Dissertação (mestrado)-Universidade de Brasília, Faculdade de Direito, Pós-graduação em Direito, 2010. / Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2011-05-11T21:43:03Z No. of bitstreams: 1 2010_RicardoLuizBarbosadeSampaioZagallo.pdf: 608509 bytes, checksum: 8aa015bdc8943c5d342a2b9f8d29b5b4 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-05-11T21:43:36Z (GMT) No. of bitstreams: 1 2010_RicardoLuizBarbosadeSampaioZagallo.pdf: 608509 bytes, checksum: 8aa015bdc8943c5d342a2b9f8d29b5b4 (MD5) / Made available in DSpace on 2011-05-11T21:43:36Z (GMT). No. of bitstreams: 1 2010_RicardoLuizBarbosadeSampaioZagallo.pdf: 608509 bytes, checksum: 8aa015bdc8943c5d342a2b9f8d29b5b4 (MD5) / Desde a realização de suas primeiras práticas no âmbito do sistema legal de países desenvolvidos, na década de 1970, a justiça restaurativa percorreu um caminho no qual atualmente ocupa o centro das atenções de estudiosos e profissionais interessados em alternativas ao sistema de justiça punitivo tradicional. Não obstante, em grande medida em razão de seu caráter eminentemente prático, lhe são carentes posições teóricas que permitam um desenvolvimento guiado de suas práticas. Nesse âmbito, o australiano John Braithwaite destaca-se no debate internacional sobre o tema, propondo uma relação de idas e vindas de induções e deduções no que concerne às experiências práticas, das quais tanto retira seus postulados teóricos, respondendo à questão o que é justiça restaurativa?, como os critérios de avaliação dos vários programas, evitando dessa forma que a qualquer programa ou resultado se atribua a definição de restaurativo. A verificação dos projetos-piloto brasileiros de justiça restaurativa à luz da concepção de Braithwaite, bem como a reflexão crítica do trabalho deste autor, permitem concluir que não basta a mera devolução à comunidade dos conflitos para se alterar a lógica punitiva atual, inserida em um contexto maior de estado de exceção, ao mesmo tempo em que a possibilidade do surgimento de uma alternativa efetivamente emancipadora de controle social no Brasil depende do sucesso das atuais práticas restaurativas. _________________________________________________________________________________ ABSTRACT / Since its earliest experiences in developed countries‟ legal systems began to be performed in the 1970s, restorative justice has followed a path these days in which it plays a leading role before the eyes of experts and professionals interested in alternatives to the traditional punitive justice system. However, theoretical aspects which might allow a guided development of its experience are neglected due to its strictly practical features beyond measure. In such wise, Australian John Braithwaite excels in the international debate on the subject, suggesting a flux of inductions and deductions regarding practical experiments from which his theoretical assumptions are extracted, he answers the question what is restorative justice? as well as the valuation criteria of several programs, thus avoiding to assign to whatever program the concept “restorative”. The verification of Brazilian pilot projects on restorative justice below Braithwaite‟s concept and the critical review of this author‟s work permit the conclusion that the mere devolution of conflicts to community in order to modify the current punitive reasoning, set in a wider context of state of exception, is not sufficient, while the possibility of an effectively emancipationist alternative for social control in Brazil depends on the success of existing restorative practices.

This dissertation works against the longstanding literary critical premise that aesthetics and ethics are at odds. I challenge this notion by foregrounding the verse of four nineteenth-century-born and Northeastern-based poets who unapologetically prioritize aesthetic perception and experience in their writing. These poets—Frederick Goddard Tuckerman, Emily Dickinson, Olivia Ward Bush, and William Stanley Braithwaite—were well aware of the criticism politicians, social reformers, educators, business proponents, and even other writers leveled against the functional and ethical utility of poetry in an era when transatlantic industrial revolutions and innovations in manufacturing and transportation technology contributed to a national ethos that celebrated progress and productivity in the most concrete terms. These developments, coupled with moral and political divisions over slavery and the economic and psychic strain of a nationwide war that brought life’s precariousness into relief, spurred citizens to contemplate their sense of purpose in contexts ranging from the vocational to the existential. Writers and poets in particular faced continual pressures to defend the practical value of their work. What makes the four poets in this dissertation unparalleled, I suggest, is the way they challenge readers to revise and expand their understanding of the aesthetic by devoting poetic attention to unsettling and unsightly products and processes in the natural world. Moldering plant matter, heaps of manure, broom-ravaged spiderwebs, and fragments of driftwood; the kinds of waste and remains normally deemed indecorous for nineteenth-century verse become vibrant and arresting in the work of these poets. Yet while each poet approaches humble and neglected phenomena as worthy of aesthetic treatment, they do so without idealizing the unpalatable and disregarded subjects they portray in verse. The attention they devote to the abject—a witnessing they extrapolate from literal to human nature—is, as I show over the course of this dissertation, an ethical and political act. In addition to upholding the unsettling and unglamorous qualities of the natural subjects they honor, these poets also abstain from sentimentalizing the elements of lived experience that inform their writing, and refuse to downplay the often demanding process of poetic composition itself. While this dissertation’s insistence on regarding aspects of nature that nineteenth-century poetry has traditionally neglected is, in part, an ecocritical intervention, my project is also a call to dignify the artistic labors that reframe overlooked natural phenomena as worthy of aesthetic attention. To portray writing as work is to regard the craft as just as substantial and legitimate a pursuit as occupations whose effects are more straightforwardly measurable in practical terms. Indeed, each poet in this dissertation insists upon depicting poetic making as a labor that requires the same dexterity as the construction of an architectural structure and that has as dramatic and far-reaching effects as military and legislative developments. Far from posing an escapist diversion from the social and civic realities of their day, I argue, these poets frame aesthetic creation and experience as fundamental to human nature, especially during wartime and periods of political upheaval.