Esta pesquisa tem como objetivo testar os critérios da técnica de Análise de Conteúdo Baseada em Critérios (Criteria-Based Content Analysis – CBCA) em relatos comuns de adultos, visando verificar quais critérios são mais frequentes em relatos verdadeiros. Trata-se de um estudo preliminar para futura elaboração de técnica de avaliação da credibilidade do testemunho, a ser utilizada para auxiliar as avaliações psicológicas das entrevistas realizadas nas perícias com adultos. Foram realizadas 46 entrevistas com relato livre e perguntas abertas com adultos a partir de 18 anos e escolaridade mínima de ensino médio, propondo-se 3 tarefas: 2 relatos (um verdadeiro e um falso) e a aplicação da Escala Fatorial de Neuroticismo - EFN. Na análise das entrevistas, obteve-se como resultados que os critérios “5: Descrições de interações” e “8: Detalhes não-usuais” são significativamente mais presentes nos relatos verdadeiros. Os resultados da EFN não mostraram diferenças significativas entre os participantes em função do nível de ansiedade. Os itens significativos para a verificação da credibilidade do testemunho poderão ser futuramente utilizados em novas pesquisas que explorem a análise das versões apresentadas à perícia criminal oficial durante a reprodução simulada dos fatos, após serem testados, em novas pesquisas específicas frente à veracidade na técnica pericial. / This research aimed to test the criteria of the Criteria-Based Content Analysis - CBCA technique in common reports of adults to ascertain which are the most frequent in true reports. It is a preliminary study to allow future elaboration of technical assessment of witness credibility to be used to assist psychological assessments in forensic interviews with adults. For this purpose, 46 free reports and open questions interviews with adults with minimum age of 18 years and at least high school education were made. Three tasks were proposed: to tell two stories (one true and one false) and to answer the Factorial Scale of Neuroticism - EFN. The analysis of the interviews showed that criteria “5: description of interactions” and “8: non-usual details” were significantly more frequent in true reports. The results of the EFN did not show significant differences among the participants based on the level of anxiety The significant items for checking the credibility of the testimony can be further explored in new research to explore the analysis of the versions presented to the crime scene investigators during reconstruction, after being tested in specific new research on expert technical veracity.

O presente trabalho teve como objetivo discutir questões sobre memória e intertextualidade, a partir dos diferentes textos constituintes da obra Vulgo Grace da autora canadense Margaret Atwood. A autora recupera a trajetória verídica de Grace Marks, uma criada condenada à prisão perpétua por ser cúmplice no assassinato do patrão e da governanta da casa em que trabalhava. Grace apresenta sinais de amnésia sobre os fatos ocorridos nos assassinatos e, nessa situação, um comitê que acredita na sua inocência convida o jovem médico americano Simon Jordan para descobrir a verdadeira causa dessa aparente amnésia. Dentro desse contexto, foi observada a presença significativa da memória e da intertextualidade como itens essenciais na obra. O método utilizado na análise foi o enfoque de três partes: a narração em primeira pessoa de Grace, a narração em terceira pessoa sobre Simon e os paratextos. A análise se deu por meio do cotejo entre os diferentes tipos de texto, tendo como base os conceitos de intertextualidade de Júlia Kristeva e Tiphaine Samoyault e memória de Márcio Seligmann-Silva, Michael Pollak e Alba Olmi Outros conceitos como o significado dos sonhos de Sigmund Freud e a metaficção historiográfica de Linda Hutcheon também se fazem presentes na análise. Esse estudo comparativo resultou na descoberta de diferentes relações entre os textos sendo que conceitos além das questões de memória e intertextualidade foram descobertos. A memória te grande significado na construção das relações humanas e na relação do ser com o passado. O presente trabalho mostra-se relevante em relação aos estudos de memória pelo fato de discutir e apresentar outros meios e outras ligações entre os intertextos como também se insere nos estudos da autora Margaret Atwood no Brasil. / The present thesis intended to discuss some issues related to memory and intertextuality, taking as a starting point the different texts from Alias Grace (Vulgo Grace), written by the Canadian writer Margaret Atwood. The book retrieves the true story of Grace Marks, a maid sentenced to life imprisonment for being an accomplice to the murder of her employer and the housekeeper in the house where she used to work. Grace presented symptoms of amnesia, forgetting the facts that occurred in the murders. In that situation, a small committee who believe in Grace’s innocence hires the young American doctor Simon Jordan to discover the true reason for this apparent amnesia. In this context, a significant presence of memory and intertextuality as essential items of story could be observed. The method applied here was the focus on three parts: the first-person narration by Grace, the thirdperson narration about Simon and the paratexts. The analysis was made through the comparison between the different types of texts, based on intertextuality concepts stated by Júlia Kristeva and Tiphaine Samoyault and memory concepts presented by Márcio Seligmann-Silva, Michael Pollak, and Alba Olmi. Other concepts, such as the meanings of dreams, developed by Sigmund Freud, and the historiographic metafiction, elaborated by Linda Hutcheon, are also included in this analysis.

