Made available in DSpace on 2014-06-12T23:14:56Z (GMT). No. of bitstreams: 2 arquivo439_1.pdf: 4655438 bytes, checksum: c61c30ace70d4c38d01aeadb6714814b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2010 / Fundação Joaquim Nabuco / O objetivo de nossa pesquisa é estudar o discurso jornalístico acerca do crime violento como o instituto do mal que pode produzir o trauma cultural do medo compartilhado. A intenção não é abordar o crime violento como coisa-em-si, mas a representação que a imprensa faz dele em suas narrativas e as buscas por soluções que promovam a sua superação. São os sentidos circulantes, as cadeias de significação construídas na imprensa sobre as categorias crime violento, vítimas, perpetradores do mal e medo coletivo que iremos analisar nas narrativas jornalísticas. Para isso, recorremos à análise do discurso em textos selecionados no site do Jornal do Commercio e nos blogs dos jornalistas Ricardo Noblat e Jorge Antônio Barros, hospedados no site do jornal O Globo. O corpus em O Globo foi definido entre 8 de fevereiro de 2007 a 8 de fevereiro de 2008. A data inicial foi o dia em que foi publicada a primeira notícia sobre o crime contra o menino João Hélio, no Rio de Janeiro, até um ano após o fato. No JC, o corpus inclui o mesmo período, com episódios de ação humana violenta que tenham resultado em morte. O estudo teve como esteio teórico a sociologia cultural e a teoria do agenda-setting. A sociologia cultural nos oferece conceitos sobre cultura e o seu papel na definição das ações e formas de ver o mundo pelos indivíduos. Já a teoria do agendamento permite identificar os assuntos que ingressam na pauta da imprensa, definindo que problemas sociais devem ser alçados à condição de problema público. Dentro da perspectiva teórica da sociologia cultural, concluímos que o discurso jornalístico tem sido fundamental para construir e sustentar o trauma cultural do medo nos indivíduos, que passam a compartilhar os dramas das vítimas e de seus familiares de forma mediada pelos meios de comunicação

A presente dissertação tem por objetivo compreender de que maneira se dá a representação do trauma em Let the Great World Spin (2009), do premiado autor irlandês, Colum McCann. O romance foi escrito para falar sobre os ataques terroristas de 11 de Setembro de 2001, Nova Iorque, muito embora o evento não tenha sido diretamente mencionado no romance. A análise levou em conta declarações do próprio autor, de que não importa sobre o que escreva, é sempre sobre a Irlanda que fala e com isso houve a necessidade de se encontrar traumas comuns a Irlanda e aos Estados Unidos. Sendo essa a razão pela qual os aspectos \'imigração\' e \'família\' fazem parte deste estudo, pois a emigração repercutiu enormemente na configuração da família irlandesa. Ao ambientar o romance na Nova Iorque de 7 de Agosto de 1974, o autor já estabelece um distanciamento temporal e um recorte específico em que semelhanças entre 1974 e 2001 são realçadas no romance. A presença do artista francês Philippe Petit, que andou em um cabo de aço estendido entre as torres gêmeas, no que ficou conhecido como o maior crime artístico do século XX, estabelece a metáfora com o que em 2001 ficou conhecido como o maior ato terrorista do século XXI. Autores como Sztompka, Versluys, Smelser e Gibbs foram norteadores para a evolução da análise do trauma retratado no texto de Colum McCann. O romance opera com um grande número de vozes narrativas, provocando uma polifonia que atende ao objetivo do autor de dificultar ao máximo a estereotipia de suas personagens. / This dissertation is concerned with the representation of trauma in the award-winning celebrated Irish writer Colum McCann\'s novel, Let the Great World Spin (2009). The novel was written about the terrorist attacks of 9/11, in New York. Although the event is never directly mentioned within the text. My analysis took account of some statements made by the author to the effect that no matter what he writes about, he is always talking about Ireland. This creates the need to find common traumas between Ireland and the United States. For this reason, the topics of \'migration\' and \'family\' are part of this dissertation, as emigration impacted enormously on the compostion of the Irish family. Moreover, setting the novel in New York, on 7 August, 1974, suggests a temporal distancing in which commonalities between 1974 and 2001 are highlighted in the novel. The presence of the French artist, Philippe Petit, who walked in a tightrope between the Twin Towers, as a reference to the biggest artistic crime of the 20th Century, establishes the metaphorical link to what may be understood as the most savage terrorist act of the 21st Century. Scholars such as Sztompka, Versluys, Smelser and Gibbs were highly useful to the development of the analysis of the trauma portrayed in Colum McCann\'s text. The novel provides a polyphony of narrative voices, which assist the author to avoid stereotyping the characters.

