Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

La réflexion sur l’intégration au travail des nouvelles enseignantes touche de plus en plus la communauté des chercheurs en éducation. Avec la valorisation de la pratique réflexive, l’enseignante se voit plus que par le passé autorisé à exercer une grande liberté d’action dans son travail, ainsi qu’une grande autonomie en ce qui à trait à l’exécution de sa tâche. Cette liberté peut être lourde à porter, surtout lorsqu’on entre dans le métier. Aussi, pour soutenir cette liberté et la diriger, la référence aux valeurs demeure fondamentale. Dans le présent mémoire, nous tentons d’en savoir plus sur les valeurs qui animent ces nouvelles venues, et comment celles-ci les aident à vivre leur intégration et à concevoir leur place dans le métier. La cueillette des données effectuée à partir de leurs réflexions, souvent profondes, sur les valeurs personnelles, les valeurs au travail et le rapport au métier, permet une analyse du discours basée sur le ressenti et l’expérience. C’est en puisant dans les thèses de la modernité et de la postmodernité, toutes deux parlantes quant à l’époque actuelle, que nous tentons de mieux cerner et induire les valeurs propres aux enseignantes ayant participé à notre étude phénoménologique de type exploratoire. Grâce à l’analyse de contenu, nous sommes à même de constater que malgré une ligne de partage présente entre certaines valeurs dites modernes et postmodernes, il n’en demeure pas moins qu’une tendance se dessine : nos nouvelles enseignantes désirent être fidèles d’abord et avant tout à elles-mêmes, même si cela implique l’abandon du métier qu’elles envisagent toutes comme une possibilité, sans exception. Cela en dit long sur leurs priorités et leurs valeurs au travail. Il est clair qu’elles travaillent de manière à se sentir authentiques, toujours avec le souci de savoir s’adapter aux nouvelles situations. Cependant, même si certaines d’entre elles trouvent plus ardu de s’adapter à une demande en matière de flexibilité professionnelle à la hausse, il n’en demeure pas moins que la flexibilité au travail est un élément désormais bien intégré à l’habitus professionnel des enseignantes pratiquant depuis dix ans et moins. Si postmodernes que ça nos nouvelles enseignantes? Oui. / The integration of new teachers in their working environment is more and more the focus of interest in the education research community. With the upcoming of reflexive practice methods, there is a large space for autonomy in nowadays teaching environments, which can be heavy to handle especially at the beginning of professional practice. Facing this freedom implies a reference to certain values in order to handle well educational tasks. This master focuses on those values which are inspiring young teachers and help them deal with the beginning of their profession. Furthermore this work provides an analysis, based on deep reflections of new teachers, which gives an intuitive sense of their values and relations concerning their workplace. The interpretation of our data is done through the perspectives of modernity and postmodernity, which presently seem to have an important impact on young educators professional values. The analysis of the survey underlying this work shows, in spite of the presence of common modern and postmodern values, a significant interesting tendency. The interrogated teachers seem to be foremost true to themselves, even if it leads to the abandonment of their profession, a fact which seems to be a reflection of the balance between their professional priorities and their personal values. It is obvious that these young teaching professionals aspire to work in the most possible authentic way. Even if some of them deal with difficulties in facing work flexibility and adaptation, the analysis confirms that these values are well integrated in their professional habitus.

