Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The present text has as its theme the intersection between historical fact and family drama present in the novel A resistência, by Julián Fuks. The narrative, which always borders on psychoanalytic self-understanding and the scars left in society by Latin American exception regimes, thematises the family's relationship with an adopted son, orphaned by the dictatorship, and is narrated by the younger brother, who tries to unravel the origin of his brother at the same time that family conflicts are making unsustainable what is not said within the family. Alongside this, our investigation will try to understand the official history as a specimen of erasure, while seeing the literary narrative as the space for the emergence of another history, even if this has no relation to the historical fact as traditionally understood, and rather a commitment to the subjective truth of the subjects involved. To do so, we will use as main theoretical subsidies Walter Benjamin's text on the concept of history, Maurice Blanchot's text on literary space and Jacques Rancière's reflections on history and fiction.

This research deals with the concepts, often hidden, of what literature is in research between law and literature. Your problem consists of the following question: to what extent does the definition of what literature is affect interdisciplinary research between law and literature? The hypothesis is that the premise of what a work of literary art is and what its scope is always present in this interdisciplinary research, directly contributing to the possible conclusions. The general objective of the research is to examine, based on an article by Robert Weisberg and a work by Richard Posner, how the authors' arguments presuppose a concept of what literature is. To test the hypothesis, the expository-analytical method is used in order to present the arguments of the theoretical references and, through exposition, verify the premises of both what literature is. The article will be divided into three sections: (1) Richard Posner's criticism of the humanist project, (2) The methodology of Weisberg's criticism of T. S. Eliot and (3) What is literature? The centrality of the premise.

This article aims to findings the results of an exploratory research on the categorization of the legal-literary archetype of the protagonist Meursault from Albert Camus' The Stranger, with the aim of examining Meursault’s legal rationality, particularly his conception of law. To achieve this, we applied Jeffrey Miller's (2013) suggestions for constructing comparative narrative models as our theoretical-methodological framework. We developed an individual narrative framework for Meursault, based on the following categories: (i) worldview; (ii) ideological foundation; (iii) ideal final destiny; (iv) personal concept of legal imputation; and (v) concept/idea of justice. Subsequently, we formulated a legal-literary iconography that synthesizes Meursault’s archetype. The results provide a narrative characterization specific to the Law and Literature movement as applied to Meursault. This characterization preliminarily elucidates Meursault 's conception of law and justice, thereby enabling a legal discussion on the identified legal reasoning in light of General Theory of Law and Western Legal Philosophy. Finally, our application of Miller's theoretical-methodological framework offers empirical support to literary analysis, suggesting new avenues for qualitative research within the intersection of Law and Literature.

The growth of food insecurity in recent years – proven numerically by the State of Food Security and Nutrition Report, published by the Food and Agriculture Organization of the United Nations (FAO); and empirically due to the increase in the number of homeless population, with cardboard signs that say “help me” – entailed the need to analyze the social right to food through an interdisciplinary approach. In this paper, the aim is to expose how hunger manifests itself in the writings of Carolina Maria de Jesus (1914-1977), in Child of the dark: the diary of Carolina Maria de Jesus; and in the painting by J. Inácio (1911-2007), named Chapéu de couro (leather hat). Through this dialogue, the objective is to understand the relationships between artistic and literary narratives, crossed by the impact of hunger on human dignity. To this end, an inductive, qualitative, theoretical, interdisciplinary methodology was used, anchored in the phenomenological hermeneutic method, aiming to welcome the dialogue between Law and Art in the field of legal studies.

The article explores how the utopian idea of ​​societies based on equality and cooperation, as is the case with kibbutzim, can be complex and contradictory. From the work Between friends, Amós Oz analyzes life in these communities, revealing how utopia can be at the same time the reason for an environment that is suffocating and reproduces the colonial logic of oppression, permeating the difficult relationship between Jews and Arabs in Palestine. The work intends to demonstrate how literature contributes to the debate from a criminological point of view on the asymmetrical relations of these environments and the resulting suppression of rights and freedoms, offering a more human perspective on issues such as victimology, exclusion and colonialism, through of personal dramas rather than abstract concepts.. 

