Na trilogia crítico-religiosa de José Saramago, constituída pelos romances Memorial do Convento, O Evangelho Segundo Jesus Cristo e Caim, torna-se possível perceber a presença recorrente do pensamento utópico, que, nas três obras em questão, não se revela como percepção idealística de uma realidade imutável, mas, tendo em vista a perspectiva filosófica de Ernst Bloch, revela-se como consciência aguda tanto do processo histórico quanto da práxis libertária. Na dinâmica constitutiva dessa consciência, pode-se delinear o encontro interativo dos tempos: um passado reconstituído criticamente pela ótica contemporânea, um presente permeado por intensa militância ideológica e, principalmente, a consciência de um futuro aberto como possibilidade concreta, o que viabiliza, naqueles romances, aspirações humanas por transformações radicais da ordem vigente. Esse encontro dos tempos, do ponto de vista estético-literário, substancializa-se na trilogia por intermédio essencialmente do recurso paródico: a revisitação crítica dos ícones e temas provenientes do universo judaico-cristão. Seja nas imagens desiderativas que retoma, seja no quadro conceitual que ironiza, seja, ainda, na constituição híbrida do romance, que esfacela o teor totalizante da narrativa tradicional, José Saramago parece extrair dos arquétipos religiosos uma intensidade subversiva que, na tessitura ficcional que elabora, atinge e questiona a construção metafísica erigida por séculos de judaísmo e cristianismo. Nos três romances do escritor lusitano, esse processo de releitura do passado aponta não somente para a impossibilidade, no contexto contemporâneo, de experiência com a cosmovisão totalizante da religião ocidental como também para a reconstituição existencial do mundo moderno, uma vez que, a partir de sonhos frustrados daquele passado, se tornaria possível materializar anseios utópicos latentes, represados na memória coletiva. Assim, o pensamento utópico, na trilogia saramaguiana, converte-se em névoa do tempo: no espaço múltiplo e complexo do romance, desnuda-se a dialética entre passado, presente e futuro, que, na sua dinamicidade constitutiva, abriga e gesta o novum, o ainda não / On José Saramagos critical religious trilogy, formed by the novels Memorial of the Convent, The Gospel According to Jesus Christ and Cain, the constant presence of an utopic way of thinking is perceptible. Thus it does not reveal itself primarily as an idealistic perception of an immutable reality. It is only when aiming at Ernst Blochs philosophical mindset that it appears as an acute awareness on both historical process and libertary practice. Through the dynamic constitution of this conscience, it is possible to outline the interactive encounter of times: a contemporary and rebuilt past, a present time full of ideological activism and most important of all, the conscience of an open, concrete and possible future. On those novels, this possibility enables a human craving for radical changes on the effective order feasible. This encounter of times, from an esthetic literary point of view, takes shape essentially through parody: the constant criticizing of icons and themes coming from the Judeo-Christian universe. Either on the heated images presented, on the mocked conceptual framework, or even on the hybrid constitution of the novel, which destroys the totalitarian tenor of a traditional narrative, José Saramago seems to draw out of religious archetypes a seditious intensity where, on the fictional weaving elaborated, he teases and questions the metaphysical construction supported by centuries of Jewish and Christian models. On a contemporary context of the novels, this revisited past reading process points out not only the impossibility of an all-absorving worldview existing on the occidental religion model but also to a modern world existential rebuilding process, considering that, through frustrated dreams from that past, an enabling of utopic desires trapped into collective memory would be possible. Therefore, the utopic thinking, on Saramagos trilogy, turns into mist: on the multiple and complex field of novel, a past- present- future dialectic is revealed, which through its dynamic constitution manages and keeps the novum, the not yet

