Vierzig Jahre, von 1578 bis 1618, versah Frantz Schmidt das Amt des Scharfrichters in der Reichsstadt Nürnberg und vollstreckte in dieser Zeit 394 Todesurteile. Was ihn zum wohl berühmtesten deutschen Scharfrichter der Frühen Neuzeit machte, war sein Journal, in dem er akribisch seine Taten verzeichnete. Mehrfach ist dieses „Tagebuch“ bereits ediert und nachgedruckt worden – eine interessante, aber doch eher spröde Quelle. Joel Harrington beweist nun, wie viele Informationen und Interpretationen man dieser Quelle trotzdem abringen kann. Das hat seinen Grund nicht zuletzt in der erweiterten Materialgrundlage.

Les deux premiers romans de Michel Folco, Dieu et nous seuls pouvons (1991) et Un loup est un loup (1995), ont reçu un très bon accueil du public et de la presse, mais ont été pratiquement ignorés par la critique universitaire. Ces romans historiques méritent pourtant qu’on les étudie. Cet admirateur de Dumas propose des romans d’aventures d’inspiration historique, qui en apparence sont construits dans la plus pure tradition du genre. Or, les textes sont plus complexes qu’il n’y paraît : ils ont absorbé un intertexte fort et multiple, incorporé des fantasmatiques sociales inquiétantes, offrent une représentation originale du rapport entre l’être humain et la nature. Centrés autour des figures du bourreau et du loup, ils présentent un traitement singulier de ces symboles du mal et remettent en question la haine ancestrale dont ils sont l’objet. Dans un univers romanesque hanté par le motif de la vengeance, c’est l’ensemble de la société qui est représentée comme violente, intolérante et cruelle. La notion de mal est questionnée, redéfinie, déplacée. C’est ce déplacement qui est l’objet de ce mémoire, lequel se donne pour but de montrer comment les textes travaillent des récits historiques ainsi que des représentations mythiques et religieuses. / The first two novels of Michel Folco, Dieu et nous seuls pouvons (1991) and Un loup est un loup (1995), were well received by the general public and the press, but were largely ignored by the academic community. These historical novels do however deserve our attention. This Dumas admirer proposes adventure novels of historical inspiration which seem to be constructed in the purest form of the genre. Yet the texts are more complex than it appears: they have absorbed a strong and multiple intertext, incorporated disturbing social fantasies and they offer an original narrative of the relationship between Man and Nature. Centered around the characters of the executioner and the wolf, the novels present a unique approach to these symbols of evil and question the ancestral hatred to which they are subjected. In this fictional universe, haunted by vengeance, it is society as a whole that is depicted as violent, intolerant and cruel. The notion of evil is redefined, questioned and distorted. It is this very distortion that is the topic of this thesis, whose purpose is to show how these texts transform historical accounts as well as mythical and religious representations.

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« Nouveauté » et « violence » ! Ces deux notions sont bien récurrentes dans les commentaires sur les littératures africaines francophones. Elles sont au cœur de toute son historiographie depuis quelques décennies maintenant. On ne peut guère parler d’Amadou Kourouma, de Sony Labou Tansi, de Sami Tchak ou de Jean-Luc Raharimana sans que ne se pose la question de la nouveauté et dans le même temps, celle de la violence dans ou de l’écriture. Mais cette évidence, cette vérité brute mérite d’être interrogée afin de savoir exactement à quoi nouveauté et violence renvoient. Si elles peuvent être abordées de façon indépendante, c’est de leur confrontation, avec l’écriture comme pivot, qu’apparaissent des éléments concrets pour une histoire littéraire. En effet, en les étudiant conjointement, la présente thèse tente de voir dans quelle mesure elles s’impliquent l’une et l’autre. Voilà pourquoi, après avoir évalué les notions de nouveauté, de rupture dans le domaine des littératures africaines francophones, nous nous sommes appuyés sur quatre auteurs dont les esthétiques ainsi que les trajectoires sont représentatives des grandes tendances en matière des écritures de violence. Elles semblent indiquer des changements d’orientation au fil des années. De l’écriture globale de Sony Labou Tansi, à l’écriture jeu d’Edem Awumey, en passant par le ressassement de Kossi Efoui et le minimalisme de Théo Ananissoh, il est possible de suivre l’introduction de nouvelles modalités d’écritures et de saisir le point de passage vers de nouveaux modèles de représentation. / "Novelty" and "violence»! These two notions are recurrent in the comments about Francophone African literatures. They are at the heart of all its historiography since some decades now. One can hardly speak of Amadou Kourouma , Sony Labou Tansi, Sami Tchak or Jean-Luc Raharimana without arises the question of novelty and, at the same time , that of violence in or of scripture. But this evidence, this raw truth deserves to be examined in order to know exactly what novelty and violence return. If they can be addressed independently, it is their confrontation, with writing as a meeting point, which appears concrete elements for literary history. Indeed, studying them together, this thesis tries to see to what extent they imply one and the other. Therefore, after evaluating the concepts of novelty, out in the field of Francophone African literature, we relied on four authors whose aesthetic and trajectories are representative of major trends in the writings of violence. They suggest policy all changes over the years. From the overall Sony Labou Tansi’s writing, to writing game Edem Awumey, through the rehashing of Kossi Efoui and Theo Ananissoh’s minimalism, it is possible to monitor the introduction of new forms of writing and to find the gateway to new models of representation.