This is a descriptive bibliographical study based on the experiences and results of two reading projects developed in prisons in Minas Gerais, reported in the works by Baquim; Oliveira; Arruda (2020) and Pimenta Júnior (2022). The aim was to analyse and describe the challenges faced in implementing literary reading as a process of re-socialization of people deprived of their liberty. To this end, we sought to highlight the importance of literary literacy so that the experience of literary reading can become a humanizing instrument and a possible (re)construction of the human being. The theoretical framework used were the ideas of Cândido (2011), Cosson (2020; 2021) and Petit (2009), integrated with the propositions of Jauss (1994) and Iser (1996), about the Aesthetics of Reception. The results obtained show the obstacles that interfere with the implementation of literary reading in the prison setting, as well as the intermediaries that limit the voluntary adherence of people in deprivation of liberty to sentence remission projects or other literary reading activities. However, we recognize the possibility of literary reading contributing to people deprived of their liberty establishing a meaningful relationship with what they read and becoming readers, as well as acting in the process of resocialization.

 The present paper seeks to answer which aspects of Brazilian legal cultural formation found in Lima Barreto have historically shown themselves to be an obstacle to critical thinking and transformative practice. This project aims to analyze in the writer's main novels the existence of elements that constituted a collective imaginary in legal education. To this end, we sought to establish a definition of legal formation; justify the choice of Lima Barreto for the present discussion; and identify in their writings the criticisms made around bachelor's education. The hypothetical-deductive method was used, characterized as exploratory research. The results point to a set of representations of the image of the jurist, generally portrayed as superficial, grotesque or mediocre and characterized by an elitist doctoral nobility, based on a culture of appearances, bookish, ornamental, racist, surrounded by an apathetic bureaucracy and opposed to groups subalterns and street orality, elements that can still be identified in contemporary legal practices.  

The present paper aims to map the debates present in the issues of the journal Cardozo Studies in Law and Literature between 1989 and 1995, beyond the published academic papers, focusing on texts of various genres, such as prefaces, introductions, reviews, and others. The methodology adopted involved the complete reading of the issues from this period, in which 132 texts were identified, of which 44 were not academic papers. The results reveal that the texts highlighted the importance of interdisciplinarity between law and literature; the relevance of rhetoric and freedom of expression; and the intersections between literary narratives and legal issues. Some divergences regarding the intersection of law and literature also emerged, with some emphasizing the theoretical-philosophical nature of the endeavor, while others highlighted its practical use by legal practitioners. The conclusion of the study shows that analyzing these publications is as important for understanding the genesis and development of the debate as the reading of academic papers focused on the topic.

The present text intends, besides describing the structure of Jacques Derrida's deconstruction thought, based on an analysis of his Force of Law, to offer a reading of the issues involving law and justice, in a dialogue, which is intended to be a crossing, with a conference by Mia Couto and a short story by Guimarães Rosa. The ultimate goal will be to highlight deconstruction as justice based on the French Algerian philosopher and to provide an opportunity for a reading of this issue with literature as a pedagogical and critical hypothesis of law and justice.

The relationship between Law and visual arts holds a potential for creativity, imagination, and a critical transformation of the Law. Images also participate in the discursive system of Law and produce effects upon it. Connecting individual imagination and social imaginary, the visual arts share in the process of the visual legitimation of Law. The central question is how to establish, in methodological terms, this complex relationship? What types of research exist? What are the possibilities of connection, and what purposes do the different forms of relationship between Law and visual arts serve? Following an analytical methodology and a technical bibliographic review, particularly inspired by the methodological reflections in the field of Law and Literature by Karan (2017), this paper distinguishes four epistemic dimensions of analysis: a) law of art, b) law as art, c) law in art, and d) law through art; and four methodological levels of image usage as a) illustration, b) ornamentation, c) dissemination, and d) critical representation of Law. As a result, it is concluded that studies on Law and visual arts can contribute to the expansion of legal knowledge, especially in times of dogmatism and simplification within the Law.