Na trilogia crítico-religiosa de José Saramago, constituída pelos romances Memorial do Convento, O Evangelho Segundo Jesus Cristo e Caim, torna-se possível perceber a presença recorrente do pensamento utópico, que, nas três obras em questão, não se revela como percepção idealística de uma realidade imutável, mas, tendo em vista a perspectiva filosófica de Ernst Bloch, revela-se como consciência aguda tanto do processo histórico quanto da práxis libertária. Na dinâmica constitutiva dessa consciência, pode-se delinear o encontro interativo dos tempos: um passado reconstituído criticamente pela ótica contemporânea, um presente permeado por intensa militância ideológica e, principalmente, a consciência de um futuro aberto como possibilidade concreta, o que viabiliza, naqueles romances, aspirações humanas por transformações radicais da ordem vigente. Esse encontro dos tempos, do ponto de vista estético-literário, substancializa-se na trilogia por intermédio essencialmente do recurso paródico: a revisitação crítica dos ícones e temas provenientes do universo judaico-cristão. Seja nas imagens desiderativas que retoma, seja no quadro conceitual que ironiza, seja, ainda, na constituição híbrida do romance, que esfacela o teor totalizante da narrativa tradicional, José Saramago parece extrair dos arquétipos religiosos uma intensidade subversiva que, na tessitura ficcional que elabora, atinge e questiona a construção metafísica erigida por séculos de judaísmo e cristianismo. Nos três romances do escritor lusitano, esse processo de releitura do passado aponta não somente para a impossibilidade, no contexto contemporâneo, de experiência com a cosmovisão totalizante da religião ocidental como também para a reconstituição existencial do mundo moderno, uma vez que, a partir de sonhos frustrados daquele passado, se tornaria possível materializar anseios utópicos latentes, represados na memória coletiva. Assim, o pensamento utópico, na trilogia saramaguiana, converte-se em névoa do tempo: no espaço múltiplo e complexo do romance, desnuda-se a dialética entre passado, presente e futuro, que, na sua dinamicidade constitutiva, abriga e gesta o novum, o ainda não / On José Saramagos critical religious trilogy, formed by the novels Memorial of the Convent, The Gospel According to Jesus Christ and Cain, the constant presence of an utopic way of thinking is perceptible. Thus it does not reveal itself primarily as an idealistic perception of an immutable reality. It is only when aiming at Ernst Blochs philosophical mindset that it appears as an acute awareness on both historical process and libertary practice. Through the dynamic constitution of this conscience, it is possible to outline the interactive encounter of times: a contemporary and rebuilt past, a present time full of ideological activism and most important of all, the conscience of an open, concrete and possible future. On those novels, this possibility enables a human craving for radical changes on the effective order feasible. This encounter of times, from an esthetic literary point of view, takes shape essentially through parody: the constant criticizing of icons and themes coming from the Judeo-Christian universe. Either on the heated images presented, on the mocked conceptual framework, or even on the hybrid constitution of the novel, which destroys the totalitarian tenor of a traditional narrative, José Saramago seems to draw out of religious archetypes a seditious intensity where, on the fictional weaving elaborated, he teases and questions the metaphysical construction supported by centuries of Jewish and Christian models. On a contemporary context of the novels, this revisited past reading process points out not only the impossibility of an all-absorving worldview existing on the occidental religion model but also to a modern world existential rebuilding process, considering that, through frustrated dreams from that past, an enabling of utopic desires trapped into collective memory would be possible. Therefore, the utopic thinking, on Saramagos trilogy, turns into mist: on the multiple and complex field of novel, a past- present- future dialectic is revealed, which through its dynamic constitution manages and keeps the novum, the not yet

Burning Man, a weeklong experience in Black Rock Desert, Nevada, has become an oasis for those looking to escape the corporatized grasp of modern culture. Burning Man serves as a reprieve from judgment and allows participants to embrace and perform their inner identities. The intensions of Burning Man have been widely debated, from scholars concentrating on the rejection of consumerism to analyzing sacred space and religious connectivity for festivalgoers. What deserves further analysis, however, is the utopian nature of the event. I will explore previous utopian attempts--literary, political, etc.--and define what characteristics from those societies were present during the inception and following early years of Burning Man. Using the work of Ernst Bloch I will establish Burning Man as a not-yet-conscious utopia, a product of Larry Harvey's vision, and define the increasingly imminent threats to the event's utopianism. The segregation of ideas at Burning Man, between veteran Burners and newcomers, is attributed to the perpetual struggle to balance and create meaning within a society designed to provide autonomy for its citizens. I will look at how changes in popularity and population have transformed the once utopian retreat into an amalgam of conflicting ethos. I argue that this once thriving counterculture is facing an extreme shift away from the original structure of the event in terms of meaning, experience, and understanding.

