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Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis takes Zygmunt Bauman’s book Modernity and the Holocaust as a point of departure in an attempt to show that genocides of the twentieth century are by-products of modernity, and not aberrations, as previously thought. Bauman’s work focuses on the distinctly modern nature of the Holocaust. Using the theory he develops in Modernity and the Holocaust, this thesis attempts to show, first and foremost, that the Holocaust is not the only example of modern genocide. By comparing and contrasting the Holocaust to another, more recent, genocide, namely the Rwandan genocide of 1994, it becomes clear that despite superficial differences between the two genocides, the Rwandan genocide is also a by-product of modernity. This conclusion has important implications, not only for the way in which we remember the Holocaust and the Rwandan genocide, but also for our understanding of evil and perpetrators of evil. Drawing on the work of Bauman and Hannah Arendt, especially with regard to the Eichmann case, chapter three investigates our traditional assumptions and expectations with regard to evil and perpetrators of evil and notes the unsettling differences between our assumptions and the modern reality. In order to truly understand the nature of perpetrators of modern genocide, it is important to look at the influence of morality on such perpetrators and the reasons why morality seems incompatible with modernity. In this regard, Haas’ book Morality after Auschwitz is of critical importance. Given the various failures and unexpected by-products of modernity, one has to wonder whether postmodernity would offer a better moral alternative to modernity. Chapter five investigates this supposition, and finds it wanting. Drawing yet again on Bauman, the notion of an ethics of responsibility is put forth as the only safeguard against modern evil. / AFRIKAANSE OPSOMMING: Hierdie tesis neem Zygmunt Bauman se boek Modernity and the Holocaust as ‘n beginpunt en probeer om te wys dat die volksmoorde van die twintigste eeu byprodukte, en nie afwykings, van moderniteit is nie. Bauman se werk fokus op die moderne eienskappe van die Holocaust. Deur gebruik te maak van die teorie wat hy in Modernity and the Holocaust ontwikkel, probeer hierdie tesis om, eerstens, te wys dat die Holocaust nie die enigste voorbeeld van ‘n moderne volksmoord is nie. Deur die Holocaust met ‘n ander, meer onlangse volksmoord, die Rwandese volksmoord van 1994, te vergelyk en te kontrasteer word dit duidelik dat ten spyte van die oppervlakkige verskille tussen die twee volksmoorde, die Rwandese volksmoord ook ‘n byproduk van moderniteit is. Hierdie gevolgtrekking het belangrike implikasies nie net vir die manier waarop ons die Holocaust en die Rwandese volksmoord onthou nie, maar ook vir die wyse waarop ons die kwaad (evil) en perpetrators of evil1 verstaan. Deur verder gebruik te maak van Bauman se werk sowel as die werk van Hannah Arendt, veral met betrekking tot die Eichmann saak, ondersoek hoofstuk drie ons tradisionele aannames en verwagtinge met betrekking tot die kwaad (evil) en perpetrators of evil en wys die onaangename verskille tussen ons aannames en die moderne realiteit uit. Ten einde werklik die aard van perpetrators van moderne volksmoord te verstaan, is dit belangirk om na die invloed van moraliteit op hierdie perpetrators of evil te kyk, asook die redes waarom moraliteit blykbaar teenstrydig is met moderniteit. Haas se belangrike boek, Morality after Auschwitz, word hier geraadpleeg. Gegewe die verskeie tekortkominge van moderniteit, moet ons wonder of postmoderniteit nie dalk ‘n beter morele alternatief bied nie. Hoofstuk vyf ondersoek hierdie stelling en vind dat postmoderniteit ook nie voldoende is nie. Laastens word Bauman weereens geraadpleeg en sy seining van ‘n etiek van verantwoordelikheid word voorgestel as die enigste beskerming teen moderne kwaad. / Harry Crossley Foundation

Thesis (Ph. D.)--University of Melbourne, 2004. / Title from PDF title page (viewed on June 11, 2005). Includes filmography (p. 269-271) and bibliographical references (p. 272-316).

