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An ethical understanding of responsibility should entail a richly qualitative comprehension of the links between embodied, unique individuals and their lived realities of behaviour. Criminal responsibility theory broadly adheres to ‘rational choice’ models of the moral self which subsume individuals’ emotionally embodied dimensions under the general direction of their rational will and abstracts their behaviour from corporeal reality. Linking individuals with their behaviour based only on such understandings of ‘rational choice’ and abstract descriptions of behaviour overlooks the phenomenological dimensions of that behaviour and thus its moral significance as a lived experience. To overcome this ethical shortcoming, engagement with the aesthetic as an alternative discourse can help articulate the ‘excessive’ nature of lived reality and its relationship with ‘orthodox’ knowledge; fittingly, the comics form involves interaction of rational, non-rational, linguistic, and non-linguistic dimensions, modelling the limits of conceptual thought in relation to complex reality. Rational choice is predicated upon a split between a contextually embedded self and an abstractly autonomous self. Analysis of the graphic novel Watchmen contends that prioritisation of rational autonomy over sensual experience is symptomatic of a ‘rational surface’ that turns away from the indeterminate ‘chaos’ of complex reality (the unstructured universe), instead maintaining the power of rational and linguistic concepts to order the world. This ‘rational surface’ is maintained by masking that which threatens its stability: the chaos of the infinite difference of living individuals. These epistemological foundations are reconfigured, via Watchmen, enabling engagement beyond the ‘rational surface’ by accepting the generative potential of this living chaos and calling for models of criminal identity that are ‘restless’, acknowledging the unique, shifting nature of individuals, and not tending towards ‘complete’ or stable concepts of the self-as-responsible. As part of the aesthetic methodology of this reconfiguration, a radical extension of legal theory’s analytical canon is developed.

This thesis argues that the corpus of Old Norse-Icelandic literature which pertains to Iceland contains an intertextual narrative of the formation of Icelandic identity. An analysis of this narrative provides an opportunity to examine the relationship between literature and identity, as well as the potency of the artistic use of the idea of the past. The thesis identifies three salient narratives of communal action which inform the development of a discrete Icelandic identity, and which are examined in turn in the first three chapters of the thesis. The first is the landnám, the process of settlement itself; the second, the origin and evolution of the law; and the third, the assimilation and adaptation of Christianity. Although the roots of these narratives are doubtless historical, the thesis argues that their primary roles in the literature are as social myths, narratives whose literal truth- value is immaterial, but whose cultural symbolism is of overriding importance. The fourth chapter examines the depiction of the Icelander abroad, and uses the idiom of the relationship between þáttr (‘tale’) and surrounding text in the compilation of sagas of Norwegian kings Morkinskinna to consider the wider implications of the relationship between Icelandic and Norwegian identities. Finally, the thesis concludes with an analysis of the role of Sturlunga saga within this intertextual narrative, and its function as a set of narratives mediating between an identity grounded in social autonomy and one grounded in literature. The Íslendingasögur or ‘family sagas’ constitute the core of the thesis’s primary sources, for their subject-matter is focussed on the literary depiction of the Icelandic society under scrutiny. In order to demonstrate a continuity of engagement with ideas of identity across genres, a sample of other Icelandic texts are examined which depict Iceland or Icelanders, especially when in interaction with non-Icelandic characters or polities.

The themes of uncertainty, muddle and imprisonment, which are inextricably linked, permeate Charles Dickens’s novels. In his ‘early’ first five novels, The Pickwick Papers, Oliver Twist, Nicholas Nickleby, The Old Curiosity Shop and Barnaby Rudge, society is depicted as emerging from the Classical episteme of the eighteenth century into a period of uncertainty that is dominated by values inspired by mercantilism. Social and bureaucratic institutional practices have been outpaced by commercial developments and are shown to be lacking; they are outdated and irrelevant in meeting the needs of a society that is in the process of rejecting its feudal history. Yet, during these uncertain times, these archaic instruments of social control continue to exert a power over the individual in the absence of something more relevant to a commercialised nineteenth-century society. The legislature, the judiciary and the executive all continue to exercise their misguided power over those under their control, capturing these in webs and labyrinths of uncertainty, with the result that Mr Pickwick, Oliver, Nicholas, Little Nell and Barnaby all fall victim to these vagaries, and experience prison in one form or another. The second, or ‘middle’ group of novels, comprising Martin Chuzzlewit, Dombey and Son, David Copperfield, Bleak House and Hard Times, reveal something different. Although institutions are still depicted as deeply flawed, Dickens shifts his focus from the inadequacies of social institutions to the flawed individuals who inhabit this defective society; individuals who are required to rid themselves of their flaws in order to achieve authenticity and, thus, enable a regeneration within society to take place. The ‘final’ novels, Little Dorrit, The Tale of Two Cities, Great Expectations and Our Mutual Friend, seem to suggest that the ambit of commercialisation, with its skewed values, is so all-encompassing that no character is able to escape its clutches. The result is a society and its citizens who are inescapably imprisoned in their respective physical, emotional and moral prisons. This thesis examines the development and consequences of institutional uncertainty on the individual and on society. It is argued that Dickens follows a Foucauldian trajectory, initially visiting the uncertainties of the times on the bodies of his characters during the early nineteenth century, attempting to create ‘docile bodies’ of his characters through discipline and punishment of the soul in the middle of the century and, finally, in the second half of the century, revealing an entire society caught up in the morass of uncertainty from which there appears to be no escape. / English Studies / D. Litt. et Phil.(English)

