(in English): The aim of this thesis is to introduce the theme of the Canary emigration to Cuba in the second half of the nineteenth and early twentieth century. For better orientation, the author has chosen time interface between the years 1860-1914. The introduction outlines the sources and secondary literature, from which the author draws and also supposed goal of work. The second chapter is devoted to the Canarian emigration from Columbus's expeditions to the first half of the nineteenth century and its gradual development. The third chapter describes the specific reasons that led to the emigration from the Canary Islands, the attention is focused on the travel conditions of immigrants, employment contracts and promotion. The fourth chapter has been devoted specifically Canarian immigrants and their impact on Cuba, including labor stratification. The fifth chapter focuses on emigration to the turn of the century, there is a special attention is paid to the topic canary societies and associations. The conclusion summarizes the achieved knowledges and changes of this emigration.

Aim of this diploma thesis is to compare different forms of narrating of the holocaust through Children's eyes. Pure child's narration has much bigger impact on reader than narration of an adult, enriched with metaphors and attributes. In this way child's point of view extends the ethical dimension of holocaust narration. We will examine the discourse of child's narration in three diaries (The Diary of David Sierakowiak, The Diary of Mary Berg, The Beautiful Days of My Youth by Ana Novac), one Fictional diary (The Unloved. From the Diary of Perla S. by Arnošt Lustig) and a novella (Child of the Shadows by Henryk Grynberg). Children's narrators of the holocaust are characterized by psychological maturity, which contrasts with their official age. On the other hand they reveal childishness, while growing up, because of their unfinished childhood. In those books we will examine changing of the narrators discourse and his depiction of space (ghetto, concentration camp, shelter) and persons (family, friend, Nazis). We will also focus on distinct motives that form these books (e.g.: hunger, guilt, comic, Paradise, game).

Une condamnation pénale définitive ne peut en principe plus être remise en cause. La chose jugée doit en effet être tenue pour vraie. L’adage non bis in idem et les principes de l’autorité et de la force de la chose jugée semblent dès lors interdire de rouvrir le procès pénal. Toutefois, le législateur français prévoit deux procédures distinctes permettant de remettre encause la condamnation prononcée : la révision et le réexamen. Les conditions de mise en oeuvre de ces procédures et leurs spécificités en font des procédures très exceptionnelles. Par la présentation d’éléments nouveaux de fait pour la révision, et de droit pour le réexamen, le requérant peut dans certains cas prétendre à nouvelle étude de son affaire. Cependant cette réouverture ne pourra être décidée que par une juridiction ad hoc et sera de type différent selon le nouveau procès envisagé. De plus, l’issue de ce nouveau procès pourra permettre de maintenir la condamnation en dépit des nouveaux faits présentés ou reconnaître l’innocence du condamné. / Final sentencing in a criminal trial cannot in principle be questioned any more. Indeed the adjudged case has to be considered as definitely settled. The non bis in idem Latin saw and the res judicata tenet thus seem to preclude the re-opening of a criminal trial. And yet, lawgivers put in place two distinct legal processes that enable French citizens to challenge their sentencing: reviewing and re-hearing. The conditions for carrying out these processes and their own specifities make these proceedings quite exceptional. Through the presentation of new evidence for reviewing, and because re-hearing can be considered as of right, convicted people may in some cases get a new trial. Nevertheless only an ad hoc jurisdiction can decide upon a new hearing and the latter will be of a different kind depending on the new trial at hand. Moreover, the upshot of this new trial will make it possible either to maintain the sentencing notwithstanding new evidence being presented to a new court or to declare the defendant not guilty.

A la charnière du XIXe et du XXe siècle, l’Espagne vit une révolution cultuelle et culturelle sans précédent. La question du sacré permet de cristalliser les enjeux de cette crise. Une approche résolument transversale révèle en effet le sacré comme clef de voûte des troubles qui agitent les Espagnols. La remise en cause continue de la place de l’Église dans la société, alimentée par l’affrontement sous-jacent entre cléricaux et anticléricaux, est fondamentale dans la douloureuse quête idiosyncratique qui ébranle la nation. Les artistes, témoins et acteurs de leur époque, se font l’écho de cette tension politique et sociale. Dans un premier temps, l’analyse du motif du sacré, livré par des romans et des tableaux, met en évidence non seulement la manifestation d’une sécularisation en marche, mais également la prégnance d’une culture religieuse durablement fixée. Dans un second temps, la polymorphie intrinsèque de ce sacré pré-moderne est abordée par une typologie qui en précise l’expression, de la plus manifeste à la moins tangible, cette dilution du sacré étant caractéristique de la Modernité. Enfin, au-delà de l’étude du motif iconographique et romanesque, une analyse du processus du sacré met en lumière combien les artistes de cette période sondent et interrogent la sacralité présente dans leurs œuvres, et combien celle-ci, ondoyante et industrieuse, échappe à leur contrôle, creusant les prémices d’une religion de l’art. / During the transitional period between the 19th and the 20th century, Spain experienced an unprecedented revolution, both religious and cultural. The issue of the sacred enabled to crystallize what is at stake during this crisis. A thoroughly cross-conceptual approach shows the sacred as a keystone for the mayhem that Spanish people underwent. The role of the church in Spanish society kept being questioned, due to the underlying conflict between those who supported the church and the others who were opposed to it. This questioning was fundamental in the difficult idiosyncratic quest which shook the nation. Artists, who were both witnesses and actors of their time, unveiled and showed this political and social tension. Firstly, the analysis of the pattern of the sacred through novels and paintings underlines the evidence of the secularization that took place. Likewise, it discloses the pregnancy of a religious culture established on a permanent basis in Spanish society. Secondly, the intrinsic polymorphous aspect of this pre-modern sacred is revealed by a typology which develops the representation of the sacred, from the most obvious to the least tangible one. This dilution of the sacred is characteristic of Modernity. Finally, beyond the study of the iconographic and novelistic pattern, an analysis of the process of the sacred enhances how the artists of this era took soundings and questioned sacrality in their works of art. It also shows how sacrality, constantly changing, could not be mastered by the artists, digging the roots of a cult for art.

This thesis is a study of the problem of subjectivity and prostitution in the Middle Ages. Three legal case studies of unpublished archival material and one chapter focussing on fictional texts from late mediaeval Germany and Switzerland are used to investigate the conditions of prostitutes' subjectification in law and literature. The thesis takes impetus from Ruth Karras's recent articulation of the problem of prostitution and sexuality, seeking to engage critically with her notion of “prostitute” as a medieval sexual identity that might be applied to any woman who had extra-marital sex. In dealing with trial records, it also aims to make a methodological contribution to the study of crime and the problem of locating the individual. Chapters I-III examine the records of criminal cases featuring the testimony of prostitutes, or women who risked such categorisation, to consider the available subject positions both within and outwith the context of municipal regulation. Whilst acknowledging the force of normative ideas about prostitutes as lustful women, these chapters argue that prostitutes' subject positions in legal cases were adopted according to local conditions, and depended upon the immediate circumstances of the women involved. They also consider trial records as a form of masculine discourse, arguing that an anxious masculine subject can be seen to emerge in response to the phenomenon of prostitution. Chapter IV expands this discussion by drawing on literary texts showing how prostitutes prompted concern on the part of male poets and audiences, for whom their sexual agency was a threat which belied their theoretical status as sexual objects. Note: Transcriptions of the legal cases making up chapters I-III are provided in Appendices A, B, and C.