A tese dedica-se ao estudo de La escritura o la vida de Jorge Semprún. Examina como na obra o narrador, sobrevivente do campo de concentração de Buchenwald, desenvolve uma trajetória dialética para poder narrar sua experiência do campo: primeiro nega sua identidade de sobrevivente para, 47 anos depois, assumi-la na escrita como negatividade que põe em risco permanente sua vida como escritor testemunha da catástrofe. A história dessa superação provisória e permanente da negatividade do campo estrutura-se mediante a fragmentação textual e o diálogo. A contraposição da voz do narrador a vozes de outras personagens e a textos diversos indica que somente através da fragmentação discursiva ele pôde aproximarse do horror vivenciado no campo, pois ela se lhe apresenta como o único modo de exprimir a dialética entre a necessidade do diálogo do narrador com seu passado e a impossibilidade de com ele reconciliarse. A precariedade do sobrevivente objetiva-se na forma precária do romance, marca de singularidade desta obra de Semprún na literatura de testemunho. / The thesis devotes itself to the study of La escritura o la vida by Jorge Semprún. It examines how the narrator, a survivor from Buchenwalds concentration camp, develops in the work a dialectic trajectory in order to be able to narrate his experience at the camp: firstly denying his identity as a survivor for, 47 years later, assuming it in the writing as a negativity that puts a permanent risk on his life as a witness writer of the catastrophe. The history of this temporary and permanent overcoming of the negativity of the camp structures itself through textual fragmentation and dialogue. The contraposition of the narrators voice to the voices of other characters and to different texts points that it was only through discursive fragmentation that he could come closer to the horror experienced at the camp, since it presents itself to him as the only way to express the dialectics between the narrators necessity of dialogue with his past and the impossibility of reconciling himself with it. The survivors precariousness objectifies itself in the precarious form of the novel, a mark of uniqueness of this work by Semprún in the literature of testimony.

Esta pesquisa tem como objetivo investigar a proposição do hipertexto didático sobre poéticas cênicas contemporâneas como ponto de partida em processos de aprendizagem e de criação do teatro, utilizando como principal aporte metodológico a abordagem da pesquisaação fundamentada por Michel Thiollent. A revisão bibliográfica resultou na elaboração de um hipertexto didático (MARTINS, 2006), a ser publicado na internet, sobre o Teatro da Vertigem (São Paulo), produzindo um material hipertextual e multimodal para uso pedagógico, que articula textos teóricos, análises críticas, registros de espetáculos e processos, depoimentos dos artistas, descrição e análise de procedimentos de criação e fragmentos de dramaturgia. A realização e a análise de dois experimentos de aprendizagem e encenação realizados na cidade de Campo Limpo Paulista (SP), com um grupo de iniciantes em teatro e outro formado por atores amadores na faixa etária de 18 a 42 anos, permitiu a sistematização de princípios e procedimentos metodológicos de ensino e aprendizagem do teatro contemporâneo. O jogo teatral a partir de modelos estéticos (KOUDELA, RYNGAERT, PUPO, MARTINS) e procedimentos da abordagem colaborativa desenvolvida por ARAÚJO, são os eixos norteadores das práticas de criação propostas nos experimentos realizados a partir do hipertexto didático criado pelo coordenador e ampliado pelos participantes. A seleção das referências teóricas se deu a partir da perspectiva de teóricos do teatro contemporâneo como LEHMANN, FERRAL, FERNANDES, ARAÚJO, PAVIS e SARRAZAC. Os resultados obtidos poderão contribuir para o debate acerca de abordagens metodológicas que integrem estudos teóricos e históricos com práticas colaborativas de criação da cena e que possam interessar para professores, coordenadores de oficinas e encenadores envolvidos na reflexão a cerca dos processos de aprendizagem e criação da cena contemporânea. / This work investigates the proposition of hypertext courseware on contemporary scenic poetic elements as a starting point for theater creation and learning processes, having primarily relied, as a methodological input, on Michel Thiollent\'s action-research approach. The bibliographical review has resulted in hypertext courseware (MARTINS, 2006), to be published on the internet, about Teatro da Vertigem (São Paulo), having thus generated a multimode, hypertext material for educational use, which puts together theoretical texts, critical reviews, records of spectacles and processes, testimonials of artists, a description and analysis of creation processes and procedures, and figments of theater practice. The conduction and analysis of two learning and staging experiments held in the city of Campo Limpo Paulista (São Paulo, Brazil), comprising a group of theater novices and another group made up of amateur actors aged 18 to 42, allowed me to systematize some learning principles and methodologies of the contemporary theater. The theater game based on esthetic frameworks (KOUDELA, RYNGAERT, PUPO, MARTINS) as well as on collaborative approach procedures devised by ARAÚJO are the guiding pillars for the creation practices proposed during the experiments based on the educational hypertext as devised by the coordinator and further expanded by the players. Selection of theoretical references has drawn on such contemporary theater theorists as LEHMANN, FERRAL, FERNANDES, ARAÚJO, PAVIS, and SARRAZAC. The results may contribute to debates over the methodological approaches that bring together theoretical and historical studies, on one part, and collaborative staging practices, which might be useful for teachers, workshop coordinators and stage directors involving in a reflection over the contemporary theater creation and learning processes.

