Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-07T12:01:14Z No. of bitstreams: 1 diegopedrosacarvalho.pdf: 1203795 bytes, checksum: b8d94ddf2750c3c7f8f254595a8308e9 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T12:19:22Z (GMT) No. of bitstreams: 1 diegopedrosacarvalho.pdf: 1203795 bytes, checksum: b8d94ddf2750c3c7f8f254595a8308e9 (MD5) / Made available in DSpace on 2016-07-13T12:19:22Z (GMT). No. of bitstreams: 1 diegopedrosacarvalho.pdf: 1203795 bytes, checksum: b8d94ddf2750c3c7f8f254595a8308e9 (MD5) Previous issue date: 2016-02-16 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Europa do início do século XX, marcada, sobretudo, pela Primeira Guerra Mundial, pela Revolução Russa e pela ascensão dos regimes totalitários, foi terreno de reflexões valiosas acerca dos caminhos e descaminhos civilizacionais. Recorrendo a Freud e Adorno, sob o recorte histórico da década de 30, intento resgatar as relevantes contribuições de ambos no que tange à discussão sobre o estado da cultura. Em O mal-estar na civilização, publicado em 1930, Freud destaca o papel repressor da civilização sobre os impulsos de amor e de agressividade dos homens, indo além, assim, do propósito de proteção dos mesmos contra as intempéries da natureza e contra seus próprios humores, e representando, desta forma, um duplo obstáculo para a felicidade humana. Em O fetichismo na música e a regressão da audição, de 1938, Adorno denuncia a regressão social vivenciada em seu tempo e, consequentemente, o empobrecimento subjetivo, a partir da evolução do processo de mercantilização da arte, em que a música, fetichizada, passa a ser consumida por ouvintes regressivos pelo seu valor de troca, em detrimento do valor de uso. Utilizando os conceitos de fetichismo, regressão e mal-estar como elementos mediadores, busco demonstrar um encontro objetivo entre a discussão freudiana e o ensaio de Adorno. / The early twentieth century Europe, marked mainly by the First World War, the Russian Revolution and the rise of totalitarian regimes, was ground for valuable reflections on the paths and misdirections of civilization. Using the thoughts of Freud and Adorno concerning the historical period of the 1930's, I attempt to rescue their relevant contributions regarding the discussion on the state of culture. In Civilization and its discontents, published in 1930, Freud highlights the repressive role of civilization over man‟s impulses of love and aggression, going beyond its protection purposes against the harsh conditions of nature and against man‟s own moods, and then representing a double barrier to human happiness. In On the fetish-character in music and the regression of listening (1938), Adorno denounces the social regression experienced in his time and, consequently, the subjective impoverishment resulting from the growing process of commodification of art, in which music, fetishized, becomes consumed by regressive listeners due to its exchange value, rather than to its use value. Using the concepts of fetishism, regression and discontent as mediating elements, I try to show an objective meeting between Freud's reflections and Adorno's essay.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-04-26T19:42:11Z No. of bitstreams: 1 victorcesarfernandesrodrigues.pdf: 2872555 bytes, checksum: c16260689489652a3c8339f48c2d1bc8 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-03T12:12:24Z (GMT) No. of bitstreams: 1 victorcesarfernandesrodrigues.pdf: 2872555 bytes, checksum: c16260689489652a3c8339f48c2d1bc8 (MD5) / Made available in DSpace on 2018-09-03T12:12:24Z (GMT). No. of bitstreams: 1 victorcesarfernandesrodrigues.pdf: 2872555 bytes, checksum: c16260689489652a3c8339f48c2d1bc8 (MD5) Previous issue date: 2018-03-07 / A presente dissertação consiste fundamentalmente em um esforço de apreensão da categoria marxiana do fetichismo da mercadoria. Para tanto, me utilizei de algumas obras de Marx situadas no período que vai de 1857 a 1858 e dos Grundrisse até 1873, na segunda edição revisada por Marx que trata da exposição do fetichismo da mercadoria e seu segredo na última seção do primeiro capítulo d’O capital, livro primeiro. Pretendeu-se demonstrar, por um aspecto, que já neste primeiro capítulo Marx trabalha meridianamente aspectos e problemas que são coroados nesta última seção. Por esta razão submeteremos uma análise que possa provar isto. Por outro aspecto, também pretende-se demonstrar que, em seu processo investigativo, dentro do período delimitado, Marx vai paulatinamente incorporando a temática do fetichismo como “linha de força” de sua análise até ser incorporada e exposta na última seção do referido capítulo. Este segundo aspecto diz respeito ao fato de que nos livros II, III e IV d’O capital, escritos