Ce mémoire s’intéresse aux récits des ex-combattants des groupes paramilitaires Autodéfenses unies de Colombie sur leur participation au conflit armé. Ces narrations, construites dans un contexte de réintégration à la société, permettent de réfléchir à la construction de la vérité par les ex-combattants dans les contextes post-conflit. Nous avons analysé les histoires de vie de 18 ex-combattants qui participaient au Programme de réintégration à la vie civile à Bogota. Nos interviewés ont adopté une position de victimes, en élaborant des discours justificateurs visant à se déresponsabiliser. Ces discours montrent une normalisation de la violence qui revient à la notion de « banalité du mal » d’Hannah Arendt. Nos interviewés ont employé plusieurs rhétoriques des groupes paramilitaires afin de justifier la violence. Ces rhétoriques font partie de la construction psychologique de l’ennemi par les groupes et elles invitent à analyser le rôle du langage dans la construction d’une culture paramilitaire. Néanmoins, certains interviewés ont condamné la violence exercée par leur groupe. Nous avons observé qu’il existe plusieurs interprétations de la manière dont nos interviewés disaient avoir réagi aux contextes de violence de masse, ce qui nous a amenés à réfléchir aux notions de culpabilité morale et juridique. / This paper studies the interpretations of the ex-combatants of the paramilitary groups United Self-Defense Forces of Colombia about their participation in the internal conflict. These discourses, created in a context of social reintegration, are used to discuss the recreation of the truth brought by the ex-combatants in post-conflict contexts. We analyzed the life stories of 18 ex-combatants who were part of the reintegration to civil life Program held in Bogota. Our interviewees have adopted a position of victims, creating discourses of legitimation of the violence in order to avoid the according responsability. In there, it suggests a normalization of violence, remembering the concept of the “banality of evil” brought by Hannah Arendt. Our interviewees have used the paramilitary rhetoric to justify violence. This rhetoric belongs to the psychological construction of the enemy by the groups and it reveals the role of language in the construction of a paramilitary culture. Although, we found that there are other interpretations that don’t concede and justify violence. There are different interpretations of their reactions in the contexts of mass violence. From there we discussed the notions of moral and legal guilty. / Esta investigación se interesa por las interpretaciones de los excombatientes de los grupos paramilitares Autodefensas Unidas de Colombia sobre su participación en el conflicto armado interno. Estas narraciones, creadas en un contexto de reintegración social, permiten reflexionar sobre la construcción de la verdad por los excombatientes en los contextos post-conflicto. Analizamos las historias de vida de 18 excombatientes que participaban en el Programa de Reintegración a la Vida Civil en Bogotá. Nuestros entrevistados adoptaron una posición de víctimas, construyendo discursos justificatorios buscando des-responsabilizarse. Estos discursos muestran una normalización de la violencia que recuerdan la noción de “banalidad del mal” de Hannah Arendt. Nuestros entrevistados emplearon varias retóricas de los grupos paramilitares para justificar la violencia. Estas retóricas hacen parte de la construcción psicológica del enemigo por los grupos e invitan a analizar el rol del lenguaje en la construcción de una cultura paramilitar. Sin embargo, no todos utilizaron discursos justificatorios. Encontramos que existen varias interpretaciones de la manera en que nuestros entrevistados decían haber reaccionado a los contextos de violencia de masa, lo cual nos condujo a reflexionar sobre las nociones de culpabilidad moral y jurídica.

