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Destructive Capitalism, an Investigation on the Inner Logic of CapitalSaavedra, Roque Martin 18 November 2008 (has links)
This research, while centered upon capital development, will concentrate its efforts on explaining the urgent contingencies behind its destructive aspects.
If capitalism in order to advance must destroy the past, what are the sources and effects of this inexorable tension between creation and destruction? Moreover, what are the principles of this contradictory logic that determines destruction in order to make progress?
This research will not investigate the totality of the destructive history behind capitalism. The time frame in analysis only covers the emergence of neo-liberalism at the beginning of the 1970s until today. This particular choice responds to the fact that neo-liberalism in itself is a strong example of the more destructive aspects of capitalist practice. I will not focus this research on a particular place, or a particular society. Instead, I will treat the topic from two theoretical perspectives, Joseph Schumpeter's notion of creative destruction and David Harvey's theory of geographical uneven development, along with his theorization of the spatial/temporal fix. Questions of space and development associated with capital will also integrate this research.
What this research will show is that the inexorable confluence between creation and destruction in capitalist practices to counter the overwhelming perspective of capitalism, as a progressive force in social terms, is an eminently political task that requires, not only imagination, but also, the necessary connection between apparent unconnected issues in order to unravel the perplexities of contemporary political and social thought. / Master of Arts
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La peinture comme réaction vers un équilibre des contrastesGagnon, Louis-David 02 February 2024 (has links)
Louis-David L.-Gagnon présente ses outils et ses techniques pour créer des contrastes au sein de ses tableaux. Issu du monde du graffiti et de la rénovation, il dévoile comment ces deux milieux l'ont influencé dans son art et met l'emphase sur le rôle du hasard et de l'assemblage dans sa pratique. / Louis-David L.-Gagnon presents his tools and techniques to create contrasts in his paintings. Coming from the world of graffiti and renovation, he reveals how these two environments influenced him in his art and emphasizes the role of chance and assemblage in his practice.
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Henry David Thoreau: a Study of CharacterParsons, Sabra 08 1900 (has links)
This thesis looks at the characteristics of Henry David Thoreau through his writings rather than through what other critics have written.
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Brothers, fathers, lovers : the search for male friendship in the fiction of D.H. LawrenceMullen, T. January 1999 (has links)
No description available.
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David Steuart Erskine, 11th Earl of Buchan : a study of his life and correspondenceLamb, James Gordon January 1963 (has links)
All the biographical accounts of David Steuart Erskine, 11th Earl of Buchan, are slight, and often very unsympathetic. Most have relied for factual information on his obituary, published in volume 99 of The Gentleman's Magazine. Malicious and distorted comments, particularly by Sir Walter Scott, have been responsible for the growth of a legend about Buchan's eccentricity, although the charge of absurd conduct was lodged against him in his own lifetime. It is interesting to note that a tradesman in Galashiels, near Buchan's former residence at Dryburgh Abbey, was found to talk about Buchan's patriotism, but at much greater length about his oddities, as recently as 1962. Those who could have given posterity a fair assessment of Buchan did not do so, and the way was left open for those who saw him only as vain and self-seeking. He was unlucky in living in the neighbourhood of Scott's house, Abbotsford, and because of this he has never had his due, even in the Border Country where he spent almost half his life. The cult of Scott flourishes there, but to Buchan there is no memorial. Whereas Abbotsford is much sought after, and is still in the possession of Scott's descendants, Dryburgh Abbey passed from Buchan's family and was given to the nation. Scott would probably have been amused had he known that the time would come when visitors to the Abbey would seek out his grave whilst that of Buchan goes unnoticed.
