido influenciado pelo olhar social lançado à figura da mulher, no passado subordinada à dominação masculina e hoje potencialmente mais liberta e independente. / This paper aims to demonstrate how the female adultery issue, that appears in the tales: A Cartomante, by Machado de Assis, and A dama do Lotação, by Nelson Rodrigues – reveals the transformation of the female identity discourse during almost a century, showing that the authors’ tales were influenced by the society changing and evolution, both in the legal and in the moral and manners field. Due to the richness theme of each tale and in order to analyze the evolution of the female identity discourse related to the historical adultery crime on Brazilian legal System, it was observed an interdisciplinary theoretical framework to guide reflections on aspects related to the female identity construction/transformation; adultery (mainly those committed by women) and the relationship between law and literature. Based on these reflections, supported by the work of several authors like Antonio Candido, Arnaldo Sampaio Moraes de Godoy, Michel Foucault, Simone de Beauvoir, among others; the paper aims to demonstrate that the literary works developed by Machado de Assis and Nelson Rodrigues in A Cartomante and A dama do lotação, respectively, suggest a certain level of conformity with the social and legal context established in Brazil at the time the texts were produced. Finally, analyzing the plots developed in the literary corpus under consideration, it is possible to explore the perfectly feasible idea that the authors creative process have been influenced by the way the society looked at the woman – in the past subjected to male domination and now potentially more independent and free.