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With the collapse of the Soviet bloc, Cuba experienced an unprecedented crisis. This period, officially designated by the euphemism «Special Period», was experienced as a cataclysm by the population. The writers of the island took literary ownership of this apocalypse while the official organs refused to evoke it. The works of the 1990s become the few testimonies of this daily nothingness. By challenging the revolutionary identity, they contribute to forge the collective memory of the radical changes that reshaped the Cuban society.

Dorfman’s La muerte y la doncella illustrates a Chilean socio-political problem, that of a country in the process of rebuilding after the dictatorship, but whose testimonies are missing or prevented. Dorfman highlights the need to remember through the portrayal of three characters who disagree about the need for testimony, whether to share it or not. He underlines the ghostly state of the victim, and hence of the country, by justifying his malaise by the impossibility of communicating and testifying about his traumas. He thus questions the indefectible link between memory and identity, between speaking out and self-existence.

The aim of this paper is to analyse the concept of testimony and to promote reflections that support the understanding of this linguistic act through the lens of the concept of Zeitzeuge/Zeitzeugenschaft. Our analyses aim to observe how the value of the witness is constructed in the paratext of Ruth Klüger’s work weiter leben, from the German original and its paperback version (1992; 1997) to the later versions in French (1997), English (2001) and Portuguese (2005). In addition to drawing on the work of various scholars on the notion of testimony, this paper is based on the principles of dialogic discourse theory in conjunction with the category of paratext proposed by Genette (2009). Among other things, this study shows how discourse in the testimony is directly influenced by the valorisation of the role of the witness, which in the case analysed leads to different ways of reading the “same work”.

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هذا البحث يبين أهمية معرفة عقوبة شاهد الزور فى الفقه الإسلامى، مع المقارنة بقانون العقوبات المصرى، وهى عقوبة تعزيرية فى الفقه الإسلامى متروكة لتقدير الحاكم بما يحقق المصلحة وزجر شاهد الزور والتشهير به بين الناس حتى يحذر الناس منه، أما قانون العقوبات فجاءت المواد على النحو الآتى: (294 ـ 295 ـ 298 ـ 299 ـ 300 ـ 201)، وقد ذكرتُ نصوص المواد كما جاءت مع بعض التعليقات والشروح للسادة المستشارين المعروفين بشرح قانون العقوبات المصرى، وتمت المقارنة بين الفقه الإسلامى والقانون مع بيان أهم النتائج وبعض التوصيات.Abstract This research shows the importance of knowing the punishment of a perjury witness in Islamic jurisprudence, with comparison with the Egyptian Penal Code, which is a disciplinary punishment in Islamic jurisprudence left to the discretion of the ruler in what achieves the interest and reprimanding the perjury witness and defaming him among people so that people warn against him. As for the Penal Code, the articles came as follows: (294 - 295 - 298 - 299 - 300 - 201), and the texts of the articles were mentioned as they came and some comments and explanations from the consultants who are known to explain the Egyptian Penal Code and a comparison was made between Islamic jurisprudence and the law with a statement of the most important results and some recommendations.

Among the many ways in which Herta Müller engages in reconstructing historical memory in her prose is her extensive use of poetic devices. This article will focus on illustrating the role of words-images and the collage technique, in short, on the functioning of the visual medium, with its varied signifying potential, in conjunction with words, according to a logic in which the montage encapsulates a fragmentary, exploded, alienated identity. This study will therefore shed light on some central aspects of Herta Müller’s prose concerning the problematic layering of the characters’ consciousness. These are victims of the most lacerating historical traumas that marked the 20th century and they often appear within the frames of an autobiographical narrative that does not separate ethics from imagination, or the representation of the wounds of history from poeticism and fiction.

In this article, I propose an analysis of the witness’s image, based on the case of a graphic novel (Los Once) dealing with the Palace of Justice’s taking in Bogotá in 1985. The discussion that I present here aims to broaden the limits of the idea of testimony for social sciences, while highlighting certain porosities of a notion that crosses various fields, and which appears in the clash between testimonial genre and graphic fiction.

(Series Information) European Papers - A Journal on Law and Integration, 2023 8(1), 55-66 | European Forum Insight of 5 May 2023 | (Table of Contents) The Insight focuses on case C-348/21 HYA and Others, in which the Court of Justice deals with the admissibility at the trial of the statements of an absent witness questioned at the investigative stage. On the basis of art. 8 Directive 2016/343, the EU judges first derived the right to examine witnesses from the right to be present at the trial; then, drawing inspiration from the Strasbourg case-law, the Court of Justice ruled that such statements may be used as evidence, albeit with certain limitations. The stance taken by the Court fully demonstrates the expansive strength of the “Stockholm Directives” but also reveals an uncritical compliance with the positions held by the European Court of Human Rights. | (Abstract) I. Introduction. - II. The Facts and the Preliminary Question. - III. The Ruling of the Court. - IV. Burden of Proof, Presumption of Innocence and Compliance with Evidentiary Rules. - V. From the Right to Be Present to the Right to Confront Witnesses. - VI. Rights of the Defense and the Principle of Proportionality. - VII. Conclusions.

Christopher Nolan Oppenheimer theatrical release was 21 July 2023. It has received stellar reviews. As of October 2023 the movie has not yet been released in Japan, but the Japanese critics have been quick to point out that the movie does not deal with the death and destruction in Hiroshima and Nagasaki. The over 200,000 dead and the survivors are largely absent from the movie. Finally, while the movie is not a celebration of the man dubbed the “father of the atomic” it nevertheless paints him as sympathetic character. This treatment is objectionable. Nolan’s movie is not about the decision to drop two nuclear weapons on Japan. It is not a documentary. Yet Oppenheimer the scientist can never be separated from atomic weapons and the slaughter of civilians. That he was tortured by the result of his work is true, but he was aware at what he was doing. An underlying theme of this essay is the dangers of hubris. This essay attempts to demonstrate how both the memory of Hiroshima and Oppenheimer are linked as both being contested icons. Nolan made this movie in a hyperpolarized America. The didactic functions would have to resonate with his audience. Oppenheimer, a brilliant erudite leftwing Jewish intellectual from New York, was humiliated and hounded out of public life in an era hysterical anti-communist rightwing politics. The specter of rightwing populism hangs over the movie and is thread throughout this essay.

A great admirer of the writings of Flaubert and Julien Gracq (Laplace-Treyture, 2014), the works of geographer Armand Frémont are characterised as much by their innovative nature as by the remarkable quality of their writing. First a university lecturer, then a senior civil servant in the Ministry of Education, his life and writings were strongly influenced by his eight-month stay in Algeria during the Algerian war. From this field experience, he published numerous texts, some of which were published before the end of the conflict. They are all the more valuable in that there are very few accounts by academics who were directly involved in the conflict as conscripts. The aim of our study is therefore to contribute to the rediscovery of all the “Algerian” writings that Armand Frémont drew from this highly unusual period in his life, and which are not limited to Algérie - El Djazaïr. Les carnets de guerre et de terrain d'un géographe published in 1982.

For Simone de Beauvoir, the question of female formation is inseparable from a reflection on the literary forms that convey it. In the most properly novelistic component of her work, the construction of the identity of various female characters remains an unfinished process: from L'Invitée (1943) to La Femme rompue (1967), via Les Mandarins (1954), the demand for freedom from family and social constraints is often disrupted by a parallel tension towards bad faith. Female apprenticeship, on the other hand, becomes fundamental to understanding the formal and thematic organisation of the autobiographical project, and in particular of Mémoires d’une jeune fille rangée (1958). Through the narrative of her childhood and adolescence, Beauvoir adopts an explicitly oriented strategy here, aimed at illustrating the formative journey that enabled her to become one of the most important writers of her generation. This has decisive consequences for the form of the text itself, insofar as, in addition to respecting the pact of truth, there is a desire to bear witness and a performative aim.

The article looks at the phenomenon of the rediscovery of Irène Némirovsky through the eyes of a particular reader: a journalist-researcher responsible for presenting, in the pages of the Italian daily with which she collaborated, all of Irène's novels published after Suite française, which triggered the series of publishing revivals. In the first part, the article recounts the meetings with the writer's two daughters, twenty years apart, for interviews about their mother and her work. The second part presents some of the features of Irène Némirovsky's novels that made it possible to write these accounts from a journalist's point of view, each time choosing an element that becomes the specific mark of a constant expressive power.

Albena Dimitrova (1969 -), Bulgarian-born writer, poet and playwright, belongs to the corpus of « contemporary extreme » women writers who have chosen to express themselves in French, in the context of a migratory or exile situation, or out of an attraction to this language that represents the host country, France. In her novel Nous dînerons en français (2015) Dimitrova blends individual stories and major national events with extraordinary mastery. This work of autofiction bears witness to an era marked by austere politics in Bulgaria throughout the 1980s and 1990s, a tumultuous period when perestroïka and glasnost challenged the regime in power. Through the prism of a passionate and forbidden love, Dimitrova sketches the background of existences, showing how the destinies of individuals are buffeted by the winds of History. [ABSTRACT FROM AUTHOR]

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Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"A ‘truthful’ protection seeker would initiate their story with “because” or “because of”, underlining the necessity and the urgency of their displacement, which may be linked to war, genocide, natural disaster… Unlike the so-called ‘truthful’ protection seeker, the use of “for” and “so” turns the subject into a suspect, leaving his country to improve his living conditions, live a new adventure and pursue self-realization, something not allowed to people from the Global South. Drawing on an ethnography with refugees and protection seekers in Italy (region of Veneto), testimonies were generated to look at the complex processes involved in certifying eligibility to legal protection. This paper underscores the conditions under which migrants (re)invent a new identity to meet the institutional expectations of the European humanitarian criteria for asylum-seekers."

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What is the meaning of studying the history of an Armenian librarian and his books in Paris during the interwar period, and their fate under German Occupation? In a historiography dominated by the themes of genocide, statehood, migrations and the diaspora, there is hardly any place for books, and even less for libraries. However, their study sheds light on the structuring of an Armenian transnational space in the 20th century. It questions how writings and places might become national heritage in the frame of emigration. Finally, it allows us to explore the reconstruction of a sense of nation in exile, in a historical context shaped by annihilation and dispersion.

In this study we adopt an approach that is both discursive and interactional in order to interpret the silences in testimonials about suffering. Using a corpus of testimonies from battered women who were subjected to domestic violence, we analyse the duration and location of silences in various discursive sequences. We identify the types of silence and their discursive functions, with a focus on their value in the expression of pain. In testimonials, silences allow speakers to assign a structure to their discourse, plan ideas, and, simultaneously, draw attention to the verbal expression of suffering. In addition, in an inter-turn-taking position, silences help to manage the interaction, while in an intra-turn position, they emphasize the emotional dimension of the testimony of suffering. Their interpretation relies on the discursive context.

The paper explores the problems related to the idea of intergenerational transfer of memory, using the structure coined by Marianne Hirsch with the word postmemory, and analyzes in particular the case of the translingual author Edith Bruck, a representative of first generation, who experienced the persecutions first hand. In particular will be taken into account the book Signora Auschwitz (1999), that reflects on the impossibility of overcoming the horror of the Lager, despite the act of witnessing, and the last book released Il pane perduto (2021). Finally, the paper focuses on the second generation of Jews, trying to show how we can talk also in Italy of a «postmemorian literature» for what concerns the trauma of the Shoah, starting from the case of Helena Janeczek (Lezioni di tenebra, 1997).

This article proposes methodological avenues for the analysis of testimonies from an intermedial approach. It focuses more particularly on a case study, that of a documentary film directed by Emil Weiss which relates the testimonies of the men of the Sonderkommando of Auschwitz. The article suggests two main orientations, one that examines the mediation of the witness's experience, and the other that is interested in the transmission of the testimony, in this case through the technical gestures of cinema. As an act of transmission, Weiss's film acts as a relay for the voices, the writing and the photographic archives of the men of the Sonderkommando. While filming at the scene of the extermination, Weiss seeks to capture the darkness of an inner world, the world of which the authors of the scrolls of Auschwitz were the bearers. [ABSTRACT FROM AUTHOR]

In Le jour où je n’étais pas là, Hélène Cixous looks back, forty years after the event, at the death of her first child, Georges: her son with Down’s syndrome whom she had abandoned to her own mother, Ève. Not only was the author-narrator absent at the time of her child’s death, but so was Ève, making the circumstances of this death a well-kept secret, to which it is impossible to testify with certainty. The author-narrator therefore undertakes to untangle the events preceding this sudden death in a text which—like the son, whose specter only returns to better flee—sets in motion a collapse of the trauma testimony. Indeed, dream and reality, lie and truthfulness, haunting and stream of consciousness overlap in a porous prose that will not quite shed light on the cause of the death. This article therefore intends to show how, in this work, traumatic mourning generates an affabulatory writing which confuses the reader and illustrates the failure of testimony, from which truth constantly escapes. After having defined the notion of traumatic loss, as well as the links uniting the experiences of mourning and trauma, the article’s author will analyze this affabulatory aesthetic through which Cixous implements her traumatic mourning, striving less to piece together the facts surrounding her baby’s death than to imagine, or even deny, what might have happened.

The study of representations of war beyond places of combat opens a space to consider the effects of that war on the society in conflict. Evocations of war linger through time and become articulated through the lens of postmemory, which for Marianne Hirsch (2012, 8) is “distinguished from memory by generational distance and from history by deep personal connection”. The literary representations of life off the battleground point to a social fabric that illuminates intergenerational relationships surrounding the Spanish Civil War (1936- 1939) and its aftermath, when society was divided across an ideological continuum. In Soledad Puértolas’s Música de ópera (2019), three generations of women come to terms with the effects of the Civil War on their family.

This paper analyses the relationship between lack and possibilities of bearing witness in a post-historical context. We wanted to see how discussions about indeterminacy and testimony change the way in which we understand possibilities of truth in relation to the confessing subject. The limit of the language of testimony and memory generate experiences of incompleteness and inadequacy which make us negotiate the position of the confessing subject between an impossible historical truth and the non-discursive truth of revelation. We argued that the resistance to representation which drives the language of testimony reflects the improper position of the witness between historicity and existence. There is always an already lost historical event that we have to testify for and that foreshadows possibilities of significance. The witness can only generate discourse from inside a dislocated position which also marks the understanding of revelation.

This article proposes to shed light on the relationship between style, ethos and auctoriality from a discourse analysis perspective, through a corpus belonging to the testimonial genre. The corpus constructed for this study is made up of four “ordinary” testimonies borrowed from a larger corpus made up of typescripts or manuscripts of Holocaust survivors deposited at the Centre de Documentation Juive Contemporaine (CDJC) of the Mémorial de la Shoah in Paris. We will show that their testimonies invite us to question the collective norm of an era insofar as they bring out tensions between practices, collective models of writing and a search for singularity. The incessant adaptation to the socio-discursive expectations that constitute the norms of testimonial discourse is not, however, synonymous with an absence of style if we understand it as the distinctive value of a discourse that conforms to generic and discursive patterns. We will analyze here the “capture” of the Yizher-Biher model, a discursive phenomenon that informs us about the mechanism of construction of a collective ethos. These “memory books” are presented as traces of belonging to a specific community. The discursive analysis makes it possible to reread certain testimonies in the light of a singular-collective discursive pattern and, from an ethical point of view, to re-anchor these testimonies in their cultural roots.