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L’esthétique de l’altérité dans le cinéma de David Lean, du "Pont de la rivière Kwai" (1957) à "La route des Indes" (1984) / The aesthetics of Otherness in the cinema of David Lean, From The Bridge on the River Kwai (1957) to A Passage to India (1984)Derfoufi, Mehdi 27 June 2012 (has links)
Cette thèse porte sur l’émergence, puis l’évolution, d’une esthétique de l’altérité dansle cinéma de David Lean à partir du Pont de la Rivière Kwaï (1957) et jusqu’à sondernier film réalisé, La Route des Indes (1984). Elle adopte également la perspectived’une réévaluation qualitative du cinéma du cinéaste britannique, en mettant au jourles fondements idéologiques qui expliquent sa marginalisation dans le contextefrançais.Cette thèse interroge la façon dont le cinéma de David Lean contribue aux définitionsanthropologiques et culturelles de l’identité occidentale, dans sa relation avecl’altérité orientale. Le rôle des représentations de genre, de race et de classe estexaminé en lien avec les techniques cinématographiques dans la perspective de faireapparaître l’historicité et l’ethnicité des modalités de la figuration.L’analyse détaillée des quatre films que David Lean a consacrés à la représentationde l’histoire impériale britannique s’accompagne d’une étude précise du contexte deproduction de chacun des films. De plus, les filiations cinématographiques sontprises en compte afin de situer les films dans une histoire des représentations del’altérité. Le rôle central de la relation coloniale et postcoloniale dans l’élaborationd’une esthétique de l’altérité est envisagé tout au long de la période étudiée.Cette thèse aboutit à la conclusion d’une esthétique de l’altérité structurée par lanécessité pour la civilisation occidentale d’intégrer la notion de crise dans unprocessus de reconfiguration permanent. Cette nécessité émerge avec lesindépendances et la décolonisation. Elle s’impose à partir des années 1970 avecl’autonomie des sujets dominés qui composaient jusque-là l’Orient imaginaire / The topic of this thesis is the emergence and the subsequent evolution of anaesthetics of otherness in the cinema of David Lean, starting with The Bridge on theriver Kwai (1957) and up to A passage to India (1984), the very last film he made.This thesis seeks as well a qualitative reassessment of the British filmmaker's work,unearthing thereby the ideological factors behind his marginalization in the contextof French critical discourse.This thesis explores the ways in which David Lean's work contributes to theanthropological and cultural definition of Western identity in its relationship withOriental otherness. I examine the role played by gender, race and classrepresentations in relationship with cinema techniques in view of shedding light onthe historicity and ethnicity of modes of figuration.The detailed analysis of the four David Lean films taking as their topic therepresentation of British imperial history is complemented by a meticulous study ofeach film's context of production. Furthermore, I consider cinematic genealogies soas to situate the films within a history of the representation of otherness. I take intoaccount the central role played by colonial and postcolonial relationships in thedevelopment of an aesthetics of otherness throughout the historical period underconsideration.This thesis reaches the following conclusion regarding an aesthetics of otherness :namely, that it is structured by the necessity for Western civilization of incorporatingthe notion of crisis in a process of constant reconfiguration. Emerging with liberationmovements and decolonization, this necessity imposes itself from the 1970s onwardsfollowing the independence of dominated subjects who, up to then, had been makingup an imaginary East
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Visceral material : cinematic bodies on screenBugaj, Malgorzata January 2014 (has links)
This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.