Abstract Four executions and one pardon The executioner’s sword and the newspaperman’s pen in Sweden 1874 – 1910 This study examines how three murder cases who lead to a death penalty sentence for the five accused persons are covered in selected contemporary Swedish newspapers. Four of the five condemned persons, three men and one woman, were executed. One man was pardoned. The circumstances in each case are unique. The 1874 murders of Mauritz Upmarks and Johan Larsson in Malmköping, by Gustaf Adolf Eriksson Hjert and Conrad Pettersson Lundqvist Tector, led to the last public executions in 1876 in Malmköping and Visby simultaneously. The murder of Hanna Johansson by her husband, Per Nilsson, and her mother-in-law, Anna Månsdotter, led to the last execution of a woman in Sweden. Her son Per was pardoned. Finally I examine the robbery and murder of Victoria Hellsten at the Gerell exchange office in Stockholm in 1910 by Alfred Ander that led to the only time a guillotine was used in Sweden. It was also the final execution in Sweden. My aim is to examine how selected national and local newspapers covered these crimes, trials and finally the executions. Are there any traceable differences regarding the treatment of the woman on trial in the articles compared to that of the men? Do local and national mewspapers differ in their reporting? I found that there is a great similarity between the local and the national newspapers with a few exceptions. The woman was not subject to favoritism, but rather more critically judged by the writers and the population in her village. Previous studies and literature with connections to my study complete the materials that are used in this examination. My conclusion is that all newspapers that I selected have a negative attitude towards the capital punishment and describe the executions as something horrendous in varying degrees. The descriptions of the perpetrators are matter – of – fact while the victims are treated with sympathy. The newspapers differ in some details but generally their coverages of the murders, trails and executions are of the same pattern. A few newspapers present surprising opinions and individual thoughts. I found that while one cannot claim that the newspapers were demanding a banning of the capital punishment they contributed to the ongoing debate on the subject. There is no favoritism displayed in the articles. The woman and the men are treated equally. My conclusion is that the answers to my questions were found in the selected material. / Sammanfattning Undersökningen omfattar omständigheterna kring fyra mord vid tre tillfällen samt rättegång och avrättningar av fyra av de fem gärningspersonerna, Hjert, Tector, Anna Månsdotter och Alfred Ander och hur dessa skildrades i samtidens tidningar. Förutom tidningar har avhandlingar och böcker varit underlaget för uppsatsen. De fall som granskats är signifikativa i så motto att det handlar om de sista offentliga avrättningarna i vårt land, den sista avrättningen av en kvinna i Sverige och enda gången giljotinen användes i Sverige. Hur beskrevs dessa kriminalhistoriska händelser i pressen? 1876 avrättades Hjert och Tector, i Lidamo, Södermanland, respektive Visby, Stenkulla backe, Gotland, för morden på Upmark och Larsson som begicks i Malmköpingstrakten 1874. År 1890 avrättades Anna Månsdotter för mordet på svärdottern 1889 Hanna Johansdotter i Yngsjö i Skåne. Den medskyldige sonen Per Nilsson benådades och satt i fängelse till 1918, då han släpptes. Alfred Ander avrättades 1910 i Stockholm för rånmordet på Victoria Hellsten på Gerells växlingskontor i Stockholm samma år. Tiden för undersökningen omfattar 1874 - 1910 och är inriktad på de nämnda fallen. Tidningsbevakningen av mordfall under den period jag undersökt var en annan till omfånget än idag. En- och tvåspalters reportage, utan illustrationer, var normen. Ett referat från en riksdagssession kunde få lika stort utrymme då som ett mord, till skillnad från idag. Texterna är ibland förvillande lika, inte minst bland lokaltidningarna, som inte hade sin utgivningsort i händelsernas centrum. Men det finns också avvikande artiklar. Skedde brott, eller avrättning, på utgivningsorten, eller i direkt anslutning till detta, kunde lokaltidningarna bli väl så individuella skildrare som rikspressen. Dessutom påverkade det antalet artiklar. Ett tema är om kvinnor och män behandlades olika i samband med denna typ av brott där svaret blir att inget visar på att så var fallet. Förutom offren och gärningspersonerna tar uppsatsen upp prästens roll liksom skarprättarens, polisens och domstolarnas. Men fokus ligger på tidningarnas skildringar av de ämnen uppsatsen behandlar: tidningarnas skildringar av fyra mord, gripande av de skyldiga, rättegångar och avrättningar.