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-12Bitstream added on 2014-06-13T19:14:17Z : No. of bitstreams: 1 zago_ces_me_assis.pdf: 751122 bytes, checksum: 8a44a52ee5ae1c54d8ce565bf60a3e29 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho apresenta uma leitura interpretativa de parte do teatro de Hilda Hilst, escrito no final da década de 1960. Encontram-se, no primeiro capítulo, comentários acerca da fortuna crítica já existente sobre os textos dramáticos da autora paulista, aproximando perspectivas e pareceres semelhantes a fim de estabelecer possíveis linhagens críticas. Já na segunda parte analisa-se a peça O novo sistema, buscando compreender como nela se representa o processo de instauração de um Estado de exceção e se problematiza a dialética entre barbárie e esclarecimento, sobretudo a partir dos paradigmas modernos da evolução científica e da razão instrumental. O trabalho segue com uma leitura interpretativa de As aves da noite, procurando captar sua atmosfera infernal, em diálogo intertextual com Dante Alighieri, para então aproximá-la de certas faces da modernidade, encontradas em estruturas sociais e administrativas pautadas no cerceamento da evolução espiritual. A última reflexão é sobre a peça A morte do patriarca, em que se busca indicar, sobretudo, a figuração do fim das utopias e a proposição de novas formas de narrar e de construir o discurso histórico. Ao longo da dissertação, persegue-se o constante diálogo de Hilda Hilst com um vasto arcabouço de discursos, autores e textos de vários gêneros e áreas do saber -, como literatura, ciência, pedagogia, filosofia e teatro -, configurando uma estrutura em mosaico, resultante do processo de bricolagem com o qual a escritora compõe as três peças aqui estudadas / This dissertation presents an interpretive reading of part of Hilda Hilst’s theater, written at the end of the 1960s. At its very first chapter one comes across with comments on the critical fortunes already found in her dramatic writings, comparing similar perspectives and concepts in order to establish possible critical affiliations. In its second part one analyzes the play O novo sistema, trying to understand in it how the process of instauration of a State is represented and how the dialectics between barbarism and enlightenment is questioned, mainly based on the modern paradigms of scientific evolution and instrumental reason. The dissertation continues with an interpretive reading of As aves da noite, trying to capture its infernal atmosphere, in an intertextual dialog with Dante Alighieri, comparing it to certain aspects of modernity, found in social and administrative structures organized into the restriction imposed on spiritual evolution. The last pondering is on the play A morte do patriarca, in which one tries mainly to point out the figuration of the end of utopias and the proposition of new ways of narrating and creating the historical discourse. Along the dissertation, one pursues the constant dialog held by Hilda Hilst with a wide framework of discourses, authors, and texts of various genres and fields of knowledge - such as literature, science, pedagogy, philosophy, and theater -, configuring a structure in mosaic, resulting from a bricolage process with which the playwright from São Paulo Satate writes the three plays focused here

Until the nineteenth century, travel was undertaken only by the elite. With the introduction of rail, mass travel was available for the first time, and new faraway destinations became accessible to all. During the 20th century travel became more destination-orientated. And now, in the 21st century, travel is a new economy, resulting in the tourism industry. The focus of the tourism industry has shifted from air travel, weekend getaways and day trips, to a total experience of the destination. A new era in tourism has arrived with a new kind of tourism experience, one that is sustainable, socially responsible and flexible. At the forefront of this industry is a tourist who is more educated, experienced, knowledgeable, independent and demanding. This tourist demands new or different products/services, is harder to please than the traditional tourist, is well-informed and knows what he/she wants and where he/she wants to go. This is the modern tourist. The objectives of the study were to identify the typical characteristics of the so-called modern consumer, determine which of these characteristics were prevalent among consumers living in the Nelson Mandela Metropolitan Area and whether these characteristics could be used to cluster respondents into segments. The results of the study will assist organisations, within the tourism industry, in dealing with the changing demands of the modern tourist. The literature study contextualised the modern tourist within the tourism industry and provides an overview of the demographic and behavioural factors, which form the basis of the modern