nos idos de 1861-1865, a temática do fetichismo comparece expressivamente em algumas de suas análises. Obras como os Manuscritos de 1861-1863 e o chamado “Capítulo VI Inédito”, assim como a Contribuição à crítica da economia política de 1859, assistem um tratamento marxiano do problema antes dele ser exposto de fato em sua segunda edição d’O capital de 1873 com um título a parte. Dessa maneira, estes dois aspectos constituem a síntese teórica de nossa investigação ora exposta. O fundamento deste trabalho consiste, pois, em tecer uma crítica de caráter teórico a qualquer suposição acerca do tema do fetichismo que o tome tão somente a partir do primeiro capítulo do livro primeiro d’O capital. Dentre estas razões, ratifica-se o fato de que este tema propriamente constitui-se como um processo de síntese na obra O capital, cujo coroamento no primeiro capítulo do livro primeiro resulta de múltiplas análises anteriores, feitas por Marx no decurso de muitos anos de investigação. Assim, submete à crítica qualquer suposição que relegue o referido tema tão somente ao primeiro capítulo do livro primeiro d’O capital. Todavia, outro aspecto reveste o conteúdo desta dissertação, que é: este tema propriamente dito emergiu na tradição marxista mediante uma complicada conjunção de variáveis. Dentre as principais, pode-se mencionar a contribuição de obras como a de Lukács, História e consciência de classe, e a de Isaac Rubin, A teoria marxista do valor, ambas de 1923. Pretendeu-se demonstrar que tais obras refletem esta conjunção de variáveis, ao mesmo tempo em que aparecem no cenário da tradição oferecendo o tema do fetichismo como um dos componentes centrais da contribuição teórica de Marx. Pretende-se uma contribuição de rigor para análise do problema marxiano do fetichismo, no que tange a legitimação deste referido problema como decisivo de ser apreendido também pelos assistentes sociais. / This dissertation consists fundamentally of an effort to understand the marxian category of commodity fetishism. In order to do so, I’ve used some of Marx’s works situated in the 185758 period, the Grundrisse up to 1873, the second edition revised by Marx that deals with the commodity fetishism and its secret in the last section of the first chapter of Capital, book one. I intended to demonstrate that, in a way, in this first chapter Marx already works meridian aspects and problems which are crowned in the last section. For this reason we will submit an analysis that can prove our thesis. In another aspect, during his investigative process in the established period, Marx gradually incorporates the thematic of the fetishism as a “line of force” of his analysis until it’s fully incorporated and displayed in the last section of the referred chapter. This aspect refers to the fact that in books II, III and IV of Capital, written between 1861 and 1865, the fetishism theme appears expressively in some of Marx’s analyses. In works such as the Manuscripts from 1861-1863 and the so-called “Unpublished Chapter VI”, and also A Contribution to the Critique of Political Economy of 1859, we find a marxian treatment of the problem before it was actually exposed in the second edition of Capital in 1873 under a title of its own. These two aspects constitute the theoretical synthesis of our inquiry. Therefore, the foundation of this work consists in presenting a theoretical criticism to any assumptions concerning the subject of fetishism that only take into account the first chapter of Capital, book one. Due to these reasons, we can ratify the fact that this subject is developed through a process of synthesis in the Capital, and that the crowning in the first chapter of its first book is the result of many previous analyses done by Marx during many years of inquiry. Thus, any assumption that relegates this subject only to the first chapter of the first book of the Capital is susceptible to criticism. However, another aspect coats the content of this dissertation, and that is: that this subject emerged in the marxist tradition through a complicated conjunction of variables. Amongst the main ones we could mention the contributions provided by works such as Lukács’ History and Class Consciousness and Isaac Rubin’s Essays on Marx’s Theory of Value, both from 1923. Our aim was to demonstrate that such works reflect this conjunction of variables and that at the same time they appear in the scene of the tradition presenting the subject of fetishism as one of the central components of Marx’s theoretical contribution. Our contribution is an intended rigorous analysis of the marxian problem of fetishism, touching upon the legitimation of said problem as being decisive for social assistants to familiarize themselves with.

