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A utopia dos Direitos Humanos
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Orientador(es)
Resumo(s)
Esta tese propõe uma teoria da imagem jurídica, argumentando que nas imagens
existem significados jurídico-políticos, nomeadamente os direitos humanos, e que através da sua força latente estas podem constituir no observador um sentimento de indignação, que poderá contribuir para uma mudança no sistema jurídico. No primeiro
capítulo, a partir do modelo de análise de Horst Bredekamp em Der Bildakt, iremos
avaliar como uma imagem se constitui enquanto forma de ação e de discurso que se estabelece através da relação com o observador. No segundo capítulo, iremos considerar a
análise de Lynn Hunt presente na obra A Invenção dos Direitos Humanos: Uma História, que identifica acontecimentos no século XVIII que, através do seu impacto e da
empatia sentida pelas sociedades, contribuíram para um conjunto de mudanças e reflexões, que segundo a autora permitiram o aparecimento dos Direitos Humanos. No
terceiro capítulo, a partir do conceito de cidadania em Hannah Arendt, numa conceção
que se aproxima da cidadania em exercício, iremos defender que a cidadania não é o
que garante os direitos humanos, mas que estes são construções conceptuais mutáveis, e
que a medida dos direitos consagrados é determinada pela reivindicação e pelo empoderamento político que as imagens e as obras de arte podem ajudar a suscitar.
A segunda parte da dissertação tem por metodologia a análise de obras de arte,
demonstrando como estas exemplificam a teoria proposta e explicando como detêm um
conteúdo e significados jurídico-políticos, assim como contribuem para a invocação dos
Direitos Humanos, potenciando, através da relação com o observador um aumento da
reivindicação de direitos e da participação política. Na terceira parte, partindo dos conceitos e das obras analisadas, iremos avaliar o caso de George Floyd, explicando como
as imagens e vídeos da sua morte causaram em todo o mundo um sentimento de indignação, provocando uma onda de protestos a nível global. Por fim, iremos propor a teoria
da imagem jurídica, defendendo que as imagens e as obras de arte podem, através do
seu conteúdo jurídico-político e através da sua força intrínseca, causar emoções e pensamentos no observador que poderão provocar uma ação constitutiva de uma alteração
no sistema jurídico, através da reivindicação de direitos e do exercício da cidadania.
This thesis proposes a theory of the juridical image, arguing that there are images and works of art that are filled with political-juridical meanings, and that they may contribute to effecting Human Rights in a way that causing a feeling of indignation moves the people. In the first chapter, based on the analysis model of Horst Bredekamp in Der Bildakt, we will evaluate how an image constitutes a form of action and discourse that is established through the relationship with the observer. In the second chapter, we will consider the analysis of Lynn Hunt present in The Invention of Human Rights: A History, which identifies events in the 18th century, which through their impact and the empathy felt by societies contributed to a set of changes and reflections, which according to the author allowed the appearance of Human Rights. In the third chapter, from the concept of citizenship in Hannah Arendt, in a conception that is close to the idea of citizenship in exercise, we will defend that citizenship is not the guarantee of Human Rights and that the measure of the enshrined rights is determined by the claim and social empowerment of the people that images and works of art can help to raise. The second part of the thesis is based on the analysis of works of art, demonstrating how some works of art exemplify the proposed theory, analysing how they have a legal and political content and meaning, and how they contributed and contribute to the invocation of Human Rights, enhancing, through the relationship with the observer increased demand for rights and political participation. In the third part, from the established concepts and analysed works, we will evaluate the case of George Floyd, explaining how the images and videos of his death caused a feeling of indignation all over the world, provoking a wave of protests at a global level. Finally, having made all the necessary reflections, we will propose the theory of the legal image, arguing that images and works of art can, through their legal-political content and through their intrinsic strength, cause emotions and thoughts in the observer, which may provoke an action constituting a change in the legal system through the claim of rights and the exercise of citizenship.
This thesis proposes a theory of the juridical image, arguing that there are images and works of art that are filled with political-juridical meanings, and that they may contribute to effecting Human Rights in a way that causing a feeling of indignation moves the people. In the first chapter, based on the analysis model of Horst Bredekamp in Der Bildakt, we will evaluate how an image constitutes a form of action and discourse that is established through the relationship with the observer. In the second chapter, we will consider the analysis of Lynn Hunt present in The Invention of Human Rights: A History, which identifies events in the 18th century, which through their impact and the empathy felt by societies contributed to a set of changes and reflections, which according to the author allowed the appearance of Human Rights. In the third chapter, from the concept of citizenship in Hannah Arendt, in a conception that is close to the idea of citizenship in exercise, we will defend that citizenship is not the guarantee of Human Rights and that the measure of the enshrined rights is determined by the claim and social empowerment of the people that images and works of art can help to raise. The second part of the thesis is based on the analysis of works of art, demonstrating how some works of art exemplify the proposed theory, analysing how they have a legal and political content and meaning, and how they contributed and contribute to the invocation of Human Rights, enhancing, through the relationship with the observer increased demand for rights and political participation. In the third part, from the established concepts and analysed works, we will evaluate the case of George Floyd, explaining how the images and videos of his death caused a feeling of indignation all over the world, provoking a wave of protests at a global level. Finally, having made all the necessary reflections, we will propose the theory of the legal image, arguing that images and works of art can, through their legal-political content and through their intrinsic strength, cause emotions and thoughts in the observer, which may provoke an action constituting a change in the legal system through the claim of rights and the exercise of citizenship.
Descrição
Dissertação de Mestrado com vista à obtenção do grau de Mestre em Direito Internacional e Europeu
A presente dissertação foi desenvolvida no âmbito do projeto Cosmopolitanism: Justice, Democracy and Citizenship without Borders (PTDC/FER-FIL/30686/2017, FCT - Fundação para a Ciência e a Tecnologia, I.P, Portugal).
A presente dissertação foi desenvolvida no âmbito do projeto Cosmopolitanism: Justice, Democracy and Citizenship without Borders (PTDC/FER-FIL/30686/2017, FCT - Fundação para a Ciência e a Tecnologia, I.P, Portugal).
Palavras-chave
Direitos Humanos Imagens Arte Filosofia Estética Human Rights Images Art Philosophy Aesthetics