No description available.

Avec le dernier roman La Bascule du souffle (Prix Nobel) écrit 4 mains avec Oskar Pastior, l’écrivaine allemande d’origine roumaine Herta Müller ouvre à une recherche inédite. La romancière aborde avec le roman un tabou historique et testimonial qui s'impose comme une œuvre de portée universelle. L’écrivaine appartient à la 1.5 génération (Ruban Suleiman), qui exprime ses souvenirs non-vécus par le biais du passé, par l’entremise de l’imaginaire (Marianne Hirsch). Avec le roman comme document de la mémoire collective et culturelle, par l'esthétique de la remémoration, la romancière s’inscrit dans une « communauté de pensée » (C.Coquio) des auteurs-témoins de la première génération (Charlotte Delbo, Robert Antelme, Primo Levi, Jorge Semprún, Jean Cayrol), en mettant à mal les critères moraux et esthétiques sur les camps d’exterminations et les camps de travail forcé, le Stalinisme et le Nationalisme. Notre thèse comme recherche sur les procédés littéraires de la romancière rejoint celle sur les formes d’écriture des écrivains-témoins de l’expérience des camps, comme d'Oskar Pastior. Notre analyse du texte participe à la mise en relief de la fonction esthétique de la contrainte oulipienne employée comme pharmakon au double sens de remède et de poison.La recherche sur le roman anticipe l’avancée des études sur l’oulipien Oskar Pastior et nourrit ainsi, d’une manière réciproque, un regard nouveau sur l’œuvre de la poétesse allemande de renommée mondiale. / With her latest novel Atemschaukel/The Hunger Angel (Nobel Prize) of Herta Müller co-written with Oskar Pastior, the Romanian-born German writer opens up a new line of research. With Atemschaukel/ The Hunger Angel she broaches an historical and testimonial taboo that emerges as a work with universal reach. The writer belongs to the 1.5 generation (Ruban Suleiman) who express memories not experienced in the past through imagination (Marianne Hirsch). Documenting the collective and cultural memory through the aesthetic power of recollection, the novelist belongs to the ‘community of thought’ (Catherine Coquio) of first generation ‘postmemory’ authors (like Charlotte Delbo, Robert Antelme, Primo Levi, Jorge Semprun, Jean Cayrol) by undermining moral and aesthetic criteria about the extermination and forced labour camps, Stalinism, and Nationalism. As research into the literary devices of the novelist, this thesis ties in with analysis of the forms of writing used by witness-authors coming from experience of the camps, like this of Oskar Pastior. Interpreting constraint (Formzwang) in his aesthetic fonction, this investigation concludes by declaring the constraint as a pharmakon in both senses of the word: remedy and poison. The research on this novel anticipates further development of studies on the Oulipian Oskar Pastior, and so in a reciprocal manner sheds new light on the work of the world-famous German poet.