Law and psychoanalysis are disciplines that address different questions and have different purposes. However efforts have been made to find some spaces for interdisciplinarity. One of these efforts has been to use judicial proceedings as places in which individual traumas can be transformed into cultural and social traumas. This article aims to show the risks and pitfalls of this enterprise by using a real life example. The purpose is to show how law can fail on this purpose and turn itself instead into a place for revictimization. In this latter scenario the role of lawyers and their professional duties play a key role. / El derecho y el psicoanálisis son disciplinas que tienen propósitos diferentes y se formulan preguntas distintas. No obstante, son varios los esfuerzos que se han hecho y las posibilidades que existen para que ambas disciplinas puedan interactuar. Una de las formas a través de la que se ha propuesto una aproximación interdisciplinar es la idea según la cual los procedimientos judiciales pueden convertirse en escenarios para la socialización de un trauma de naturaleza individual y su consecuente tránsito hacía un trauma cultural de tipo colectivo. El presente artículo tiene como propósito advertir los riesgos de esta estrategia y demostrar, a través de un ejemplo puntual, cómo los procesos judiciales pueden fallar en este propósito y constituirse más bien en un escenario de revictimización. En este proceso de revictimización juegan un papel determinante los abogados, la concepción estándar de la ética profesional del abogado y la forma en la que esta enmarca sus deberes profesionales.

A presente dissertação tem por objetivo compreender de que maneira se dá a representação do trauma em Let the Great World Spin (2009), do premiado autor irlandês, Colum McCann. O romance foi escrito para falar sobre os ataques terroristas de 11 de Setembro de 2001, Nova Iorque, muito embora o evento não tenha sido diretamente mencionado no romance. A análise levou em conta declarações do próprio autor, de que não importa sobre o que escreva, é sempre sobre a Irlanda que fala e com isso houve a necessidade de se encontrar traumas comuns a Irlanda e aos Estados Unidos. Sendo essa a razão pela qual os aspectos \'imigração\' e \'família\' fazem parte deste estudo, pois a emigração repercutiu enormemente na configuração da família irlandesa. Ao ambientar o romance na Nova Iorque de 7 de Agosto de 1974, o autor já estabelece um distanciamento temporal e um recorte específico em que semelhanças entre 1974 e 2001 são realçadas no romance. A presença do artista francês Philippe Petit, que andou em um cabo de aço estendido entre as torres gêmeas, no que ficou conhecido como o maior crime artístico do século XX, estabelece a metáfora com o que em 2001 ficou conhecido como o maior ato terrorista do século XXI. Autores como Sztompka, Versluys, Smelser e Gibbs foram norteadores para a evolução da análise do trauma retratado no texto de Colum McCann. O romance opera com um grande número de vozes narrativas, provocando uma polifonia que atende ao objetivo do autor de dificultar ao máximo a estereotipia de suas personagens. / This dissertation is concerned with the representation of trauma in the award-winning celebrated Irish writer Colum McCann\'s novel, Let the Great World Spin (2009). The novel was written about the terrorist attacks of 9/11, in New York. Although the event is never directly mentioned within the text. My analysis took account of some statements made by the author to the effect that no matter what he writes about, he is always talking about Ireland. This creates the need to find common traumas between Ireland and the United States. For this reason, the topics of \'migration\' and \'family\' are part of this dissertation, as emigration impacted enormously on the compostion of the Irish family. Moreover, setting the novel in New York, on 7 August, 1974, suggests a temporal distancing in which commonalities between 1974 and 2001 are highlighted in the novel. The presence of the French artist, Philippe Petit, who walked in a tightrope between the Twin Towers, as a reference to the biggest artistic crime of the 20th Century, establishes the metaphorical link to what may be understood as the most savage terrorist act of the 21st Century. Scholars such as Sztompka, Versluys, Smelser and Gibbs were highly useful to the development of the analysis of the trauma portrayed in Colum McCann\'s text. The novel provides a polyphony of narrative voices, which assist the author to avoid stereotyping the characters.

