Made available in DSpace on 2016-04-27T19:30:51Z (GMT). No. of bitstreams: 1 Fabiana Franco Cardoso.pdf: 4540835 bytes, checksum: 3ba29f33f894b24913e32b59edf81a88 (MD5) Previous issue date: 2013-10-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In August 1974, there was the inauguration of the Crematorium Jayme Augusto Lopes, popularly known as Crematorium Alpine Village. Thus, the city of São Paulo began offering two destinations for the dead body: burial and cremation. To track the origin of cremation in our city was required in addition to consulting the press, read the Minutes of the City Council, bills and a text of the Public Civil Action on missing politicians found in the ditch in Cemetery Perus. This study focused on the period between the years 1967 and 1974, revealed the position of Brazilian ecclesiastical and political authorities on the practice crematory, measures the contribution of the military to the installation of the first crematorium in the capital, the role of the press in disclosure of government plans, negotiations between the Church, doctors and politicians to define adequate conditions for the population of the city, and promote reflection on the constant transformation of the city of São Paulo in search of modernity / Em agosto de 1974, ocorreu a inauguração do Crematório Jayme Augusto Lopes, popularmente conhecido como Crematório de Vila Alpina. Dessa maneira, a cidade de São Paulo começou a oferecer dois destinos para o corpo morto: o sepultamento e a cremação. Para acompanhar a origem da cremação em nosso município foi necessário além de consultar a imprensa, ler Atas da Câmara Municipal, projetos de lei e um texto da Ação Civil Pública sobre desaparecidos políticos encontrados na vala do Cemitério de Perus. Esse estudo focado no período compreendido entre os anos de 1967 e 1974, revelou a posição de eclesiásticos brasileiros e de autoridades políticas sobre a prática crematória, a contribuição de medidas do governo militar para a instalação dos primeiros fornos na capital, o papel da imprensa na divulgação de planos governamentais, as negociações entre Igreja, médicos e políticos para definição de condições adequadas à população paulistana, além de promover reflexão sobre a constante transformação da cidade de São Paulo em busca de modernidade

Background:  In the hospice care specialized palliative care is practiced on patients that are at the end of their lives, and nurses meet grieving relatives on a daily basis, both after and before the event of death. When the patient is deceased the relatives are offered to be present in the room while the nurses provide care for the deceased individual. It’s not as well-known if the relatives are offered to help the nurses care for the dead body. Aim: The purpose of the study is to investigate whether nurses’ have experiences of    caring for the dead body together with the relatives. Method: A qualitative method has been used with semi-structured telephone interviews. The material has been analyzed with a qualitative content analysis according to Granheim and Lundman (2004). Eight nurses in the hospice care, in the middle and south of Sweden, have been interviewed. From these eight nurses, five have experiences of providing care for the dead body together with the relatives. Results: The analysis resulted in a main theme, participation in the light, with three subthemes, mutual caring which is beneficial both for nurses and relatives, professional approach which is based on experience and knowledge, as well as collegial learning. Nurses that have the experience of caring for the dead body with the relatives, are seen to have a readiness for action and to provide the care in a respectful fashion. Central for nurses are their interest in participating and to offer others to join in. Discussions: The discussion is based on Andershed’s (1998) theoretical frame of understanding, with the metaphor participation in the light, as well as current research. In the discussion the concepts to know, to be, to do are used. The nurses in the study are contented to provide the care for the dead body together with the relatives. They feel gratification with the relatives’ participation, as they share the experience with them. It provides closure.

Cette thèse porte sur l’examen du mode d’opération du remploi photographique en art contemporain, et en spécial celui d’images photographiques post mortem. Avec l’appui de différentes théories qui portent sur la photographie et l’observation de plusieurs oeuvres de remploi photographique, ce travail étudie,d’une part, les problématiques d’ordre génétique et théorique spécifiques à cette pratique contemporaine. De l’autre, ce travail traverse des perspectives historiques et aussi anthropologiques à propos de l’homme face au corps mort pour, en tenant en compte des différents aspects des transformations du rapport de la société occidentale à la mort, observer les effets sur la production de la photographie contemporaine. Dans ce contexte, l’étude identifie les deux types majeurs d’images photographiques post mortem remployées – les deux associé à la violence – et analyse, en suite, les nouveaux rapports symboliques proposés par un nombre d’oeuvres. Cet étude cherche à observer à quoi répond ces oeuvres de remploi d’images photographique post mortem et, en même temps, à observer que l’oeuvre de remploi photographique, en tant que pratique artistique qui vise la révision et la critique des représentations, contribue néanmoins pour la construction d’une représentation de la mort selon les perspectives contemporaines auxquelles elles répondent. / This thesis focuses on the examination of the operation mode of the photographic re-employment incontemporary art, and in special of post mortem photographic images. With the support of various theories that focus on photography and the observation of several photographic re-employment artworks, this study examines, on the one hand, genetic and theoretical problematic that are specific to this contemporary practice. On the other, this work crosses historical and also anthropological perspectives on humans facing the dead body, taking into account different aspects of the transformations in Western society’s relationship to death, in order to observe the effects on contemporary photography production. In this context, this study identifies two major types of postmortem photographic images re-employed – both associated with violence –, and then analyses the newsymbolic relations proposed by a number of artworks. This study seeks to observe to what these artworks that re-employ post mortem photographic images respond to, and at the same time, seeks toobserve that the photographic re-employment, as an artistic practice that aims to review and criticize representations, contributes however, for the construction of a representation of death within the very contemporary perspectives, which they respond to.

