La société civile globale Une « chimère insaisissable » à l'épreuve de la reconnaissance juridique

La prolifération des acteurs non étatiques, favorisée par la mondialisation, est un phénomène marquant de notre histoire contemporaine. Rassemblés sous le vocable de « société civile », ils ont contribué à créer un foisonnement de normes sur le plan international allant, pour certains commentateurs, jusqu’à concurrencer l’État sur sa capacité de dire le droit. Parmi ces acteurs privés, les organisations non gouvernementales (ONG) et les entreprises multinationales jouent un rôle prépondérant. Notre imaginaire collectif oppose cependant trop souvent l’ONG, symbole du désintéressement, à la multinationale assoiffée de profit. Le présent mémoire vise à relativiser ce constat manichéen et simplificateur. En analysant, dans une perspective de droit international, les moyens d’action des ONG et des multinationales, on se rend compte que les passerelles entre les deux « mondes » sont en réalité nombreuses. ONG et multinationales se retrouvent d’ailleurs dans leur aspiration commune à être reconnues formellement sur la scène internationale. L’opportunité d’une reconnaissance juridique de la société civile sera discutée.

Mythes et monstres dans Folle et À ciel ouvert de Nelly Arcan

L’œuvre de Nelly Arcan s’inscrit dans un pan de la littérature contemporaine accueillant les monstres comme figures de la transgression qui, par leur é-normité, interrogent la norme dont ils s’écartent. Ces êtres à la fois fascinants et inquiétants hantent la littérature depuis les récits fondateurs de la mythologie antique. Arcan, à l’instar de plusieurs femmes auteurs, recourt au procédé de la réécriture de plusieurs grands mythes grecs dans Folle (2004) et À ciel ouvert (2007). Dans les deux récits, elle met en scène des personnages en fuite qui, face à leur destin néfaste, se métamorphosent en femmes-monstres et en hommes-monstres. Les personnages masculins empruntent des traits à Jason, Narcisse et Pygmalion, mais sont, par leur déviance sexuelle et leur propension à la domination, beaucoup plus monstrueux que leurs modèles antiques. Contaminées par la monstruosité des hommes qu’elles aiment jusqu’à l’annihilation de soi, les protagonistes des deux récits affichent certains traits de Médée, de Méduse et des Amazones, tirant parti de la puissance de ces figures nocives pour donner une leçon aux personnages masculins. Elles acquièrent ainsi de nouveau leur statut de sujet. Dans ce mémoire, il s’agira, par le biais de la mythocritique, des théories de la réécriture et de l’effet-personnage, d’étudier les causes, le processus et les effets du « devenir-monstre » des personnages féminins et d’examiner la reconfiguration de mythes antiques par Arcan. En s’intéressant à la greffe des mythes antiques sur les personnages arcaniens, au déplacement et au renversement des mythèmes caractéristiques des figures prédécesseures, cette recherche espère montrer comment Nelly Arcan dissèque les relations de couple qui mènent au « devenir-monstre » des partenaires. Il ressortira de cette analyse une vision apocalyptique du vivre ensemble, entre hommes et femmes, qui rejoue l’ancienne « guerre des sexes » que l’on croyait terminée.

Meta-morphs: – being a mediator of the ‘thin’ place and ‘thin’ experience in the HE classroom. A paper on the experience of creating transformations in HE teaching and learning

The research which underpins this paper began as a doctoral project exploring archaic beliefs concerning Otherworlds and Thin Places in two particular landscapes - the West Coast of Wales and the West Coast of Ireland. A Thin Place is an ancient Celtic Christian term used to describe a marginal, liminal realm, beyond everyday human experience and perception, where mortals could pass into the Otherworld more readily, or make contact with those in the Otherworld more willingly. To encounter a Thin Place in ancient folklore was significant because it engendered a state of alertness, an awakening to what the theologian John O’ Donohue (2004: 49) called “the primal affection.” These complex notions and terms will be further explored in this paper in relation to Education. Thin Teaching is a pedagogical approach which offers students the space to ruminate on the possibility that their existence can be more and can mean more than the categories they believed they belonged to or felt they should inhabit. Central to the argument then, is that certain places and their inhabitants can become revitalised by sensitively considered teaching methodologies. This raises interesting questions about the role spirituality plays in teaching practice as a tool for healing in the twenty first century.

Faking it for real

Jean Baudrillard suggests that the supremacy of the simulacra is a modern development, reality a construction of the U.S. His argument, given the U.S. penchant for breaking and remaking the world in its own image (it is, in the language of Baudrillard, both iconoclast and iconolater), is strong. However, writers, artists, and philosophers have been pondering the reign of illusion for millennia. Plato described the world as a place of simulations that left us wanting. For Shakespeare, the world was a stage of fools; the play was that of an idiot. Goya presented the world as a dream of reason that gave birth to the monsters he painted. Borges (like Shakespeare and also perhaps Goya and Plato) was obsessed with what he refers to in "Tlön, Uqbar, Orbis Tertius" as the "atrocious or banal" idea that reality, as we know it (which is, of course, the only perspective of it that we can have), is fake. The three books under review here, Ian Miller's Faking It, Penny Cousineau-Levine's Faking Death: Canadian Art Photography and the Canadian Imagination, and Paul Matthew St Pierre's A Portrait of the Artist as Australian: L'Oeuvre bizarre de Barry Humphries, can be considered additions to the oeuvre fascinated and troubled by what Borges calls the "phantasmagorias" of our world

Constructing the monster : notions of the monstrous in classical antiquity

Focussing on humaniod monsters, this thesis uses insights from Foucault's theory about the "archaeology" of discourses and Derrida's practice of deconstruction to examine how monstrosity was spoken of in antiquity, and how the various "sciences" dealt with anomalous monsters without jeopardising their epistemological credibility. Discussion begins with a survey of the semantic field of teras and monstrum. Since portentousness was central to both terms, the signification of monstrous portents in divinatory practice is next aalysed in the historiography of Herodotus, Livy, and others. Cicero's De divinatione reveals the theory and the problem for that science posed by accidental monstrosities. Chance and novelty are also issues in mythical and scientific cosmogonies < of Hesiod, and Orphism, Empedo-cles, and Lucretius> , where monsters arise and are dealt with while cosmic regularities, reproductive and ethical, are being established. Teleology and the stability of species'forms emerge as important concerns. These issues are further considered in Aristotle's bioogy and in medical writings from Hippocrates to Galen. There, theories are produced about monstrous embryology which attempt to answer the question of how deformities occur if species' forms are perpetuated through repro-duction. Biological and taxonomic--as well as ethical--boundaries are violated also by mythic human-beast hybrids. Narratives about such anomalies clarify the nature of monstrous deviance and enact solutions to the problem. Their strategies have much in common with other modes of discourse. Ethnography is posed similar questions about monstrous races' physical and ethical deviations from the civilised norm; it speaks of those issues in terms of invariance of form through generations, geographical remoteness and the codes which situate those races ethically. Finally, Augustine’s discourse on monstrous individuals and races is examined as Christianity’s belief in God’s governance reformulates the ancient’s discussions of chane or novelty and the invariance of species. In all these discourses founded on determinate meaning, the persistant paradox of monstrosity need offer no challenge to rationality provided its indefinable diversity is unacknowledged and the notion is constructed in such a way as to reaffirm the certainties.

The animation of psychology

This thesis investigates 'Frankenstein', in the light of Cultural Poetic practices and modern psychological theories, illustrating the pivotal role it played in the transition of developmental psychology from philosophy to science. Drawing on Locke, Rousseau and Godwin, Shelley presents the monster as an exaggerated case study of the danger of ineffective nurturing.

Phoenissae de Sêneca: estudo introdutório, tradução e notas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Poder punitivo midiático: reflexos da governamentalidade neoliberal na sociedade espetacularizada da indústria penal

O modelo de governamentalidade neoliberal, unido aos pressupostos advindos do conceito de indústria cultural e sociedade do espetáculo, parece ter transformado ideologicamente a mídia em uma agência do sistema penal. As agências de comunicação social, por sua vez, entrelaçadas à lógica de mercado, passam a fomentar um discurso repressivo de violência criminal, promovendo a metamorfose da informação em notícia-mercadoria e disseminando a cultura de agigantamento do sistema penal. Diante disso, a notícia sobre o crime também ganha o status de mercadoria a ser vendida pela indústria do entretenimento. Para que sua vendagem alcance níveis satisfatórios, faz-se mister explorá-la de maneira imagética eespetacularizada. A mídia, como o conjunto de meios de comunicação produzidos em massa epara a massa, deixa de ter a simples função comunicativa, passando a manipular os aparatosde punição e a exercer o próprio poder punitivo que, por essência, é estatal. Nesse contexto, a televisão se destaca como o instrumento de comunicação mais presente nos lares brasileiros. Essa presença fomenta a perspectiva de criminalização da própria pobreza e difunde a prática de uma violência ilegítima. Diante desse quadro, as agências midiáticas exercem o poder repressivo através da eleição de inimigos a serem combatidos. Tais inimigos caminham os passos da demonização do criminoso e são tratados como monstros centauros em uma díade paradoxal: indignos do convívio humano e necessários ao seu divertimento. O caso “cinegrafista da TV Bandeirantes” evidencia alguns aspectos dessa realidade. A análise doproblema apresentado foi efetivada, sobretudo, com fundamento nos aportes teóricos de Michael Foucault, Adorno e Horkheimer, Guy Debord e Zaffaroni.

Naufrágios e outros infortúnios na História Trágico-Marítima da carreira da Índia (Séculos XVI e XVII)

Pós-graduação em História - FCHS

"Anteroposterior Patterning: How the Hox Genes Help Us Tell Our Heads from Our ***es"

The fundamental problem of developmental biology is how a single cell- a fertilized egg- is able to produce an entire organism in all its complexity. One essential aspect of this process is spatial patterning-in essence, instructing cells as to their location in developing body so that they can exhibit characteristics appropriate to their functions. he Hox genes, first discovered in mutant fruit fly "hopeful monsters" with extra pairs of wings or legs growing out of their heads, confer spatial information along the anteroposterior axis in animals from worms to humans. Prof Marin's research focuses on the roles of specific Hox genes in sculpting the developing entral nervous system of the fruit fly and how the same gene can direct a neuron to die, survive, or send its axon in search of different connections, depending on cellular context.