Orientador: Jesus José Ranieri / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T19:32:34Z (GMT). No. of bitstreams: 1 Matias_IraldoAlbertoAlves_D.pdf: 2291723 bytes, checksum: 06c888c8f46067e4b5ba863e2ebd1e7d (MD5) Previous issue date: 2014 / Resumo: A presente tese busca analisar a natureza contraditória da atividade criativa aplicada à produção material humana, conhecida como design industrial. Surgido da divisão social do trabalho, que separou e hierarquizou os processos de concepção/gestão e execução, o design tem acompanhado as próprias transformações do atual modo de produção, principalmente a chamada reestruturação produtiva. Ligado historicamente à produção industrial capitalista, em determinados momentos da história do design surgem "fissuras emancipatórias" que, em última instância, não conseguem romper com a lógica contraditória da mercadoria, tampouco com a rigidez tecnocrático-gestorial da organização capitalista do processo de produção/circulação. Portanto, ao contrário do que afirmam determinadas concepções teóricas, o design nem sempre foi um instrumento de reprodução do capital, como se verificou no estudo de uma série de experiências históricas aqui apresentadas. No entanto, notou-se também um total descaso da teoria do design com estes aspectos, ao negligenciar os pontos de contato entre projeto e socialismo/comunismo. A hipótese é que estas contradições se assentem sobre a ligação estrutural que o design tem com a forma mercadoria, expressando as contradições entre valor de uso e valor (de troca), no processo de produção e reprodução do capital. Mais do que isso, a análise realizada também demonstrou que o design vem se tornando uma atividade eminentemente gestorial. Portanto, a teoria do design, objeto de investigação deste trabalho, na medida em que expressa aspectos das relações sociais de produção capitalistas, será confrontada com a crítica à Economia Política de Marx e com a teoria dos gestores de João Bernardo. Serão abordados aspectos históricos do design a partir dos conflitos sociais; as relações entre produção, circulação, consumo e necessidades humanas; assim como o problema do fetichismo da mercadoria. Na relação do design com o trabalho abstrato, a atividade de concepção aparece na forma de uma criatividade estranhada, quando posta exclusivamente a serviço da acumulação de capital. A análise da "virada gestorial" no design vai demonstrar como esta área vem se tornando cada vez mais apenas um instrumento "estratégico" de concorrência capitalista, de dominação de classe, engendrando uma série de "novos fetichismos". Este trabalho encerra com uma reflexão sobre as possibilidades históricas para o campo do projeto, numa possível transição para o comunismo. Pretende-se, assim, contribuir com o desenvolvimento de uma teoria do design crítica / Abstract: This thesis aims to analyze the contradictory nature of creative activity as applied to human material production, or what is known as Industrial Design. Having emerged from the social division of labor, which separated and hierarchized the processes of conception/management and execution, Design has been paralleling the changes in the current mode of production, particularly that known as productive restructuring. At certain points in the history of Design - a history linked to capitalist industrial production - there appeared some "emancipatory fissures" which ultimately could not break the contradictory logic of the commodity, nor the technocratic-managerial rigidity of the capitalist organization of production/circulation. Therefore, contrary to what some theoretical conceptions suggest, Design has not always been an instrument of capital reproduction, as the historical experiences reported in this study show. However, a total disregard for these issues was also noted in Design theory in the form of a neglect of any points of contact between project and socialism/communism. The hypothesis is that these contradictions rest on the structural link between Design and the commodity form, expressing the contradictions between use value and (exchange) value in the processes of production and reproduction of capital. In addition, the analysis shows that Design is becoming a predominantly managerial activity. Insofar as it expresses aspects of the capitalist social relations of production, Design theory, the object of this study, is confronted with the critique of Marx¿s political economy and João Bernardo¿s "theory of managers". Issues addressed include historical aspects of Design from the stance of social conflicts; the relations between production, circulation, consumption and human needs; and the problem of commodity fetishism. In the relationship between Design and abstract work, the activity of conception appears in the form of estranged creativity when put exclusively to the service of capital accumulation. Analysis of the "managerial turn" in Design shows that the area is increasingly becoming more of a mere "strategic" instrument of capitalist competition and class domination, engendering a series of "new fetishisms". This thesis ends with a reflection on the historical possibilities for the field of Project in a possible transition into communism. It is hoped that this work will contribute to the development of a critical theory of Design / Doutorado / Sociologia / Doutor em Sociologia

This thesis explores the conditions of neoliberal power through the lens of finance as a specific form of social mediation. Based on the recognition that neoliberal financialisation is mediated by financial forms that are characterised by a high degree of abstraction, the conceptualisation proceeds through an immanent critique aimed at tracing out the social sources behind them. In doing so it seeks to uncover the deep structures that make neoliberal power possible yet which tend to remain misrecognised through the refraction produced by its apparent forms. The highly financialised economy of Sweden serves as the concrete case for examining this social phenomenon. Neoliberal power, it is argued, derives its strength from a deepening fetishism that naturalises the alienated condition of the globalised capital relation, ultimately rooted in the way that money absents its own social source. This absenting gives rise to the false but necessary narcissistic social consciousness upon which the process as a whole relies. The absence of a concept of money’s own absenting in theories of neoliberal power tends to reproduce the detotalizing abstraction that the process itself depends on, with implications for the possibility for transformative change.