La sépulture est souvent appréhendée à titre d’exception ou par une superposition de notions : copropriété familiale, bien familial, chose hors commerce, indivision perpétuelle, droit réel spécial... Cette approche disparate dissimule l’existence d’un droit des sépultures qui peine, en conséquence, à constituer un droit unifié. Le droit des sépultures se trouve fractionné en plusieurs branches : droit civil, droit pénal et droit public. A travers elles, apparaissent de nombreuses problématiques, liées à la nature et au régime proposés. Pour ces raisons, il est nécessaire d’aborder le droit des sépultures par la recherche de ses fondements, inchangés depuis le droit romain et le droit médiéval. Le premier fondement est le sacré ; le second la communauté. Tous deux prennent leur source dans l’histoire du droit et continuent d’exister dans le droit positif. Ils font apparaître une unité du droit des sépultures, autour d’une double fonction : assurer la séparation du mort et du vivant et perpétuer le culte des morts. Du point de vue anthropologique, le sacré, premier fondement, se distingue du religieux, et se manifeste selon deux opérations : la délimitation d’une frontière entre sacré et profane par la séparation, puis la protection de ce nouvel espace délimité par la répression de toute atteinte. Pour les sépultures, ces deux opérations sont effectuées respectivement par l’extracommercialité et par la protection pénale. Le premier mécanisme est issu du droit romain et montre une protection originale de la sépulture ; toute activité juridique qui n’est pas incompatible avec le respect des morts est autorisée. L’autre mécanisme concerne l’incrimination de violation de sépulture, qui perpétue sa dimension sacrée. Le second fondement est communautaire : il est apparu pour les sépultures de famille avec les communautés médiévales, à une époque où les biens et les personnes étaient soudés en un groupe familial unique. Désormais adapté par l’affectation familiale, un tel fondement se maintient dans notre droit avec un régime de propriété collective, à travers la transmission successorale restreinte au groupe familial et un principe égalitaire, ce qui fait de la sépulture une véritable propriété communautaire. Bien sacré, propriété communautaire, les fondements des sépultures mettent en exergue des dimensions originales de la propriété. / Burials are often considered in terms of acceptions or superimpositions of notions: family co-ownership, family property, off-trade affairs, joint possession, specific real right… This multi-entry approach conceals the existence of a right of burial which, as a consequence, is difficult to define as a unified right. The right of burial is divided up into various branches— civil law, criminal law, public law—which rise various questions linked to the very nature if the different systems. For this reason, it is necessary to tackle the right of burial from the point of view of its foundations, which have not changed since the establishment of Roman law and Medieval law.The first founding principle concerns the sacred; the second is about the community. Both originate in legal history and are still valid in the field of positive law. They show a unity in the right of burial as regards two main functions: ensure the separation between the living and the dead and keep up the traditional practice of ancestor worship. From the anthropological viewpoint, the sacred—the first principle—distinguishes from the religious, and is expressed in two main missions: the definition of a frontier between the sacred and the profane by the separation, then the protection of this new space delineated by the suppression of any violation. For the burials, these two missions are respectively accomplished by a position out of commerce and by the criminal procedure. The first mechanism comes from Roman law and shows an original protection of the burial process; every legal activity which is not incompatible with the respect of the dead is allowed. The other mechanism concerns the incrimination of the violation of the burial process and its sacred nature. The second founding principle is about the community: it was created for family burials by medieval communities, at a time when properties and people were seen as a unique family unit. Nowadays adapted by the family affectation, such a principle is maintained in our legal system because of a collective ownership regime, through the transmission of the succession restricted to the family and an egalitarian principle, which turn burials into a property of the community. Sacred property, property of the community, the founding principles of burials bring to light specific dimensions of the concept of property.

Ce travail explore les représentations du corps mort dans des cuentos hispano-américains contemporains pour essayer d’établir par ce biais une typologie des rapports que l’être humain entretient de façon générale avec la mort. L’idée centrale que nous avançons est que la littérature reproduit un nombre limité de réactions universellement valables, se montrant ainsi capable de mettre à la disposition de ses lecteurs un inventaire étrangement fiable des attitudes qu’eux-mêmes, à l’instar des personnages, sont susceptibles d’aborder face à cet événement ultime. Le choix du cadavre comme protagoniste des récits étudiés s’explique par le fait qu’il soit la seule image concrète et tangible de la mort et que, par son apparence repoussante, il représente une terrible source de hantise qui conditionne et altère toute tentative paisible de se rapprocher de celle-ci. Le cadre théorique des mondes possibles littéraires qui posent la fiction comme expérience envisageable et la particularité formelle du genre littéraire du cuento avec sa petite étendue et son caractère auto-suffisant permettent la vision du texte comme espace tombal où gisent ces nombreux cadavres fictionnels. Le lecteur a ainsi accès de près au corps mourant/mort, froid, putride, puant, dépecé ou bien embaumé, et les expériences littéraires acquises de cette manière s’ajoutent à son effort d’apprivoisement de la réalité effrayante de la mort. / This work explores the dead body as it is represented in a number of contemporary Latin American cuentos in order to establish a typology of the different reactions of human beings in general when faced with death. I suggest that literature reproduces a limited number of universal behaviours in this situation and thus it gives readers a fairly reliable inventory of the attitudes that they, like the characters, are likely to adopt.The corpse as a protagonist of the short stories discussed here has been selected because it is the only concrete and palpable image of death and that, by its repulsive appearance, it represents a terrible source of fear which conditions and alters any intention of peacefully trying to come to terms with it. The theoretical framework of the literary possible worlds whereby fiction is seen as a potential experience, and the formal characteristics of the cuento, such as its reduced, self-contained nature, allow the text to be read as a funerary space where all these fictional dead bodies lie. The reader is thus brought into close contact to the dying/dead, cold, putrid, stinking, dismembered or embalmed body and the literary experiences he/she goes through help him/her to come to grips with the frightening reality of death.