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Fictions of proximity: the Wallace Nexus in contemporary literaturePersonn, Tim 09 August 2018 (has links)
This dissertation studies a group of contemporary Anglo-American novelists who contribute to the development of a new humanism after the postmodern critique of Euro-American culture. As such, these writers respond to positions in twentieth-century philosophy that converge in a call for silence which has an ontological as well as ethical valence: as a way of rigorously thinking the ‘outside’ to language, it avoids charges of metaphysical inauthenticity; as an ethical stance in the wake of the Shoah, it eschews a complicity with the reifications of modern culture. How to reconcile this post-metaphysical promise with the politico-aesthetic inadequacy of speechlessness is the central question for this nexus of novelists—David Markson, Bret Easton Ellis, David Foster Wallace, and Zadie Smith—at the center of which the study locates Wallace as a key figure of contemporary literature. By reconstructing the conversation among these authors, this dissertation argues that the nexus writers turn to indirect means of representation that do justice to the demand for silence in matters of metaphysics, but also gesture past it in the development of a neo-romantic aesthetics that invites the humanist category of the self back onto the scene after its dismissal by late postmodernism. The key to such indirection lies in an aporetic method that inspires explorations of metaphysical assumptions by seducing readers to an ambiguous site of aesthetic wonder; in conversation with a range of contemporary philosophers, the dissertation defines this affective site as a place of proximity, rather than absorption or detachment, which balances out the need for metaphysical distance with the productive desire for a fullness of experience. Such proximate aesthetic experiences continue the work of ‘doing metaphysics’ in post-metaphysical times by engaging our habitual responsiveness to the categories involved. Hence the novels discussed here stage limit cases of reason such as the unknowable world, the unreachable other, the absence of the self, and the unstable hierarchy between irony and sincerity: Markson’s Wittgenstein’s Mistress imagines skepticism as literal abandonment and reminds us of our metaphysical indebtedness to a desired object/world; Ellis’s American Psycho shows the breakdown of communication due to a similarly skeptical vision of human interaction and presents a violence that tries to force a response from the desired subject/person; Wallace’s Infinite Jest creates a large canvas on which episodes of metaphysical and literal ‘stuckness’ afford possibilities for becoming human; Smith’s The Autograph Man, finally, pays attention to gestural language at the breaking point of materialism and theology, nature and culture, tragedy and comedy. / Graduate / 2020-08-01
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[en] THE AESTHETICS OF ORDER: HARMONY AND IMPERFECTION ON THE PHILOSOPHICAL WORK OF ADAM SMITH / [pt] A ESTÉTICA DA ORDEM: HARMONIA E IMPERFEIÇÃO NA OBRA FILOSÓFICA DE ADAM SMITHJOAO DE AZEVEDO E DIAS DUARTE 13 November 2008 (has links)
[pt] Esta dissertação discute, a partir de uma leitura dos
trabalhos de Adam Smith em história intelectual e ética, a
visão deste filósofo escocês do século XVIII sobre a
natureza da atividade humana. Sugere-se que esta filosofia
seja profundamente marcada por uma consciência aguda da
imperfeição e finitude humanas. Intenta-se, porém, mostrar
que o pensamento de Smith é também um esforço de
reconciliação com esta imperfeição essencial. Toda a
reflexão smithiana está voltada para a tarefa de demonstrar
de que maneira é possível ao homem, a despeito de suas
limitações, manter uma existência regular e
harmoniosa e avançar do ponto de vista cognitivo, moral e
material. De acordo com a visão de Smith, o espírito humano
é mobilizado por um impulso espontâneo e desinteressado
para a realização de ordem, harmonia e beleza nas
diferentes esferas de sua atividade. No entanto, embora o
espírito tenda naturalmente à regularidade, uma situação
absolutamente simétrica nunca se realiza, em função da
própria imperfeição do Homem. E é certo que assim seja,
pois uma tal situação não seria nem mesmo suportável por
criaturas humanas. O primeiro capítulo tem seu foco
analítico em um texto de juventude de Smith, The
History of Astronomy, pondo-o em diálogo com o pensamento
de David Hume. Discute-se de que maneira Smith, assumindo a
teoria da imaginação de Hume, se insere também no projeto
humeano de uma ciência da natureza humana. O
segundo capítulo envolve uma discussão da obra de Smith em
ética, The Theory of Moral Sentiments, e de seu conceito
central, a simpatia. / [en] This dissertation deals with Adam Smith`s view on the
nature of human activity, proposing an interpretation of
this eighteenth century Scottish philosopher`s works on
intellectual history and ethics. It is suggested that his
philosophy is marked by a keen awareness of human
imperfection and finitude. It demonstrates that Adam
Smith`s thought is also, however, an effort of
reconciliation with this essential imperfection. Smith`s
reflection is directed to the task of showing how it would
be possible for mankind, notwithstanding its
limitations, to maintain a regular and harmonious existence
and to advance from a cognitive, moral and material point
of view. According to Adam Smith`s view,
the human spirit is moved by a spontaneous and
disinterested impulse to the realization of order, harmony
and beauty in the different spheres of its activity.