La humanització del monstre: Albert Sánchez Piñol vs. H. P. Lovecraft

Aquest article pretén bastir una comparativa entre la figura teratològica mostrada a l’obra A les muntanyes de la follia de Howard Phillips Lovecraft i La pell freda d’Albert Sánchez Piñol. Una comparativa que té per finalitat mostrar com Howard Phillips Lovecraft inicia una evolució en el gènere de por (basada en la introducció de la versemblança en les narracions d’aquest gènere a través d’un racionalisme que connecta amb exactitud tots els elements de la narració, tot introduint una realitat que contrasta amb allò sobrenatural i crea la por als ulls del lector) que és assumida per Sánchez Piñol en alguns aspectes i transgredida en altres. Així, aquest darrer autor traspassa la frontera infranquejable entre humans i monstres que planteja Lovecraft en humanitzar el monstre, tot atribuint-li qualitats físiques i psicològiques humanes. Una acció que ocasiona un sentiment d’empatia dels personatges humans envers els monstres que derivarà, en última instància, en un intent d’aproximació d’aquests al monstre. O, dit d’una altra manera, en una aproximació de l’ésser humà a l’obscuritat, espai que, lluny de ser perniciós per aquest, l’ajudarà a assolir un coneixement aprofundit de si mateix. Una característica del text de Sánchez Piñol que atorga a La pell freda (i a la major part de l’obra de l’autor) un important valor antropològic i sociològic que pot salvaguardar la narrativa de por de la tendència a desaparèixer que experimenta en una societat cada cop més marcada per l’escepticisme.

Monstros : a ciência do mito e a sua utilidade nos videojogos

Since the classic era that monsters have been both the subject of worship and fear. Greeks used to valorize them making up new races which lived in faraway lands, in the East. There were traveler’s reports made up, from a moralist and religious point of view, always with veracity in mind, where anatomical weird beings were described. Saint Augustin tried to prove their existence, classifying them as wonders and focusing on stopping the idea of the corruption of the human soul by denying their relation between monstrous births and divine punishment. Monsters present then two distinct aspects when it comes to their origins: one that pushes back to monstrous births, seen as omens, and other that points to the existence of fantastic races in faraway places. However when it comes to structure these fantastic beings display finite compositions, not looking too different from each other. With the passage of time, besides their fearful role, monsters were being observed as scientific curiosities and at last, as recreation subjects, first in freak shows, now in several industries, being the most well know the cinematographic industry and the videogames one. Two creatures from the world known videogame World of Warcraft from Blizzard Entertainment were selected to be analyzed from a scientific point of view, were based on their features, there will be a comparative analysis with diverse anomalies and diseases (prognathism, acromegaly, cyclopia) existent , as well as comparative anatomy with other animals

El espejo de Pandora : Identidad y monstruosidad en Penny Dreadful

La serie Penny Dreadful (2014-presente) recupera personajes y tramas de novelas de terror y/o fantásticas ampliamente conocidas. La propuesta narrativa de esta serie creada por John Logan sitúa dichos elementos en la convulsionada Londres decimonónica y los fusiona, configurando así un discurso propio acerca de la "monstruosidad" de los personajes que presenta. En esta refundición, la serie ejercita una serie de reflexiones sobre la condición humana y la del monstruo. Como se plantea en la segunda temporada, al retomar el mito de Pandora y reformularlo, la distinción entre el hombre y el monstruo parece quedar en suspenso, dando lugar a una concepción de la monstruosidad diferente a la que encontramos en otras producciones televisivas contemporáneas. En este artículo analizamos las representaciones de la monstruosidad y las identidades en Penny Dreadful para ello prestaremos especial atención a los personajes y sus interacciones a lo largo de la primera y segunda temporada de la serie, así como a la relación entre la serie y sus fuentes literarias

El espejo de Pandora : Identidad y monstruosidad en Penny Dreadful

La serie Penny Dreadful (2014-presente) recupera personajes y tramas de novelas de terror y/o fantásticas ampliamente conocidas. La propuesta narrativa de esta serie creada por John Logan sitúa dichos elementos en la convulsionada Londres decimonónica y los fusiona, configurando así un discurso propio acerca de la "monstruosidad" de los personajes que presenta. En esta refundición, la serie ejercita una serie de reflexiones sobre la condición humana y la del monstruo. Como se plantea en la segunda temporada, al retomar el mito de Pandora y reformularlo, la distinción entre el hombre y el monstruo parece quedar en suspenso, dando lugar a una concepción de la monstruosidad diferente a la que encontramos en otras producciones televisivas contemporáneas. En este artículo analizamos las representaciones de la monstruosidad y las identidades en Penny Dreadful para ello prestaremos especial atención a los personajes y sus interacciones a lo largo de la primera y segunda temporada de la serie, así como a la relación entre la serie y sus fuentes literarias