widely held "from romantic to revolutionary" hypothesis and presents Morris as a "revolutionary" Victorian who has never fell out with the ideas of Romanticism. Together cultural Victorian discourse as well as the ideas of his "teachers" - - Morris's "teachers", and the third chapter focuses on the interpretation of and Morris's utopianism. The interrelated areas of "Nowherian" space (3.2), work and history (3.4) help establish the nature of Morris's visual utopianism on the background of Ernst Bloch's theory of utopia and alongside the

[pt] A modernidade é um conceito complexo, multifacetado, que possui como linha mestra a crença no progresso da humanidade através da Razão. Assim, foi um terreno fértil para as mais diversas utopias, que traziam a esperança de sua realização no caminhar da história. Neste processo, o cinema – arte nascida entre os modernos –, foi utilizado como mediação. Com os horrores da Segunda Guerra, o fracasso do comunismo, a descrença na capacidade do capitalismo de chegar a um mundo justo, a chamada pós-modernidade é vista como a face do desencanto. O objetivo desta pesquisa é procurar traços de esperança utópica no cinema contemporâneo e discutir como certos filmes podem servir como aliados nas propostas de mudança. Partindo do princípio de que, diferente do que se pensava no passado, não é possível considerar o desenrolar da história de forma linear, com um ponto de chegada definido, as propostas atuais apresentam-se não tão grandiosas e menos reconhecíveis, mas, ao mesmo tempo, realizáveis. Ernst Bloch, que escreveu um longo tratado sobre a esperança, é o fio condutor do texto, sendo confrontado com pensadores do século XXI. / [en] Modernity is a complex, multifaceted concept that has as its mainstay the belief in human progress through Reason. Therefore, it was a breeding ground for various utopias, which were expected to materialise with the progress of history. In this process, the cinema – art born among the moderns – was used as mediation. With the horrors of the Second World War, the failure of communism, the disbelief in the ability of capitalism to reach a fair world, the so-called postmodernity is seen as the face of disenchantment. The objective of this research is to look for traces of utopian hope in contemporary cinema and discuss how certain movies can serve as allies to proposals of change. On the understanding that, differently from what was believed in the past, it is not possible to see history as unfolding in a linear path – with a defined point of arrival –, modern proposals are presented with less grandiosity and recognisability, being, on the other hand, more achievable. Ernst Bloch, who wrote a compendium on hope, is the thread of the text, being compared with thinkers of the 21st century.

I denna uppsats undersöker vi hur kapitalistisk realism, så som formulerat av Mark Fisher, uttrycks i två samtida romaner: The Road (2006) av Cormac McCarthy och Another Now (2021) av Gianis Varoufakis. Vi undersöker även romanernas relation till hopp och använder Ernst Blochs idéer i ämnet. I McCarthys skildring av människan, samhället och tiden, bekräftas kapitalistisk realism genom glorifiering av bland annat irrationalitet, brutal individualism och det "eviga nuet". Hoppet i romanen är av religiös natur. I Another Now, å andra sidan, ifrågasätts kapitalistisk realism, och alternativa synsätt och sociala arrangemang föreslås. Hoppet sammanfaller här med Blochs idé om det begripliga hoppet. / In this paper we examine how capitalist realism, as formulated by Mark Fisher, is expressed in two contemporary novels: The Road (2006) by Cormac McCarthy and Another Now (2021) by Yanis Varoufakis. We also examine how the novels relate to hope, and use Ernst Blochs ideas on the subject. In McCarthy's depiction of humanity, society, and time, capitalist realism is validated through, among other things, the glorification of irrationality, brutal individualism, and the "eternal present". Hope in the novel is of a religious character. In Another Now, however, the same ideology is questioned, and alternative views as well as concrete post-capitalist social arrangements are proposed. Here, hope aligns with Bloch's idea of comprehended hope.

