The purpose of this thesis is to develop a comprehensive process for identifying and addressing primarily constitutional, medico-legal and liability issues, and in addition ethical, social and scientific issues related to the psychiatric and psychology professions in South Africa. In fulfilling this purpose, a comprehensive search is conducted of relevant historical, ethical, philosophical and clinical aspects pertaining to psychiatry and psychology, as well as an evaluation of the current juridical framework regarding the legal liability of the psychiatrist and psychologist balanced against the constitutional rights of the mentally disordered patient in South Africa. Recommendations are made for the establishment of any new controls needed to mitigate and prevent the exposure of mentally disordered patients, further attempting to provide specific remedies to adapt the current juridical framework in South Africa. The examination is conducted within the framework of the South African and United Kingdom's legal systems. Focus is placed on aspects of medical law, human rights law (as envisaged in the Bill of Rights in the Constitution of the Republic of South Africa, 1996), criminal law and the law of delict and, to a lesser extent, administrative law and the law of evidence. / Law / LL.D.

The thesis provides a concise explanation of the notions of confession and the seal of confession and observance of the same by Czech Republic criminal law. The seal of confession is especially provided for by Act No. 3/2002 Coll. on churches and religious societies. In my thesis, I also address the issue of protecting other types of non-disclosure recognized by the Czech Republic. The main topic covers respecting the seal of confession in the context of criminal law. I particularly concentrate on respecting the seal of confession in relation to Sections 167 and 168 of the Criminal Code concerning failure to prevent an offence and failure to report an offence. I also take note of the duty to testify and exceptions to the same. Whereas one of the exceptions{--}prohibition of interrogation{--}does indicate protection of the seal of confession, the other{--}the right to refuse testimony{--}includes no such unequivocal protection. Generally, Czech laws do recognize the seal of confession, and it is impossible to punish observance by priests of the seal of confession.

Transexualismo é definido como o desejo de viver e ser aceito como pertencente ao sexo oposto. É usualmente acompanhado por sentimento de desconforto ou inadequação em relação ao sexo anatômico, associado a desejo de se transformar cirúrgica e hormonalmente para tornar o corpo o mais congruente possível com o sexo pretendido. Com essa alteração, surge ainda a necessidade de adequação jurídica da pessoa física por meio de processo cível para mudança do nome e do sexo jurídicos, adequando-se, assim, o status civil/social. O objetivo deste trabalho foi observar como os laudos psicológicos poderiam ou não colaborar nas decisões judiciais, de acordo com a análise de sentenças judiciais para mudança de prenome em transexuais masculinos e femininos, submetidos ou não a cirurgia de transgenitalização. Realizamos levantamento por amostragem, que inicialmente caracterizou as variáveis sociais e demográficas dessa população e, posteriormente, sistematizamos os dados encontrados. A população estudada, que pleiteia a mudança do registro civil, foi mapeada a partir de dados de sentenças e processos para mudança de prenome, traçando-se um perfil nacional segundo os critérios definidos pelo SUS. Buscamos a amostra nos quatro centros credenciados para o processo transexualizador (Portaria no 457, de 19 de agosto de 2008). Encontramos 55 sujeitos que entraram com processo de mudança de prenome e/ou prenome e sexo, matriculados/acompanhados nos referidos hospitais. Observamos uma proporção de de 9:2 entre homem para mulher (MTF) e mulher para homem (FTM), semelhante ao que se relata na literatura internacional (4:1). Quanto às sentenças, apenas 5,50% (três) dos processos foram indeferidos, correspondentes a sujeitos do sexo biologico masculino que ainda não haviam sido submetidos à cirurgia. Observamos uma associação entre cirurgia e deferimento da mudança de prenome (p = 0,001). Em apenas 10,90% (seis) sentenças analisadas, havia menção ao laudo psicológico, que, portanto, foi omitido nas demais, 82,10% (49). Quando presentes, os laudos não foram elaborados por profissionais dos centros credenciados para o processo transexualizador, descaracterizandose como objetos deste estudo. Os resultados sugerem que os laudos psicológicos não influem na decisão judicial nos processos de mudança de prenome entre pacientes transexuais e que a realização prévia da cirurgia de readequação sexual está associada a um maior índice de êxito no pleito dos pacientes / Transsexualism is defined as a desire to live and be accepted as a member of the opposite sex, usually accompanied by a sense of discomfort (or inappropriateness) with one\'s anatomic sex, and a wish to have surgical and hormonal treatment to make one\'s body as congruent as possible with one\'s preferred sex. This change triggers the need for legal adjustment of the individual through civil proceedings for change the legal name and sex/gender. This study\'s objective was to observe whether psychological appraisals may or may not influence the judicial decision, by the analysis of the judges\' sentences for the change of forename in transsexual men and women, whether or not they underwent reassignment surgery. We performed a sample study where we initially characterized the social and demographic variables of this population, and then we systematized the data found. The population studied, who presented a plea to change theirs forename at the civil register, was mapped from data of trial sentences. From this data we present a national profile of patients according to criteria for the processo transexualizador, the treatment as laid down by the Brazilian National Health Care System. We seeked our sample at the four centers licensed for the \"processo transexualizador\" (Ordinance 457 of the Brazilian Health Care Ministry, dated August 19, 2008). We have found 55 subjects which entered pleas for changes of forename and / or pleas for changes of forename and sex. This subjects should be registered patients or be monitored at these hospitals. We found a proportion of 9:2 male to female (MTF) and female to male (FTM) patients, this finding is similar to reports from the international literature (4:1). When we analyzed for outcome of the judgments, we found that 5.50% (three) cases were rejected. This three cases belonged to biological male gender and had not yet been submitted to surgery. We observed a association between surgery and plea for first name\'s change (p = 0.001). Only 10.90% (six) of the sentences analyzed mentioned the psychological appraisal, which was omitted in 82.10% (49) of the sentences. We also found that when the psychological appraisals were present they were not issued by professionals working at licensed centers, therefore these did not meet the criteria for the study. Our findings suggest that the psychological appraisals do not affect the judicial decision over the pleas for forename changes among transsexual patients and the prior execution of the reassignment surgery is associated to a higher success rate in the patients\' litigations