Cette recherche propose de déployer le concept de fétichisme afin d’étudier des rapports d’ordre magique entre les consommateurs et les produits dans le contexte de la consommation contemporaine. Le fétichisme du produit est conceptualisé comme un construit multi-dimensionnel, mettant en exergue l’attribution d’une aura et d’un pouvoir extraordinaire au produit. Elle explore le mécanisme pouvant mener un consommateur exposé à une publicité exagérée à développer à terme un rapport fétichiste au produit annoncé. Pour ce faire, cette recherche propose une conceptualisation et un instrument de mesure du fétichisme dans le contexte de la consommation contemporaine en se fondant sur une étude qualitative et deux études visant à la construction d’une échelle de mesure valide et fiable de ce construit. Une survey est menée afin de montrer que le fétichisme du produit découle d’une attente transformationnelle vis-à-vis du produit. Enfin, une expérimentation est mise en œuvre pour mettre en évidence l’influence de la mobilisation d’un slogan exagéré dans une annonce publicitaire sur le développement d’attentes transformationnelles chez le consommateur. Les résultats de cette étude montrent que l’usage d’un slogan exagéré dans une publicité a bien une influence sur les attentes transformationnelles vis-à-vis du produit dans le cas où la publicité est associée à une marque inconnue. Pour une marque connue, un slogan factuel est plus à même de susciter des attentes transformationnelles vis-à-vis du produit présenté dans la publicité et donc potentiellement un rapport fétichiste au produit. / This research studies the concept of fetishism as a magical relationship to products in the context of contemporary consumption. Fetishism is conceptualized as a multi-dimensional construct underlining the attribution of an aura and magical powers to a product. This research explores the way consumers develop fetishist relationships to products through exposure to puffed ads. To do this, this research introduces a conceptualization and a scale of fetishism in the context of contemporary consumption by conducting a qualitative exploratory study as well as two scale development studies. We also carry out a survey to show how product fetishism stems from transformation expectations about the product. Finally, we conduct an experiment to demonstrate the way a magical puffed claim in an ad influences the emergence of transformation expectations for the consumer. The results show that magical puffed claims positively influence transformation expectations only if the advertised brand is unknown by the respondent. The results also suggest that a known brand rather provoke transformation expectations through factual claims.

No description available.

abstract: Situated within seminal debates on the questions of liberation and justice viewed from the postcolonial context, this dissertation evaluates freedom narratives from both sides of the colonial divide during the period of high imperialism. Creating a transnational grouping of three diverse historical figures, E. M. Forster, M. K. Gandhi, and James Joyce, I argue for similarities in these writers’ narrative construction of “freedom” against colonial modernity. I argue that despite these writers’ widely disparate historical and cultural determinations, which uniquely particularize each of their freedom formulas as well as freedom “ideals” – the ideal of culture for Forster, renunciation for Gandhi and aesthetic apprehension for Joyce, these writers conceive of a commensurate/globally related form of “freedom” as postcoloniality and demonstrate cosmopolitan ambition. I also argue that the global form of postcoloniality they each practice can only be articulated through a close attention to each of their specific and local difference. The key contribution of the dissertation is to establish a new significance of the notion of fetishism for postcolonial studies, from both historical and theoretical perspectives. From a background that emphasizes the primacy of the concept of fetishism in its historical evolution within colonizing narratives of various Western discourses, especially fetish’s constitutive role in Enlightenment philosophy’s othering narrative of “primitive” natives, the work foregrounds a novel theoretical and narrative insight that the fetish demonstrates a unique potential to articulate/embody freedom as post-coloniality. Through a detailed critical analysis of each freedom narrative, I demonstrate how the clashes of particular contradictory cultural ideologies, in fact, determine each freedom narrative and how these contradictions are projected onto and galvanized by a fetish object(s). The work extends the ideas of Sigmund Freud, William Pietz, Homi Bhabha, Anne McClintock and Jacques Derrida on fetishism. Employing the framework of fetishism it brings into view similarities among the said three writers’ definition and practice of freedom. The work weighs in on critical debates between Marxist and Post-structural camps in postcolonial studies and proposes a new form of cosmopolitanism. / Dissertation/Thesis / Doctoral Dissertation English 2017

As a philosophy, Marxism has a rich and varied history that spans the decades since the Industrial Revolution. In this time, it has grown several branches, including Western Marxism and Critical Theory, and has reached deeply into many academic fields such as sociology, art, and psychology. However, as an ideology, Marxism has developed a severely tarnished reputation due to its mistreatment at the hands of often brutal totalitarian regimes. These power-centralizing aristocracies have carefully isolated and exploited select concepts from Marxist philosophy, like that of commodity fetishism, to force revolutionary change in societies that were often not prepared for massive upheaval. My work will attempt to reflect upon the value of Marxist philosophy as a tool for understanding society and its interactions. I will highlight the contribution of the Hegelian-influenced Western Marxism of the Hungarian School philosopher György Lukács and the Frankfurt School Critical Theorists like that of Herbert Marcuse. In doing so, I shall attempt to qualitatively show a link between scientific Marxism's strict focus on economic determinism as the basis for national ideologies and the stagnation of communist revolutions worldwide.

