La recherche proposée concerne « la dimension constitutionnelle de l’urgence en France et en Italie». Elle sera divisée en deux parties. La première concernera l’autonomie sémantique et la dimension théorico-juridique de la notion d’urgence. L’appréhension de la notion d’urgence, en effet, soulève la question de sa définition juridique, permettant de la distinguer d’autres notions juridiques proches, comme celles de la nécessité, de la rapidité ou du péril en la demeure. Définir l’urgence d’une façon rigoureuse est-elle une entreprise vouée à l’échec ? La deuxième concernera l’urgence dans les systèmes constitutionnels français et italien. On examinera les 47, al. 4, et 61, al. 3, de la Constitution française et les articles 13, 21, 72, 73 et 77 de celle italienne. Il nous a apparu intéressant, en outre, d’analyser la loi sur l’état d’urgence dans les deux ordres juridiques, pour se demander, finalement, s’il est possible d’envisager une "urgence démocratique". / The research concerns «the constitutional dimension of the emergency in France and Italy». The PhD Thesis will be divided into two parts.The first part is aimed at the theoretical definition of the emergency. We have paid priority attention to highlighting the difference between the emergency and the others “similar” legal notions (necessity, periculum in mora, celerity, etc. Is it possible defining the emergency in a rigorous way?In the second part we have examined the articles 47, al. 4, and 61, al. 3, of the French Constitution and the articles 13, 21, 72, 73 and 77 of the Italian Constitution. We have also analyzed the state of emergency law in France and in Italy. It is possible to envisage a «democratic emergency»

This project engages theories of settler colonialism, biopower, and the state of exception to analyze the operations of rights-based narratives of citizenship in relation to political dissent in Canada. I argue that a normalized state of exception founds the white supremacist, settler colonial state, bringing Canadian citizenship into being as a (white) racialized, (cis)gendered, and (hetero)sexualized construct. By examining “resistance narratives” about the Toronto G20 that emerged in the post-G20 climate, my work argues that, in treating the policing practices employed during the G20 as exceptional and in (re)producing the exaltation of white heterosexual cis-masculine citizens, these narratives normalize and reinforce the daily operations of the exception, which targets Indigenous, racialized, and other “Others” in Canada. Finally, my work critically engages with the space of the Eastern Detention Centre (EDC) as a temporary camp set up to detain G20 arrestees, and with the narrative of “Torontonamo” that emerged to describe and explain the EDC. Reading the EDC in the context of other spatial organizations of the exception in Canada, I argue that the “Torontonamo” narrative reasserts race thinking in relation to the normalized operations of the exception. In so doing, it (re)produces white citizen-subjects as the proper recipients of national and international human rights, while abandoning racialized populations to the space of the camp. Ultimately, my work writes against the hegemonic view of the Toronto G20 as an exceptional event in Canadian history. I contend that G20 policing practices were only a hyper-visible example of the normalized operations of the exception within settler colonialism. / Thesis (Master, Gender Studies) -- Queen's University, 2012-09-29 21:16:51.694

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

Les droits français et allemand ont, par des dispositions constitutionnelles ou des lois d’exception, contribué à l’avènement des régimes autoritaires des années 30 et 40. Et l’on sait qu’à la suite de la seconde guerre mondiale, les attaques se sont multipliées contre la doctrine positiviste, accusée d’avoir favorisé une attitude de passivité à l’égard de l’instrumentalisation du droit par les forces antidémocratiques. C’est pourquoi,à l’encontre de la neutralité des théories juridiques et politiques de l’avant-guerre, il est assez généralement admis depuis que les valeurs de la démocratie méritent d’être défendues, en particulier en distinguant l’état d’exception (légal ou non) démocratique et de l’état d’exception antidémocratique. Or, loin de naître après la seconde guerre mondiale, l’idée d’après laquelle le formalisme juridique rendrait les constitutions démocratiques impuissantes à se préserver de leurs ennemis émerge dès l’entre-deux guerres chez le sulfureux juriste allemand Carl Schmitt. C’est la genèse du déplacement qui conduit à faire de l’état d’exception une question proprement démocratique et substitue à la question du respect de la légalité celle de la préservation de la démocratiequi fait l’objet de notre travail de doctorat. Nous examinons d’abord comment les conflits qui scindent la réflexion juridique portant sur les pouvoirs de crise répondent en France à la crise du parlementarisme en prenant appui sur les travaux de Hauriou, Duguit et Carré de Malberg ; nous montrons ensuite qu’elle correspond en Allemagne à de véritables alternatives opposants des conceptions antinomiques de la démocratie en prenant appui sur les travaux de Schmitt, que nous éclairons par l’étude des auteurs auxquels le juriste fait référence – en particulier Kelsen. / French and German law contributed, through constitutional provisions or laws of exception, to the rise of the authoritarian regimes of the 1930 and 1940s.Following the Second World War, positivist doctrine increasingly came under attack for having induced passivity when law was used to serve antidemocratic purposes.Accordingly, the interwar vision of legal and political theories as neutral gave way to the view that the values of democracy must be defended, particularly by distinguishing between the democratic state of exception (legal or not) and the antidemocratic state of exception.But interestingly, the idea that legal formalism rendered democratic constitutions powerless to protect themselves from enemies was first formulated not after the Second World War, but during the interwar period,by controversial German jurist Carl Schmitt. The genesis of a shift that turned the state of exception into a democratic issue, substituting respect for legality with conservation of democracy, is the object of this work. Drawing on Hauriou, Duguit and Carré de Malberg, we first examine how conflicts over the emergency powers that opposed legal theorists emerged as a solution to the crisis of parliamentary government in France. We then show how in Germany the theory constituted a real alternative to conflicting conceptions of democracy. The works of Schmitt are examined in the light of other authors, particularly Kelsen, to whom he referred.