This dissertation investigates how different stakeholders have competed over the interpretation and commemoration of the Aum Affair. The Aum Affair was a series of crimes committed by new religious movement Aum Shinrikyō between 1988 and 1995, which culminated in the gassing of the Tokyo subway system using sarin in March 1995. The Tokyo attack was the largest act of terrorism in post-war Japan. I combine qualitative methods of media analysis, interviews, and participant observation to analyse how different stakeholders have narrated and commemorated the Aum Affair. I propose ‘collective trauma’ as a revised theory of ‘cultural trauma’ to describe an event which is represented as harmful and indelible to collective memory and identity. In contrast to ‘cultural trauma’, which stresses the importance of symbolic representations of traumatic events, ‘collective trauma’ considers other ‘material’ processes – such as establishing facts, collective action, state responses, and litigation – which also contribute to trauma construction. My overarching argument is that various stakeholders – including state authorities, mass media, public intellectuals, victims, and former Aum believers – have constructed the Aum Affair as a collective trauma in multiple and conflicting ways. Many media representations situated Aum as an evil ‘cult’ which ‘brainwashed’ believers and intended to take over Japan through terror. State authorities also responded by treating Aum as a dangerous terrorist group. In some instances, these binary representations of Japan locked in a struggle against an evil force led to municipal governments violating the civil rights of Aum believers. Some individuals such as public intellectuals and former believers have challenged this divisive view by treating Aum as a ‘religion’, not a ‘cult’, and locating the root causes of Aum’s growth in Japanese society. Additionally, victims and former members have pursued divergent goals such as retributive justice, financial reparations, and social reconciliation through their public actions. A key conclusion of this dissertation is that whilst confronting horrific acts of violence may require social construction of collective trauma using cultural codes of good and evil, the entrenchment of these symbolic categories can result in lasting social tension and division.

The screen, as recent studies in a number of fields indicate, is a cultural object due for critical reappraisal. Work on the theoretical status of screen objects tends to focus upon the materialisation of surface; in other words, it attempts to rethink the relationship between the supposedly 'superficial' facade and the 'functional' object itself. I suggest that this work, while usefully chipping away at the dichotomy between the 'superficial' and the 'functional', can lead us to a more radical conclusion when read in the context of subjectivity. By rethinking the relationship between the surface and the obverse face of the screen as the terms of a dialectic, we can ‘read’ the screen as the vital component in a process which constitutes the Subject. In order to demonstrate this, I analyse productions of subjectivity in literary texts of the twenty-first century — in doing so, I assume the novel as nonpareil arena of the dramatisation of subjectivity — and I propose a reading of the work of Jacques Lacan as hitherto unacknowledged theorist par excellence of the form and function of the screen. Lacan describes, with the function of desire and the formation of the screen of fantasy, the primary position this ‘screen-form' inhabits in the constitution of the Subject. Lacan’s work forms a critical juncture through which we must proceed if we are to properly read and understand the chosen texts: The Book of Strange New Things by Michel Faber; The Tain by China Miéville; Oryx and Crake by Margaret Atwood; and Austerlitz by W.G. Sebald. In each text, I analyse the particular materialisations of the screen and interrogate the constitution of the subject and the locus of desire. By analysing the vicissitudes of subjectivity in these texts, I make a claim for the study of the screen as constituting a central question in the field of contemporary literature.