My diploma work follows up Czech Republic inhabitants' attitudes toward the death penalty. It also describes changes in death penalty perception in terms of historical aspect, its presentation to public society, changes in approach to death penalty and violence in general over time. It deals with execution types development, executioner's social position and craft. It brings elementary thoughts of advocates and opponents of the death penalty and describes related contemporary situation in the world. All these chapters are included for broader context description to allow me better use and identify results from the survey. The other part of my diploma work is survey with focus on attitudes toward the death penalty in Czech Republic. It was conducted in 2012-13, based on online respondent panel, with use of quantitative methods. This market research survey was executed on Millward Brown Czech Republic online panel with sample of 821 respondents. Results basically deliver knowledge of relation between attitudes toward the death penalty and sociodemographics, main arguments for and against the death penalty, clarifies the relation between attitudes toward the death penalty and some factors such as experience with crime or death penalty basic facts knowledge. I also evaluated if respondents' attitudes...

Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, "Z32" et "S21 la machine de mort khmère rouge", s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui. / In this study we strive to show how the notion of relationship, conjured up by the documentary, is challenged by the act of forgiving in two films depicting executioners. Is it possible to conceive of a filmic project that would be at the same time ethical and include the participation of former criminals? Such is the question raised by the filmmakers Avi Mograbi and Rithy Panh. The purpose of our research will be to highlight instances where forgiveness unfolds, both explicitly and implicitly, in the documentary form. We will thus try to understand how the films "Z32" and "S21 la machine de mort khmère rouge" find a social, political and aesthetic existence, from shooting to reception. In this way the symbolic and performative potential of the act of forgiving will be revealed in its relation to the reconstruction of the bond with the other.

Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, "Z32" et "S21 la machine de mort khmère rouge", s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui. / In this study we strive to show how the notion of relationship, conjured up by the documentary, is challenged by the act of forgiving in two films depicting executioners. Is it possible to conceive of a filmic project that would be at the same time ethical and include the participation of former criminals? Such is the question raised by the filmmakers Avi Mograbi and Rithy Panh. The purpose of our research will be to highlight instances where forgiveness unfolds, both explicitly and implicitly, in the documentary form. We will thus try to understand how the films "Z32" and "S21 la machine de mort khmère rouge" find a social, political and aesthetic existence, from shooting to reception. In this way the symbolic and performative potential of the act of forgiving will be revealed in its relation to the reconstruction of the bond with the other.

The dissertation titled Symbols of exclusion from society in folk tradition concentrates on the interaction of symbols and folk tradition. It explores the way the phenomenon of love and death is traditionally viewed in the Czech country, namely during the Middle Ages and modern times. The main focus of this dissertation is on the social roles of women, although it also shows proof of social exclusion of a man as an executioner. To demonstrate the reasons behind excluding individuals on the outskirts of society, the author also gives short characteristics of the views on the issue of chastity, traditional expectations of fulfilling the female social roles - as virgins, wives and mothers. The author then gives examples of behavior which, in folk tradition, were looked upon as impure/virtueless.