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

A análise comparativa entre o romance de Franz Kafka, O processo, e o filme homônimo de Orson Welles pretende compreender de que maneira a obra cinematográfica transcria o universo kafkiano, levando à tela cinematográfica o tempo, o espaço e o protagonista, a partir do hipotexto literário. As estratégias narrativas empregadas na produção da película problematizam a posição do narrador, onisciente no romance, mas que, no filme, salvo as evidentes diferenças narratológicas inerentes aos códigos, é produzido através de um “jogo de vozes”, partindo da parábola “Diante da Lei”, utilizada no incipit fílmico. O tempo e o espaço são configurados mantendo os traços “expressionistas” de Kafka, produzindo zonas de indeterminação temporais e topológicas que corroboram a inação do protagonista. O conceito de “estado de exceção”, esboçado por Giorgio Agamben, permite pensar que a origem do processo movido contra Josef K., de desconhecidas motivações, reside num poder de domínio e controle que antecede a própria lei. A aproximação do protagonista de Kafka e de Welles à figura do homo sacer é possível tanto pelo estatuto da ação que ele exerce em função da necessidade de defesa (o que caracteriza a sua inação, uma vez que não há “progressão”, a despeito das suas tentativas de produzir uma primeira petição de defesa), quanto das “deformidades” que o caracterizam, incorporando-o ao bando das personagens “monstruosamente” híbridas de Kafka. Porém, a “deformidade” que marca K. e o exclui da comunidade regida pelo ordenamento legal não está aparente, mas age biologicamente, estabelecendo um secreto mecanismo de controle cujo poder de decisão age sobre a orgânica morte, a extirpação de uma vida simplesmente “matável e insacrificável”. / The comparative analysis between the novel of Franz Kafka, The Trial, and the homonym movie of Orson Welles intends to understand how the cinematographic workmanship used to transcribe the kafkian universe, taking to the cinematographic screen the time, the space and the protagonist from literary hipotext. The narrative strategies used in the production of the film problematize the position of the narrator, omniscient in the romance, but that, in the film (except for the evident narratological differences inherent to the codes), it is produced through a “game of voices”, coming from the parabola “Before the Law”, used in the filmic incipit. The time and the space are configured keeping “the expressionists” traces of Kafka, producing secular and topological zones of indetermination that corroborate the inaction of the protagonist. The concept of “exception state”, sketched for Giorgio Agamben, allows us to think that the origin of the process moved against Josef K, of unknown motivations, inhabits in a power of domain and control that precedes the proper law. The approach of the protagonist of Kafka and Welles to the figure of homo sacer is possible as much for the statute of the action that it exerts in function of the defense necessity (which characterizes its inaction, a time that does not have “progression”, in the spite of its attempts to produce a first petition of defense), how much of the “deformities” that characterize it, incorporating it to the flock of the “monstrously” hybrid personages “of Kafka. However, the “deformity” that marks K. and excludes it from the community conducted for the legal order is not apparent, but it acts biologically, establishing a private mechanism of control which power of decision falls again on the organic death, the extirpation of a simply “killable and unsacrifiable” life.