tourist‟s development. The demographic factors discussed were age, education, income, gender and household size. The non demographic factors identified and explained were variety seeking, quest for self-identity, quest for authenticity, knowledgeable, experience sharing and time poor. The empirical information was obtained via self-administered questionnaires. Two hundred useable questionnaires were completed by respondents in the Nelson Mandela Metropolitan Area. Statistica version 10 was used to analyse the data received. The principal component factor analysis yielded six behavioural factors, namely meaningful experiences, time poor, knowledge, authenticity and experience sharing. Until the nineteenth century, travel was undertaken only by the elite. With the introduction of rail, mass travel was available for the first time, and new faraway destinations became accessible to all. During the 20th century travel became more destination-orientated. And now, in the 21st century, travel is a new economy, resulting in the tourism industry. The focus of the tourism industry has shifted from air travel, weekend getaways and day trips, to a total experience of the destination. A new era in tourism has arrived with a new kind of tourism experience, one that is sustainable, socially responsible and flexible. At the forefront of this industry is a tourist who is more educated, experienced, knowledgeable, independent and demanding. This tourist demands new or different products/services, is harder to please than the traditional tourist, is well-informed and knows what he/she wants and where he/she wants to go. This is the modern tourist. The objectives of the study were to identify the typical characteristics of the so-called modern consumer, determine which of these characteristics were prevalent among consumers living in the Nelson Mandela Metropolitan Area and whether these characteristics could be used to cluster respondents into segments. The results of the study will assist organisations, within the tourism industry, in dealing with the changing demands of the modern tourist. The literature study contextualised the modern tourist within the tourism industry and provides an overview of the demographic and behavioural factors, which form the basis of the modern tourist‟s development. The demographic factors discussed were age, education, income, gender and household size. The non demographic factors identified and explained were variety seeking, quest for self-identity, quest for authenticity, knowledgeable, experience sharing and time poor. The empirical information was obtained via self-administered questionnaires. Two hundred useable questionnaires were completed by respondents in the Nelson Mandela Metropolitan Area. Statistica version 10 was used to analyse the data received. The principal component factor analysis yielded six behavioural factors, namely meaningful experiences, time poor, knowledge, authenticity and experience sharing. The data analysis revealed three distinct clusters, namely Postmodernists, Traditionalists and Modernists. Each cluster had unique demographic and behavioural characteristics with the result that modern tourists could be grouped into distinct clusters according to their demographic and behavioural characteristics. This will enable the tourism industry to tailor-make their marketing strategies according to these clusters.he data analysis revealed three distinct clusters, namely Postmodernists, Traditionalists and Modernists. Each cluster had unique demographic and behavioural characteristics with the result that modern tourists could be grouped into distinct clusters according to their demographic and behavioural characteristics. This will enable the tourism industry to tailor-make their marketing strategies according to these clusters.

Orientador: Carlos Alberto Sampaio Barbosa / Banca: José Luis Bendicho Beired / Banca: Carolina Amaral de Aguiar / Resumo: A Guerra Hispano-Americana (1898) aconteceu em decorrência da expansão imperialista dos Estados Unidos no momento em que sua industrialização crescia em ritmo acelerado. Eliminando os últimos resquícios da colonização espanhola no continente americano, Cuba e Filipinas foram os primeiros alvos de uma política agressiva dos nacionalistas estadunidenses para assegurar o slogan proposto pela Doutrina Monroe, "América para os Americanos". Nos principais centros urbanos dos Estados Unidos, a modernidade atingia a percepção dos indivíduos por meio da inovação tecnológica que dimensionava o tempo e o espaço, a velocidade da máquina mesclava o orgânico e o mecânico. Nas ruas, inúmeras propagandas visuais atordoavam os olhares, os jornais impressos traziam notícias sensacionalistas de interesses políticos e o comportamento dos cidadãos se padronizava através das revistas periódicas. Os vaudevilles, teatros de variedades, canalizavam essa sociedade caótica através da miscelânea de espetáculos e shows, o cinema se desenvolvia neste ambiente. Quando o conflito entre a Espanha e os Estados Unidos entrou em vigor, o cinema participou pela primeira vez de uma guerra, se misturando com todas as formas de comunicação do período e exercendo, de forma inédita, uma postura ativa na formação da opinião pública. O trabalho a seguir compreende como foi a participação dos filmes produzidos pela Edison Company e pela American Biograph e Mutoscope, diante desse enredo. Utilizando 68 filmes presentes... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The Spanish-American War (1898) happened as a result of the United States's imperialist expansion at the time its industrialization grew at a accelerated pace. Eliminating the last remnants of Spanish colonization in the American continent, Cuba and the Philippines were the first targets of an American nationalists's aggressive policy to ensure the slogan proposed by the Monroe doctrine "America for Americans". In the main United States's urban centers, modernity reached the individuals perception through technological innovation that dimensioned the time and the space, the machine's speed merged the organic and the mechanic. In the streets, countless visual advertisements stunned the looks, the printed newspapers brought sensationalist news of political interests and the citizens behaviour was standardized through periodic journals. The vaudevilles, variety theaters, channeled this chaotic society through the miscellaneous of performances and shows, the cinema was being developed in this environment. When the conflict between Spain and the United States came into effect, the cinema participated for the first time in a war, mingling with all forms of communication in the period and exerting, in an unprecedented way, an active posture in the public opinion formation. The following work compromises how was the participation of the films produced by the Edison Company and the American Biograph and Mutoscope, before this plot. Using 68 films present in the Spanish American War... (Complete abstract click electronic access below) / Mestre

Modernity has generally been interpreted as a radical expression of human progress in the light of the advances of modern science and technology. According to Alasdair MacIntyre, however, modernity is a project "doomed to failure". Given the progressive-linearity of the modern model of rationality, the past has, in principle, been ruled out as a source of moral-political wisdom and guidance. From the perspective of modernity, the present (as the progressive moment of the future) has therefore nothing to learn from past traditions. MacIntyre contends that the moral confusion within modernity comes from its loss of telos, mediated in terms of the past. Modernity therefore harbours a paradox based on its inability to provide a philosophical justification for establishing the possibility of human solidarity in the present, while simultaneously affirming its faith in the future. In this regard, MacIntyre's work is an important contribution to the philosophical debate on modernity. / Philosophy / M. A. (Philosophy)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-16T12:13:34Z No. of bitstreams: 1 Augusto Miranda Lewin.pdf: 1045815 bytes, checksum: 0f5dd59b269caf6d3fc1212f91015f8a (MD5) / Made available in DSpace on 2018-03-16T12:13:34Z (GMT). No. of bitstreams: 1 Augusto Miranda Lewin.pdf: 1045815 bytes, checksum: 0f5dd59b269caf6d3fc1212f91015f8a (MD5) Previous issue date: 2018-02-19 / It addresses the human behavior found in the Liquid Modernity of Zygmunt Bauman, focusing on the analysis of the individual consumer, the historicity of the dignity of the human person and the achievements of people through Law, while society does not stop going through several behavioral changes intimately linked to modern life. The theme of the humanization of consumer objects in the face of human reification is also present as a way of punctuating the social crisis of people's identity, but also through access to justice, the right means a way to rescue the dignity of the person In a consumer society / Aborda o comportamento humano encontrado na Modernidade Líquida de Zygmunt Bauman, com foco na análise do indivíduo consumidor, a historicidade da dignidade da pessoa humana e as conquistas obtidas pelas pessoas por meio do Direito, enquanto a sociedade não para de passar por diversas mudanças de comportamento intimamente ligadas à vida Moderna. A temática da humanização de objetos de consumo face à coisificação humana também se faz presentes como forma de bem pontuar a crise social de identidade das pessoas, como também o Direito se tornou, por meio do acesso à justiça, uma proposta para o resgate da dignidade da pessoa humana numa sociedade de consumo

Modernity has generally been interpreted as a radical expression of human progress in the light of the advances of modern science and technology. According to Alasdair MacIntyre, however, modernity is a project "doomed to failure". Given the progressive-linearity of the modern model of rationality, the past has, in principle, been ruled out as a source of moral-political wisdom and guidance. From the perspective of modernity, the present (as the progressive moment of the future) has therefore nothing to learn from past traditions. MacIntyre contends that the moral confusion within modernity comes from its loss of telos, mediated in terms of the past. Modernity therefore harbours a paradox based on its inability to provide a philosophical justification for establishing the possibility of human solidarity in the present, while simultaneously affirming its faith in the future. In this regard, MacIntyre's work is an important contribution to the philosophical debate on modernity. / Philosophy, Practical and Systematic Theology / M. A. (Philosophy)

This work, as its title suggests, aims to discuss the relationship between modernity and helplessness, from the freudian theory of the social, that is, from the so-called sociological or anthropological texts that comprise the works of Freud. Initially, we will make a presentation about modernity, from different perspectives, and, moreover, we will formulate a brief description of what we understand as modern ideas, that is, the set of key assumptions that define modernity. After we discuss the relations between psychoanalysis, modernity and modernism, understood as a movement of criticism of modern assumptions. We will try, indeed, to question the argument for which there would be a shift in the freudian reading of modernity that produces a radical break with the modern ideas. As we want to demonstrate, perhaps it might be more appropriate to state the hybrid character of the freudian theory, according that it combine antagonistic tendencies, inextricably intertwined. Henceforth, we will investigate the statute of helplessness in freudian discourse. Our starting point is the discussion of helplessness in the biological registry from the Project of 1895. Moreover, we will consider the helplessness in the social registry, emphasizing how this condition would be consequent of the collapse of tradition and pre-modern conceptions, notably regarding the decline of a protective figure. In this conception, the helplessness would be structural and inherent to the inclusion of the subject in modernity. We will also explore the question of the destinies of helplessness. On the menu of the procedures to regulating the malaise indicated by Freud, the illusions appear as one of the possible alternatives, that is, as one of the ways to search for salvation. We will seek, finally, to show that the illusions comprise not only the framework of religious ideas, but also statements characteristics of other forms of worldview (Weltanschauung), highlighting some philosophical systems. / Este trabalho, como o próprio título sugere, tem como escopo discutir as relações entre a modernidade e o desamparo, à luz da teoria freudiana do social, isto é, a partir dos chamados textos antropológicos ou sociológicos que compõem a obra freudiana. Inicialmente, faremos uma apresentação acerca da modernidade, a partir de diferentes perspectivas, e, ademais, formularemos uma breve descrição do que compreendemos como o ideário moderno, isto é, o conjunto dos principais pressupostos que definem a modernidade. Em seguida, discutiremos as relações estabelecidas entre a psicanálise, a modernidade e o modernismo, entendido como um movimento de crítica aos pressupostos modernos. Tentaremos, com efeito, problematizar o argumento segundo o qual haveria uma inflexão na leitura freudiana sobre a modernidade que produziria uma ruptura radical com o ideário moderno. Como queremos demonstrar, talvez fosse mais apropriado afirmar o caráter híbrido da teoria freudiana, na medida em que nela se misturam tendências antagônicas, indissociavelmente entrelaçadas. Doravante, investigaremos o estatuto do desamparo no discurso freudiano. O nosso ponto de partida é a discussão do desamparo no registro biológico, a partir do Projeto de 1895. Ademais, trataremos do desamparo no registro social, enfatizando como tal condição seria resultante da falência da tradição e das concepções pré-modernas, notadamente no que tange ao declínio de uma figura protetora. Nessa concepção, vale dizer, o desamparo seria estrutural e inerente à inscrição do sujeito na modernidade. Abordaremos também a questão dos destinos do desamparo. No cardápio dos procedimentos de regulação do mal-estar indicados por Freud, as ilusões aparecem como uma das possíveis alternativas, ou seja, como um dos caminhos para a busca da salvação. Buscaremos, por fim, evidenciar que as ilusões compõem não apenas o arcabouço das ideias religiosas, mas também enunciados característicos de outras formas de visão de mundo (Weltanschauung), com destaque para alguns sistemas filosóficos.