Copyright of Epos is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study we adopt an approach that is both discursive and interactional in order to interpret the silences in testimonials about suffering. Using a corpus of testimonies from battered women who were subjected to domestic violence, we analyse the duration and location of silences in various discursive sequences. We identify the types of silence and their discursive functions, with a focus on their value in the expression of pain. In testimonials, silences allow speakers to assign a structure to their discourse, plan ideas, and, simultaneously, draw attention to the verbal expression of suffering. In addition, in an inter-turn-taking position, silences help to manage the interaction, while in an intra-turn position, they emphasize the emotional dimension of the testimony of suffering. Their interpretation relies on the discursive context. [ABSTRACT FROM AUTHOR]

As a follow-up to our dossier on the subject of Italian feminist magazines between the 1970s and 2020, the coordinators now bring us an interview with Cecilia Cappelli, founder of the magazine Frute, a new feminist journal launched in 2018 and based in the region of Friuli.

This article proposes methodological avenues for the analysis of testimonies from an intermedial approach. It focuses more particularly on a case study, that of a documentary film directed by Emil Weiss which relates the testimonies of the men of the Sonderkommando of Auschwitz. The article suggests two main orientations, one that examines the mediation of the witness's experience, and the other that is interested in the transmission of the testimony, in this case through the technical gestures of cinema. As an act of transmission, Weiss's film acts as a relay for the voices, the writing and the photographic archives of the men of the Sonderkommando. While filming at the scene of the extermination, Weiss seeks to capture the darkness of an inner world, the world of which the authors of the scrolls of Auschwitz were the bearers. [ABSTRACT FROM AUTHOR]

The article focuses on the analysis of the existential meaning of testimony. A possible starting point for a consideration regarding the phenomenon of testimony in this direction is offered by Heidegger’s discussion of the attestation of authentic-existential possibility of Dasein in Being and Time. The ontological understanding of the witness and the testimony in particular prevents the reduction of the testimony to one of the forms of expression or communication, which Paul Ricoeur could not completely avoid in his hermeneutic project of attestation. As a special problem, there exists a lack of understanding, which always occurs in the situation of testimony and as such also defines the conditions for the possibility of truth or untruth to testify to what the witness bears witness.

The present article, built in the form of a testimony, examines the specificities of my personal type of rehearsal regarding my theatrical productions from the last years. It also answers some other questions: what does the prelude mean in theatre, how can we keep the space clean after each performance/rehearsal, how does the energy of an actor come in contact with another energy, what are the limits of a theatrical laboratory and so on. [ABSTRACT FROM AUTHOR]

Copyright of CECIL Cahiers d'etudes des cultures ibériques et latino-américaines is the property of Revue Cahiers d'etudes des cultures iberiques et latino-americaines (CECIL) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When the testimony of horrific and tragic events that occurred in one’s life becomes poetry, a theatre performance born from this premise is in many ways sensitive and multi-layered. The responsibility of presenting a willingly exposed personal account becomes a burden and a privilege at the same time. “Porn. The Story of my Wife” by András Visky tells about a true story that occurred in the author's family.

In Tlemcen or the places of writing, photographs and text bear witness to the story of Mohammed Dib’s childhood and youth places. These original places, disappeared or metamorphosed forever that Dib has resuscitated through mnemonic writing tell the story of a whole generation, that of the Tlemcenians. The present work would highlight the various textual processes that Mohammed Dib has deployed in his story to restore the memory of a single place, his hometown, Tlemcen. Names of places, temporal indications, personal and collective memories contributed to attest the veracity of the facts narrated. By remembering the slightest details of his past, Dib shows a desire to revive him. Thus, the return to origins reflects a quest for self that he expresses implicitly in his text.