This doctoral thesis examines the issue of crisis governance of the European Union in the context of migration developments after 2015. The author investigates how relevant EU institutions (European Commission, Council of the EU, and European Council) construct exceptionality within the common asylum and migration policy and what might be its impacts on the functionality of this policy. Theoretically, the research is based on the concept of "state of exception" originally introduced in the works of Carl Schmitt and Giorgio Agamben. The main objective of the thesis is to analyze and interpret the extraordinary migration measures from 2015 to 2018, which were proposed and implemented by the EU political actors to address the migration situation. The institutional level is further broadened and contextualized by including three EU Member State governments - Hungary, Austria, and Germany - and their involvement in the interactive shaping of emergency policies. The author studies how the exception is constructed in the EU official discourse, the relationship between exception and normality, and the exercise of power to create a state of exception at supranational/intergovernmental level of the EU as an international organization. The thesis approaches the topic using critical discourse analysis. It...

[pt] O presente estudo tem como objetivo realizar uma análise simultaneamente histórica e conceitual sobre as percepções de Walter Benjamin sobre o direito e a política situando-as no contexto histórico da República de Weimar (1918/9-1933). Através dessa análise articulada, trata-se de expor os traços principais do debate proposto por Benjamin, analisando seus escritos que enfrentam a discussão sobre o direito e a política, seus embates em torno da noção de estado de exceção, e sua relação com a filosofia da história do autor. Será importante também desdobrar tais reflexões, indicando os questionamentos colocados, as inflexões sofridas em relação ao seu pensamento anterior e a incorporação de novas questões. Benjamin será, portanto, analisado tendo como referência o seu próprio tempo, indicando-se também suas especificidades como autor e as respostas dadas a esse tempo que o particularizam. A hipótese central do presente trabalho é que para uma melhor compreensão dos escritos políticojurídicos de Benjamin é fundamental a análise conjunta do contexto de onde emergiram, reconhecendo que os problemas levantados pelo autor vão além dele, e que a partir daquele contexto determinado levantou questões que dizem respeito à tendências da própria modernidade, e que ainda são, portanto, questões do nosso tempo. / [en] This study aims to conduct both a historical and a conceptual analysis of Walter Benjamin s perceptions on law and politics, locating them in the historical context of the Weimar Republic (1918/9 - 1933 ). Through this articulated analysis, the purpose is to expose the main features of Benjamin s debates, analyzing his writings that face the discussions on law and politics, the struggles around the concept of state of exception, and its relation with author s philosophy of history.It will also be important to unfold such reflections, indicating the questions posed, the inflections incurred in relation to his previous thought and the incorporation of new issues. Benjamin will therefore be analyzed with reference to his own time, indicating as well his specificities as author and the answers given to this time that particularizes him.The central hypothesis of this study is that for a better understanding of Benjamin s political and legal writings is fundamental to analyse them together with the context from which they emerged, recognizing that the problems raised by the author go beyond him and, from that particular context, he lifted questions concerning particular tendencies of modernity which still are issues of our time.

Torture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of early modern torture and makes it central to an account of the anti-torture politics of the English stage. More people were tortured in the 1580s and 1590s than at any other time in England's history, and this sudden increase generated a backlash in the form of calls for the protection of liberties. Chapters on plays by Thomas Kyd, Christopher Marlowe, and William Shakespeare show how theater contributed to this backlash by means of its unique ability to present on the public stage the otherwise private suffering characteristic of state torture. Above all, these playwrights alerted audiences to the dangers posed by the concentration of absolute power in the hands of the monarch. The introduction and first chapter of Torture and the Drama of Emergency demonstrate that although torture was unknown to common law, it was executed in the context of a state of emergency. The second chapter presents Kyd's The Spanish Tragedy as resistance literature: rather than critiquing Spanish cruelty, as its setting implies, the play indicts English torture. Kyd uses the genre of revenge tragedy, enormously popular after and because of his play, to argue that torture is a form of revenge the state itself might carry out. Chapter three, on 1 and 2 Tamburlaine, argues that Tamburlaine transforms the world into a military camp by extending martial law to everyone, everywhere. Marlowe's portrayal of the creation and rise of this totalitarian regime depicts the nightmarish consequences for the people when the state's power to extend martial law remains unchecked. The final chapter, on King Lear, argues that in his most pessimistic play Shakespeare suggests there is no escape from the state's ability to seize absolute power in times of crisis. Lear's moving but tenuous declaration of human rights remains a dream that cannot survive the state of emergency created when he divides the kingdom. / text

This Master's thesis reflects the theory of American political philosopher S. Wolin. The work introduces the reader to interpretations of S. Wolin's term inverted totalitarianism and confronts it with the common and mainstream approaches to totalitarianism. It is concerned about S. Wolin's reflection on contemporary western liberal democracy as managed democracy. The text pays attention to work of G. Agamben who takes a similar critique on the form of Euro-Atlantic democracy; for instance the thesis deals with his view of state of exception in which the author sees connections on inverted totalitarianism. Powered by TCPDF (www.tcpdf.org)