Thesis (MPhil.(Informatics))-University of Pretoria, 2008. / Abstract in English. Includes bibliographical references.

Thesis (Psy. D.)--Wheaton College, 2007. / Abstract. Includes bibliographical references (leaves 40-47).

Thesis (M.Phil. (Labour relations))-University of Pretoria, 2005. / Summary in English. Includes bibliographical references (leaves 115-118). Available on the Internet via the World Wide Web.

Thesis (M. Soc. Sc. (Psychology))--Rhodes University, 2005. / "Dissertation submitted in partial fulfilment of the requirements for the degree of Master of Social Science (Clinical Psychology)" -T.p.

Thesis (M.A. (Drama))--Rhodes University, 2006.

Thesis (D.Phil (Psychology))--University of Pretoria, 2005. / Includes abstract in English and Afrikaans. Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 86-92). Also available for download via the World Wide Web; free to University of Oregon users.

From Introduction: The 'forensic aesthetic' presents the viewer with traces and debris - the residue that haunts sites of transgression, violence and death. In his book Scene of the Crime, art critic and curator Ralph Rugoff (1997:62) defines the forensic aesthetic as follows: "Inextricably linked to an unseen history, this type of art embodies a fractured relationship to time. Like a piece of evidence, its present appearance is haunted by an indeterminate past, which we confront in the alienated form of fossilized and fragmented remnants." Through its play on seemingly insignificant detail&, clues and traces, the forensic aesthetic suggests that meaning is dispersed, fragmentary and uncertain. According to Rugoff (1997:17), the forensic aesthetic "aims to engage the viewer in a process of mental reconstruction". It compels the viewer to adopt a 'forensic gaze' : to sift through broken narratives and fragments of information, reading the artwork as one might read a sample of evidence. Rugoff (1997:62) argues that: "[S]uch art insists that 'content is something that can't be seen' ... it requires that the viewer arrive at an interpretation by examining traces and marks and reading them as clues. In addition, it is marked by a strong sense of aftermath. ... Taken as a whole, this art puts us in a position akin to that of [the] forensic anthropologist or scientist, forcing us to speculatively piece together histories that remain largely invisible to the eye." One might argue that some of the earliest known examples of the forensic aesthetic in art presented themselves in the Renaissance period in the form of the pseudo-forensic anatomical drawings of Leonardo da Vinci. In his Studies of the Hand (fig. 1), for example, Da Vinci methodically represents the underlying structures of the human hand in a series of drawings that are scattered intermittently across the page. The remainder of the page is covered with hand-written notations. In this work, the artist approaches the human body with a scientific, almost forensic, gaze. Here the body is presented in fragments, rather than as a whole. According to Rugoff (1997:86&88), the forensic aesthetic addresses the body "not as a coherent whole but as a site of prior actions ... as a dispersed territory of clues and traces". When read in terms of the mode of the forensic aesthetic, Da Vinci's Studies of the Hand may be said to look at the human body as forensic object. In this way, this work may be said to speak of the manner in which the forensic gaze operates in the context of the artwork. Throughout the following essay, I discuss the various ways in which the forensic aesthetic manifests itself in art. I have necessarily been selective in the artworks that I have chosen for discussion, as this topic is very broad indeed. In Chapter One, I explore the tradition of the forensic aesthetic in art by way of a select number of artworks. This chapter focuses on investigating the way in which these works, whether consciously or unconsciously, speak of associations between violence and representation through the mode of the forensic aesthetic. The contents of Chapter Two concentrate on the work of South African artist Kathryn Smith. Smith's work may be said to possess a forensic quality, in that it references forensic practices and techniques. Her work has not been the topic of a lengthy monograph, but it has been considered in various exhibition catalogues, reviews and articles. For example, an essay by Colin Richards entitled 'Dead Certainties' (2004) investigates the forensic quality of Smith's imagery in terms of its play on notions of the trace. Similarly, an article by Maureen de Jager, entitled 'Evidence and Artifice' (2004), examines the manner in which Smith's work transgresses the boundaries between 'forensics and fantasy'. In her book, Through the Looking Glass (2004), Brenda Schmahmann addresses Smith's Still Life series (figs. 9, 10, 11) in relation to the issue of self-representation, exploring the relationship between the 'self' and the body as 'other'. Lastly, a review by James Sey, which was published in Art/South Africa (2004), considers Smith's work in terms of its aesthetic appeal, which serves as a framing device for the uncomfortable subject matter that informs the bulk of her imagery. My reading of Kathryn Smith's work departs from and expands on the available literature in that it focuses on the manner in which her images comment self-critically on the act of representation. I have chosen to focus on Smith's work in particular, as it uses the mode of the forensic aesthetic to speak of the field of artistic practice - a motif that runs throughout my own body of work as well. Moreover, Smith's work, like my own work, may be said to engage with the forensic aesthetic in a South African context. In Chapter Two, I compare a number of Smith's works to the artworks discussed in Chapter One, and examine the manner in which they speak of the links between art and crime. Chapter Three concentrates on outlining the ways in which my own work reads off the conventions of forensic investigation. In this chapter I discuss the manner in which my work, by way of a forensic approach, draws parallels between the medium of photography and the mechanisms of trauma. I focus on works that have been included in my Master's exhibition, Vigil (2005). The following essay is a study in representations of violence in art. In the course of this essay, I contextualize the forensic aesthetic as a mode of representation, as well as address the manner in which the forensic aesthetic seems to allow for, even facilitate, self-conscious reflection on the practices of representation itself.