Ce mémoire s’intéresse aux récits des ex-combattants des groupes paramilitaires Autodéfenses unies de Colombie sur leur participation au conflit armé. Ces narrations, construites dans un contexte de réintégration à la société, permettent de réfléchir à la construction de la vérité par les ex-combattants dans les contextes post-conflit. Nous avons analysé les histoires de vie de 18 ex-combattants qui participaient au Programme de réintégration à la vie civile à Bogota. Nos interviewés ont adopté une position de victimes, en élaborant des discours justificateurs visant à se déresponsabiliser. Ces discours montrent une normalisation de la violence qui revient à la notion de « banalité du mal » d’Hannah Arendt. Nos interviewés ont employé plusieurs rhétoriques des groupes paramilitaires afin de justifier la violence. Ces rhétoriques font partie de la construction psychologique de l’ennemi par les groupes et elles invitent à analyser le rôle du langage dans la construction d’une culture paramilitaire. Néanmoins, certains interviewés ont condamné la violence exercée par leur groupe. Nous avons observé qu’il existe plusieurs interprétations de la manière dont nos interviewés disaient avoir réagi aux contextes de violence de masse, ce qui nous a amenés à réfléchir aux notions de culpabilité morale et juridique. / This paper studies the interpretations of the ex-combatants of the paramilitary groups United Self-Defense Forces of Colombia about their participation in the internal conflict. These discourses, created in a context of social reintegration, are used to discuss the recreation of the truth brought by the ex-combatants in post-conflict contexts. We analyzed the life stories of 18 ex-combatants who were part of the reintegration to civil life Program held in Bogota. Our interviewees have adopted a position of victims, creating discourses of legitimation of the violence in order to avoid the according responsability. In there, it suggests a normalization of violence, remembering the concept of the “banality of evil” brought by Hannah Arendt. Our interviewees have used the paramilitary rhetoric to justify violence. This rhetoric belongs to the psychological construction of the enemy by the groups and it reveals the role of language in the construction of a paramilitary culture. Although, we found that there are other interpretations that don’t concede and justify violence. There are different interpretations of their reactions in the contexts of mass violence. From there we discussed the notions of moral and legal guilty. / Esta investigación se interesa por las interpretaciones de los excombatientes de los grupos paramilitares Autodefensas Unidas de Colombia sobre su participación en el conflicto armado interno. Estas narraciones, creadas en un contexto de reintegración social, permiten reflexionar sobre la construcción de la verdad por los excombatientes en los contextos post-conflicto. Analizamos las historias de vida de 18 excombatientes que participaban en el Programa de Reintegración a la Vida Civil en Bogotá. Nuestros entrevistados adoptaron una posición de víctimas, construyendo discursos justificatorios buscando des-responsabilizarse. Estos discursos muestran una normalización de la violencia que recuerdan la noción de “banalidad del mal” de Hannah Arendt. Nuestros entrevistados emplearon varias retóricas de los grupos paramilitares para justificar la violencia. Estas retóricas hacen parte de la construcción psicológica del enemigo por los grupos e invitan a analizar el rol del lenguaje en la construcción de una cultura paramilitar. Sin embargo, no todos utilizaron discursos justificatorios. Encontramos que existen varias interpretaciones de la manera en que nuestros entrevistados decían haber reaccionado a los contextos de violencia de masa, lo cual nos condujo a reflexionar sobre las nociones de culpabilidad moral y jurídica.

Cette thèse est consacrée à l’œuvre abondante et originale de l’écrivain contemporain Éric Chevillard. Son objet est de cerner l’isotopie du cliché dans l’écriture chevillardienne où le rapport à la littérature passe essentiellement par la manipulation des stéréotypes, des topoï et des idées reçues. Ainsi, la contestation de la banalité apparaît comme une des constantes majeures de ses textes. Pour en signaler les caractéristiques et les modalités principales, le travail s’organise autour de trois axes : le rôle du cliché verbal dans l’organisation stylistique du récit, puis l’observation de sa dimension intertextuelle à travers le cliché citationnel qui dénonce la banalisation de la référence littéraire, et, enfin, la remise en question de la doxa qui régit la société moderne. Cette triple manipulation du cliché définit la posture singulière d’Éric Chevillard au sein du champ littéraire contemporain fondée sur les notions de l’écart, de la distance ironique et du rejet du réalisme prosaïque en littérature. Le dernier mouvement de l’étude vise à démontrer qu’au delà de sa propre fiction, le cliché est mobilisé par le Chevillard critique comme un des critères essentiels de la qualité littéraire que ce soit sur son blog, L’Autofictif, ou dans sa chronique hebdomadaire dans Le Monde des livres. C’est là que le cliché acquiert véritablement la valeur isotopique dans la mesure où sa contestation assure la cohésion de l’œuvre entière. / This PhD thesis is devoted to the prolific and original work of the contemporary writer Éric Chevillard. Its subject is to define the isotopy of cliché in Chevillard's writing, in which the relationship to literature mostly goes through the manipulation of stereotypes, topoi and accepted ideas. Thus, questioning the banality appears like one of the major constants of his texts. In order to indicate the characteristics and main modalities, the work is organized around three axis: the role of verbal cliché in the narrative stylistic organization, then the observation of its intertextual dimension through the cliché of quotation which denounces the trivialization of literary reference, and, finally, the questioning of the doxa ruling modern society. This triple manipulation of cliché defines Éric Chevillard singular position in a contemporary literary field based on notions of gap, ironical distance, and rejection of prosaic realism in literature. The last movement of the study aims at demonstrate that, beyond its own fiction, the cliché is being called on by Chevillard-critique as one of the essential criteria of literary quality, both on his blog, L’Autofictif, or in his weekly column in Le Monde des livres. This is where the cliché truly acquires the isotopic value insofar as its contestation provides the entire work cohesion.