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-08-25T11:40:23Z No. of bitstreams: 1 Vinicius Ferrasso da Silva_.pdf: 1477120 bytes, checksum: 854f227c9b9fe51f1b2f66607b54e16d (MD5) / Made available in DSpace on 2016-08-25T11:40:24Z (GMT). No. of bitstreams: 1 Vinicius Ferrasso da Silva_.pdf: 1477120 bytes, checksum: 854f227c9b9fe51f1b2f66607b54e16d (MD5) Previous issue date: 2016-03-30 / Nenhuma / O presente trabalho visa apresentar as bases para a construção de uma intepretação íntegra do artigo 212 do CPP, mas não fica adstrito ao referido artigo processual penal. Muito pelo contrário, inicia-se com uma análise histórica da evolução dos sistemas inquisitório (direct examinatio) e acusatório (cross-examination) no Direito estrangeiro, demonstrando a diferença de atuação do magistrado nos modelo anglo-saxão, nos estados europeus e estados latino-americanos, apontando para a mudança paradigmática que fora pretendida após a alteração dada pela Lei 11.690/2008, que inseriu o artigo 212 do CPP e os incisos I e II do artigo 156 do CPP. Em seguida, apresenta-se uma imbricação entre a comédia shakespeariana e a obra de Kantorowicz, demonstrando que a passagem do positivismo-exegético, da proibição de se interpretar, para o positivismo-normativista, produziu o fenômeno da discricionariedade do juiz, o dono da lei, que se movimenta dentro da moldura da norma kelseniana, o que Warat definiu de senso comum teórico dos juristas, demonstra a relação do juiz que inicia a inquirição no interrogatório com a busca da fictícia verdade real. Após a indicação do problema da discricionariedade, demonstram-se as estruturas da compreensão, juntamente com a crítica que Gadamer faz ao processo nefasto de interpretação por etapas. E, de modo a dar seguimento ao processo de compreensão gadameriana, destaca-se a teoria estruturante do direito do jurista alemão Friedrich Müller para que se possa identificar que, quando os juristas realizam a interpretação do artigo 212 do CPP, dada a abertura de produção de provas possibilitada pelos incisos I e II do artigo 156 do CPP, o intérprete olvida-se de realizar uma leitura atenta do artigo 212 do CPP, e por muitas vezes, equivocadamente, supera o conteúdo do texto normativo. Ao final, apresenta-se o caminho alternativo baseado na hermenêutica filosófica, com aportes da teoria do romance em cadeia dworkiniano, que garante compromissos do intérprete com a integridade, e, assim, leva o jurista a retirar-se da cilada kelseniana da mobilidade dentro da moldura da norma contida no positivismo-normativista, conduzindo à obtenção da máxima eficácia da justiça social, e, ao mesmo tempo, respeitando o teor do conteúdo do texto normativo do artigo 212 do CPP na linha da teoria estruturante da norma do jurista alemão Friedrich Müller, e não realizando intepretações por etapa, cindindo compreensão e aplicação, conforme adverte Georg-Hans Gadamer em sua respeitável crítica às três subtilitas, que ao fim e ao cabo, apresenta compromissos com o devido garantismo processual penal. / This paper presents the basis for building a interpretation part of Article 212 of the CPP, but that is not attached to that criminal procedure article. On the contrary, we start with a historical analysis of the evolution of inquisitorial systems (direct examinatio) and accusatory (cross-examination) on foreign law, demonstrating the magistrate's action difference in the Anglo-Saxon model, in European states and Latin American states, pointing to the paradigm shift that was required after the change given by Law 11,690 / 2008, which inserted Article 212 of the CPP and the items I and II of Article 156 of the CPP. Then we present an overlap between the Shakespearean comedy, with the work of Kantorowicz, demonstrating that the passage of positivism-exegetical, the prohibition to interpret, to positivism-normative, produced the phenomenon of the judge's discretion, the owner of the law that moves within the frame of kelseniana standard, which Warat set of theoretical common sense of lawyers, we demonstrate the relationship of the judge who begins questioning the interrogation to the pursuit of fictitious real truth. After the statement of the problem of discretion, we demonstrate the understanding of structures, along with the criticism that Gadamer makes the nefarious process of interpretation in stages. And in order to continue the process of Gadamer's understanding, stand out the structural theory of the German Friedrich Müller Jurist right so that you can identify that when the lawyers perform the interpretation of Article 212 of the CPP, given the evidentiary opening enabled by sections I and II of Article 156 of the CPC, the interpreter forgets you perform a careful reading of Article 212 of the CPP, and often mistakenly exceeds the content of the regulatory text. In the end, then present, the alternate path based on philosophical hermeneutics, with contributions of the theory of the novel in dworkiniano chain, which guarantees interpreter's commitments with integrity, and thus takes the lawyer to withdraw from the kelseniana trap mobility within the Frame rule in positivism-normative, leading to the achievement of maximum effectiveness of social justice, while respecting the content of the regulatory text of the content of Article 212 of the CPP in line with the structural theory of rule of German jurist Friedrich Müller, and not realizing interpretations, by stage, splitting understanding and application, as Hans-Georg Gadamer warns in his respectable critical to the three subtilitas, that after the cable has commitments with proper criminal procedure garantismo.