Our essay analyzes Satoshi Miyagi’s production of Révélation, written by the Cameroon-born dramatist Léonora Miano, translated into Japanese by Akihito Hirano and staged first at La Colline—Théâtre national, Paris, in August 2018, and then in Shizuoka Arts Theatre, Japan in January 2019. The analysis investigates the dimensions of speech, sound and bodily movement characteristic of Miyagi’s directorial approach as an example of an aural/oral dramaturgy that reconfigures the audience’s sensory adaptation. In this play, Miano uses a mythological framework to take up the controversial question of the African complicity in the slave trade and the complex relationship between victim and perpetrator in this historically sensitive issue. The play dramatizes the judiciary court in which the Goddess Inyi presides to hear testimonies from the African people who cooperated with the European slave traders. This hearing is conducted to give belated justice to Ubuntus, the lost souls of the perished slaves who have not been mourned, deprived of any opportunity to talk or listen. Through an analysis of Miyagi’s production, we aim to argue that oral histories can become viable in theatre by way of aural histories, particularly in dealing with controversial historical incidents like the slave trade—in which most of the victims have been deprived of their verbal as well as auditory capabilities under brutal and inhuman circumstances. A theatrical representation which pays attention to the intricate relationship between our capacities to speak and hear within a prehistorical framework of African mythologies could be an effective and innovative example of aural/oral dramaturgies, as elucidated by our analysis below.

In this case study, the aim is to better understand how the former prisoners I interviewed testified about their prison experience, through their "imprisoned memories". To do this, I show that, even if some memories are real "black boxes", emotions often play an essential role in the construction of the prison past, as it appears in the testimonies of former prisoners. To grasp this phenomenon, I first had to look for, and then propose, an operational definition of the concept of "translation", to bring to light both the intentional part of these memories, and the emotions they arouse, and the social part of this autobiographical memory.

Allegation of testimony has always been one of the reasons in the legal system for proving litigation. However, in countries where there is no need to make the witness to provide allegation of testimony on the one hand and considering the fact that the original principle is the innocence of the denier, testimony has largely lost its performance as a proof. Under the circumstances considered, allegation of testimony is accepted by the Muslims and its persuation as a great sin. Contrary to Islamic jurisprudence, the Iranian law does not accept the allegation of testimony; however, Western and Arab laws in accordance with Islamic jurisprudence consider testimony refusal as a crime and consider punishments for it.

Copyright of BAU Journal - Society, Culture & Human Behavior is the property of Beirut Arab University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text offers a portrait of the Belgian musicologist Harry Halbreich through "twenty glimpses" ["vingt regards"] that evoke his publications, his activities as a lecturer and as a teacher, and his active participation in the world of contemporary music along with personal memories linked to the man and his private life. [ABSTRACT FROM AUTHOR]

El presente artículo analiza el lugar del testimonio y la construcción de memorias en la trayectoria de memorialización del que fuera el cuartel Terranova durante la dictadura en Chile, hoy Parque por la Paz Villa Grimaldi. El objetivo del recorrido propuesto es iluminar distintos procesos sociales en los que se configuran condiciones materiales y simbólicas para la construcción de un sitio de memoria. En el análisis se destacan la dimensión y los usos públicos de los testimonios de las personas que estuvieron secuestradas en el cuartel, y su constitución como una voz/actor social –o como varias voces/actores sociales- en las luchas por la memoria y en el esclarecimiento de la historia. La reflexión identifica el uso estratégico de los testimonios por actores insertos en un contexto en el que inciden y por el que son, a su vez, afectados. Abstract The article analyses the role of the construction of memories and testimony in the memorialization process of the former Terranova barracks, in what is now the Villa Grimaldi Park for Peace. The purpose of this review is to shed light on different social processes which shaped the material and symbolic conditions affecting the construction of a memory site. The analysis highlights the public dimension and uses of the testimonies of survivors, and how they become social voices and agents engaged in the struggle over memory and history. The paper addresses the strategic use of testimonies by social agents entangled in a context they affect and by which they are affected.

