A presente investigação tem como objetivo estabelecer uma reflexão sobre as relações entre a história e a memória por meio da análise da minissérie Holocausto (1978), produção televisiva veiculada pela rede norte-americana NBC. O enredo de Holocausto está centrado na trágica narrativa sobre uma família judia-alemã no período que vai de 1935 a 1945. Modelo típico de judeus assimilados na Berlim dos primeiros anos do nazismo, a família Weiss testemunha as trágicas mudanças em sua realidade com a ascensão do nazismo e o estabelecimento do antissemitismo como política de estado. A minissérie é apontada como um marco na emergência do interesse sobre o Holocausto na consciência pública norte-americana, apresentando um discurso narrativo a respeito do extermínio dos judeus europeus que está diretamente vinculado à valorização desta mesma memória pela comunidade judaica. Pretende-se apontar que o aspecto comemorativo dessa produção audiovisual e o impacto verificado em sua exibição fora dos Estados Unidos, sobretudo na República Federal Alemã, evidenciam a complexidade da relação entre a história e os discursos de memória. / This investigations purpose is to establish a reflection about the relations between history and memory through the analysis of the miniseries Holocaust (1978), production broadcasted by the North American television channel NBC. The plot of Holocaust focuses on the tragic narrative of a Jewish-German family in the period from 1935 to 1945. A typical example of assimilated Jews, the Weiss family witnesses the tragic changes in their lives with the rise of Nazism and the establishment of anti-Semitism as a state policy. The miniseries is considered a landmark in the emergence of interest about the Holocaust in the public conscience of American people, presenting a narrative concerning the extermination of European Jews that is directly linked to the appreciation of this memory by the Jewish community. We intend to point that the commemorative aspect of this audio-visual production and the impact shown by its exhibition outside the United States, mainly in the Federal Republic of Germany, evidence the complexity of the relation between history and the memory discourse.

O Estado nazista caracterizou-se não só pela violência física empregada contra o povo, mas também pela violência psicológica que procurou exercer sobre a sociedade pelo viés propagandístico, fosse ele iconográfico, escrito ou falado. Neste governo, a propaganda e a doutrinação desempenharam um papel fundamental para constituição, permanência e prática de sua política ditatorial, que culminou com a Segunda Guerra Mundial. A busca de meios eficazes de convencimento transformou-se em instrumento produtivo para dar veracidade às suas ideias e doutrinas, angariando assim novos partidários da causa. No sentido de detectar e analisar um desses meios de convencimento, a presente dissertação elegeu piadas publicadas em um jornal de grande circulação como objeto precípuo de seu estudo, visto que os chistes devem ser compreendidos não apenas como meros instrumentos de diversão, mas também como discursos carregados de sentidos, que podem ser utilizados como veículo de propaganda e manipulação. Partindo do pressuposto de que piadas, assim como outros textos discursivos, refletem um discurso que vai muito além do que ali está exposto, apontando para outros dizeres já cristalizados, nossa análise dos chistes utilizará o respaldo teórico-metodológico da Análise do Discurso francesa e discussões de Freud e Bergson sobre o humor, visando compreender como esse meio de comunicação de massa, de boa acolhida, pode ter atendido aos ideais nazistas. O fundamento da argumentação aqui exposta baseia-se na percepção de que a recepção de um discurso, de aspecto lúdico ou não, remete a sentimentos e a uma memória já previamente construída no âmbito social, indicando, desse modo, que os sentidos, que se materializam em um texto, trazem de forma latente em seu bojo discursos já-ditos alhures. / The Nazi State was characterized not only for the devoted physical violence against the people, but also for the psychological violence that tried to exercise on the society for the propagandistic inclination as it was iconographic, written or spoken. In that government, the propaganda and the indoctrination they played took out a fundamental part for constitution, permanence and practice to its dictatorial politics that culminated with to World War II. The search of effective means of convincing became productive instrument to give truthfulness to their ideas and doctrines, recruiting this way that new supporting of the cause. In the sense of detecting and to analyse one of those convincing means, this dissertation has chosen jokes published in a newspaper of great circulation as foremost object of its study, because the jokes should be understood not only as mere instruments of amusement, but also as speeches loaded of senses that can be used as advertising and manipulation means. Starting the presupposition that jokes, as well as other discursive texts reflect a speech that overdoes what it is fairly exposed, it points out to other sayings which they have already crystallized. Our analysis of the jokes has used the theoretical-methodological backrest on French Discourse Analysis and the discussions of Freud and Bergson about the humor seeking to understand how that good welcome broadcasting could have assisted to the Nazi ideals. The ground of the argumentation hereinto exposed bases on the perception that the reception of a speech, of playful activity aspects or not postpones to feelings and to a memory previously built in the social extent, indicating however, that the senses that materialized themselves in a text, they bring elsewhere in a latent way in their salience already-said speeches.