Los Sueños de Quevedo es una obra satírica que contiene una incisiva crítica social, de la que no escapa la realidad jurídica de la época. Con la ayuda que prestan los puentes metodológicos generados con la combinación de las ciencias literaria y jurídica, en este trabajo de investigación interdisciplinar se analiza el componente jurídico presente de forma dispersa en esta narración ficcional de naturaleza satírica, estudiando su contenido y forma de presentación en base a la clasificación que se propone de los elementos de carácter jurídico. Mediante su comparación con fuentes documentales jurídicas de la época y con el filtro que proporciona el pensamiento pluridimensional filosófico y doctrinal del autor, se pretende además una aproximación a las circunstancias histórico-jurídicas de finales del siglo XVI y principios del XVII, así como, a la visión que tiene Quevedo de la misma y la valoración que otorga a la administración de justicia y a la justicia misma, contribuyendo con ello al mejor conocimiento de la obra literaria, de su creador y de la época en la que se escribió. / Sueños by Quevedo is a satirical work that contains an incisive social criticism, from which the legal reality of the time does not escape. This interdisciplinary research analyzes the legal component present in Quevedo’s fictional narrative with help from the methodological bridges built between the literary and legal sciences. In this paper a proposed classification of the legal elements is used as the basis for analysis of Sueños’ content and form. By comparing the results with legal documentary sources of the time and with the filter provided by the author's multidimensional philosophical and doctrinal thought, an approach to the historical-legal circumstances of the late sixteenth and early seventeenth centuries is also reached, as well as, Quevedo's view and assessment of the administration of justice and justice itself in his contemporary society. The analysis contributes to a better understanding of Sueños, its author and the time in which it was written.

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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.