Transexualismo é definido como o desejo de viver e ser aceito como pertencente ao sexo oposto. É usualmente acompanhado por sentimento de desconforto ou inadequação em relação ao sexo anatômico, associado a desejo de se transformar cirúrgica e hormonalmente para tornar o corpo o mais congruente possível com o sexo pretendido. Com essa alteração, surge ainda a necessidade de adequação jurídica da pessoa física por meio de processo cível para mudança do nome e do sexo jurídicos, adequando-se, assim, o status civil/social. O objetivo deste trabalho foi observar como os laudos psicológicos poderiam ou não colaborar nas decisões judiciais, de acordo com a análise de sentenças judiciais para mudança de prenome em transexuais masculinos e femininos, submetidos ou não a cirurgia de transgenitalização. Realizamos levantamento por amostragem, que inicialmente caracterizou as variáveis sociais e demográficas dessa população e, posteriormente, sistematizamos os dados encontrados. A população estudada, que pleiteia a mudança do registro civil, foi mapeada a partir de dados de sentenças e processos para mudança de prenome, traçando-se um perfil nacional segundo os critérios definidos pelo SUS. Buscamos a amostra nos quatro centros credenciados para o processo transexualizador (Portaria no 457, de 19 de agosto de 2008). Encontramos 55 sujeitos que entraram com processo de mudança de prenome e/ou prenome e sexo, matriculados/acompanhados nos referidos hospitais. Observamos uma proporção de de 9:2 entre homem para mulher (MTF) e mulher para homem (FTM), semelhante ao que se relata na literatura internacional (4:1). Quanto às sentenças, apenas 5,50% (três) dos processos foram indeferidos, correspondentes a sujeitos do sexo biologico masculino que ainda não haviam sido submetidos à cirurgia. Observamos uma associação entre cirurgia e deferimento da mudança de prenome (p = 0,001). Em apenas 10,90% (seis) sentenças analisadas, havia menção ao laudo psicológico, que, portanto, foi omitido nas demais, 82,10% (49). Quando presentes, os laudos não foram elaborados por profissionais dos centros credenciados para o processo transexualizador, descaracterizandose como objetos deste estudo. Os resultados sugerem que os laudos psicológicos não influem na decisão judicial nos processos de mudança de prenome entre pacientes transexuais e que a realização prévia da cirurgia de readequação sexual está associada a um maior índice de êxito no pleito dos pacientes / Transsexualism is defined as a desire to live and be accepted as a member of the opposite sex, usually accompanied by a sense of discomfort (or inappropriateness) with one\'s anatomic sex, and a wish to have surgical and hormonal treatment to make one\'s body as congruent as possible with one\'s preferred sex. This change triggers the need for legal adjustment of the individual through civil proceedings for change the legal name and sex/gender. This study\'s objective was to observe whether psychological appraisals may or may not influence the judicial decision, by the analysis of the judges\' sentences for the change of forename in transsexual men and women, whether or not they underwent reassignment surgery. We performed a sample study where we initially characterized the social and demographic variables of this population, and then we systematized the data found. The population studied, who presented a plea to change theirs forename at the civil register, was mapped from data of trial sentences. From this data we present a national profile of patients according to criteria for the processo transexualizador, the treatment as laid down by the Brazilian National Health Care System. We seeked our sample at the four centers licensed for the \"processo transexualizador\" (Ordinance 457 of the Brazilian Health Care Ministry, dated August 19, 2008). We have found 55 subjects which entered pleas for changes of forename and / or pleas for changes of forename and sex. This subjects should be registered patients or be monitored at these hospitals. We found a proportion of 9:2 male to female (MTF) and female to male (FTM) patients, this finding is similar to reports from the international literature (4:1). When we analyzed for outcome of the judgments, we found that 5.50% (three) cases were rejected. This three cases belonged to biological male gender and had not yet been submitted to surgery. We observed a association between surgery and plea for first name\'s change (p = 0.001). Only 10.90% (six) of the sentences analyzed mentioned the psychological appraisal, which was omitted in 82.10% (49) of the sentences. We also found that when the psychological appraisals were present they were not issued by professionals working at licensed centers, therefore these did not meet the criteria for the study. Our findings suggest that the psychological appraisals do not affect the judicial decision over the pleas for forename changes among transsexual patients and the prior execution of the reassignment surgery is associated to a higher success rate in the patients\' litigations