Esta dissertação apresenta a tradução parcial, comentada, da sátira antinazista Dritte Walpurgisnacht, redigida pelo escritor austríaco Karl Kraus (1875-1936) em 1933 e publicada postumamente em 1952. Trata-se de um texto ainda inédito em português que analisa o fenômeno nacional-socialista em suas manifestações linguísticas no jornalismo e na vida pública alemã em geral. Os alvos do satirista são os enunciados que jornalistas, políticos, escritores e filósofos usaram para dar expressão a suas adesões a um regime político baseado no empobrecimento da linguagem e na violência sem limites. Na medida em que essas figuras públicas são chamadas pelos seus nomes e atacadas diretamente, essa sátira pode ser mais bem definida como uma sátira polêmica. Esta tradução parcial é precedida por um capítulo que contextualiza sucintamente essas questões; um segundo capítulo inicial trata, depois de um breve preâmbulo histórico, de duas abordagens diferentes na teoria da tradução, tentando estabelecer algumas relações entre o texto ora traduzido e essas teorias. / This work presents the partial, commented translation of the anti-Nazi satire Dritte Walpurgisnacht written in 1933 by the Austrian author Karl Kraus (1875-1936) and published posthumously in 1952. It is a text not yet translated into Portuguese that analyses the National Socialist phenomenon in its linguistic expressions in journalism and in the German public life in general. The targets of the satirist are the statements made by journalists, politicians, writers and philosophers to express their support to a political regime based on poverty of language and unlimited violence. As far as these public figures are called by name and attacked in an open manner, this satire would by better defined as a polemical satire. This partial translation is preceded by a chapter that briefly contextualizes these questions; after a short historical introduction, a second initial chapter deals with two different approaches in translation theory, trying to make some connections between the now translated text and these theories.

Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T05:04:56Z (GMT). No. of bitstreams: 1 CeballosGalvis_JacquelindelCarmen_M.pdf: 1724864 bytes, checksum: b81a44b406654ec17c343685bfa4b2d5 (MD5) Previous issue date: 2014 / Resumo: A partir da obra Necrópole do escritor esloveno Boris Pahor, aborda-se a questão do testemunho e pesquisa-se, na narração da experiência traumática, o mal-estar dos modelos tradicionais de representação. Por meio de uma leitura interdisciplinar e levando em conta as artes e as reflexões críticas de pensadores como Jacques Derrida, Georges Didi-Huberman, Emmanuel Levinas, e Walter Benjamin, entre outros, propõe-se um encontro que permitirá que mais de uma voz passe outros traços na abertura do pensamento às artes, no intuito de perceber as implicações e tensões de narrar o trauma, entre a sua impossibilidade e a sua necessidade. Com o propósito de estabelecer diálogos e traduções entre os limiares da imagem e da literatura que, por sua vez, levam ao aprofundamento das questões postas, aborda-se a obra do fotógrafo Evgen Bavcar, a partir da exposição intitulada: Une lumiere dificile, dedicada ao seu encontro com Boris Pahor e a imagem sombria do horror, ao redor dos vestígios do campo de concentração de Natzweiler-Struthof. Assim, diante da (im)possibilidade de representação da catástrofe, revaloriza-se os elementos escriturais da imagem e as dimensões imagéticas da escrita. Finalmente, a partir das propostas de alguns artistas colombianos contemporâneos, trata-se de pensar nas políticas e poéticas do testemunho da violência, pois o pensamento não pode ser indiferente, aos restos, ruínas, vestígios, memórias de resistência, que deixam vir, acontecer traços, instalações, que solicitam aprender a sentir e pensar de outro modo, em fim, assumir a fragilidade dos corpos expostos a realidades desmedidas, catástrofes que, ainda que pareçam impossíveis, são reais / Abstract: From the work of the writer Boris Pahor, Necropolis, it addresses the question of the testimony and is made research in the narration of the traumatic experience, the malaise of traditional models of representation. Through an interdisciplinary reading and considering the arts and critical reflections of thinkers such as: Jacques Derrida, Georges Didi-Huberman, Emmanuel Levinas, Walter Benjamin, inter alia, it is proposed an encounter that will allow that one more voice transmits others lines at the opening of thought to the arts, with the intention to understand the implications and tensions to narrate the trauma, between its impossibility and its necessity. For the purpose to establish dialogues and translations between thresholds of the image and literature, that allows to deepen the questions proposed, it addresses the work of the photographer Evgen Bavcar, from the exhibition titled: Une lumiere dificile, dedicated to his meeting with Boris Pahor and the sober picture of horror around the traces of the concentration camp Natzweiler-Struthof. So in front of the catastrophe's representation, it revalued book elements of the image and the magnetic dimensions of written. Finally, according to the proposals of some contemporary Colombian artists, it comes to thinking about the political and the poetic witness of violence, because the thought cannot be indifferent to the remains, ruins, traces, memories resistance, allowing happen traits, installations, requesting to learn to feel and to think otherwise, take on the fragility of the bodies exposed to excessive realities, disasters that seem impossible, but they are real / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

La Deuxième Guerre mondiale joue un rôle primordial dans l’oeuvre de Romain Gary. Présente dans tous ses écrits, elle constitue, pour les personnages, un épisode fondamental pour la construction de leur vision du monde. Gary l’inscrit dans une continuité historique et s’attache à décrire, dans un va-et-vient entre fiction et réalité, aussi bien les années d’avant-guerre que les décennies qui la suivent. En effet, le conflit mondial hante la mémoire des survivants, qu’ils soient civils ou militaires, et détermine pour certains d’entre eux la nature des leurs engagements futurs. Au sein d’une immense galerie de personnages, les résistants forment une communauté humaine où la fraternité, née du combat pour un idéal commun, constitue un lien indélébile qui résiste aussi bien au passage du temps qu’à la mort. Il n’en reste pas moins que d’autres catégories comme les collaborateurs, les Allemands, les Juifs ou les femmes occupent une place importante dans l’oeuvre. La Deuxième Guerre mondiale constitue, pour tous ces personnages, une grille de déchiffrement du monde. Gary décrit le cheminement qui conduit les différents personnages vers l’engagement, l’action. Il s’agit de parcours individuels – dont le sien – dépeints sans manichéisme ni prise de position politique, avec humour et parfois même ironie. L’engagement du héros garyen est une défense perpétuelle de l’humanisme. / World War II plays a crucial role in Romain Gary’s work. Pervasive throughout his writings, it represents, for the characters, a defining moment which shapes their vision of the world. Gary places it within historical continuum as he aims to describe, floating between fiction and reality, the pre-war period as well as the following decades. In fact, the world-wide conflict haunts the memory of the survivors, both military and civilian, influencing, for some of them, the nature of their commitments in the future. Within a wide and diverse range of characters, the resistants constitute a human community in which brotherhood, born out of the struggle for a shared ideal, creates a bond that resists the passing of time and even death. There are other categories present, such as the collaborators, the Germans, the Jews, or women. For all these characters, World War II is a significant paradigm that helps them understand the world. Gary’s description follows the characters in their way towards commitment and action. These are personal journeys – including his own – described without the manichean prism or political bias, but rather with humour and even irony. The commitment of the Garian hero is an undying defence of humanism.

