<p>  </p> <p>The transition of Folk music in the USA from the margins to notoriety, had its roots in the ‘leftist’ ideology of their proponents, and a message of communal solidarity, based on the ‘we’. The arrival of Bob Dylan in the 60s to an already recognized folk movement propelled him to global stardom, which made it possible for his music to permeate Spanish houses and songwriters’ circles. Dylan focused on the ‘you’ as a finger-pointing technique that questions his listener’s alliances. He had a revolutionary character that influenced songwriters both in the USA and Spain, whether through his lyrics or his rebellious rejection of any kind of pressure group. </p> <p>His lyrical content of vivid images placed before the eyes of the listeners (<em>enargeia</em>), captivated his audiences. Spanish songwriters, who at the same time received influence from France, or the social poets of the first half of the 20th Century, among others, found in Dylan a valuable source to widespread a non-conformist message of freedom. They translated and reinterpreted some of Dylan’s protest songs, and in the case of Catalonia or Galicia, used their native languages as a symbol of defiance against the Francoist Government.</p> <p>Early Dylan and his counterparts in Spain became organic intellectuals as a bridge between the subalterns and the ruling bloc. They used epideictic discourses to put their audiences in questioning and decision-making positions. Their use of <em>prosopopeia</em> bestowed memory to those individuals who were wronged by the judiciary system in the USA and Spain; aiding in developing a counter-hegemonic discourse that placed them in the tradition of the <em>euphantasiotos</em>, who is as skilled in the <em>ars </em>of <em>enargeia </em>as in the <em>ars </em>of <em>actio</em>, as a poet and a performer. </p>

A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro. / Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.

Publicadas em 1968, as Memórias de um gigolô, romance de Marcos Rey, têm sido lidas pela crítica a partir de categorias genéricas como romance-folhetim e narrativa picaresca. Ainda que descrevam alguns aspectos de composição do livro, as generalizações da crítica deixam em segundo plano a presença de um universo brasileiro também em operação no romance, e diluem, por outro lado, os dados de historicidade contidos dentro dele. De acordo com nossa perspectiva, esses dados históricos podem ser recolhidos através da caracterização do narrador como um cafetão que possui habilidade com o manejo das palavras, e que se considera um intelectual subdesenvolvido. Levando em conta essa imagem em negativo do homem de letras brasileiro como gigolô das palavras, o objetivo deste trabalho é examinar o romance de Marcos Rey a partir de dois contextos significativos: a trajetória profissional construída pelo autor no coração das indústrias do entretenimento desde os anos 1950, e o momento histórico vivido pelo Brasil nas décadas de 1960 e 1970, tempos de ditadura militar e de consolidação da indústria cultural no país. As Memórias de um gigolô também são vistas aqui como ponto de convergência para os futuros rumos da ficção de Marcos Rey, cada vez mais aberta à presença de personagens ligados ao universo das letras. Através da análise de dois de seus contos, Soy loco por ti América! (1977) e O bar dos cento e tantos dias (1977), veremos de que modo essas questões se integram à sua obra posterior. / Published in 1968, Marcos Reys novel Memoirs of a gigolo has been categorized by critics in broad literary genres such as the serial novel and the picaresque narrative. These readings do not draw enough attention, though, to the presence of a typically Brazilian social universe in Reys books, thereby diluting its marks of historicity. This dissertation seeks to assess the historical dimension of Reys work by focusing on the novels narrator, a pimp who is endowed with unusual literacy and considers himself to be an underdeveloped intellectual. Through this negative version of the Brazilian literary men as literary gigolo, it analyzes Reys novel from a double perspective: the writers professional trajectory in the entertainment industry starting in the 1950s, and the historical context of the 1960s and 1970s, times both of a military dictatorship in the country and of the consolidation of its national culture industry. Memórias de um gigolo is also considered, in the present work, as a blueprint to Reys subsequent work, increasingly centered on characters that are related to the literary universe. Through the analysis of two short stories, Soy loco por ti América! (1977) and Bar dos cento e tantos dias (1977), we try to understand in which ways these themes are ingrained in Reys later work.

Essa tese tem como objetivo compreender a crítica que Theodor W. Adorno faz da cultura e de que maneira ela se distingue dos modelos advindos da crítica cultural e da sociologia da cultura. Com esse fito, a tese apresenta uma série de análises da cultura de Adorno, que se iniciam na década de 1930, principalmente no seu debate com Walter Benjamin acerca da relação entre arte e política. Procurou-se entender como esse debate sofreu uma inflexão com o exílio de Adorno nos Estados Unidos, onde foi formulado o conceito de indústria cultural, a partir do qual se delineiam as críticas de Adorno ao rádio, ao cinema e à televisão e ao modo de integração social mobilizado pelo capitalismo tardio. Por meio da apresentação de outros momentos de sua obra, como a crítica literária, a estética e a filosofia, buscou-se demonstrar a complementaridade dos momentos diversos que, juntos, permitem entrever uma crítica dialética, cuja consequência é a suprassunção do próprio conceito de cultura. / This dissertation aims to comprehend the nature of Theodor W. Adornos critique of culture and how it distinguishes itself from different models arising from cultural critique and from sociology of culture. For this purpose, the dissertation presents a series of Adornos analyses of culture, which begins in the 1930s, especially in his debate with Walter Benjamin concerning art and politics. It sought to understand how this debate suffered an inflection due to Adornos exile in the United States, where the concept of culture industry would be conceived and out of which his critique of radio, cinema and television and of the mode of social integration in late capitalism were delineated. Through the presentation of other moments of Adornos work, such as literary critique, aesthetics and philosophy, it sought to demonstrate the complementarity of different moments which, together, allow us to glimpse a dialectical critique whichs consequence is the sublation of the very concept of culture.

Não é raro encontrar na televisão brasileira, e mesmo na rádio, emissões que trazem depoimentos de pessoas comuns comentados por especialistas, sobretudo, psicólogos. Desentendimentos conjugais, problemas com filhos, desavenças com vizinhos, conflitos no trabalho, são alguns dos temas exibidos. Trata-se de versões cujo formato orienta também produções estadunidenses, europeias e latino-americanas, cuja temática, apropriada pela indústria cultural nacional, difunde um discurso terapêutico. Embora as ideias de manipulação dos participantes e de sensacionalismo na busca por audiência sejam justificativas para a veiculação desse tipo de emissão, existem outros sentidos que podem ser atribuídos quando se aproximam as razões que mobilizam pessoas a dar visibilidade a histórias e questões consideradas de foro íntimo. Foram esses outros sentidos aqui investigados. Uma abordagem, portanto, a partir dos participantes de No Divã do Gikovate (Rádio CBN), Casos de Família (SBT) e Márcia (Bandeirantes) norteou a pesquisa apresentada. A interação social no palco, nos bastidores e na plateia foram vias de acesso a dois grupos sociais envolvidos na produção e no consumo desses bens culturais. O estudo dessas interações apontou lógicas diferentes de produção: uma demanda espontânea, entre aqueles que integram as emissões animadas pelo Dr. Gikovate, e um sistema de produção da exibição, ou seja, uma cadeia produtiva por trás das emissões televisivas que abarca tanto profissionais formalmente contratados pelas emissoras quanto pessoas engajadas informalmente. Tais interações indicam ainda grupos que possuem universos mentais distintos, com repertórios expressivos e recursos afetivos específicos. Seus integrantes apropriam-se do discurso terapêutico difundido transformando-o em senso prático para sua vida afetiva. / Its not rare to find in Brazilian television and radio, transmissions that bring ordinary peoples testimonials commented by experts, mainly psychologists. Marital fights, problems with children, quarrels with neighbors are some of the themes presented. Those are Brazilian versions of programs which circulate around the United States reaching Latin American and European countries, which the thematic, taken by their own national culture industry, diffuses a therapeutic discourse. Although the participants ideas manipulation and the sensationalism in the quest for audience are explanations for placing this kind of transmission, there are other senses that may be attributed when one gets closer to the reasons that mobilize those people to bring out stories and affairs once considered intimate. These other senses were the ones studied here. Thus, an approach close to that of the participants of No Divã do Gikovate (Gikovates Divan, Radio CBN), Casos de Família (Family Affairs, SBT) and Márcia (Marcia, Bandeirantes) guided this research. The social interactions on stage and backstage were ways to reach these two social groups involved in the production and consumerism of these cultural products. The study of these interactions led to different logics of production: a spontaneous demand between those who compose the transmissions cheered by Dr. Gikovate, and a production system of exhibition, which means a productive chain behind the television transmissions that reach professionals formally hired by the networks and people informally involved. Those interactions have also indicated groups with different mental universes, with specific expressive repertoire and affective appeal. Their integrants employ the therapeutic discourse, transforming it into logic of practice to be used in their affective life.

Essa tese tem como objetivo compreender a crítica que Theodor W. Adorno faz da cultura e de que maneira ela se distingue dos modelos advindos da crítica cultural e da sociologia da cultura. Com esse fito, a tese apresenta uma série de análises da cultura de Adorno, que se iniciam na década de 1930, principalmente no seu debate com Walter Benjamin acerca da relação entre arte e política. Procurou-se entender como esse debate sofreu uma inflexão com o exílio de Adorno nos Estados Unidos, onde foi formulado o conceito de indústria cultural, a partir do qual se delineiam as críticas de Adorno ao rádio, ao cinema e à televisão e ao modo de integração social mobilizado pelo capitalismo tardio. Por meio da apresentação de outros momentos de sua obra, como a crítica literária, a estética e a filosofia, buscou-se demonstrar a complementaridade dos momentos diversos que, juntos, permitem entrever uma crítica dialética, cuja consequência é a suprassunção do próprio conceito de cultura. / This dissertation aims to comprehend the nature of Theodor W. Adornos critique of culture and how it distinguishes itself from different models arising from cultural critique and from sociology of culture. For this purpose, the dissertation presents a series of Adornos analyses of culture, which begins in the 1930s, especially in his debate with Walter Benjamin concerning art and politics. It sought to understand how this debate suffered an inflection due to Adornos exile in the United States, where the concept of culture industry would be conceived and out of which his critique of radio, cinema and television and of the mode of social integration in late capitalism were delineated. Through the presentation of other moments of Adornos work, such as literary critique, aesthetics and philosophy, it sought to demonstrate the complementarity of different moments which, together, allow us to glimpse a dialectical critique whichs consequence is the sublation of the very concept of culture.

Não é raro encontrar na televisão brasileira, e mesmo na rádio, emissões que trazem depoimentos de pessoas comuns comentados por especialistas, sobretudo, psicólogos. Desentendimentos conjugais, problemas com filhos, desavenças com vizinhos, conflitos no trabalho, são alguns dos temas exibidos. Trata-se de versões cujo formato orienta também produções estadunidenses, europeias e latino-americanas, cuja temática, apropriada pela indústria cultural nacional, difunde um discurso terapêutico. Embora as ideias de manipulação dos participantes e de sensacionalismo na busca por audiência sejam justificativas para a veiculação desse tipo de emissão, existem outros sentidos que podem ser atribuídos quando se aproximam as razões que mobilizam pessoas a dar visibilidade a histórias e questões consideradas de foro íntimo. Foram esses outros sentidos aqui investigados. Uma abordagem, portanto, a partir dos participantes de No Divã do Gikovate (Rádio CBN), Casos de Família (SBT) e Márcia (Bandeirantes) norteou a pesquisa apresentada. A interação social no palco, nos bastidores e na plateia foram vias de acesso a dois grupos sociais envolvidos na produção e no consumo desses bens culturais. O estudo dessas interações apontou lógicas diferentes de produção: uma demanda espontânea, entre aqueles que integram as emissões animadas pelo Dr. Gikovate, e um sistema de produção da exibição, ou seja, uma cadeia produtiva por trás das emissões televisivas que abarca tanto profissionais formalmente contratados pelas emissoras quanto pessoas engajadas informalmente. Tais interações indicam ainda grupos que possuem universos mentais distintos, com repertórios expressivos e recursos afetivos específicos. Seus integrantes apropriam-se do discurso terapêutico difundido transformando-o em senso prático para sua vida afetiva. / Its not rare to find in Brazilian television and radio, transmissions that bring ordinary peoples testimonials commented by experts, mainly psychologists. Marital fights, problems with children, quarrels with neighbors are some of the themes presented. Those are Brazilian versions of programs which circulate around the United States reaching Latin American and European countries, which the thematic, taken by their own national culture industry, diffuses a therapeutic discourse. Although the participants ideas manipulation and the sensationalism in the quest for audience are explanations for placing this kind of transmission, there are other senses that may be attributed when one gets closer to the reasons that mobilize those people to bring out stories and affairs once considered intimate. These other senses were the ones studied here. Thus, an approach close to that of the participants of No Divã do Gikovate (Gikovates Divan, Radio CBN), Casos de Família (Family Affairs, SBT) and Márcia (Marcia, Bandeirantes) guided this research. The social interactions on stage and backstage were ways to reach these two social groups involved in the production and consumerism of these cultural products. The study of these interactions led to different logics of production: a spontaneous demand between those who compose the transmissions cheered by Dr. Gikovate, and a production system of exhibition, which means a productive chain behind the television transmissions that reach professionals formally hired by the networks and people informally involved. Those interactions have also indicated groups with different mental universes, with specific expressive repertoire and affective appeal. Their integrants employ the therapeutic discourse, transforming it into logic of practice to be used in their affective life.

面對著文化工業 (culture industry) 的崛起，藝術家高喊著「藝術自主性」 (autonomy of art) ，來對抗國家機器與資本主義對藝術的侵蝕。前衛的藝術家就已經面臨內部矛盾的論證：一部分認為藝術應該當作社會真實的反映工具，進而觸發社會的整體革命，另一部分則抱持著「為藝術而藝術」 (l'art pour l'art) ，不應該被任何社會的風潮牽動。本文挑選阿多諾的美學思想作為研究的課題，研究其批判文化工業的藝術哲學，並且就《啟蒙的辯證：哲學的片簡》 (Dialec-tics of Enlightenment) 的篇章〈文化工業：大眾欺騙的啟蒙〉 (The Culture Indus-try: Enlightenment of Mass Deception) 以及《美學理論》 (Aesthetic Theory) 當作本文研究之原典。 除了緒論與結論，本文共分為三個章節。第一章分析的是「文化工業」：藉由商品拜物教的形式，文化工業從藝術的外部性質──傳播媒體──來取得藝術的社會形式，卻也因此異化藝術本身的內在邏輯，甚至使得傳播媒體異化且取代了藝術作品本身。第二章分析的是「前衛藝術」：雖然前衛藝術是文化工業的對立面，但是它們都享有共同的外在語法與邏輯。因此，前衛藝術與文化工業的對立是基於什麼原因，則是本章所要分析的。第三章分析的是「藝術的雙重性」：藝術的雙重性是阿多諾《美學理論》的重要貢獻，也一直是後繼者研究其藝術哲學的重點。藝術的雙重性──社會性與自主性──都是藝術作品內部精神，而表現在它的物質形式上，這都可被視為藝術作品本身的物化。 從阿多諾的觀點中分析，藝術的自主性──就如同資本主義對於自由的形容──是不切實際的虛假意識，藝術是物質的、社會的產物，也只是反映下層建築的菱鏡、主體的附庸；另一方面，藝術卻又渴望不被他者束縛的自由，對於現實的理所當然是不屑一顧的，而試圖在化外之地找尋更好的理念。在阿多諾的美學理論，藝術的雙重性是其自身內部矛盾的辯證過程，卻也是藝術最迷人之處，無論傾向哪一個層面之體現，都無法完整表達藝術的真面目而使之終結。如果要為藝術找尋其雙重性的辯證，最終必然為找尋其動態的平衡，時而接近主體，時而離開主體，與主體展開曖昧不明又難分難捨的關係。也因為如此，藝術為達到自身辯證的平衡，就成為了縈繞於社會邊緣的遊蕩者。 / The artistic manifestation for “autonomy of art” is against the rise of culture in-dustry which corrupts art’s sake in the capitalist society. Those artists who claim self as the avant-garde argue whether their artwork should be the reflection of social real-ity or should be “l'art pour l'art”. My thesis is focus on T.W. Adorno’s aesthetic theory, and his critique against the culture industry. T.W. Adorno’s aesthetic theory should be rediscovered from his “The Culture Industry: Enlightenment of Mass Deception” from Dialectics of Enlightenment and his masterpiece Aesthetic Theory. Besides the epilogue and the conclusion, there are other three chapters. The first chapter is focus on “culture industry”: from commodity fetishism, the culture industry claims art’s form by its externality: media. However, it also reifies the internal logics of art which media takes over art in its own sake. The second chapter is on “avant-garde art”: though it is the counterpart of culture industry, avant-garde art shares the same syntax and logic with the culture industry. The reason of their conflicts should be explored by the history of modern art. The third chapter is on “the duality of art”: as the most important part in Adorno’s aesthetic theory, the duality of art contributes the essential idea in the aesthetic history. Nevertheless, the autonomy and social faux are both elements of art’s spiritual perpective which will be reified as its form. From Adorno’s theory, art’s autonomy and social faux are dialectical. Art must seek its own autonomy from its heteronomy, which avoids itself from its own fetish character. It circulates it own vital experience, then it terminates itself in the reification. Therefore, in Adorno’s theory, art’s duality is both dialectical and mysterious. Whether any aspect could not embody the truth content of art, and hence art is so amusing. The dialectical duality of art comes with its equilibrium with the social; real-ity, while the former is object and the latter is subject. While art approaches with the society, it also detaches from the society. The dialectical relationships has made art and society both indistinct and inseparable, therefore, art must become the edge of so-ciety in its own sake as the “flâneur”.