The global trend towards decentralization of discourse and the shifting focus from the centre to the periphery has revealed itself in the late XXth century Latin American literature in the form of testimonio, a hybrid genre which combines nonfiction documentary material with artistic recreation. The first book written in this genre was Biography of a Runaway Slave by a Cuban writer Miguel Barnet. Many more works appeared in the following decades (1970–80s) including some of the best-known examples of this genre such as Let Me Speak: Testimony of Domitila, A Woman of the Bolivian Mines by M. Viezzer, I, Rigoberta Menchu by E. Burgos as well as guerrilla chronicles by O. Cabezas and S. Ramirez. In the most general terms, testimonio can be defined as a nonfictional first-person account of oppression. Just like the writers of the Boom, the authors of testimonial literature have developed their own artistic method – nuevo verismo. This term was coined in 1978 by a prominent Columbian writer and critic Carlos Rincón. Nuevo verismo changes the way we view documentary in quite a dramatic way. With its factuality and truthfulness of the material, it becomes a powerful artistic device which defines the way in which this material is presented. The purpose of the paper is to examine this new method and highlight its characteristic features. A special attention is paid to the composition of the testimonio, its narrative structure and stylistic devices.

En el texto buscamos acercarnos a la trayectoria social de los objetos que acompañan a la desaparición, el significado que adquieren en dicho proceso, y la forma en la que son concebidos a partir del hecho “desaparecedor”. Partimos aquí de la hipótesis de que la base material de la desaparición está descoyuntada, además de cargar con la responsabilidad de expresar lo que el ausente no puede, siendo atravesada por diversas miradas que la re-significan. Valiéndonos de revisión teórica y de casos concretos que nos acercan a la singularidad de las materialidades que bordean la desaparición, profundizamos en cómo se va leyendo esta materialidad hasta ubicarla en un espacio de frontera, objetos límite convertidos en prueba de vida, a menudo prueba y testimonio de los hechos acontecidos. Nos acercamos a una materialidad que sobrepasa la carga inicial destinada a soportar. In this paper we approach the social trajectory of the objects involved in cases of human disappearance, the new meanings and uses these objects acquired, and how the fact of disappearance involve a change in the way they are conceive. Our premise is that disappearance practices have material support, that is cracked, first, now it can bear that what the disappeared person no more can reveal, second, some other(s) may give them further senses. Objects talk and objects are talked by others. Thus objects are more than composed by matter, they are part of the world of perceptions: materialities. We explore how this materiality, located in a liminal space, is been put on performance as witness of the past and trial evidences. They are objects on the edge of a lost life. The theoretical review and concrete cases arose the uncanny of these materialities, their singularity. This kind of materialities are loaded by meanings and uses that exceed their original life.Available from: https://doi.org/10.35295/osls.iisl/0000-0000-0000-1025

Resumo "L'espèce de journal" deixado por Marie Du Bois (1601-1679) parece se situar na categoria “escritos do foro íntimo”, mas é utilizado neste artigo para questionar o fundamento dessa categoria. Partindo da pergunta sobre as perspectivas de transmissão presentes neste texto, trata-se de medir sua capacidade de assegurar a presença distanciada de uma experiência. Mas a percepção desta presença recoloca a questão sobre o ato de leitura que somos capazes de produzir, a três séculos e meio de distância. A partilha do sentido como presença do passado - a impressão de “ver” o que é contado - depende de escolhas de escrita operadas pelo autor, cuja eficácia atravessa o tempo: diálogos, narrativas “romanescas”, traços autobiográficos. Assim, é a relação entre testemunho e literatura, abordada a partir da noção de “sociedade na literatura”, que postula uma continuidade situada, ou seja, historicamente observável.

Riassunto Vengono esaminati i nodi traumatici connessi alla migrazione e allo sradicamento soprattutto nelle situazioni adolescenziali. In particolare vengono analizzate le memorie traumatiche e le trasformazioni dei vissuti corporei nei transiti migratori. Infine una particolare attenzione è dedicata alle complesse dinamiche relazionali che si stabiliscono nei centri di accoglienza dove spesso gli operatori si ritrovano a ‘raccogliere’ nelle loro menti gli elementi traumatici insostenibili che i migranti portano con sé.