L'espérance se présente comme l'expérience d'un avenir qui n'a pas été encore vécu et qui se donne comme inobjectivable. Cette intuition a commandé la problématique de cette recherche, qui met au jour les conditions de possibilité d'une espérance véritable dans un monde – le nôtre – où elle ne trouve pas immédiatement sa place. Ce monde ''cassé'', comme l'appelle Gabriel Marcel, est sous l'emprise de la technique. C'est un monde où prime l'exigence du faire et où les questions existentielles sont réduites elles-mêmes à des ''problèmes'' qui doivent trouver leur ''solution'' comme n'importe quel problème relevant de l'ordre de l'avoir. Il y a, en ce sens, un ''problème de l'espérance ». Il se développe dans une philosophie qui s'émancipe de la foi et dont on trouve des illustrations notamment dans le probabilisme de Hume et dans le matérialisme de Bloch. Or Gabriel Marcel fait le pari, par la méthode dite de la ''réflexion seconde'', de placer l'espérance sous le sceau du ''mystère''. Il s'agit alors de comprendre que l'espérance, pensée sur le plan de l'être et non plus de l'avoir, relève d'une expérience qui est toujours en cours de formation, et qui ouvre le chemin que suit une personne que définissent sa capacité d'agir, ses relations avec les autres personnes et son aptitude à la responsabilité. Nous soutenons dans ce sens, avec l'appui de Ricœur, que l'identité du sujet de l'espérance est essentiellement intersubjective et ouverte, selon une exigence de fidélité créatrice.  Nous trouvons plus précisément dans le nous familial, comme l'appelle Marcel, la condition de possibilité d'une expérience concrète de l'espérance, comprise alors comme patience d'un présent éprouvant et confiance en un avenir incertain. Renvoyant dos à dos, pour ce faire, les conceptions essentialiste et constructiviste de la famille, nous appelons vœu créateur ce qui, au sein même de la famille, dont nous proposons une conception élargie, est jaillissement du nouveau et promesse de vie. Ainsi nous affirmons que l'espérance, pour invérifiable qu'elle soit, est, mais selon des formes authentiques ou inauthentiques. L'enjeu de ce travail, en reconnaissant cette différence au cœur même de l'espérance, est de comprendre comment celle-ci, plus que comme un ensemble de moyens, se présente fondamentalement comme une mise en route qui se reçoit d'un appel de ou à l'autre, et qui est constitutive de toute action vouée au temps. La présence de cet autre déborde toute tentative d'objectivation. Elle est le lieu intérieur où se vit in fine l'attente active qu'est l'espérance comme expérience ontologique. / Hope appears as the experience of a future which was not still lived yet and which is given as inobjectivable. This intuition has commanded the problematic of this research, which brings to light the conditions of possibility of a true hope in a world – ours – where it does not immediately find its place. This « broken » world, as Gabriel Marcel calls it, is under the influence of technic. It's a world in which prevail the need to do things, and also where existential questions are reduced to ''problems'' which must find their ''solution'' as any other problem come under the order of the possession. In this way, there is a ''problem of hope''. A philosophy is growing which emancipate itself from faith and which illustrations are found in particular in Hume's probabilism and Bloch's materialism. But Gabriel Marcel, by the method said about ''second reflection », bet to place hope under the seal of ''mystery''. It's all about understanding that hope, thought on the plan of ''the being'' and no more of ''the having'' is an experience still on training and which opens the way that follows a person defined by its ability to act, its relations to others and its aptitude to responsibility. In this sense, we support, with Ricoeur's support, that the subject identity of hope is essentially intersubjective and opened, according to a requirement of creative fidelity. We find more exactly in the « I and you familial» as Marcel calls it, the condition of possibility of a concrete experience of hope, understood as patience of a trying present and trust in an uncertain future. Referring back to back, the essentialist and constructivist conceptions of the family, we call creative vow, what within the family, of which we propose an enlarged conception is springing forth for the new and promise of life. So we assert that hope, however unverifiable as it may be, is, but according to authentic and inauthentic forms. The challenge of this work, recognizing this difference at the very heart of hope, is to understand how it, more than as a set of means, is fundamentally a start-up that is received from a call. From one to other, and which is constitutive of all action devoted to time. The presence of this other overflows any attempt at objectification. It is the inner place where the active expectation of hope as an ontological experience is lived.