‘Celebrity’ has become a growing field of critical inquiry and cultural interest in twenty-first century society. Celebrities embody a host of meanings and engender larger ideological and discursive practices, in which they articulate expressions of social, cultural and political power that attach meaning to public individuals. Beginning with the late-twentieth century, celebrities have come to occupy spaces that exist beyond popular culture platforms, most notably in politics and international diplomacy. In spite of its typical association with superficial discussions of gossip and cheap entertainment, celebrities have become the site of anxiety in a capitalist society. To come to terms with these growing anxieties concerning celebrity and its accoutrements, this thesis explores the embedded complexities and consequences of the celebrity system within the framework of what has dubiously been called ‘celebrity politics.’ Through a detailed examination of this phenomenon, this thesis explores the coalescing spheres of Hollywood and the White House, where ‘celebrity’ and ‘politician’ have become interchangeable monikers. In addition to examining the historical conditions that have given rise to the phenomenon, this study examines contemporary articulations of the ‘celebrity politician,’ focusing on Angelina Jolie, Sean Penn and President Barack Obama. Discussion of these figures is framed by critical theory and media studies to better understand their location within the contemporary Western landscape.

過去臺灣對中小企業的輔導以製造業、出口業為主，但隨著服務業所佔比例提高，輔導措施也漸擴展，並逐漸以發展在地化特色為重心，希望各地都能以此提升經濟發展、增加就業率。經濟部中小企業處在地特色的輔導始於1989年，並於2002年以一鄉鎮一特產為目標、2009年轉以地方產業發展基金的模式運作。本文以地產基金為輔導個案，並以政策執行角度出發，以個別深度訪談法為主軸，針對專案辦公室、不同類型的地方政府、實際參與輔導工作的輔導團隊、以及接受輔導及未接受輔導的中小企業主進行訪談，透過不同互動參與者的實際經驗，將地產基金的執行過程加以描繪，同時也了解規劃、制度與執行之間的落差，以彌補過去文獻欠缺整體計畫角度的探討、並補強政策執行的運作過程，以期能提供實務的運作建議。 本文以經費及預算額度、規劃內容、在地資源的內容與多寡、執行者的價值觀等要素間關係作為研究架構。經本文發現，從OTOP轉為地產基金時將地方政府的角色納入，有效發揮地方政府所長並減少資源重複投入，但易發生雙頭馬車及執行方案的衝突；而地方政府及輔導團隊的角色更主動，如行銷、計畫後提供媒合等協助，但有商家類型上的限制；基金在運作上採用層層對口的模式，具明確溝通管道，但也造成中層的地方政府行政負擔大；最後規劃時各角色的需求不同，也會導致執行成效有落差。以上這些發現與問題，透過制度性的設計，都可望得到解決，將使未來地方產業的輔導政策更為完善。 搭配以上研究建議，本文也對應提出實務建議，並認為加強地方政府人員專業訓練、加強計畫願景、加強輔導團隊篩選機制、定期舉辦相關活動以做搭配等方式應可以使執行的過程更為順暢；同時，本文也認為後續可以針對規劃與執行落差、行銷及評估議題、電子化對執行過程產生的影響、比較地方政府自行執行基金的案例等角度切入研究，以俾能將政策執行前後的過程及地產基金的運作更為深入了解。