Notre travail porte sur le traitement de la question du mal dans des récits français publiés entre 1945 et 1962, soit entre deux procès ayant interrogé la spécificité du mal et de la culpabilité, celui de Nuremberg d’une part, celui d’Eichmann d’autre part. Ces écrits sont des récits de l’après publiés par des écrivains qui ont participé à la guerre (comme Simon ou Camus) ou qui n’en ont reçu que des échos lointains (comme Butor ou Bataille). Le fil conducteur de notre analyse s’appuie sur l’essai de Paulhan, Les Fleurs de Tarbes ou la terreur dans les lettres, lequel nous a permis d’étudier le mal non seulement dans son versant historique au prisme de la terreur nazie et de ses conséquences, mais aussi dans son versant littéraire, entendant alors le terme de terreur dans le sens métaphorique que lui accordent Paulhan et Sade avant lui. La terreur est contrebalancée en permanence dans ces écrits et dans notre travail par son opposé, la rhétorique, et engendre la constitution d’une génération de romanciers « antimodernes » qui accèdent à une modernité esthétique sans renier la tradition romanesque du XIXe. L’approche du mal en termes de terreur et de rhétorique nous permet ainsi de concevoir la spécificité du traitement du mal chez Sartre, Bataille ou dans la littérature de témoignage, mais également de réinterroger sur nouveaux frais le statut du Nouveau Roman au prisme d’une historicité souvent déniée par la critique et de marquer l’oscillation de ce groupe de romanciers entre terreur et rhétorique. Cherchant l’hermétisme, l’exception, les nouveaux romanciers sont par ailleurs en quête d’une rhétorique fédératrice, capable de refonder une communauté brisée par la guerre. / Our work relates to the question of evil in French stories published between 1945 and 1962, therefore between two trials that have questioned the specificity of evil and guilt, namely the Nuremberg trial and the Eichmann trial. These stories, written after the war, were published by writers who either directly took part in the fight (like Simon or Camus), or simply had echos of it (like Butor or Bataille). The heart of our study is the essay of Jean Paulhan entitled Les Fleurs de Tarbes ou la terreur dans les lettres. This essay enabled us to analyse evil, not only in terms of History — by referring to the Nazi terror and its consequences — but also in literary and metaphorical terms, therefore considering the term ‘terror’ according to the definition of Paulhan and Sade. In both these stories and our work, terror is constantly offset by its opposite, rhetoric, which constitutes the basis for a generation of ‘anti-Modern’ writers who aim at esthetical modernity without denying the importance of the novelistic tradition of the 19th Century. The question of evil through the notions of terror and rhetoric leads us to specify the approach of evil in Sartre and Bataille’s novels, or in testimonies. These notions allow us to analyse the status of the Nouveau Roman from an historical perspective, often denied by critics, and to show the constant wavering of this group of writers between terror and rhetoric. The nouveaux romanciers are not only looking for exception, abstruseness, but they are also seeking a common rhetoric, capable of recreating a community otherwise broken by the war.