This dissertation builds and theorizes a corpus of the many feitiços, fetissos, fetiches, and fetishes that, with the advent of Iberian traders along the Atlantic coastlines, materialized and circulated in early modern West Africa before the institution of what we now refer to, in the singular, as “the fetish.” It contends that the techniques and forms that elicited the accusation of fetishes were devised in response to new and varied pressures of the highly dynamic trading contexts of early modern coastal Guinea: to make meaning out of confusion, to anchor unstable notions of value and truth, to shape outcomes by bending fortune to human will, and to assert control and possession in the face of disorder and dispossession. These forms and techniques are the subject of this dissertation, which departs from the thesis that, coded into each use of the term “fetish,” there is an interpretation of the shifting social circumstances that precipitated its fabrication and use. Part I, In the Marketplace, draws on Iberian and Caboverdean merchant treatises and descriptions to map the circulation, and creolization of the Iberian discourse of feitiçaria along the trading routes of West Africa, while collecting and interpreting the feitiços, fetiches, and fetishes that multiplied in its wake. Part II, Before the Holy Office, reverses course and tracks the Africanization of the problem of the feitiço (exemplified in the idiom of mandinga) in the trials of Cacheu-native Crispina Peres (in 1665–1669) and Cabo Verdean Patrício de Andrade (in 1690) for feitiçaria at the Lisbon Tribunal of the Inquisition. Each chapter is articulated around a different technique of feitiçaria—writing, metallurgy, ligature, and gleaning—its social importance, and its perceived effects. Ultimately, this study is built on the conviction that “the problem of the fetish” is best approached as a historical accumulation of problem objects, troubling forms that elicited accusations of fetish and that were thus subject to discursive attempts, both systematic and ad-hoc, to classify and serialize them into a corpus and a theory.

本文是對人類自由心靈的探究，藝術作品則是做為探索的中介；藝術作品中的審美感性作用本是「私己的」，然而，由於藝術作品來自於社會的集體生產，使得藝術作品在私人審美之前，早已沾染「他人」的價值判斷─私密的審美其實是社會性的。審美價值的傾注及接收皆在不知不覺中進行著，審美之人在接受、認同審美價值的過程中，總是帶有拜物教的形式意味；而拜物教又與人類的宗教崇拜心境直接關聯著，因此，本來看似「自由」的審美體驗，其實與象徵「束縛」的權威互為條件，事實上，走在自由的路上就是走在服從權威的路上。「詮釋」則被視為是審美價值傳遞的必要媒介，亦是使得拜物教形式得以可能的必然現象。 / This article is an inquiry about freedom of human’s mind, the artwork is presented as intermediary of it. Aesthetic function is originally private, but actually is embedded with “fait social” by dint of artwork’s social-production character , which makes every man’s aesthetic values is utterly infiltrated by ”Others” before they make their own judgment : aesthetic judgment which appears private is in fact social-collected. The impregnation and absorption of aesthetic values always processes in state of unconsciousness. When people intake and approve the values given by others, they worship in form of fetishism ; Fetishism is associated with the worship of religion, therefore aesthetic experience containing human’s free choice is correlated with authority symbolizing constraint. In fact, when we quest for freedom, we’re at the same time in quest of conformity. Explanation is regarded as necessary intermediary communicating aesthetic judgment as well as indispensable phenomenon conditioning the worship of fetishism.