Cette thèse vise à modéliser l’entrée en résilience des organisations en contexte extrême. L’accident de Fukushima Daiichi, étudié au travers du témoignage de Masao Yoshida, directeur de la centrale lors des faits, et des rapports d’enquête, soutient la recherche en tant qu’étude de cas. Ces sources d’informations croisées avec notre cadre théorique, nous permettent de répondre à la question de recherche suivante : Dans quelles mesures pouvons-nous parler de résilience lors de l’accident de Fukushima Daiichi ? Si oui, quelle forme la résilience a-t-elle prise, quels processus ont été activés et ce plus particulièrement dans lors des premiers temps du processus général de résilience ?Une méthodologie spécifique d’analyse du matériau est produite et démontre l’utilité du témoignage de Masao Yoshida pour participer au retour d’expérience. La thèse tire un ensemble de leçons de l’accident et propose une grille d’analyse originale en regard de l’équilibre précaire entre centralisation et décentralisation que le témoignage et les rapports d’enquête mettent en lumière. Le modèle produit définit en détails la logique processuelle et émergente de l’entrée en résilience. / The aim of this research if to develop a model of entry to resilience for organizations facing extreme events. The Fukushima Daiichi nuclear power plant accident is used as a case study. The accident is analyzed through the testimony of the Site Superintendent Masao Yoshida and the investigation reports. The goal is to answer the following questions: what are the conditions to assess resilience during the Fukushima Daiichi accident? What shape did the resilience take in this context? What processes have been activated particularly during the initiation of the resilience process?A specific methodology is produced to analyze Masao Yoshida’s testimony. This methodology also proves the usefulness of such a material to develop feedbacks in industrial organizations. The thesis draws lessons from the accident and defines an evaluation grid to study the precarious equilibrium between on-site and off-site that is highlighted by the data used. The provided model defines the processual and emerging logic of entry to resilience.

Cette thèse de littérature comparée a pour objectif de mettre en rapport des œuvres habitées par l’Histoire, et d’interroger les représentations littéraires du corps face à l’épreuve extrême de l’enfermement. Le but de cette recherche, qui se déploie en trois temps, est de questionner la nature humaine à travers le prisme de l’écriture face à l’expérience bouleversante des camps de concentration et d’extermination nazis pendant la Seconde Guerre mondiale, en mettant en parallèle des œuvres tant de témoignage que de fiction, qui puisent leurs ressources chacune dans le réel et le fictionnel, dans un jeu de vases communicants.Plus précisément, dans le cadre de la première partie, nous nous concentrons sur la manière dont l’expérience-limite de l’être se manifeste dans ces récits : la confusion identitaire et la déshumanisation y bousculent la représentation du corps, le mettent en doute. Ce doute s’inscrit dans le langage même : comment raconter ce qui paraît inimaginable ? Dans cette deuxième partie, nous mettons l’accent sur l’aspect indicible de l’évènement, et réfléchissons aux contournements, aux déplacements que peut offrir la littérature pour dire ce qui semble, au premier abord, inénarrable. Les images et symboles créent de nouvelles formes littéraires. Ces analyses nous permettent de développer enfin la thématique de ce que nous appelons l’écriture organique, qui se compose et s’articule autour de la corporéité. Langage et corps se superposent dans une dynamique architecturale. Écrire laisse une trace. L’écriture engendre. La littérature serait alors le terrain fécond d’une renaissance, de l’écriture d’un homme nouveau, à jamais métamorphosé par l’expérience concentrationnaire. / This thesis of comparative literature aims to relate pieces inhabited by history and to question literary representations of the body in the face of the extreme hardship of confinement. The aim of this research, which unfolds in three parts, is to question human nature through the prism of writing when confronted with the traumatic experience of concentration camps and Nazi exterminations in the Second World War, by paralleling pieces, factual and fictional, which draw their ressources from both reality and fiction like interconnecting vessels. More specifically, as part of the first section we concentrate on the way the limit-experience of being manifests itself in these accounts. The confusion of identity and the dehumanization disrupt the representation of the body, thus impeaching it.This doubt fits into the language itself : how does one tell the unimaginable ? In the second section we focus on the inexpressible aspect of the event and reflect on the diversions, the displacements that literature can offer to say what, at first, seems indescribable. Imagery and symbolism create new forms of literature.This analysis allows us to develop the theme that we call organic writing, which is composed of and articulates itself through corporeity. Language and body superpose themselves in an architectural dynamic. Writing leaves a trace. Writing gives rise to new forms. Literature would therefore be the fertile soil of revival, the writing of a new human being, forever metamorphosed by the concentration camp experience.