A travers son œuvre Les Bienveillantes, Jonathan Littell évoque la métamorphose de la société allemande d’avant-guerre. Son personnage principal, le jeune Maximilien Aue est la métonymie des maux que représente une existence SS. Les deux cultures sont juxtaposées : celle de la véritable science et celle de la science de l’Etat. L’anthropologie raciale et la question de l’histoire servant à la propagande nazie mettent en valeur la perspective des nazis et de leur civilisation : une civilisation parfaite selon les bourreaux et un enfer selon les victimes. Une majeure partie de cette œuvre possède les empreintes du travail de Louis-Ferdinand Céline ; le mélange de l’horreur et du dégoût crée une scénographie dépouillée de la guerre. La représentation de la Shoah à partir d’un travail littéraire sur la guerre soutient la plausibilité d’une recherche sur ce sujet en tenant compte, en même temps, du fait que l’auteur fouilla lui-même les bibliothèques de l’Europe orientale afin de réaliser son travail.Les Bienveillantes est d’abord un roman sur le nazisme, parmi le peu qui existe sur ce sujet ; étant donné que la plupart des romans ressortissant sur le sujet de la Shoah portent soit l’histoire des camps d’extermination soit une réflexion sur le sort des victimes traitant ainsi du genre de mémoire. Ce roman problématise des notions canoniques : l’image d’un SS, l’homogénéisation de l’histoire impériale. Nous remarquons que les modalités du nazisme sur le plan impérial sont variés et hétérogènes et malgré cela, il est habituellement définit à travers son homogénéité. Ce roman réussit à marquer son originalité par le fait qu’il repose sur la documentation que Littell avait réalisée en cours de dix ans ; un travail d’historien, il concrétise le concept proposé par Frederick Cooper dans son livre, Colonialism in Question, Theory, Knowledge, History, qui exige une étude détaillée du système nazi en soulevant des procédés et des conceptions littéraires basés sur l’explication de l’impérialisme de plusieurs points de vue et de donner à cette étude, par la suite, une pertinence vis-à-vis de la situation dans l’Europe d’Est sous le joug nazi. / In my Ph.D. entitled Race, langage et culture dans l’œuvre de Jonathan Littell, Les Bienveillantes, I made an attempt to showcase the functioning of the Nazi system during the III Reich through the help of the Nazi character’s discourse in the novel, Les Bienveillantes. This novel is written in French by an American writer, Jonathan Littell and published in 2006. It provides insights into the functioning of the Nazi regime, its foreign and military policy and politics towards Jews. The motivation behind choosing Les Bienveilllantes for the Ph.D. dissertation was that it engages with a historical crime against humanity through a fictional approach. Jonathan Littell- through his work, reminds us of the role of fiction in conserving European History. He depicts the process of elimination of Jews practiced in the East of Europe and called Shoah par balles (Holocaust by Bullets), which refers to the mass killing of Jews in the Eastern front by shooting them, between 1941-1944, an idea that took the backseat due to the predominance of the concentration camps in the literary history of Holocaust and mainly due to the lack of survivors of this incident as compared to the concentration camps which resulted in many survivors tales.For the purpose of situating Les Bienveillantes in the literary History of Holocaust, I have divided my research into three parts: Firstly, it is an attempt to trace the evolution of the literature on the theme of Holocaust. Secondly, it provides an insight into Nazism as a system: the novel is replete with discussions and observations on what it was to be an officer during the 3rd Reich. In some sense the novel recounts the coming of age of the principle protagonist for it’s through his gaze, through his experience of the corridors of power, that we discover the working of the government, the underpinning of its policy. And thirdly, my research work focuses on the German imperial conquest, 1939-1944; it’s specificity as compared to other imperial structures and the role it played in bringing anti-Semitism to its crescendo.