Nonetheless, although the spirit is naturally order-
seeking, an absolutely symmetrical situation is never
actualized because of the very imperfection of
mankind. Such a situation wouldn`t even be bearable to
human creatures. The first chapter has its analytical focus
on an early text from Adam Smith`s called The
History of Astronomy, and puts it into dialogue with the
thought of David Hume. The subject here is how Smith,
adopting Hume`s theory of imagination, partakes
in the Humean project of a science of human nature. The
second chapter discusses Adam Smith`s work on ethics, The
Theory of the Moral Sentiments, and its central concept,
sympathy.
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O HORROR CÓSMICO DE LOVECRAFT E O EFEITO NO LEITORSilva, Rhuan Felipe Scomação da 29 September 2017 (has links)
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Previous issue date: 2017-09-29 / Este trabalho tem como objetivo analisar três obras do escritor estadunidense Howard
Phillips Lovecraft, a partir do efeito do horror cósmico no leitor. As narrativas foram
escolhidas segundo o grau de influência nos leitores e na forma de percepção do
elemento cósmico em seus enredos. Para isso, tanto “O Chamado de Cthulhu” (1926),
como “Nas Montanhas da Loucura” (1931) e “A Sombra Vinda do Tempo” (1935)
apresentam características que retratam o horror cósmico em diversas escalas de
percepção, partindo da suposição do efeito cósmico pelos narradores, até alcançar o
contato físico e intelectual entre os narradores e os seres fantásticos. Quanto à análise,
utilizamos das teorias sobre a narrativa fantástica e sobre a relação dela com a realidade
do leitor. David Roas (2014), com seu livro A ameaça do fantástico, constitui a maior
parte do arcabouço teórico, em específico a sua tese sobre a desestabilização do real
provocada pela obra fantástica. Por sua vez, Sunand Tryambak Joshi (1990; 2001;
2010) apresenta uma fortuna crítica sobre Lovecraft e sua obra que não só possibilita
uma imersão profunda na estética do escritor, como também auxilia na construção dos
caminhos teóricos escolhidos para essa dissertação. Por fim, o trabalho discute o horror
cósmico no diálogo com o leitor, analisando como o efeito cósmico é recebido, além de
elencar os elementos de cada narrativa que nos levam a acreditar que o medo cósmico,
tão empregado por Lovecraft em suas narrativas, é uma das heranças mais prodigiosas
de seus discursos para a narrativa fantástica. / This work has the goal to analyze three literary works by the American writer Howard
Phillips Lovecraft, starting from the effect of the cosmic horror on the reader. The
narratives have been chosen based on the level of influence they have upon the readers
and on the form of the perception of the cosmic element on their plots. Therefore, “The
Call of Cthulhu” (1926), as well as “At the Mountains of Madness” (1931) and “The
Shadow Out of Time” (1935) present characteristics that portray the cosmic horror on
many scales of perception, beginning from the supposition of the cosmic effect by the
narrators until reach the physical and intellectual contact between the narrators and the
fantastic beings. Regarding the analysis, we used the theories about the fantastic
narrative and its relationship with the reader’s reality. David Roas (2014), with his book
“A ameaça do fantástico”, built most of the theoretical framework, specifically his
thesis about the destabilization of the reality caused by the fantastic work. On the other
hand, Sunand Tryambak Joshi (1990; 2001; 2010) presents a critical fortune about
Lovecraft and his work tha not only allows a deep immerdion on the writer’s aesthetics,
but also helps to build the theoretical paths chosen to this dissertation. Finally, the work
discusses the cosmic horror on the dialogue with the reader, analyzing how the cosmic
effect is received, in addition to list the elements of each narrative that lead us to believe
that the cosmic fear, largely used on Lovecraft’s narratives, is one of the most
prodigious inheritances of his speeches to the fantastic narratives.
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