Ce mémoire propose une conception narrative du système de justice criminel. Pour ce faire, l’auteure mobilise la théorie narrative suivant laquelle le procès contradictoire est appréhendé comme un concours entre différentes histoires. Le caractère général de cette théorie confère à l’auteure l’espace nécessaire pour analyser et expliquer différents aspects du traitement judiciaire des faits, que ce soit la preuve judiciaire, le processus de détermination judiciaire des faits, l’intervention judiciaire en appel ou encore le droit qui encadre chacun de ces aspects. La notion d’« histoire » favorise l’adoption d’une perspective qui sort du cadre restreint du procès dans lequel la notion de « preuve » est enfermée. La théorie narrative permet ainsi à l’auteure d’expliquer et d’organiser en un tout unifié divers aspects du processus judiciaire comme l’enquête, le dépôt des accusations, la théorie de la cause, le contre-interrogatoire ou encore la façon dont les faits sont d’abord choisis et assemblés par les parties avant d’être administrés et traités au procès sous forme de « preuve ». Appliquée au procès, cette théorie implique une approche holistique de la preuve suivant laquelle la détermination judiciaire des faits est une évaluation de la vraisemblance relative des histoires en compétition. Cela remet en question la vision traditionnelle (ou rationaliste) atomiste de la preuve où les faits sont déterminés suite à une décision sur la véracité ou la fausseté de chacun des éléments de preuve. Le nouvel éclairage qu’apporte cette vision narrative du procès et ses diverses implications mènent l’auteure à remettre en question le bien-fondé de la vision traditionnelle voulant que le procès mène à une détermination judiciaire des faits qui soit exacte. Au terme de son illustration de la valeur heuristique de la théorie narrative, l’auteure revisite sous la perspective narrative les récentes études en matière d’erreurs judiciaires. Elle en conclut que le droit commande au juge d’atteindre une vérité hybride sur les faits, à michemin entre, d’une part, ce qui est survenu dans la réalité et, d’autre part, ce qui permet de conférer un maximum de cohérence aux éléments de preuves effectivement présentés au procès. / This master’s thesis proposes a narrative conceptualization of the criminal justice system. The author employs the narrative theory framework that conceives the adversarial trial as a contest between different stories. This comprehensive theory offers a lens through which the author analyzes and explains multiple aspects of the judicial processing of facts including evidence at trial, fact-finding, appellate review and the law governing these aspects. The concept of “story” allows a broader perspective than the concept of “evidence” which is limited to the trial. This umbrella theory is therefore used to explain, organize and provide a united understanding of various aspects of the judicial system, such as the investigatory process, the laying of charges, the theory of a case, the cross-examinations, as well as how facts are chosen and organized before being presented and processed at trial as “evidence”. At trial, the global perspective of the narrative theory challenges the traditional (or rationalist) atomist approach to evidence, which explains fact-finding as a decision based on the truthfulness or the falseness of each individual piece of evidence adduced at trial. The narrative perspective, rather, suggests a holistic approach – fact-finding is a decision regarding the relative plausibility between two competing stories. Thus, these insights from the narrative theory call into question the traditional assumption that trials lead to accurate findings of fact. After her demonstration of the heuristic value of the narrative theory, the author applies the narrative framework to recent studies on miscarriages of justice. She concludes that the law enables triers of fact to reach only a hybrid truth, halfway between what happened in reality and an assessment of the consistency between the evidence adduced at trial.

[pt] A partir da metáfora que sugere a figura híbrida do magistrado-mediador para dar nome ao recente – e crescente – movimento em que magistrados atuam diretamente em procedimentos autocompositivos enquanto mediadores e conciliadores, busca-se estudar a pertinência ou a impertinência dessa realidade e, para tanto, submete-se essa figura híbrida a três esferas de influência, com o objetivo de analisar as reações de compatibilidade: a esfera do próprio microssistema da autocomposição, a esfera da autonomia das partes que medeiam e a esfera do próprio magistrado que, após a sua atuação em autocomposição, terá que atuar em heterecomposição. Como percurso de investigação da (im)pertinência, o trabalho propõe três estágios de análise e o faz por meio do esquema realidade>>espelho<<simbólico, no qual a realidade representaria esse nosso lado do espelho, o mundo real do trabalho, da técnica, das leis, estruturas e sistemas, já o simbólico representaria o reflexo daquele lado do espelho, ou seja, as fontes mitológicas, simbólicas e literárias que formam o senso comum da figura do magistrado e, por fim, apresenta-se o próprio espelho como função de interpretação metodológica, na qual os referenciais teóricos de Habermas – juridificação e pressupostos da ação comunicativa - e Warat – noção de senso comum, influência e o peso do simbolismo jurídico e o estudo transdisciplinar da mediação como ferramenta emancipadora – desenvolvem o raciocínio que irá ajudar a construir as respostas sobre a (im)pertinência do magistrado-mediador nas ditas três esferas de influência. / [en] From the metaphor that suggests the hybrid figure of the judge-mediator to name the recent – and growing – movement in which judges act directly in selfcompositional procedures as mediators and conciliators, we begin to study the pertinence or impertinence of this reality and, for that, the hybrid figure is submitted to three spheres of influence, with the objective of analyzing the compatibility reactions: the sphere of the microsystem of self-composition, the sphere of autonomy of the parties that mediate and the sphere of the judge himself. that, after acting in self-composition, will have to act in heterocomposition. As a way of investigating (im)pertinence, the work proposes three stages of analysis and does so through the following scheme: reality>>mirror<<symbolic, through which reality represents our side of the mirror, the real world of work, technique, laws, structures and systems; the symbolic represents the reflection on that side of the mirror, that is, the mythological, symbolic and literary sources that form the common sense of the figure of the judge and, finally, the mirror is presented as a methodological interpretation function, through which the theoretical references of Habermas – juridification and presuppositions of communicative action - and Warat – concept of common sense, influence and the relevance of legal symbolism and the transdisciplinary study of mediation as an emancipating tool – develop the reasoning that will help to build the answers about the (im) pertinence of the judgemediator in the said three spheres of influence.