Under the Nazi regime in Germany (1933-1945) a calculated killing of chronic “mentally ill” patients took place that was part of a large biopolitical program using well-established, contemporary scientific standards on the understanding of eugenics. Nearly 300,000 patients were assassinated during this period. Nurses executed this program through their everyday practice. However, suspicions have been raised that psychiatric patients were already assassinated before and after the Nazi regime, suggesting that the motives for these killings must be investigated within psychiatric practice itself. My research aims to highlight the mechanisms and scientific discourses in place that allowed nurses to perceive patients as unworthy of life, and thus able to be killed. Using Foucauldian concepts of “biopower” and “State racism,” this discourse analysis is carried out on several levels. First, it analyzes nursing notes in one specific patient record and interprets them in relation to the kinds of scientific discourses that are identified, for example, in nursing journals between 1900 and 1945. Second, it argues that records are not static but rather produce certain effects; they are “performative” because they are active agents. Psychiatry, with its need to make patients completely visible and its desire to maintain its dominance in the psychiatric field, requires the utilization of writing in order to register everything that happens to individuals, everything they do and everything they talk about. Furthermore, writing enables nurses to pass along information from the “bottom-up,” and written documents allow all information to be accessible at any time. It is a method of centralizing information and of coordinating different levels within disciplinary systems. By following this approach it is possible to demonstrate that the production of meaning within nurses’ notes is not based on the intentionality of the writer but rather depends on discursive patterns constructed by contemporary scientific discourses. Using a form of “institutional ethnography,” the study analyzes documents as “inscriptions” that actively interven in interactions in institutions and that create a specific reality on their own accord. The question is not whether the reality represented within the documents is true, but rather how documents worked in institutions and what their effects were. Third, the study demonstrates how nurses were actively involved in the construction of patients’ identities and how these “documentary identities” led to the death of thousands of humans whose lives were considered to be “unworthy lives.” Documents are able to constitute the identities of psychiatric patients and, conversely, are able to deconstruct them. The result of de-subjectification was that “zones for the unliving” existed in psychiatric hospitals long before the Nazi regime and within these zones, patients were exposed to an increased risk of death. An analysis of the nursing notes highlights that nurses played a decisive role in constructing these “zones” and had an important strategic function in them. Psychiatric hospitals became spaces where patients were reduced to a “bare life;” these spaces were comparable with the concentration camps of the Holocaust. This analysis enables the integration of nursing practices under National Socialism into the history of modernity. Nursing under Nazism was not simply a relapse into barbarism; Nazi exclusionary practices were extreme variants of scientific, social, and political exclusionary practices that were already in place. Different types of power are identifiable in the Nazi regime, even those that Foucault called “technologies of the self” were demonstrated, for example, by the denunciation of “disabled persons” by nurses. Nurses themselves were able to employ techniques of power in the Nazi regime.

