This work develops an opportunity for transgressive resistance to discursively formed structures of material and theoretical power and closure, based on a methodology of amateurism. The concept of amateurism draws heavily on the writing of Edward Said. This work synthesises Said with a broader corpus of postcolonial theory, following a theoretically postcolonial trajectory which applies the lessons from that referent to an engagement with traditional theoretical and cultural closure. The central thesis of the engagement follows a critique of strong ontology and vertical epistemology, or of expertise. Through an examination of health policy around birth, and sociological approaches to health, that critique is deployed to invigorate a new critical direction for the Left with a focus on subjectivity, social policy, social democracy and substantive citizenship. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

This work develops an opportunity for transgressive resistance to discursively formed structures of material and theoretical power and closure, based on a methodology of amateurism. The concept of amateurism draws heavily on the writing of Edward Said. This work synthesises Said with a broader corpus of postcolonial theory, following a theoretically postcolonial trajectory which applies the lessons from that referent to an engagement with traditional theoretical and cultural closure. The central thesis of the engagement follows a critique of strong ontology and vertical epistemology, or of expertise. Through an examination of health policy around birth, and sociological approaches to health, that critique is deployed to invigorate a new critical direction for the Left with a focus on subjectivity, social policy, social democracy and substantive citizenship. / Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

Made available in DSpace on 2014-06-11T19:23:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-09-12Bitstream added on 2014-06-13T20:11:08Z : No. of bitstreams: 1 magalhaes_sm_me_mar.pdf: 602801 bytes, checksum: 83c83b4d66ce66ce7efd4fa80d2aa14b (MD5) / O presente trabalho tem por objetivo analisar a reflexão empreendida por Hannah Arendt (1906-1975) acerca dos fenômenos do poder e da violência, bem como sua crítica à Nova Esquerda , crítica essa que se apresenta de forma sistematizada em seu ensaio Sobre a violência, de 1969. A distinção entre poder e violência constitui-se, pois, em tema central do pensamento político da autora, que teve como motivação para sua reflexão a Rebelião Estudantil de 1968, a guerra do Vietnã e o papel da violência no âmbito da Nova Esquerda. Com efeito, o poder, para Arendt, é inerente a toda comunidade política e resulta da capacidade de agir conjuntamente. Por outro lado, a violência, que é instrumental, se funda na categoria meio-fim, e quando recobrada no âmbito do político é responsável por fazer desaparecer o poder. Portanto, poder e violência são assuntos opostos: quando um se afirma absoluto, o outro desaparece. Do contato com o pensamento de Arendt, percebemos que seu conceito de poder foi forjado tendo como referência a tradição da polis grega, a qual, no entendimento de Arendt, lança luzes sobre a derrocada dos valores da política moderna, bem como sobre a necessidade de resgatar a diferença entre as esferas pública e privada para fazer emergir o fenômeno originariamente político. Confrontando suas idéias com as de outros autores, consideramos que a análise de Arendt sobre o poder transcende completamente as relações conflituosas constitutivas da vida política e suas instituições tradicionais. Além disso, a rejeição da ação radical da Nova Esquerda, por esta autora, em grande medida parece engrossar o coro que recusa e rechaça a utopia, que significa, no contexto do “fim da ideologia”, a negação da perspectiva socialista em favor, mais uma vez, da “democracia” e do “pluralismo” norte-americanos. / The aim of this paper is to analyze the reflexion undertaken by Hannah Arendt (1906-1975) on the phenomena of power and violence as well as her critique of the New Left, which is presented systematically in her essay On Violence (1969). The distinction between power and violence thus comprises a central theme in her political thought, which has had as a motivation for her reflexion the Student Rebellion of 1968, the Vietnam war and the role of violence within the New Left. Indeed, the power, on Arendt's account, is inherent to every political community and it is a result of the ability to act jointly. Furthermore, the violence, that is instrumental, is based upon the means-end category and whenever stablished within the political sphere becomes responsible for causing the power to vanish. Therefore, power and violence are opposite subjects: as one becomes absolute, the other vanishes. By being in touch with Arendt's thinking we come to realize that her innovative concept of power has been forged having as reference the tradition of Greek polis, which, from Arendt's understanding, casts light on the defeat of the values of the modern Politics, as well as on the need of restoring the difference between public and private spheres to cause the originally political phenomenom to emerge. By putting her thoughts with those of other authors, we consider that Arednt's analysis of power goes completely beyond the conflicting constituents of political life and its traditional institutions. Moreover, the rejection of the extreme action of the New Left, by the author, largely seems to reinforce the chorus that refuses and rejects the utopia, which means, in the end of ideology context, the negation of the socialist perspective in behalf, once again, of the American democracy and pluralism.

Orientadores: Claudio Henrique de Moraes Batalha, Serge Wolikow / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T11:05:01Z (GMT). No. of bitstreams: 1 Sales_JeanRodrigues_D.pdf: 1420159 bytes, checksum: a41a447a629b550f4035205bfb457c2c (MD5) Previous issue date: 2005 / Resumo: O objetivo principal desta tese é analisar as relações entre as esquerdas comunistas brasileiras e a revolução cubana entre 1959 e 1974. Trata-se de entender em que medida essa revolução influenciou o debate ideológico dos comunistas brasileiros e quais os desdobramentos para as suas formulações teóricas e prática política. A conclusão geral é a de que o processo revolucionário cubano esteve presente, sobretudo, no debate a respeito da definição da luta armada contra a ditadura militar e na adoção da bandeira do socialismo por uma parte dessa esquerda. Foi importante ainda na crise que se abateu após 1964 sobre as organizações que já existiam antes do golpe militar, que vieram a se fragmentar e dar origem a diversos grupos da Esquerda Revolucionária / Abstract: The main objective of the present thesis is to analyze the relationships between the Brazilian communist leftist movements and the Cuban revolution between 1959 and 1974. We aim at understanding how far that revolution influenced the ideological debate of the Brazilian communists and the consequences for its theoretical formulations and the political practice. The general conclusion is that the Cuban revolutionary process was mainly present in the debate on the definition of the armed resistance to the military dictatorship and the adoption of socialism by a part of that leftist movement. It was further important during the crisis that took place after 1964 among those organizations that had existed before the military coup, which then fragmented and gave birth to several groups of the Revolutionary Left / Doutorado / Historia Social / Doutor em História

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[pt] O trabalho analisa as diferenças e semelhanças entre os conflitos geracionais em grupos de esquerda provenientes dos EUA e da Argentina durante os longos anos 1960. O estudo percebe que há aspectos comuns que levaram à ruptura entre as gerações à esquerda do espectro político em ambos contextos, como por exemplo, a relação das vertentes geracionais com as organizações de trabalhadores e com o Bloco Socialista. / [en] The text analyzes the differences and similarities among generational conflicts in groups on the left from the USA and Argentina during the long 1960s. The study notes there are common aspects which brought to the rupture between the generations on the left on the left of the political spectrum in both contexts, such as, for example, the generational groups relation with workers organizations and with the Socialist Bloc.

The left-wing terrorism in Italy in the 1970s and the Red brigades as its most significant symptom resulted in the long-term view from the fight between the partisans and the fascists in the Second World War and from the short-term view from the students' and labourers' protests in the end of 1960s. The Red brigades were founded in 1970 and were composed mainly by students from Trento (Curcio, Cagol), communists from Reggio Emilia (Franceschini, Gallinari) and labourers from Milano (Moretti). They began in the first years of their functioning with agitation in the factories, burning the cars of the high managers and kidnapping. The thesis follows gradual radicalisation of the group and the change of their aims - from this moment on mostly politicians, judges, state magistrates. The transformation of the Red brigades related to the personal changes in the leadership - after Curcio and Franceschini were arrested and Cagol killed, radical Moretti became very influential. The organisation under his leadership started to kill intentionally its victims and the wave of brutal attacks culminated in the spring 1978 in kidnapping and murder of former Prime Minister Aldo Moro. The Red brigades however became strongly socially isolated and several ideological differences among the members of the administration...

A confluência entre eventos do movimento operário e a atuação de cineastas de esquerda nos anos 1970, produziu obras importantes para o documentarismo brasileiro. Dentre elas, o filme Braços Cruzados, Máquinas Paradas (GERVITZ et SEGALL, 1978), uma obra audiovisual de impacto epocal, que narrou a disputa entre três correntes ideológicas e programáticas distintas, a concorrer à presidência do Sindicato dos Metalúrgicos de São Paulo, em 1978. Ao final daquela década, a política brasileira foi surpreendida por manifestações e greves operárias de grandes proporções. As chamadas Greves das Comissões ocorreram em São Paulo, região que movimentava um dos maiores PIBs do país, em plena transição democrática. Braços Cruzados, Máquinas Paradas é uma obra filmográfica que construiu narrativas sobre este acontecimento e período histórico. Os diretores, Roberto Gervitz e Sérgio Toledo Segall, foram convidados pela Chapa 3, a Oposição Sindical Metalúrgica de São Paulo (OSM-SP), uma das concorrentes ao pleito, para registrar o processo dessa campanha eleitoral. Durante as filmagens ocorreram as grandes greves paulistas, tanto em São Paulo, quanto na região industrial do ABC, acontecimentos que acabaram por permear a construção narrativa e a perspectiva política da obra. Nesta tese, analisamos Braços Cruzados, Máquinas Paradas enquanto registro das atividades da Oposição Sindical. O filme foi lido como uma intervenção política e estética, que construiu uma nova representação sobre a classe operária e popular, o qual nos permitiu mapear o debate, as expectativas e os impasses político-culturais travados no campo das esquerdas nacionais. Ao mesmo tempo, analisamos problemáticas postas na obra que, de certo modo, nutriram a matriz de pensamento de uma nova esquerda emergente no país, que culminou na criação do Partido dos Trabalhadores (PT), fundado dois anos após a realização do filme. / The confluence between worker movement events and the role played by leftist filmmakers in the 1970s, resulted in important Brazilian documentary making. The film, Crossed Arms, Stopped Machines (GERVITZ et SEGALL, 1978), an audiovisual work of epochal impact, narrates the dispute between three ideologies and programs running for the metallurgic union in São Paulo, in 1978. At the end of that decade, Brazilian politics would be overcome with massive protests and worker strikes. The Commission Strikes happened during the democratic transition in São Paulo, the region with one of the highest GDPs in the country. The narrative plot in the film directed by Roberto Gervitz and Sérgio Toledo Segall takes place during this historical event and period. The directors were invited by Chapa 3, which represented the candidacy São Paulos Metallurgic Union Opposition (OSM-SP), to document their electoral campaign. During the shooting, there were big strikes in São Paulo and in the industrial ABC region, and these events shaped the narrative building and the films entire perspective. In this thesis, Crossed Arms, Stopped Machines is analyzed as a report of the activities undertaken by São Paulos Metallurgic Union Opposition. It is analyzed as a political and aesthetic intervention that would come to create a new representation of the working class. It allowed for the mapping of the debate on expectations and political and cultural impasses, at a time the leftists were being redefined. This would all lead to the matrix of an emergent left wing and the subsequent establishment of the Partido dos Trabalhadores (PT- Workers Party) two years after the film was produced.

