Zugl.: Erfurt, Univ., Diss., 2006

Diss. Univ. Erfurt, 2006.

The history of United States – Latin American relations has been dominated by discourses of development since the earliest stages of independent nationhood. In the twentieth century, these discourses found an epistemological anchoring in the geopolitical concepts of First World and Third World well past the Cold War Era, as well as in the related notions of Empire and Neo-Colony in more recent postcolonial studies. As cultural concepts, these binary categories exceed the economic basis to which they claim reference. The dissertation examines this projection beyond the economic foundation as a function of spectacular media and focuses on the degree to which these categories (which regulate crucial aspects of the mutual U.S. – Latin American imagination) may constitute compromised epistemological dogmas firmly governed by the very capitalist status quo that they attempt to counter. In order to develop a theorization of the textual forces at work in the formation of the cultural concepts of First and Third World, this dissertation examines the work of Cuban revolutionary filmmaker Santiago Álvarez in dialogue with an update of Guy Debord’s theories on the spectacle, the dérive, and psychogeography. Together with critical considerations of theories of space-time, modernity and postmodernity, as well as of the nation-state epistemological order, it formulates a reading of the development discourses, called here “demarcational critique.” This model is also put into conversation with a key theoretical work on the topic (John P. Leary’s A Cultural History of Underdevelopment), a fictional film (Gregory Nava’s El Norte), and an experimental montage of crucial meta-reflective value (Arthur Tuoto’s Não Me Fale Sobre Recomeços). Through an exploration that seeks to blur the line between theoretical and fictional texts, this dissertation concludes that development discourses, and their main subsidiary notions of First and Third World, generally studied as purely economic categories, possess a spectacular dimension, and that the analysis of this dimension must involve cultural studies. It further highlights the problematic nature of those notions in relation to a postcolonial project by examining their Eurocentric, moralizing, and racialized nature. Finally, this dissertation proposes and demonstrates an alternative, non-national model for postcolonial discourse.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-19T11:59:12Z No. of bitstreams: 1 Douglas Aparecido Bueno.pdf: 1459681 bytes, checksum: 0e3879644ba3b9b628d1ff856626c91c (MD5) / Made available in DSpace on 2017-05-19T11:59:12Z (GMT). No. of bitstreams: 1 Douglas Aparecido Bueno.pdf: 1459681 bytes, checksum: 0e3879644ba3b9b628d1ff856626c91c (MD5) Previous issue date: 2017-05-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The thesis deals with the spectacle of Guy Debord theory under the aegis of its artistic, political and philosophical influences, putting in relief their main contributions to the analysis and overcoming of the spectacle. The spectacle, to Debord, is a relationship alienated for social and historical construction, which overcomes the media criticism, as is commonly assumed. The thesis reveals that the theory of the spectacle, in its origin, is a philosophical reflection on the story time, and in the light of hermeneutics interprets own theory on that basis. Analyze the theory of the spectacle, from the standpoint of time and story ideas, it offers a way to resolve the hegelian marxism of Guy Debord. The hegelian marxism Debord connects, in theory, its theoretical and philosophical interests in the concepts of strategy, chance and play, from the existential principles and based on these issues, investigates and theorizes the practice, political action in time and social history as a means to overcome the spectacle, or give you a new phase. Furthermore, to the extent that delimits the theory of this epistemological framework, it is apparent deficiencies. The theory of the spectacle is based on the unified separation of the actions of the subject (historical and social) and social interpretation under the same heading, which in turn replaces the Marxian analysis of capital as an antagonistic social relationship rather than the abstract opposition between homogenized and alienated consciousness of history and the world. Although this aspect apparently theoretical problem is, the notions of subjectivity, time and history significant role for social analysis. Putting in relief the Guy Debord’s position that all social action and every theory must be considered as strategic interventions, and that every theory must be an invitation to overcome them, the thesis takes up the hegelian marxism Debord to suggest spectacle that the theory is a sui generis moment within a historical action design. This means that all Debord’s theory provides a collective political will model and suggests a reflection on the possibility of this hermeneutic be developed / A tese analisa a teoria do espetáculo de Guy Debord sob a égide de suas influências filosóficas, colocando em relevo as suas principais contribuições para a análise e superação do espetáculo. O espetáculo, para Debord, é uma relação alienada para a construção social e histórica, que sobrepuja a crítica da mídia, tal como é comumente assumido. A tese revela que a teoria do espetáculo, em sua origem, é uma reflexão filosófica sobre o tempo da história, e à luz dessa hermenêutica, interpreta a própria teoria nessa base. Analisar a teoria do espetáculo, sob o foco das ideias de tempo e história, oferece um caminho para se estudar o marxismo hegeliano de Guy Debord. O marxismo hegeliano de Debord se conecta, na tese, aos seus interesses teórico-filosoficos nos conceitos de estratégia e jogo, a partir dos princípios existênciais e com fundamento nestes temas, investiga e teoriza a práxis, a ação política no tempo e na história social como meios para se superar o espetáculo. Por outro lado, na medida em que se delimita a teoria sobre esse recorte epistemológico, ficam aparentes suas deficiências. A teoria do espetáculo está baseada na separação unificada das ações do sujeito histórico-social e na interpretação social sob a mesma rubrica, que por sua vez, substitui a análise marxiana do capital como uma relação social antagonica, em detrimento da oposição abstrata entre a consciência homogeneizada e alienada da história e do mundo. Muito embora essa vertente teorica, aparentemente, seja problemática, as noções de subjetividade, tempo e história assumem papel relevante para a análise social. Colocando em relevo as posições de Guy Debord de que toda ação social, bem como toda teoria devem ser analisadas como intervenções estratégicas, além de que toda teoria deve ser um convite à sua superação, a tese reveste-se do marxismo hegeliano de Debord para sugerir que a teoria do espetáculo é um momento sui generis dentro de uma concepção de ação histórica. Isso quer dizer que toda a teoria de Debord proporciona um modelo de vontade política coletiva, e sugere uma reflexão sobre a possibilidade dessa hermenêutica ser desenvolvida

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Daniel Dalmoro.pdf: 937799 bytes, checksum: 2de885b42cac7d5bee7abccea95884db (MD5) Previous issue date: 2013-10-17 / This work focuses in the book The Society of Spectacle, from the french polemicist Guy Debord (1931-1994). Initially, there is the study regarding the influences to whom the author dialogues directly or indirectly Marxism, French philosophy, the artistic avant-gardes of the twentieth century. Subsequently, it follows more closely to the refered book, in particular in the matter of representation the representation in politics, representation in language and representation of time. Finally, there is a brief critical readback of the 1988's text, Comentaries about the Society of Spectacle / Este trabalho versa sobre a obra A sociedade do espetáculo, do polemista francês Guy Debord (1931-1994). Num primeiro momento são levantadas as influências com quem o autor dialoga direta ou indiretamente , o marxismo, a filosofia francesa, as vanguardas artísticas do século XX. A seguir se debruça mais detidamente sobre o livro referido, em especial na questão da representação a representação na política, a representação na linguagem, a representação do tempo. Enfim, há um breve cotejamento crítico com o texto de 1988, Comentários sobre a sociedade do espetáculo