A reelaboração de mitos caracteriza, fundamentalmente, a obra do francês Michel Tournier. Nesta pesquisa, procurou-se analisar o romance Le Roi des Aulnes, publicado em 1970, que narra a trajetória de uma personagem fantástica em busca de seu destino em plena segunda guerra, no centro do império nazista. O trabalho foca as estratégias empregadas para construir uma narrativa que vincula tão fortemente questões históricas com elementos míticos, além de investigar o potencial crítico da obra. A partir de bibliografia específica, procurou-se situar o conceito de mito, observar seus aspectos religiosos e políticos e analisar a configuração que o autor deu ao mito em sua obra. De modo geral, a recriação mítica se mostrou um conceito insuficiente para a análise e interpretação literária, pois a limitação do romance em sua esfera mítico-religiosa empobrece a compreensão da obra. A pesquisa revelou ainda que entre mito e história há vários processos de travessia de sentido, que operam graças à fabulação e à criatividade do autor, de modo que os elementos históricos foram incorporados à obra de maneira distorcida, velada, por vezes mitologizada, assim como os elementos míticos e fantásticos conduzem uma crítica severa à ideologia e política nazistas. Os aspectos míticos da obra trabalham em função sobretudo de criar as balizas morais dentro das quais as personagens atuam, além de abrir um espaço para que o leitor participe da construção do sentido da obra na medida em que ele é envolvido pelas regras do sistema mítico configurado. Por sua vez, a historicidade da obra conta sobretudo com a instabilidade dos elementos formais, bem como dos paradoxos e vicissitudes engendrados pelos elementos míticos para indicar, muito mais do que o registro de uma época, a projeção literária de uma dilema histórico. Em outras palavras, este romance é profundamente crítico e historicizante justamente porque ele não conta com uma linguagem realista, descritiva e estável; é no reconhecimento da precariedade da expressão, no momento em que apenas uma linguagem multireferenciada e delirante consegue abordar um contexto histórico problemático que a possibilidade de lucidez e elaboração desponta no horizonte. / The re-elaboration of myths deeply characterizes the work of the French writer, Michel Tournier. The present research focused itself on the analysis of his novel Le Roi des Aulnes, published in 1970, which narrates the trajectory of a fantastic character in a quest for his fate in the middle of World War II, at the center of the Nazist Empire. The research focused on the strategies employed to build a narrative that so strongly links historic issues with mythic elements, aside from investigating the critical potential of that work. From a specific bibliography, it tried to place the concept of myth, observe its religious and political aspects and analyze the configuration that the author gave to myth in his work. In general, mythic re-creation showed itself to be an insufficient concept to the literary analysis and interpretation, since limiting the novel to its mythic-religious sphere leads to poor comprehension of the work. The research also revealed that between myth and history there are several sense transference processes, which operate thanks to the author\'s storytelling and creativity, so that historic elements were incorporated to the work in twisted, veiled and at times mythologized ways, just as mythic elements conduce severe critics to nazist ideology and politics. Mythic aspects of the work operate above all to create moral guidelines within which characters act, besides making room for the reader to participate in the construction of the sense of the work, as he gets involved by the configured mythic system. On its turn, the historicity of this work counts above all with the instability of formal elements as well as of the paradoxes and vicissitudes engendered by mythic elements to indicate, far more than the record of a time, the literary projection of a historic dilemma. In other words, this novel is deeply critical and historicizing precisely because it does not employ realistic descriptive and stable language; it is in the recognition of the precariety of expression - on those moments that only multireferenced and delirious language can approach a problematic historic context - that the possibility for lucidity and elaboration shimmers on the horizon.

Previous studies have reached interesting conclusions regarding Swedish school policy during World War II. This paper brings a new perspective to this complex and multifaceted subject – to study how the union paper Svensk Lärartidning (the Swedish Teachers’ paper) reported on the impact of National socialist practice in school as an institution, both in Germany and Norway during the years 1940–1945. The analysis is based on Anthony Giddens structuration theory using the three dimensions: domination, legitimation and signification. The reports in Svensk Lärartidning highlight the institutional changes and consequences within the school, but the reports omit an important part: that the ideological content of Nazism led to the expurgation of Jewish teachers and students, which in turn had a major impact on German school as an institution. This study shows that Swedish elementary school teachers who followed Svensk Lärartidning reports can be considered to have had a directly negative view of Nazi school practice. It cannot, however, be assumed that Svensk Lärartidning reports influenced the Swedish elementary school teachers to take a negative view of Nazism based on its ideological meaning.

This is a study of the causes of the rise of the Third Reich, and its attitude toward the Treaty of Versailles.