Le témoignage oral, depuis toujours, occupe, en tant qu'élément de preuve, une place au sein de la procédure pénale française. Pourtant, il n'a cessé de faire l'objet de critiques, ravivées par l'émergence de la preuve scientifique dans le procès pénal contemporain, car considéré comme faillible en raison de sa nature humaine. Cette affirmation repose, notamment, sur un postulat anachronique consistant à considérer le témoignage oral comme unitaire, au travers du seul prisme de sa source, l'homme, cantonné au seul témoin, tel que défini par les règles de procédure, alors qu'il présente en réalité un caractère dual. Or, c'est de cette méconnaissance, conduisant à une appréhension attentatoire à la valeur probatoire du témoignage oral, qu'émergent les objections à son encontre et qui soulèvent la question de sa nécessité dans le procès pénal, quand cette dernière ne devrait souffrir aucune hésitation, non seulement parce que le témoignage oral s'avère un élément de preuve utile à la recherche et à l'établissement de la vérité judiciaire mais également parce qu'il illustre et renforce les principes directeurs du procès pénal, tels qu'édictés par le législateur français et la Convention européenne des Droits de l'Homme. / Oral testimony has always been taken up as an element of evidence in the French criminal proceedings. However considered as unreliable because human, it hasn't ceased to be the subject of critics, lately revived with the emergence of scientific proof within contemporary penal trial. This statement is based on the anachronistic postulate that oral testimony, considered through the only view of the witness as defined by the procedural rules, is unity, whereas indeed it does present a dual character. The probationary value of oral testimony is suffering from this lack or recognition and its necessity within criminal procedure is also being questioned when there should be no hesitation whatsoever with regard to its use. In fact, oral testimony is not just a useful element of proof when trying to establish the truth, it does also illustrate and strengthen the governing principles of penal trial such as promulgated by the French legislator and the European convention of Human Rights.

The Wechsler Memory Scale –iii is the newest version of a six-decade old neuropsychological inventory. Since its conception, the Wechsler Memory Scale has been highly utilized by practitioners to accurately assess various memory functions in adult subjects. Revisions made within this inventory include the Faces I subtest, a facial recognition scale, which was added in order to strengthen the instrument’s accuracy at measuring episodic memory. Facial recognition, both cross-race and within-race, has been researched extensively and consistent biases have been found between race of test taker and cross-racial identification. Theories of exposure/contextual interaction (environment) and biological foundations have been the subject of study in the past in order to determine from where these racial identification deficits stem. The current study focuses on revealing bias in the Faces I subtest, regarding to an unequal distribution of racially representative faces in the testing materials. Eighty-eight college students were recruited to view forty-eight pictured faces from the Faces I subtest and determine the racial category to which the pictured face belonged. The subjects’ categorical responses were the basis for calculating a percent agreement score for racial category of each face. It was determined, using the results of subjects’ responses, that the Faces I subtest contained an unequal distribution of racially representative faces in both the Target and Interference testing material. This confirmed the presence of an inherent bias within the subscale. The implications of memory accuracy for the WMS-iii are discussed as it relates to different fields of study, but none more directly than the criminal justice system. Eyewitness testimony is a pivotal evidentiary tool in the criminal justice system, and ramifications of cross-racial identification deficits and biases in the tools to accurately assess memory are increasingly bringing this once heavily relied upon tool into question.