[pt] Esta dissertação apresenta uma breve introdução à obra de Hannah Arendt a partir do problema do mal. Seu objetivo é determinar, com base em alguns dos principais conceitos enunciados pela autora, uma solução para a controvérsia, presente na literatura filosófica, sobre a compatibilidade entre as noções de radicalidade do mal, de matriz kantiana, e de banalidade do mal, desenvolvida por Arendt. Para isso, são estudados o evento totalitário e a abordagem realizada por Arendt do problema do mal. Nesse contexto, o ponto de partida é uma análise das visões sobre a questão do mal na tradição filosófica com base em Agostinho de Hipona, Leibniz, Kant e Nietzsche. A seguir, com base no fenômeno totalitário, é analisada a radicalidade do mal, com o objetivo de compreender os horrores praticados pelos regimes nazista e stalinista durante os tempos sombrios do século XX. Posteriormente, estuda-se o julgamento de Adolf Eichmann e seu significado para a obra da autora. Naquele julgamento, apareceram três questões fundamentais: a dificuldade dos juízes de julgar um caso sem precedentes; a consciência de Eichmann; e o fenômeno da banalidade do mal. A seguir, a pesquisa apresenta uma possibilidade de compatibilizar o conceito de mal radical com o de mal banal, presentes no cânone arendtiano, a partir de uma análise da correspondência de Arendt com Gershom Scholem. Por fim, com base nas noções arendtianas de ação e liberdade, destacaremos a maneira pela qual será possível ao ser humano o retorno a si mesmo, na forma de animal político que é. / [en] This dissertation presents a brief introduction to the work of Hannah Arendt based on the problem of evil. The objective is to determine, based on some of the main concepts presented by the author, a solution to the controversy, present in the philosophical literature, about the compatibility between the notions of the radicality of evil, with Kantian matrix, and the banality of evil, as developed by Arendt. To this end, the totalitarian event and Arendt s approach to the problem of evil are studied. In this context, the starting point is an analysis of the views on the question of evil in the philosophical tradition based on Augustine of Hippo, Leibniz, Kant and Nietzsche. Then, based on the totalitarian phenomenon, the radicality of evil is analyzed in order to understand the horrors practiced by the Nazi and Stalinist regimes during dark periods of the 20th century. Subsequently, Adolf Eichmann s judgment and its meaning for the author s work are studied. In that trial, three fundamental questions emerged: the judges difficulty in judging a case without precedents; Eichmann s conscience; and the phenomenon of the banality of evil. Next, the research presents a possibility of reconciling the concept of radical evil with that of banal evil, present in the Arendtian canon, based on an analysis of Arendt s correspondence with Gershom Scholem. Finally, based on the Arendtian notions of action and freedom, we will highlight the way in which it will be possible for the human being to return to himself/herself, in the form of the political animal that he/she is.

This diploma thesis mainly deals with the relationships between the poetic manifestations of socialist realism and so called total realism in the early fifties. The first part focuses on general issues; within it I try to describe characteristic features of both poetics, for total realism it is done mostly in the background of comparison with like-minded concepts (Hrabal's poems from the fifties, the works of former members of Group 42). In other chapters of the text I am thinking about a total realism from two aspects: first, as an alternative form of realism, which defines itself against the official art, as well as a program that is dependent on the official art to some extent by paraphrasing or using some of its means and resources.

While the role of photography in enforcing hegemonic ideologies has been amply studied, this thesis addresses the under-researched topic of how photography undermined dominant narratives in specific historical circumstances. I argue that, in the later part of the long nineteenth century, photographs were used to represent the natural world in contexts where their functions were uncertain and their capacities not clearly defined, and that these hesitations allowed for the expression of resistances to dominant social attitudes towards nature. I analyse how these divergences were articulated through three independent case studies, each addressing a corpus of photographs which has been marginalised in scholarly discourse. The case studies all concern photographs of vegetation. The first one discusses photographs produced around Fontainebleau during the Second French Empire, commonly understood as auxiliary materials for Barbizon painters, and argues that they were in fact autonomous representations, reflecting marginal modes of experiencing nature which resisted its prevailing construction as spectacle. The second case study examines a photographic series depicting Amazonian vegetation, published between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological demands, these photographs undermined the hierarchies enforced upon the natural world by colonial science. The third case study analyses photographs from an early twentieth-century environmentalist treatise, and demonstrates how, while the author's discourse seemingly complied with conventional attitudes towards nature, the photographs instituted an ethical stance opposed to early conservation's aesthetic focus and anthropocentrism. Throughout the case studies, I argue that the photographs were consubstantial to the emergence of these resistances; that dissenting representations stemmed from a tension between their producers' lived experience and the ideological frameworks which informed each context; and that this process engendered remarkable formal innovations, which are not usually associated to non-artistic images. I contend that radical renewals of visual expression occur in all representational contexts, as image producers adapt their tools or forge new ones according to circumstances, and that more attention must be paid to such visual innovations outside the field of artistic production.