A confluência entre eventos do movimento operário e a atuação de cineastas de esquerda nos anos 1970, produziu obras importantes para o documentarismo brasileiro. Dentre elas, o filme Braços Cruzados, Máquinas Paradas (GERVITZ et SEGALL, 1978), uma obra audiovisual de impacto epocal, que narrou a disputa entre três correntes ideológicas e programáticas distintas, a concorrer à presidência do Sindicato dos Metalúrgicos de São Paulo, em 1978. Ao final daquela década, a política brasileira foi surpreendida por manifestações e greves operárias de grandes proporções. As chamadas Greves das Comissões ocorreram em São Paulo, região que movimentava um dos maiores PIBs do país, em plena transição democrática. Braços Cruzados, Máquinas Paradas é uma obra filmográfica que construiu narrativas sobre este acontecimento e período histórico. Os diretores, Roberto Gervitz e Sérgio Toledo Segall, foram convidados pela Chapa 3, a Oposição Sindical Metalúrgica de São Paulo (OSM-SP), uma das concorrentes ao pleito, para registrar o processo dessa campanha eleitoral. Durante as filmagens ocorreram as grandes greves paulistas, tanto em São Paulo, quanto na região industrial do ABC, acontecimentos que acabaram por permear a construção narrativa e a perspectiva política da obra. Nesta tese, analisamos Braços Cruzados, Máquinas Paradas enquanto registro das atividades da Oposição Sindical. O filme foi lido como uma intervenção política e estética, que construiu uma nova representação sobre a classe operária e popular, o qual nos permitiu mapear o debate, as expectativas e os impasses político-culturais travados no campo das esquerdas nacionais. Ao mesmo tempo, analisamos problemáticas postas na obra que, de certo modo, nutriram a matriz de pensamento de uma nova esquerda emergente no país, que culminou na criação do Partido dos Trabalhadores (PT), fundado dois anos após a realização do filme. / The confluence between worker movement events and the role played by leftist filmmakers in the 1970s, resulted in important Brazilian documentary making. The film, Crossed Arms, Stopped Machines (GERVITZ et SEGALL, 1978), an audiovisual work of epochal impact, narrates the dispute between three ideologies and programs running for the metallurgic union in São Paulo, in 1978. At the end of that decade, Brazilian politics would be overcome with massive protests and worker strikes. The Commission Strikes happened during the democratic transition in São Paulo, the region with one of the highest GDPs in the country. The narrative plot in the film directed by Roberto Gervitz and Sérgio Toledo Segall takes place during this historical event and period. The directors were invited by Chapa 3, which represented the candidacy São Paulos Metallurgic Union Opposition (OSM-SP), to document their electoral campaign. During the shooting, there were big strikes in São Paulo and in the industrial ABC region, and these events shaped the narrative building and the films entire perspective. In this thesis, Crossed Arms, Stopped Machines is analyzed as a report of the activities undertaken by São Paulos Metallurgic Union Opposition. It is analyzed as a political and aesthetic intervention that would come to create a new representation of the working class. It allowed for the mapping of the debate on expectations and political and cultural impasses, at a time the leftists were being redefined. This would all lead to the matrix of an emergent left wing and the subsequent establishment of the Partido dos Trabalhadores (PT- Workers Party) two years after the film was produced.