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

Cette thèse relate la conception d’une entreprise artiste créée par l’auteur, artiste entrepreneuse, dans l’intention de témoigner des mutations des villes et des choix effectués en matière de conservation ou de destruction. Urban Memory, entreprise de « rechargement en contenu mnémonique », a vu le jour en 2012 à Dresde, capitale saxonne, bombardée en 1945. Située à l’est de l’Allemagne, cette ville est en constant chantier depuis des décennies. C’est par l’intermédiaire d’une pratique artistique mêlant la peinture et la sérigraphie avec des moyens de communication mis en scène dans l’urbain qu’Urban Memory entend rendre compte des transformations du paysage architectural et accompagner les débats autour de l’identité et la mémoire de la ville. Dans une première partie, l’auteur retrace son parcours de découverte et de réflexion sur Dresde au travers de premiers travaux ; présente le contexte historique, politique et économique des mutations ; puis nous livre une analyse des entreprises artistes à partir de laquelle elle a conçu Urban Memory, son mode de fonctionnement et ses stratégies. Dans une seconde partie, l’auteur nous guide dans le centre historique de Dresde, le long de ses monuments et mémoriaux, afin de souligner tantôt l’éloquence, tantôt le silence dont sont capables de tels édifices et installations dans la ville ; puis se tourne vers la scène artistique contemporaine et ses moyens de création d’une mémoire « vivante ». Enfin, après avoir mis en lien ses propres outils artistiques et le contexte de sa recherche, l’auteur nous révèle les premières réalisations et les projets d’installation in situ de son entreprise. / This thesis examines the author’s conceptualization and establishment of an artist company with the objective of tracing urban transformations and of assessing decisions to conserve or destroy parts of the city. Urban Memory, a company that has as its goal the “recharging of mnemonic content,” was founded in Saxony’s capital city Dresden in 2012. Located in the east of Germany, this city, bombarded in 1945, has constantly been under construction in the past decades. Urban Memory takes account of the architectural landscape’s transformations and accompanies debates about the identity and memory of the city. It does so by means of a hybrid form of artistic practices—painting and serigraphy—and communication media placed in the urban context. The first section of this thesis explores the artist’s discovery and initial reflections on Dresden in the context of her first works; it explores the historical, political and economic context of the city’s transformations; and it analyzes artist companies based on which Urban Memory has been conceived as well as its basic functional framework and strategic outlook. The second part zooms in on the historical center of Dresden, its monuments and memorial sites, so as to expose both the eloquence and silence with which the built environment of the city treats its past. Moreover, this part turns to the milieu of contemporary artists and their means of creating a ‘living’ memory. Finally, after having discussed and related the artistic dimension of her project, the author presents the company’s first projects and in situ installations.

With the aim of designing tools, processes and means to support secondary school teachers in maintaining a sense of presence, closeness and immediacy when interacting with their pupils remotely in rapidly appropriated digital learning environments due to Covid-19, this thesis examined the meaning, importance and possibilities of creating a sense of presence, closeness and immediacy in remote digital teaching.The process was based on research for design, encompassing literature study, field research and methods of interaction design to reach conclusions on meaningful tools, processes and means of supporting secondary-school teachers in remote digital teaching.Main findings unveiled a sense of presence as a prerequisite for closeness and immediacy and real-time video lessons as the main approach to remote digital teaching, potentially creating an illusion of presence, closeness and immediacy due to pupils’ choice of black screens and muted microphones.Potentially meaningful approaches to achieving a sense of presence, closeness and immediacy identified in this thesis include the use of digital representations, representational correspondence and the concept of testimony in designing for a sense of presence, closeness and immediacy in remote digital environments.

In this essay, The Politics of Sound on the Stage of Art. The Political Potential of Sound in Lawrence Abu Hamdan’s Saydnaya (the Missing 19dB), the aesthetical tensions between sound, art and politics are explored. The aim of this study is to examine the conditions and configurations of the perceptibility of sound within artistic contexts, and the political implications positioned therein. The inquiry is based on the ways in which sound is produced, theorized and negotiated in the sound installation Saydnaya (the Missing 19dB) by the artist Lawrence Abu Hamdan. This is conducted by analyzing the political problem of the whisper, as it is framed within the artwork, in correlation to Jacques Rancière’s notion of the voice as a division of phone and logos, as well as Brandon LaBelle’s concept of sonic agency. The essay also compares Earwitness Testimony to Rancière’s discussion of the sensorium of art, in order to examine the aesthetical conditions of the experience of art. I argue that sound entails different modes of perceptibility, due to its material conditions, and that it renegotiates visual representation within the conditions of the artistic scene. / Denna uppsats, Sonisk politik på konstens scen. Ljudets politiska potential i Lawrence Abu Hamdans ljudinstallation Saydnaya (the Missing 19dB), behandlar brytpunkterna mellan ljud, konst, och politik. Med utgångspunkt i gestaltningarna och tematiseringarna av ljud i Lawrence Abu Hamdans ljudinstallation Saydnaya (the Missing 19dB) syftar uppsatsen till att undersöka ljudets estetiska möjligheter och politiska implikationer. Detta görs genom en analys av den politiska potentialen i viskningen, såsom den gestaltas i verket, utifrån Rancières idé om rösten som uppdelad i läte och språk, samt Brandon LaBelles begrepp sonisk agens. Därtill undersöks öronvittnesmålets roll i relationen mellan konst och politik, utifrån Rancières idé om sensorium under konstens estetiska regim. Uppsatsen visar på hur ljudets materiella förutsättningar omförhandlar och problematiserar visuell representation, samt hur det inrättar en egen akustisk sfär genom vilken politik kan uppstå.