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Made available in DSpace on 2016-04-26T20:24:16Z (GMT). No. of bitstreams: 1 Antonio Carlos Aguiar.pdf: 901472 bytes, checksum: 3b6c26303ce1edc02887e20aa5c9575c (MD5) Previous issue date: 2016-03-03 / The purpose of this study is to show that union unicity is not part of the Brazilian constitutional system. The Brazilian Federal Constitution is grounded on a closed system formed by guarantees and principles which consolidate democracy, particularly by means of diversity; pluralism; broad possibility of options. This system operation is presented by a model of scientific-structural acknowledgement of union freedom by means of an explanatory concentric diagram showing the democratic coexistence of subsystems within the union system, and the formatting of ways of expressing the representativeness and execution of atypical collective-bargaining agreements / O presente estudo tem por objetivo demonstrar que a unicidade sindical não está inserida no sistema constitucional brasileiro. A Constituição Federal se sustenta mediante um sistema fechado, composto por garantias e princípios que consolidam a democracia, em especial, por meio da diversidade; pelo pluralismo; pela ampla possibilidade de opções. Para efetivação desse sistema é apresentado um modelo de reconhecimento científico-estrutural da liberdade sindical, por intermédio de um diagrama concêntrico explicativo, evidenciando o convívio democrático de subsistemas dentro do sistema sindical, bem como a formatação de modos de exteriorização de representatividade e celebração de acordos coletivos atípicos

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-03-20T14:06:16Z No. of bitstreams: 1 AMANDA MARIA ARTIOLI PEZZO.pdf: 5062335 bytes, checksum: f397ef72347205be63fa445431c0e49b (MD5) / Made available in DSpace on 2018-03-20T14:06:16Z (GMT). No. of bitstreams: 1 AMANDA MARIA ARTIOLI PEZZO.pdf: 5062335 bytes, checksum: f397ef72347205be63fa445431c0e49b (MD5) Previous issue date: 2017-12-07 / Under the watch and the reasons of the competitors, this study aimed to investigate and understand the emergence of gastronomic realities in brazilian television, in a scenario considered postmodernity. In this environment, we considered prevailing values such as the culture of spectacle and entertainment in the cultural flows regime, in which competitors throw themselves to the adventure of self-commodification at the capitalist level in which the invisibility is equal to death. For this study a hybrid research model was adopted, combining documentary and bibliographic research followed by interviews with the main players of the process. Being of qualitative nature, the research gathered records and experiences that help us to better reflect on the role of the media - and the competitions promoted by it - in the construction of the subject of postmodernity and in the projection of individual perspectives. For that, the corpus was submitted to a content analysis, where the interpretations revealed the consonance between gastronomic reality shows and the spirit of this era. / Sob o olhar e as raz?es dos competidores, este estudo buscou investigar e compreender a emerg?ncia dos realities gastron?micos na televis?o brasileira, em um cen?rio considerado de p?s-modernidade. Neste ambiente, julgamos prevalecerem valores como a cultura do espet?culo e do entretenimento em regime dos fluxos culturais, no qual os concorrentes se lan?am ? aventura da automercantiliza??o na etapa do capitalismo em que a invisibilidade ? equivalente ? morte. Para este estudo foi adotado um modelo h?brido de investiga??o, que combina as pesquisas documental e bibliogr?fica seguidas da realiza??o de entrevistas com os principais atores do processo. De natureza qualitativa, a pesquisa reuniu registros e relatos de viv?ncias que nos ajudam a melhor refletir sobre o papel da m?dia ? e das competi??es por ela promovidas ? na constru??o do sujeito da p?s-modernidade e na proje??o das perspectivas individuais. Para tanto, o corpus foi submetido a uma an?lise de conte?do, cujas as interpreta??es revelaram a conson?ncia entre os reality shows gastron?micos e o esp?rito desta ?poca.

O objeto do estudo deste trabalho são as imagens de efeitos especiais digitais em computação gráfica (Computer Graphic Image - CGI) inseridas em narrativas cinematográficas da atualidade, principalmente a partir dos anos 1990, com a pluralidade de novas formas de viabiliza-lás baseadas em simulação e no contexto de uma sociedade em mutação nas formas de criação e reprodução técnica do audiovisual. A indagação proposta é identificar se os efeitos especiais simulados por CGI e as imagens decorrentes são apenas reconfiguração de velhas práticas e técnicas modernizadas tecnologicamente, ou estão neles embutidos novos modelos de compreensão do mundo na atualidade, se há um regime visual rearticulando o imaginário na pós-modernidade com nova relação entre representação e simulação. Essas articulações podem abrir espaços para se repensarem as relações atuais com as imagens digitais em um contexto entre a razão e a técnica, na óptica moderna, e o tempo presente e o prazer, na dimensão pós-moderna. O objetivo do presente estudo é estabelecer um diálogo com os efeitos especiais de segunda geração ou Digital Visual Effect (DVFx) para além de sua aplicabilidade prática somente como ferramenta para a linguagem narrativa em filmes mas desenvolver novas articulações entre o visível e o dizível, as possíveis visibilidades dos efeitos especiais como um novo regime visual na arte cinematográfica. O estudo avança para além de uma historicidade ao entender que as possibilidades trazidas pela tecnologia de computação gráfica (CG) produziram uma significativa renovação das possibilidades visuais no cinema contemporâneo, o que com certeza reflete e refletirá ainda mais na forma de consumo dos produtos audiovisuais produzidos a partir da ampliação do uso dessas tecnologias digitais e seu paralelo com estética, a arte e a cultura. A desocultação do processo criativo presente na técnica abre portas para a compreensão renovada do imaginário social e especialmente às formas de sua manifestação no campo das artes e da cultura. A metodologia empregada neste estudo será baseada em dados secundários desde livros e autores, pequenos trechos de filme, frames e até aplicações tecnológicas para demonstrar as configurações trazidas pelos efeitos especiais em computação gráfica (CG). * frames: é cada um dos quadros ou imagem fixa de um produto audiovisual. / The object of study are the images of digital special effects in computer graphics (Computer Graphic Image - CGI) inserted in film narratives of today, mainly from the 1990s, with the plurality of new ways to make them viable based on simulation and in the context of a changing society in ways of creating and technical audiovisual playback. The proposed inquiry is to identify whether the special effects simulated by CGI and the resulting images are just rewriting practices and old techniques technologically upgraded, or are embedded in them new models of understanding the world today, if there is a visual scheme rearticulating the imaginary postmodern with new relationship between representation and simulation. These joints can open spaces to rethink the current relations with the digital images in a context between reason and the technique in modern optics, and the present time and pleasure, in the postmodern dimension. The aim of this study is to establish a dialogue with the special effects of second generation or Digital Visual Effect (DVFx) in addition to its practical applicability only as a tool for narrative language in movies but develop new links between the visible and the speakable, the possible visibility of special effects as a new visual regime in cinematic art.). The study goes beyond a historicity to understand that the opportunities brought about by computer graphics technology (CG) produced a significant renewal of visual possibilities in contemporary cinema, which certainly reflects and further reflected in the form of consumption of the produced audiovisual products from the expanded use of these digital technologies and its parallel with aesthetics, art and cultura.A unblinding of the creative process in this technique opens the door to a renewed understanding of the social imaginary and especially the forms of its manifestation in the arts and culture. The methodology used in this study is based on secondary data from books and authors, small snippets of film, frames and even technological applications to demonstrate the settings brought by special effects in computer graphics (CG). * Frames: is each of the frames or still image of an audiovisual product.

La réflexion sur l’intégration au travail des nouvelles enseignantes touche de plus en plus la communauté des chercheurs en éducation. Avec la valorisation de la pratique réflexive, l’enseignante se voit plus que par le passé autorisé à exercer une grande liberté d’action dans son travail, ainsi qu’une grande autonomie en ce qui à trait à l’exécution de sa tâche. Cette liberté peut être lourde à porter, surtout lorsqu’on entre dans le métier. Aussi, pour soutenir cette liberté et la diriger, la référence aux valeurs demeure fondamentale. Dans le présent mémoire, nous tentons d’en savoir plus sur les valeurs qui animent ces nouvelles venues, et comment celles-ci les aident à vivre leur intégration et à concevoir leur place dans le métier. La cueillette des données effectuée à partir de leurs réflexions, souvent profondes, sur les valeurs personnelles, les valeurs au travail et le rapport au métier, permet une analyse du discours basée sur le ressenti et l’expérience. C’est en puisant dans les thèses de la modernité et de la postmodernité, toutes deux parlantes quant à l’époque actuelle, que nous tentons de mieux cerner et induire les valeurs propres aux enseignantes ayant participé à notre étude phénoménologique de type exploratoire. Grâce à l’analyse de contenu, nous sommes à même de constater que malgré une ligne de partage présente entre certaines valeurs dites modernes et postmodernes, il n’en demeure pas moins qu’une tendance se dessine : nos nouvelles enseignantes désirent être fidèles d’abord et avant tout à elles-mêmes, même si cela implique l’abandon du métier qu’elles envisagent toutes comme une possibilité, sans exception. Cela en dit long sur leurs priorités et leurs valeurs au travail. Il est clair qu’elles travaillent de manière à se sentir authentiques, toujours avec le souci de savoir s’adapter aux nouvelles situations. Cependant, même si certaines d’entre elles trouvent plus ardu de s’adapter à une demande en matière de flexibilité professionnelle à la hausse, il n’en demeure pas moins que la flexibilité au travail est un élément désormais bien intégré à l’habitus professionnel des enseignantes pratiquant depuis dix ans et moins. Si postmodernes que ça nos nouvelles enseignantes? Oui. / The integration of new teachers in their working environment is more and more the focus of interest in the education research community. With the upcoming of reflexive practice methods, there is a large space for autonomy in nowadays teaching environments, which can be heavy to handle especially at the beginning of professional practice. Facing this freedom implies a reference to certain values in order to handle well educational tasks. This master focuses on those values which are inspiring young teachers and help them deal with the beginning of their profession. Furthermore this work provides an analysis, based on deep reflections of new teachers, which gives an intuitive sense of their values and relations concerning their workplace. The interpretation of our data is done through the perspectives of modernity and postmodernity, which presently seem to have an important impact on young educators professional values. The analysis of the survey underlying this work shows, in spite of the presence of common modern and postmodern values, a significant interesting tendency. The interrogated teachers seem to be foremost true to themselves, even if it leads to the abandonment of their profession, a fact which seems to be a reflection of the balance between their professional priorities and their personal values. It is obvious that these young teaching professionals aspire to work in the most possible authentic way. Even if some of them deal with difficulties in facing work flexibility and adaptation, the analysis confirms that these values are well integrated in their professional habitus.

保羅•奧斯特的〈紐約三部曲〉被歸類為「反偵探小說」（anti-detective novel）。在這三個故事裡，因緣際會背負了偵探角色的主角們，試圖還原事件的真相，卻個個受挫，甚至迷失在糾纏的線索與沈重的身份認同的遊戲中。他們像是一腳踏進了令人暈眩的泥沼，非但沒法用理智脫困，還愈陷愈深，隨著迷宮裡的音樂瘋狂起舞。 鈴鈴鈴不時搖著鈴鼓迷惑他們的聲響來自一串一串的文字：當他們想藉語言探求「真實」時，才發現無論語言或是理智都從來不是靜止與透明的。此外，與偵探行為息息相關的「命名」（naming）問題，也是〈紐約三部曲〉中的一個焦點。主角們的名字彷彿細軟的藤蔓般糾結在一塊，命名的議題以有趣的方式被呈現在這部小說中。本篇論文還要探討這部小說如何處理讀者與作者的辯證關係，因為讀者一走進這本小說便參與了作者精心設計的巨大遊戲。 本篇論文將研討〈紐約三部曲〉反映的三個問題：再現的問題、命名的侷限性，以及讀者與作者耐人尋味的關係。再現的問題會放到德希達(Jacques Derrida)提出的「延異」（differance）觀念下解釋—事物的意義不可能立即被揭露，而是永遠處在一種「延異」的狀況下。小說中主角們對唯一真實的追尋因而不可能被應許，而是遭遇一而再、再而三的延遲。另一方面，〈紐約三部曲〉對命名的功能性有所保留。本論文將疊合本小說中對命名的質疑與波赫士短篇小說裡對命名的不信任，說明奧斯特對命名的解構。〈紐約三部曲〉對命名抱持矛盾的態度：命名既幫助人們架構他們的世界，卻又滑溜溜的歪曲了人們的自我認識，讓他們被自身的自主性的假象蒙蔽。此外，讀者和作者究竟是不是維繫著一種同盟關係呢？本論文試圖闡釋存在〈紐約三部曲〉中，他們之間相互依存、卻又競逐對文意的解釋權的關係。只不過，躲在文字的簾幕後偷看著的黑影，始終是作者的吧？！ 〈紐約三部曲〉訴說的是一個追尋的故事。這個歷程沒有終結、沒有絕對的答案，只有故事拖長了腳步的身影。這個反偵探故事否定了許多關於理智的邏輯，但是它為書寫開闢了另一種可能：書寫與閱讀可以是無限延長的生命肌理。文字從不直接給予人們他們孜孜尋找的解答，他們只告訴你你將在文字中漂流的命運。 / Labelled as an anti-detective novel, The New York Trilogy defies the traditional detective process and instead renders the experience for man to distill and to locate meaning as an agonizing one. The protagonists in The Trilogy undertake the roles of the detective, hoping to reveal a sole truth behind the entangled situation. Yet they are not only frustrated in disclosing meaning, but thrown into extreme bafflement. Their identities fall apart, wriggling in the maze built by spiral words, crossed names and the ongoing efforts to define the relations. The protagonists find everything they used to hold as truth shudder. Language no longer stands for a limpid means to represent the real but rather shakes their beliefs. When they try to name and to draw their realm of autonomy over the flowing phenomena, they find naming a problematic strategy to define the world. Furthermore, as detective-readers who attempt to decode the text, the protagonists are desperate to comprehend their relations with the “writer” of their books, as the reader does in reading The Trilogy. This thesis attempts to probe into three prominent issues raised in The New York Trilogy: dubious representation, problematic naming strategy, and the peculiar bond between the reader and the writer. The doubtful representation in the novel will be examined under what Derrida suggests in “Differance”: Meaning can never be fully present, but remains in a state of differance. The protagonists in the three stories cannot disclose an overriding truth, but float in such a wave of doubts, uncertainties, and changing phenomena of the world. Also, the problematic strategy of naming will be compared with Borges’suspicion towards naming. Under both cases, naming serves as an extreme yet slippery means for man to draw his territory. In addition, the relation between the reader and the writer in the novel is investigated. The detecting process in the novel embodies the pursuit of the reader out of the text. Thus reading and writing are delineated as an everlasting journey. When the detective and the criminal as well as the reader and the writer seem to be in contest for the power of explanation, the pairing relation actually forms a close tie: The detective cannot live without the criminal; the reader and the writer need the eyesight of each other to survive. The New York Trilogy is not a journey providing answers but a whirl to disrupt the truth. Declining any definite inspiration, it nevertheless obliquely affirms the value of reading and writing. After exhausting complexities of the cases, only the reader remains. And what is heard even after one closes the pages is the voice of the reader encircling within the space. And the voice keeps telling and telling until the story belongs to him. We as readers will keep narrating the story with our little voice.

Derived from centuries-old English laws, Australian laws ascribe criminal responsibility to children according to their age and their assumed level of understanding of the rightness and wrongness of certain acts. This project first charts the creation and development of the English and Australian positions. Then, using insights from postmodernity and the idea of deconstruction, the law is critically assessed to reveal practical, theoretical and moral limits in the law's attempt to do justice. The justifiability of the current Australian legal positions is questioned by demonstrating the law's internal inconsistencies, by revealing the law's historical and philosophical preferences, and by contrasting the law's restricted ambit of inquiry with contemporary knowledge from other disciplines including developmental psychology and sociology.

Made available in DSpace on 2016-06-02T19:16:38Z (GMT). No. of bitstreams: 1 5724.pdf: 4860223 bytes, checksum: 739c8100e008033c4de11bcbcd30a6a4 (MD5) Previous issue date: 2013-12-11 / Financiadora de Estudos e Projetos / This work aims to analyze the media statements about the "new": analyzing the discourse that older objects and knowledge that are not yet unusable. To do so, we will try to tread a path through the theoretical issue of consumption (before becoming consumerism), trying to analyze historically the conversion process of enduring relationships (with objects, people, knowledge etc.) in ephemeral relationships, from discourse of obsolescence. Once defined and analyzed the theoretical framework, we will analyze three discursive materiality (in order: the movie "The Last Laugh", the advertising campaign "Intel Ultrabook Convertible", and the movie "The Devil Wears Prada") with the intention of analyzing the discourse about the "new" and obsolescence. / Este trabalho tem por objetivo analisar os enunciados midiáticos sobre o novo , ou seja, analisar o discurso que envelhece precocemente objetos e saberes que ainda não estão inutilizáveis. Para tanto, tentaremos trilhar um caminho teórico passando pela questão do consumo (antes de verter-se em consumismo), tentando analisar historicamente o processo de conversão das relações duradouras (com objetos, pessoas, saberes etc.) em relações efêmeras, a partir do discurso da obsolescência. Depois de definidos e analisados os referenciais teóricos, faremos a análise de três materialidades discursivas (em ordem, o filme A Última Gargalhada , a campanha publicitária Intel Ultrabook Conversível , e o filme O Diabo Veste Prada ) na intenção de analisar o discurso sobre o novo e a obsolescência.