Museology has shifted its focus in some places of the world: artefacts and historical objects are being repatriated, returned as permanent loans, institutions are questioning the ownership of indigenous objects, selections are made by kids, and texts are being written by visitors. The following case study discusses the reprioritization of a dynamic imagination around a museum’s purpose in a jejune way, from the perspective of an independent cultural worker, trained in visual communication and schooled in visual ethnography. The text, a non-linear narrative of the visitor's experience, is interspersed with excerpts from a recorded conversation between two visitors of the Werkbundarchiv – Museum der Dinge, Berlin. The Museum of Things does more than try to find a place for the Werkbund “stuff,” it opens up a continuous material dialogue that includes different perspectives on the history of design in the twentieth and twenty-first centuries. Founded in Munich, in 1907, the Deutscher Werkbund or the German Association of Craftsmen was the organisation of artists, artisans and architects that strove to ensure good design and craftsmanship in times of mass-production of goods and architecture. The Made in Germany label is commonly associated with durable products and viable design precisely due to the work of the Deutscher Werkbund, which made efforts to create those associations linked today with German architecture or industrial, commercial, and household German products. A visit to this museum can last forever due to the extra satirical layer, combining ethnographic methods with personal narratives. This text is a sample of a specific visitor experience in an unusual educational institution that, using almost exclusively analogue methods, reaches remarkable levels of interactivity.

This paper aims to question the « parent expert » notion, through an analysis of web discourses which focus on a very specific type of cancer: glioblastoma. It is a rare brain cancer more than often diagnosed at a late stage, with a very poor prognosis and huge and disabling neurological impairments at the time of identification of the disease. Thereby, when a web patient chat room happens to deal with glioblastoma, the discussion happens most of the time between close relatives. Therefore, this paper deals with the following questions: how do these discourses show the parents’ building of authority? To what extent is their on-line quest for authority also a try to free themselves from the medical « already-said », by requesting a kind of « never-said »? Through the semio-communicational analysis of a specific corpus of web forums, the paper underlines how parents position themselves relative to other actors and how they produce their own « authorization process ».

The exile of thousands of Chileans since 1973 generated a set of organizations and collectives in the various host countries. This allowed the creation of countless periodicals that channeled diverse forms of resistance, which were established through cultural and political production. Each journal, inspired by the need to express experiences and reflections generated from Chile and from abroad, poured their expectations in the construction of a universe of possible readers both in Chile, in the group of exiles and in an international community that had to be mobilized. This paper aims to address a set of narratives disseminated in political-cultural periodicals that have a testimonial character. Narratives ranging from denunciatory testimony to more complex forms, as is the case of the painter Guillermo Núñez, who in various records in cultural journals, allows us to recognize that the testimonial function is embedded in the deepest and most dramatic modulation of the human experience that writes to share and leave the trace of suffering individuality and expand in solidarity with others.

The present work tries to approach the figure of the testimony in the case of the so-called second generation in Argentina. That is, the one that includes the sons and daughters of detainees who disappeared during the last military dictatorship, their own traumatic experience, the memory built from that experience and the collection of other objects of history (photographs, anecdotes, books, documents , clothes). These accounts call into question the classic model of the surviving witness's testimony. They are assembled from precarious images, incomplete memories, all pieces of a puzzle that is explicitly exhibited to account for its form of construction and the purpose of its objective: justice. The incorporation of these testimonies in the so-called trials against humanity in Argentina represents a novelty with respect to similar processes developed in the past (trial of the boards, trials for the truth). On the one hand, contributing from the subjective to the reaffirmation of identity in each one of those sons and daughters who manage to rescue the meaning before the elaboration of the testimony. And on the other, on a more social and collective level, serving as evidence in trials, about kidnapping, torture and disappearance. These two elements are intended to investigate their new configurations and implications.