In August 2000, Justice O�Loughlin of the Federal Court of Australia handed down the decision in Cubillo v Commonwealth in which Lorna Cubillo and Peter Gunner took action against the Commonwealth Government, arguing that it was vicariously liable for their removal from their families and communities as children and subsequent detentions in the Northern Territory during the 1940s and 1950s. The case is the landmark decision in relation to legal action taken by members of the Stolen Generations. Using the decision in Cubillo as a key site of contestation, my thesis provides a critique of legal positivism as the dominant jurisprudential discourse operating within the Anglo-Australian legal system. I argue that the function of legal positivism as the principal paradigm and source of authority for the decision serves to ensure that the debate concerning reconciliation in Australia operates rhetorically to maintain whiteness at the centre of political and discursive power. Specifically concerned with the performative function of legal discourse, the thesis is an interrogation of the interface of law and language, of rhetoric, and the semiotics of legal discourse. The dominant theory of evidence law is a rationalist and empiricist epistemology in which oral testimony and documentary evidence are regarded as mediating the relationship between proof and truth. I argue that by attributing primacy to principles of rationality, objectivity and narrative coherence, and by privileging that which is visually represented, the decision serves an ideological purpose which diminishes the significance of race in the construction of knowledge. Legal positivism identifies the knowing subject and the object of knowledge as discrete entities. However, I argue that in Cubillo, Justice O�Loughlin inscribes himself into the text of the judgment and in doing so, reveals the way in which textual and corporeal specificities undermine the pretence of objective judgment and therefore the source of judicial authority.

This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in the aftermath of an event in which certain individuals have sought to eradicate it. The fragmentation of the affected body in these scenarios is understood as further complicating processes of grief and remembrance. Artists who reject political polemic and engage with the dimensions of human loss are seen to have discovered means of referring to the absence caused by the act of terrorism. Three such recurring representations present themselves: ash and remnants, presence/absence and memory building. Phantom Bodies are perceived as simultaneously functioning as a reminder of the event itself, insisting upon the response of bearing witness, and as a symbol of the overwhelming power of humanity. Challenges arise when individuals or sections of the affected society deem these artworks to be inappropriate or explicit. Works considered include: Neil LaBute's play The Mercy Seat, Sigalit Landau's art installation The Country, Jonathan Safran Foer's Extremely Loud & Incredibly Close, Spike Lee's 25th Hour, Daniel Libeskind's architectural plans for the World Trade Center site, Eric Fischl's sculpture 'Tumbling Woman', Honor Molloy's autodelete://beginning dump of physical memory and A.B.Yehoshua's A Woman in Jerusalem. The accompanying play, Tales of Ash: A diptych for the theatre, is set in Melbourne, New York and Tel Aviv and deals with life in the face of and after terror. It veers between naturalism, poetic monologue and the epic. Tales of Ash contains two plays. The first centres on Mia, a young sculptor living in New York, who loses both her lover and her creativity on September 11. Upon returning to her home in Melbourne, she finds familial bonds still entwined with guilt and family trauma. The second play revolves around Ilana and Benny, two people living in Tel Aviv, who find themselves suddenly thrust together after a devastating bombing. As they attempt to resume rhythms of life, in the face of all the inherent ferocity of a modern existence in Israel, the struggle between The Ash Woman and The Ash Takers escalates.

Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

In August 2000, Justice O�Loughlin of the Federal Court of Australia handed down the decision in Cubillo v Commonwealth in which Lorna Cubillo and Peter Gunner took action against the Commonwealth Government, arguing that it was vicariously liable for their removal from their families and communities as children and subsequent detentions in the Northern Territory during the 1940s and 1950s. The case is the landmark decision in relation to legal action taken by members of the Stolen Generations. Using the decision in Cubillo as a key site of contestation, my thesis provides a critique of legal positivism as the dominant jurisprudential discourse operating within the Anglo-Australian legal system. I argue that the function of legal positivism as the principal paradigm and source of authority for the decision serves to ensure that the debate concerning reconciliation in Australia operates rhetorically to maintain whiteness at the centre of political and discursive power. Specifically concerned with the performative function of legal discourse, the thesis is an interrogation of the interface of law and language, of rhetoric, and the semiotics of legal discourse. The dominant theory of evidence law is a rationalist and empiricist epistemology in which oral testimony and documentary evidence are regarded as mediating the relationship between proof and truth. I argue that by attributing primacy to principles of rationality, objectivity and narrative coherence, and by privileging that which is visually represented, the decision serves an ideological purpose which diminishes the significance of race in the construction of knowledge. Legal positivism identifies the knowing subject and the object of knowledge as discrete entities. However, I argue that in Cubillo, Justice O�Loughlin inscribes himself into the text of the judgment and in doing so, reveals the way in which textual and corporeal specificities undermine the pretence of objective judgment and therefore the source of judicial authority.