Hériter d’un récit inédit d’expérience concentrationnaire revient à accepter le devoir moral de l’interpréter. Le comparer avec deux œuvres littérairement consacrées portant sur le même thème permet alors de réfléchir sur l’inéluctable transformation que subit un vécu traumatisant lorsque l’on tente de le verbaliser. Il s’agit en effet de dire et de transmettre une aporie. C’est pourquoi le recours réussi à la métaphore apparaît comme le moyen le plus efficace de doter ce morceau de vie par nature indicible d’une rhétorique convaincante. Par conséquent, il faut transposer le vécu pour parvenir à le dire, mais aussi donner à voir un passé qui ne remonte à la conscience qu’en images, tout en affirmant ses références à un réel inscrit dans l’Histoire. Pour faire aboutir une telle entreprise, il s’agit donc d’élaborer une fiction à partir d’une réalité vécue, de la doter d’un mode d’écriture au pouvoir visualisant, et enfin d’y introduire une dialectique interne susceptible de déclencher chez le lecteur une réflexion éthique. En effet, la vérité du témoignage reste tributaire d’une identité qui ne se construit qu’à l’occasion de la mise en récit. De plus, le texte est confectionné au présent et à partir de simples traces mémorielles. Enfin même si l’historiographie en valide les références, il en demeure une part obscure qui échappera toujours au langage articulé. Ce questionnement sur ce qui peut donner au témoignage concentrationnaire sa force d’impact conduit ainsi à suggérer que, le camp ayant été vécu comme expérience de la défiguration, seule son inscription dans une poétique de l’incarnation susceptible de rendre à la lettre morte sa puissance explosive aidera le rescapé à reconquérir un visage. / Inheriting the unpublished story of a concentration camp experience implies accepting the moral duty of its interpretation. Comparing it with two others literary works on the same topic allows to build a reflection about the inevitable transformation undergone by a traumatic experience when you attempt to verbalize it. In effect, that comes down to say and convey an aporia. That is why resorting successfully to metaphor seems to be the most efficient way to endow this piece of life, unspeakable by itself, with a convincing rhetoric. Therefore, it is necessary to transpose the experience in order to manage to tell it, but also to make visible a past that comes back to conscience only in the form of pictures, while asserting its references to a reality inscribed into History. To succeed in such an attempt, the method consists first in elaborating a fiction from a lived reality, then in giving its writing a power of visualisation, and eventually in introducing into it an internal dialectic capable of causing in the reader the uprising of an ethical reflection. In fact, the truth of any testimony remains tributary of an identity that is built only at the occasion of a storytelling. Moreover, the text is written in the present and from mere memorial marks. Finally, even when History gives validation to its references, a dark part remains, which will always escape the articulated language. This questionning about what may give the concentration camp experience its strenght of impact then leads to suggest that, since the camp has been lived as an experimentation of defiguration, it is only by inscribing it into a poetic of incarnation, capable of restituting to the dead letter its explosive power, that the survivor will be able to reconquer a human face.

The overall aim of this thesis is to illuminate meanings of the relation between human beings, technology and care, as narrated by critical care nurses and people in need of home mechanical ventilation (HMV). The data are based on narrative research interviews with six intensive care nurses (I), 13 people who were about to start HMV (II), these 13 people were interviewed for a second time six to eight months after HMV had started (III), and nine persons with more than two years HMV experience (IV). The text was analysed using a phenomenological-hermeneutic research method as described by Lindseth and Norberg. The method is developed from the writings of the French philosopher Paul Ricoeur. The findings illuminate meanings of nursing care in an intensive care unit (I) as undertaking the role of advocacy as a caring response to another human being. The basic condition for this caring response depends on the nurses' openness and sensitivity to the needs of patients or patients' next of kin. The nurses were aware of the influence of technology and tried to modify its negative effects. Meanings of becoming dependent on HMV (II) are interpreted and metaphorically expressed as "to get one's breath" and "to hold one's breath" respectively. On the one hand, breathing ensures the cellular oxidation process within the body, but on the other hand there can be "shortness of breath" in "spiritual breathing", and starting HMV will influence patients' whole life situation, body and spirit. After using a ventilator six to eight months, meanings of a life dependent on a ventilator was interpretd as either a closure or an opening of the lived body to oneself, other people and the world. This interpretation is illustrated by two images. A life on a ventilator at home is not to be seen as static being. On the contrary, it is a being which moves and changes over time. Being dependent on a ventilator and living at home, as narrated by adults with more than two years of HMV experience (IV), was interpreted as being able to rise above yourself and your personal boundaries in order to live a good life. These meanings are bound up with experiencing a vital force and interdependency, and despite fragility being able to reach others and the outside world. Design and function of technology had an impact on the lived body. The comprehensive understanding of the four articles (I-IV) unfolded meanings of the relation between human beings, technology and care, as an interchange and a creation of physical and spiritual energy among humans and between human and technology. It could be an experience of the lived body being filled with as well as emptied of energy. This interpretation points at a call for the caring personnel to be attentive and to listen to the voices of the lived body in health and illness, and to bear witness to those who suffer. Technology acts between the person and the world and in order to be embodied, technology must be "transparent", i.e. beautiful and fit to its use.