Orientador: José Sterza Justo / Banca: José Artur Molina / Banca: Cristina Amélia Luzio. / Banca: Lauro Cesar Ibanhes / Banca: Antônio Carlos Barbosa da Silva / Resumo: O mundo hipercinético da atualidade toca profundamente a subjetividade, fazendo emergir na superfície da conduta formas de ser e agir típicas, resultantes de elaborações cognitivas, emocionais e afetivas, que processam a experiência de tal aceleração da vida e ampliação do espaço. Dentre as subjetivações da velocidade, no mundo contemporâneo, destacamos o tédio como uma das principais, ainda que ele esteja sendo confundido com a depressão, por manter com ela uma sintomatologia semelhante, embora seja bem distinto quanto à sua gênese e dinâmica psicológica. Neste trabalho, além das considerações acerca do tédio, na adolescência, há também reflexões a respeito da noção de trauma. O conceito de trauma, que foi tão útil e iluminador em tempos outros, já não possui o mesmo valor heurístico, porque os processos de subjetivação, na atualidade, não carregam, como outrora, as marcas de embates, contradições, conflitos ou choques brutais. O mundo atual não se funda mais na lógica do conflito e do confronto, como ocorreu com a modernidade do século XVIII até o final do século XX, e, apesar de ser um mundo supermovimentado e acelerado, por isso mesmo, potencialmente capaz de produzir colisões, desenvolve mecanismos de ordenação e controle das mobilidades extremamente sofisticados, evitando "acidentes de trânsito", especialmente no plano do trânsito psicológico (emocional, afetivo, dos vínculos e relacionamentos). O mundo que admitia ou até cultuava o sacrifício e o sofrimento cedeu lugar para um mundo que cultua o prazer, a felicidade e a frivolidade da vida. Há uma tendência ao esmaecimento do trauma, para seu deslocamento como experiência fundante do sujeito e do mundo... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The hyperkinetic world of today deeply touches the subjectivity, bringing out to the surface of the behavior typical forms of acting and being, resulting from cognitive, emotional and affective elaborations, which process the experience of such life and accelerating expansion of the space. Among the subjectivations of speed, in the contemporary world, we point out the boredom as one of the major. Although boredom is being confused with depression, for keeping with it similar symptoms, they are quite different as to their genesis and psychological dynamics. In this work, in addition to considerations about the boredom in adolescence, there are also considerations about the notion of trauma. The concept of trauma, so helpful and enlightening in other times, no longer has the same heuristic value, because the processes of subjectification, at present time, do not carry, as then, marks of struggle, contradictions, conflicts and brutal shock. The world today is no longer on the logic of conflict and confrontation, as it happened with the modernity of the eighteenth century until the late twentieth century. Moreover, despite being a super busy and fast-paced world, therefore, potentially able to produce collisions, develops mechanisms for ordering and control of highly sophisticated mobility, preventing "traffic accidents", especially in terms of psychological traffic (emotional, affective bonds and relationships). The world that worshiped or even admitted sacrifice and suffering has given way to a world that worships... (Complete abstract click electronic access below) / Doutor

Orientador: Marcio O. Seligmann-Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T20:48:51Z (GMT). No. of bitstreams: 1 Fernandes_FabricioFlores_D.pdf: 1028248 bytes, checksum: fae3ff88f8caff2425c5fe5a1912bc4a (MD5) Previous issue date: 2008 / Resumo: Esta pesquisa tem como objeto de estudo as obras testemunhais de Luiz Roberto Salinas Fortes, Retrato calado (1988), e de Flávio Tavares, Memórias do esquecimento (1999), em que os autores narram acontecimentos vividos durante os anos da ditadura militar no Brasil (1964-1985), entre os quais suas passagens por sessões de tortura. Exploram-se, neste trabalho, os motivos por que os relatos apresentam determinadas características estruturais, tais como a cisão do narrador ante a descrição de eventos de extrema violência, a incorporação de um interlocutor a quem o narrador se dirige, a aparente impossibilidade de ordenação cronológica dos fatos e a repetição de termos e construções sintáticas em um mesmo período. A hipótese interpretativa com a qual se trabalha é a de que semelhantes dispositivos, somados à evidência de que longo tempo transcorreu entre a vivência dos fatos e sua narração, indicam que esse narrador hesitante é vítima de experiências traumatizantes. Como forma de validação da hipótese, aborda-se uma série de trabalhos teóricos que versam sobre a relação entre o ato testemunhal e os traumas sofridos. Concomitantemente, no intuito de melhor compreender as condições de surgimento dos relatos, investigam-se textos de perpetradores, cujas visões sobre o período são diametralmente opostas às dos autores estudados aqui. Por fim, analisa-se minuciosamente a estrutura discursiva dos testemunhos de Salinas e Tavares, identificando nos relatos elementos indicativos das dificuldades enfrentadas no ato de escrever a dor / Abstract: The subjects of this research are the testimonial works of Luiz Roberto Salinas Fortes, Retrato calado (1988), and Flávio Tavares, Memórias do esquecimento (1999), in which the authors narrate events experienced during the years of the Brazilian military dictatorship (1964-1985), among them the torture suffered. One explores, in this work, the reasons for the accounts present some structural features such as the narrator split before the description of the extreme violence, the simulation of an interlocutor to whom the narrator speaks, the apparent impossibility of setting down the facts on a chronological order, and the repetition of words and syntactic constructs on a same period. The interpretative hypothesis one works with understands that such devices, added to the evidence that long time elapsed between the facts and the narration of them, indicate this hesitant narrator is a victim of traumatizing experiences. As a way of hypothesis validation, one broaches a series of theoretical works on the relation between the testimonial act and the suffered traumas. Furthermore, with the intent to better comprehend the accounts emergence conditions, one investigates perpetrators texts, whose visions on the events are rather opposite to the ones by the authors here studied. Finally, one minutely analyses discursive structures of Salinas¿ and Tavares¿ testimonies, calling attention to the difficulties faced in the act of writing the pain / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária