A presente pesquisa perseguiu as possibilidades abertas pela pergunta: o que é preciso tramitar do silêncio que permeia o som para recolher os efeitos da pulsão invocante? A pergunta que nos norteou tomou contornos a partir das inquietações que emergiram na condução de diferentes oficinas de música destinadas a sujeitos em grave sofrimento psíquico. Se as inquietações surgiram dessa experiência, o horizonte da investigação não se restringiu ao campo particular da clínica com a psicose. A pesquisa buscou interrogar as incidências dos elementos que perfazem o campo da música sobre a emergência do sujeito, tendo como referencial os aportes da psicanálise freudiana e lacaniana. A pergunta fundante desta pesquisa se vale de uma torção temporal, na qual é pela emergência de efeitos atuais que se sustenta a origem de uma operação anterior, que se extravia ao alcance ao fundar-se. Fez-se necessário justificar o modo de colocação da pergunta tecendo um percurso conceitual a respeito da temporalidade e da origem. O aporte de Freud protagonizou a elaboração de uma temporalidade a posteriori, tecida pela descontinuidade e pela torção. A abordagem de Lacan acerca do tempo lógico impôs radicalidade à valorização da antecipação. A ruptura operada pelo a posteriori nos levou a concebê-lo como uma temporalidade própria à emergência do sujeito sustentada na escansão. A origem foi posta em jogo na antecipação da significação do Outro num tempo de passividade anterior ao tempo do sujeito, e foi concebida como uma ficção do impossível que desdobra o vazio que marca a origem do sujeito. A posteriori, vimos que a escansão nos conduz para além de uma questão de método e retorna sobre o conteúdo mesmo da pergunta. Nesse sentido, propusemos considerar a articulação entre silêncio e pulsão invocante à luz de uma mesma operação de descontinuidade. Discorremos acerca da voz como um excedente real do Outro e consideramos o traço unário como uma escansão inaugural que funda um silêncio estruturante. Situamos a operatória que possibilita a fundação de uma zona de silêncio ou um ponto surdo, que permite ao sujeito esquecer o timbre originário da voz do Outro. A abertura dessa zona inaudita inaugura o circuito da pulsão invocante, a partir da qual o sujeito, depois de esquecer o chamado do Outro, poderá chamar. A música surge como resposta singular que um sujeito pode formular diante do impossível do encontro com a voz em sua dimensão de objeto a. A criação musical é endereçada ao Outro, mas também inclui um terceiro, o ouvinte, no retorno do circuito da invocação. Fechando o trabalho, recolhemos algumas cenas da experiência para dar um contorno singular ao percurso conceitual, remetendo-nos ao final, novamente, ao abismo do silêncio do Outro enquanto enigma que desliza na cultura. / The present study has pursued the possibilities derived from the following question: what is there to be processed of the silence within sound in order to perceive effects of the invocatory drive? The question that guided us had its contours built by inquietudes that emerged throughout the conduction of different therapeutic music workshops aimed for subjects in severe psychic suffering. While the interrogations arose from this experience, the aim of the research wasn’t restricted to the clinic of psychosis’ particular field. The research intended to examine how the elements that constitute the musical field have incidence in the emergence of the subject, having in Freudian and Lacanian psychoanalysis its main theoretical reference. The initial question is based upon a time torsion, by which the appearance of current effects underlies the origin of a previous operation, which becomes lost by the time it’s founded. In order to justify such collocation, a conceptual path on temporality and origin is held. Freud’s contributions play a leading role in conceiving the temporality of the deferred action composed by discontinuity and torsion. Lacan’s approach to the logical time amplifies it by valuing the anticipation and leading us to assess the deferred action as the temporality of the subject’s emergence, supported by the scansion. Origin was placed in reference to the anticipation of the Other’s signification in a time of passiveness, previous to the subject’s constitution, conceived therefore as a fiction of the impossible that veils the subject’s original void. Henceforth it’s seen that the scansion leads us to the content of our question itself, from which it’s possible to consider the articulation between silence and invocatory drive in the light of its very operation of rupture. Discussion is held on the voice being a surplus of the Other’s Real and the unary trait as an original rupture founding a structural silence, defined as a zone of silence or a deaf spot – as an unheard zone that allows the subject to forget the Other’s original timbre. This unheard zone inaugurates the invocatory drive’s circuit, whereby the subject, after hearing the Other’s call, will be able to address a call. The music arises as a singular answer that the subject may set down towards the impossible encounter with the voice as object a. A musical creation is addressed to the Other but also includes a third party, the listener, in the invocatory circuit’s return. As closing, scenes of the experience are collected in order to provide singular contours to the conceptual path, regarding anew the abyss of the Other’s silence as an enigma that resides in culture.

Orientador: Márcio Orlando Seligmann-Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T11:06:27Z (GMT). No. of bitstreams: 1 Elidio_Tiago_M.pdf: 702214 bytes, checksum: e59bca01041e403ef290549da164cacb (MD5) Previous issue date: 2010 / Résumé: Le génocide nazi a été une des grandes catastrophes qui ont marqué le 20ème siècle. Les homosexuels ont été l'un des groupes qui ont été persécutés et assassinés. Après la guerre, en raison des lois qui étaient encore en vigueur contre eux, ceux qui ont survécu ont été incapables de fournir leur témoignage et de dire ce qui s'était passé durant cette période. Cela n'a été possible quelques décennies plus tard, lorsque de telles lois n'existent plus et les homosexuels ont plus de visibilité, et il était donc possible de parler. Un témoignage important de ce groupe est l'autobiographie d'un survivant français, Moi, Pierre Seel, déporté homosexuel. Dans son oeuvre, on peut observer certains points de ce genre de récit testimonial, comme, par exemple, les questions de la dénonciation et de la violence. Toutefois, l'homosexualité apporte quelques différences. L'une est la distance temporelle entre l'événement et l'écriture. De nombreuses années ont passé après la fin du régime, alors son récit ne rend pas seulement une dénonciation du système nazi, mais aussi de la période d'après-guerre. Dans son livre, il raconte la difficulté que les homosexuels avaient passé au fil des ans et aussi la difficulté à reconnaître ce groupe comme une victime du régime hitlérien / Resumo: O genocídio nazista foi uma das grandes catástrofes que marcaram o século XX. Entre os grupos perseguidos e assassinados estavam os homossexuais. Após o final da guerra, devido às leis que ainda estavam em vigor contra eles, os que sobreviveram não puderam prestar seu testemunho e contar o que havia passado nesse período. Isso só foi possível décadas depois, quando tais leis deixaram de existir e os homossexuais passaram a ter mais visibilidade, sendo, assim, possível falar. Um importante testemunho desse grupo é a autobiografia de um sobrevivente francês, Moi, Pierre Seel, déporté homosexuel ("Eu, Pierre Seel, deportado homossexual", sem tradução para o português). Em sua obra, podemos vislumbrar as principais características desse tipo de narrativa testemunhal, como, por exemplo, a questão da denúncia e da violência sofrida. No entanto, sua homossexualidade traz algumas diferenças. Uma delas é a distância temporal entre o evento e a escrita. Passados muitos anos após o fim do regime, sua narrativa não só faz uma denúncia ao sistema nazista, como também ao período pós-guerra. Em seu livro, narra a dificuldade enfrentada pelos homossexuais ao longo dos anos e a dificuldade de reconhecimento desse grupo como vítima do regime de Hitler / Abstract: The Nazi genocide was one of the major disasters that marked the 20th century. The homosexuals were one of the groups that were persecuted and murdered. After the war, due to laws that were still in force against them, those who survived were unable to provide their testimony and tell what had passed in that period. This was only possible some decades later, when such laws no longer exist and homosexuals had more visibility, and therefore it was possible to speak. An important testimony of this group is the autobiography of a French survivor, Moi, Pierre Seel, déporté homosexuel ("I, Pierre Seel, deported homosexual", without translation into Portuguese). In his work, we can observe some points of this kind of testimonial narrative, for example, the issues of the denunciation and of the violence. However, the homosexuality brings some differences. One is the temporal distance between the event and the writing. Many years had passed after the end of the regime, so his narrative not only makes a complaint to the Nazi system, but also to the postwar period. In his book, he recounts the difficulty that homosexuals had passed over the years and also the difficulty about recognizing this group as a victim of Hitler's regime / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária

Orientador: Marcelo Ramos Lazzaratto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T06:57:55Z (GMT). No. of bitstreams: 1 Castro_RodrigoSpinadeOliveira_M.pdf: 21990140 bytes, checksum: 162718ebb668feb5401de908160ee659 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa teve como foco estudar as vocalidades dos atores no jogo improvisacional desenvolvido pelo prof. Dr. Marcelo Lazzaratto chamado Campo de Visão, que possui apenas uma única regra em sua dinâmica: seguir qualquer movimento que entre no campo de visão do ator. Sendo o Campo de Visão um jogo muito simples e amplo, múltiplos aspectos que compõem a voz do ator em ficção foram aprofundados, entre eles: o silêncio, a respiração, o espaço e sua acústica, a palavra, entre outros. Alguns aspectos técnicos da emissão vocal também foram estudados no jogo: articulação, dicção, caixas de ressonância, timbre, registro e ritmo, sempre integrados à criação poética do intérprete. Para a solidificação das reflexões, este estudo confrontou idéias de alguns pensadores, filósofos, artistas e cientistas com aquelas que Lazzaratto já desenvolvera em suas pesquisas acadêmicas e junto à Companhia Elevador de Teatro Panorâmico, grupo que desenvolve seu trabalho artístico aprofundando se no Campo de Visão há mais de 10 anos, sendo eles: Grotowski, Artaud, Cecily Berry, Sara Lopes, Tomatis e Novarina, entre outros. Além disso, para a verticalização da investigação, reuniu-se um grupo de atores de diversas formações que, por seis meses, em encontros semanais, pesquisou algumas especificidades da voz no Campo de Visão, procedimento que acabou sugerindo-nos a maior parte dos conceitos que aqui foram estruturados. Focando a expressão vocal dos atores, esta dissertação está apoiada na aliança entre a pesquisa prática realizada, os pensadores estudados e a minha própria experiência pessoal como ator perante o Campo de Visão, enquanto procedimento de investigação e como linguagem cênica, em específico no espetáculo Ifigênia, realizado pela Companhia Elevador / Abstract: This research focuses on studying the actors voice in the improvisational game developed by PhD. Marcelo Lazzaratto called Field of Vision, which has only one rule in its dynamics: follow any movement that appears on the field of vision of the actor. As the Field of Vision is a very simple and vast game, many aspects that make up the voice of the actor in fiction was deepened during the research, being: the silence, breathing, the space and its acoustics, the word, among others. Some technical aspects of vocal production were also studied in the game: articulation, diction, resonance, timbre, register and rhythm, for example, always integrated to the interpreter poetics. For the solidification of these considerations, this study confronts ideas of some thinkers, philosophers, artists and scientists with the ideas Lazzaratto has developed in his academic researches and at the Companhia Elevador de Teatro Panorâmico, a theatre company that has been researching the Field of Vision for more than 10 years, naming: Grotowski, Artaud, Cicely Berry, Sara Lopes, Tomatis and Novarina, among others. In addition, to further the investigation, there was a group of actors from different backgrounds, which, during six months in weekly encounters, researched some specific voice aspects in the Field of Vision, which was responsible for most of the concepts here structured. Focusing on the vocal expression of the actors, this study rests on an alliance between practical research, the authors that were studied and my own personal experience as an actor inside the Field of Vision as a investigation procedure and theatrical aesthetics, specifically in the play Ifigênia, performed by Companhia Elevador / Mestrado / Artes Cenicas / Mestre em Artes

How do non-vocal practices function within sequences? This thesis addresses silence and gesture in the context of social interaction involving human participants through the framework of conversation analysis (CA) to answer this question. Although it is certainly possible, and indeed common, for gestures and other non-vocal practices to occur during talk, this thesis focuses on those that occur without accompanying talk. In order to understand the role of non-vocal practices in this environment, we must first understand the role of silence (or the absence of talk) in participants’ interactions. How does silence function within the sequential environment? How does context affect how silence and nonvocal practices are treated by participants? If one organisation (or aspect of an organisation) is affected, are all organisations (or aspects of that organisation) affected? I draw on psychological, sociological, and linguistic literature to show why silence and gesture are related in interactional research and how this affects conversation analytic methodology. The work that forms this thesis brings together cross-cultural perspectives and technical advances with respect to silence and non-vocal practices both individually and when they occur together (i.e. non-vocal practices without accompanying talk). I begin with a broad overview of research and theories of gesture and silence before discussing CA as a method and its relationship to silence and non-vocal practices. The empirical studies begin with silence in relation to culture and context and issues in analysing and transcribing silence. I then examine how one sequential environment, in which psychotherapy clients are obligated to respond by orienting to the therapeutic agenda, has a preference structure that is very different from ordinary conversation. In this sequential environment, silence and elaboration are marks of preferred responses rather than dispreferred. The preference structure is made particularly visible through accountability that becomes relevant when a client’s response is produced promptly following the therapist’s overtly therapeutic action. Silence in this environment contributes Inaction and Silent Action in Interaction 3 to clients’ performance of sincerity and participation in the psychotherapeutic process, and non-vocal practices during longer silences can show that the client remains engaged with the sequence. Many authors have accounted for silences that are not treated by participants as problematic by applying constructs such as ‘continuing states of incipient talk’. This construct, however, is variably used and has not been developed through empirical examination. It does not adequately explain interactions that involve silence or gesture, as I show through a content analysis and systematic review. After recommending that researchers engage with participant orientations in environments that differ from canonical conversations, I describe an environment that is commonly thought of as constituting a ‘continuing state of incipient talk’ – television-watching. I show that contrary to some claims about ‘incipient talk’ environments, although response relevance is relaxed, both sequence organisation and turn-taking are strongly oriented to by participants. Compared to ordinary conversation, television-watching also involves more gestures and other nonvocal practices without accompanying talk. I examine how non-vocal practices without accompanying talk are used in interaction. As responsive actions, gestures can be used without accompanying talk as a resource for doing sensitive interactional work, particularly in places where giving offence might be a concern. Non-vocal practices can also be used in other situations to accomplish sequential actions that could otherwise be spoken. These uses of non-vocal practices create methodological questions for conversation analysis, which has traditionally focused on the talk of participants. By clearly distinguishing between actions and turns (two classic CA concepts) and examining the timing of non-vocal practices, I show that non-vocal practices can have a clearly defined role in sequence organisation. CA can thus be a useful method for examining the entire situation of social interaction, including non-vocal practices.

La thèse intitulée « La différance comme déconstruction de la violence : des jeux, des traces et des silences » nous révèle le jeu stérile, la trace fertile et l’ironie muette de la philosophie contemporaine.L’enquête sur la différance avec un « a », une singularité derridienne, est donc un jeu linguistique et, en même temps, un enjeu métaphysique entre la disparition et l’apparition. Jacques Derrida écrit : « En toute exposition elle (la différance) serait exposée à disparaître comme disparition. Elle risquerait d’apparaître : de disparaître». En 1968, il a prononcé sa fameuse conférence, « la différance », à la Société française de philosophie. La différance est lancée avec une disparition et avec une apparition. Le « e » a disparu mais le « a » est apparu. Il s’agit de cette « différance » avec ce jeu entre le « e » et le « a » et ce jeu est apparemment perturbant et violent. L’absence du « e » est violence et la présence du « a » est violence.La différance est violente envers la violence. Ce terme nouveau est à l’origine d’une déconstruction et d’un déplacement, d’un changement de sens de la « différence ». Derrida a mal orthographié v(i)olontairement la différence pour faire ressortir une dimension plus profonde de la présence et de l’absence dans la signification. Il rattache certaines catégories à la différance comme le jeu, le silence, l’évasion, la rupture, la violence, la rature, la négativité, le non-espace, le non-nom, etc. La différance est un concept du concept, du méta-concept et du non-concept – un concept de la différence, un concept hors de la différence, un concept de non-différence –. C’est une écriture sur l’écriture, une non-écriture, une violence sur la violence, une non-violence.Globalement, cette recherche sur la différance se situe donc dans une perspective de la violence de la présence à l’absence ; elle donne trois lectures à la violence de la différance : une lecture du jeu, une lecture de la trace et une lecture du silence.La première lecture est « jeu ». Elle présente les jeux de la différance. Derrida joue des jeux métaphysiques dans le champ de la différance comme à son habitude. La différance est un jeu parce qu’elle ne veut rien proposer. Et, ne rien proposer, c’est « jouer à jouir », jouer sans arrêt. La différance comme un jeu oblige ses lecteurs à faire une déconstruction de toutes les propositions. Elle nage parmi les Positions contradictoires. Derrida écrit : « Le concept de jeu se tient au-delà de cette opposition ».La deuxième lecture de la différance est la trace. Ne sommes-nous pas toujours déjà tracés ? Pourrions-nous être totalement libérés de la trace des autres ? Tout est dans le cercle de trace. Derrida écrit dans Glas : « C’est pourquoi il n’y a ici que des traces, des traces de traces sans tracé, ou si vous voulez des tracés qui ne traquent et ne retracent que d’autres textes, (…) » Derrida, même ouvertement, accepte d’être influencé par plusieurs pensées. Or, nous énumérons cinq traces importantes dans la différance – Rousseau, Hegel, Nietzsche, Heidegger et Levinas – ; certainement, il y en aura beaucoup plus. La troisième lecture est le silence. Elle remarque une perte silencieuse dans la différance entre le « e » et le « a ». La différance est un projet politique, une politique textuelle contre la souveraineté de la parole pour que la parole réalise sa faiblesse et son absence. Ce qui nous intéresse dans cette politique est qu’une politique du silence se déploie dans la différance. Par sa différance, Derrida lance sa recherche envers une absence présente, envers un mutisme brillant et envers un vide existentiel. [...] / This thesis entitled "Difference as deconstruction of violence : plays, traces and silences" reveals the sterile play, the fertile trace and the ironical silence of postmodern thinking.The inquiry on differance with an "a", a derridien singularity, is a linguistic play and, at the same time, a metaphysical challenge between disappearing and appearing. Jacques Derrida writes : « En toute exposition elle (la différance) serait exposée à disparaître comme disparition. Elle risquerait d’apparaître : de disparaître » (Jacques Derrida. Marges de la Philosophie. Paris : Les Éditions de Minuit, 1972, p. 6.) In 1968, he delivered his famous lecture, "Differance", to the philosophical community. Differance is launched into philosophy with a disappearance and with an appearance. The "e" has disappeared but the "a" has appeared. This "differance" with it’s game between the "e" and the "a" is apparently disturbing and violent. The absence of "e" is violence and the presence of "a" is violence.In this particular thesis, Differance is violent towards violence. This new term originates from the deconstruction by its displacement and by its change of meaning. Derrida misspelled willingly “difference” in order to bring out a deeper dimension of presence and absence in the semantic economy. He attaches certain categories to differance such as play, silence, escape, rupture, violence, erasure, negativity, non-space, non-name, etc. Differance is a concept of concept, a meta-concept and a non-concept - a concept of difference, a concept out of difference, a concept of non-difference. It is a writing on writing, a non-writing, a violence on violence, a non-violence.Overall, this research on differance is therefore oriented in the perspective of “violence of presence to absence” ; It gives three readings to the violence of differance : a playful reading, a traced reading and a silent reading.The first reading is "play". It presents the plays of differance. As usual Derrida plays metaphysical games in the court of differance. Differance wants to remain playful because it does not want to propose anything ; and, to propose nothing is « jouer à jouir » (Jacques Derrida. Glas. Paris : Éditions Galilée, 1974, p. 77), play continuously (Cf. Sarah Kofman, Lectures de Derrida. Paris, Éditions Galilée, 1984, p. 39.). Differance as play obliges its readers to make a deconstruction of all propositions. It swims among and across the contradictory positions. Derrida writes : « Le concept de jeu se tient au-delà de cette opposition » (Derrida. Marges. op.cit. p. 4.).The second reading on differance is trace. Are we not already traced? Could we be totally free from the traces of others? Everything is in the circle of trace. Derrida writes in Glas : « C’est pourquoi il n’y a ici que des traces, des traces de traces sans tracé, ou si vous voulez des tracés qui ne traquent et ne retracent que d’autres textes, (…) » (Derrida. Glas. op.cit. pp. 92-93). Derrida, even openly accepts to have been influenced by several thinkers. (Cf. « La Déconstruction et l’Autre : entretien par Richard Kearney avec Derrida » in Les Temps Modernes : Derrida L’événement déconstruction, N°669 /670, 67° année juillet/octobre 2012, p. 10. Derrida says : « Ma formation philosophique doit beaucoup à la pensée de Hegel, Husserl et Heidegger. Heidegger est probablement l’influence la plus constante, en particulier son projet de ‘dépassement’ de la métaphysique grecque. ») Here, we point out just five important traces in differance - Rousseau, Hegel, Nietzsche, Heidegger and Levinas -; Certainly, there are many more. The third reading is silence. This research indicates a silent loss in the differance between "e" and "a". Differance is a political project, a textual politic against the sovereignty of speech so that speech realizes its weakness and its absence. That which interests us in this politic is that there is a political silence is expressed in differance. Through his differance,[...]

Denna uppsats behandlar huruvida huvudkaraktärerna i Silence (2016) och Hacksaw Ridge (2016) påvisar dygderna tro, hopp och altruism respektive lasterna förnekelse, tvivel och högmod genom deras handlande och värderingar för att se hur detta förhåller sig till teologiska perspektiv kring vad som utgör en god kristen. Undersökningen visar att Desmond från Hacksaw Ridge är överväldigande trofast, hoppfull och altruistisk och det kan argumenteras för att han demonstrerar dessa dygder enligt de valda teologiska definitionerna. De motsvarande lasterna påvisar han väldigt lite, om överhuvudtaget. Rodriguez, huvudkaraktären i Silence tvivlar oftare, både på sig själv och på Guds plan. Huruvida hans val i slutet av filmen kan sägas vara altruistiskt i en kristen bemärkelse och väger upp hans offentliga avsägande av den kristna tron är något som de lärda lär tvista om.

This thesis argues for performative ways to write trauma, ghosts and silence against the particularities of German post-war experiences. It begins with the re-discovery of a photographic image that provides a starting point. I unfold linguistically uncalibrated yet embodied knowledge into insecure or uncertain registers of traumatic intergenerational reverberations. Drawing on psychoanalytic theory of trauma, I chart a trajectory from individuated self towards one pledged on intersubjective conditions for an iteratively-emergent subjectivity. Trauma framed in terms of interrelational silence is woven into the material fixicity of the image, with its fleetingly evoked and fragmented slivers of memory. Positioned on the cusp of an inquiry that troubles the coherence of a subject-who-knows, I argue for an eruptive heterogeneity that speaks creatively to possible ways of re-presenting the significance and specificity of familial and national silence in the aftermath of an abject war. The discreetness of trauma, ghosts and silence is reconfigured in terms of an in-betweenness of generational reverberations; these echoes form the layers into and against which I write silenced, repressed and marginalized voices, voices shaped predominately by absence from dominant discourses. The transgressive nature of writing against the grain, of writing against the primacy of certainty is developed further through the chapters, mapping a complex methodological and theoretical possibility. I trouble notions of ‘data’ in light of contestations that favour ambiguous possibilities pertaining to hauntings and ghosts, aware of the paradoxical nature of linearly constructed arguments in support of fragmentary and fragmented knowledge claims. The complexities are further accentuated through texts written in different genres, which seek to mirror context and emergent content. The thesis builds into an enmeshment of reverberations within which space is given over to Other, drawing fictitious and fictionalized voices into contestations around narrativization and finitude.

Die in den drei Manuskripten vorgestellten Arbeiten zielen auf die Beantwortung der Frage, warum in Organisationen Fehlentwicklungen nicht angesprochen werden. Die Ergebnisse der Arbeit lassen sich folgendermaßen zusammenfassen: 1) Ein funktionaler Ansatz wurde vorgestellt, mit dessen Hilfe die verfügbaren Erklärungsansätze zu Organizational Silence (als Stille in Organisationen konzipiert) über mehrere Ebenen (Mitarbeiter-, Gruppen- und Organisationsebene) integriert werden können. Ich habe mit der Ausarbeitung der Mitarbeiterebene begonnen. Dabei unterschied ich vier Formen von Mitarbeiterschweigen (angstbasiertes, resignatives, prosoziales und opportunistisches Schweigen) und entwickelt eine Skala, mit der erstmals verschiedene Formen von Mitarbeiterschweigen empirisch getrennt voneinander untersucht werden können. Die Skala wurde eingesetzt, um für die vier Formen Vorbedingungen, Begleiterscheinungen und Folgen herauszuarbeiten. Die Verfügbarkeit dieser kurzen Skala mit guten psychometrischen Werten wird eine genauere Ausarbeitung der Konzepte ermöglichen. 2) Bestehende Zugänge zum Authentizitätskonzept wurden integriert und ein Kernkonzept von Authentizität vorgestellt. Dieses Konzept umfasst eine auf das Selbst gerichtete Dimension (Authentic Self-Awareness) und eine auf den Ausdruck des Selbst gerichtete Dimension (Authentic Self-Expression). Für die Erfassung dieses Kernkonstrukts wurde eine Skala entwickelt und getestet. Durch die sparsame Zwei-Faktorenstruktur und die Kurzskala ist es möglich, Authentizität auch im angewandten Kontext relativ problemlos zu untersuchen. Dadurch lassen sich potentiell die erwarteten positiven Zusammenhänge empirisch bestätigen und widersprüchliche Annahmen mit Hilfe empirischen Datenmaterials aufklären. 3) Authentizität wurde als Prädiktor für das Verschweigen (Employee Silence) und für das Ansprechen von Fehlentwicklungen in Organisationen (Employee Voice) eingeführt. Es konnte gezeigt werden, dass Authentizität in der Vorhersage von Silence und Voice inkrementelle Validität über besehende Prädiktoren wie z.B. Team Psychological Safety, Organisationale Identifikation, Arbeitszufriedenheit und Work Engagement aufweist.

The preface to this collection, "Speculation and Silence," argues that confessional poetry remains integral to contemporary poetics, though the implications of the term have changed since its "first-generation." Confessional poetry must not be dependent on simply the transmission of sensational details and the emotional consequences, but on poets' implementation of silence and restraint in both the diffusion of ideas and in the crafting of the piece. Vulgar Moon is a collection of poems in which I explore the implications of events ranging from erotic love and motherhood, to the devastation of New Orleans by Hurricane Katrina, and Jewish history. In addition, these pieces explore the inner workings of the human psyche, both tender and malignant, and the inherent human need for absolution.

Le totalitarisme nazi, la souffrance, la mort de masse et d’êtres chers constituent des formes d’anéantissement présentes dans les parcours de Vladimir Jankélévitch, Jean Améry, Paul Celan et Jorge Semprun. Rescapés de la Seconde Guerre mondiale, ils ont subi, à des degrés divers, et dans des circonstances différentes, les épreuves de l’exil et des camps. Leurs expériences respectives de la Résistance, de la déportation, de la torture, de la tentation du suicide ouvrent à des écrits et des réflexions majeurs. La mémoire et la voix y sont convoquées afin de s’opposer au totalitarisme et à ses conséquences : la souffrance, le risque de la prescription conduisant à celui de l’oubli, et le caractère irréversible de la torture. Tandis que le bourreau a pour objectif de nier l’humanité de chaque supplicié, le rôle de la voix et de l’écoute sont déterminants. L’opéra Tosca illustre cette tension. La douleur confère à l’instant et à l’ipséité de chaque supplicié une expérience strictement individuelle qui peut néanmoins être décrite : l’invivable n’est pas nécessairement indicible.Voix et mémoire s’inscrivent dans l’inachevé. L’ascension, dans le quasi-silence désespérant des années trente, et le triomphe temporaire du nazisme, que la propagande radiophonique assure pour partie, puis sa défaite complète appellent la transformation dans la durée de l’Allemagne. Concomitamment, les évolutions musicales marquent des formes de refus de la répétition pour échapper à l’aliénation.Le cri possède pour fonction d’alerter. Mais de la mémoire de la Shoah au suicide, l’appel insurmontable de l’anéantissement conduit à revivre une violence que le poème et la musique tentent de surmonter. / Nazi totalitarianism, suffering, mass killing -including loved ones-, are all forms of annihilation that Vladimir Jankélévitch, Jean Améry, Paul Celan and Jorge Semprun went through. World War II survivors, they endured, at varying intensities and through different circumstances, the hardship of exile and of the camps.Their respective experiences of torture, deportation, the Resistance, and their consideration of suicide have brought prominent works and should lead us to major reflections.Remembrance and voice are weapons involved in the fight against totalitarianism and its consequences, of which: suffering, the risk of prescription leading to that of forgetting, and the irreversibility of torture.While the torturer aims to deny even the humanity of its victims, the role of voice and listening are decisive. Tosca Opera gives an accurate representation of this tension. Pain confers to the moment and to the uniqueness of each victim a strictly individual experience, which can nevertheless be described: the unbearable is not unspeakable. Voice and remembrance fall within the ‘unfinished’. Nazism’s ascent —in the practically desperate silence of the thirties—, its temporary triumph —that radio propaganda partly ensures—, and ultimately its complete defeat, call for the profound transformation of Germany overtime. Simultaneously, the contemporaneous cultural developments highlight the rejection of recurrence in music, in an attempt to escape alienation. The purpose of screaming is to alert. But from the Holocaust memory until the very notion of suicide, the devastating call of annihilation amounts to experience once more a violence that poetry and music seek to overcome.