Ce travail réinterroge la philosophie sociale critique d’Adorno à partir des concepts de règle et de jeu. Il a pour objectif d’exposer la théorie de la société d’Adorno et d’en questionner les fondements. Ces fondements, telle est notre thèse, peuvent être conceptualisés dans un langage propre à la sociologie de l’action si on les reformule en termes de « règles », de « suivi des règles » et de « jeu » – concepts qu’Adorno lui-même utilise afin de décrire le social, plus précisément la société capitaliste dans laquelle il vivait. Le fameux tout « non-vrai », qu’est la société selon Adorno, peut ainsi être compris comme un jeu réglé par lui-même, indépendamment de l’intentionnalité des acteurs. Cette reformulation de la philoso-phie sociale d’Adorno nous permet de la faire dialoguer avec d’autres conceptions du social (Weber, Ha-bermas, Descombes, Searle et le structuralisme) et de montrer à quel point l’objet d’Adorno diffère de celui de Weber, de Habermas et de Searle alors qu’il est commensurable à celui du structuralisme. La méthode pour saisir cet objet, à savoir les règles non intentionnelles qui structurent le jeu social, est celle de Freud (interprétation, lecture symptômale). Adorno, toutefois, se distingue du structuralisme et aussi de Freud en ce qu’il pense pouvoir établir un lien entre société capitaliste et le social réglé comme un jeu inaccessible aux acteurs : ce jeu est non seulement l’objet de recherche d’Adorno mais aussi l’objet de sa critique. Notre travail s’emploie à étayer la possibilité de cette critique qui ne vise rien de moins que les conditions de possibilité du vivre en commun telles qu’elles ont été établies par la philosophie sociale structuraliste ainsi que par Freud : des règles à effet inconscient qui font en sorte que tous les acteurs ne réalisent ou ne di-sent pas les mêmes significations font l’objet de la critique adornienne. Critiquer ces règles implique de montrer qu’une critique de l’institution verticale des sujets est possible sans détruire ni poser comme abso-lu la subjectivité elle-même. Cette critique devient envisageable à partir du moment où l’on examine la pratique qui est incluse dans le suivi aveugle de la règle : au sein de cette « fausse » pratique – qu’Adorno appelle la pratique d’identification – se dégage une pratique autre qui met en question la soumission aveugle à la règle. Cette pratique critique est également appelée « jeu ». Notre travail se conclut sur l’exposition de cette pratique et de son potentiel critique au sein du jeu qu’est la société capitaliste. / This work reexamines the social critical philosophy of Adorno, starting form the concepts of rule and of game. It aims to expose the social theory of Adorno and to question its foundations. These foundations can be conceptualized in a language specific to the sociology of action if they are rephrased in terms of rules, rule-following and game; concepts which Adorno himself uses to describe the social, spe-cifically the capitalist society in which he lived. The famous all "non-true" which society is according to Adorno, can be understood as a game working in itself, regardless of the intentionality of the actors. This rephrasing of the social philosophy of Adorno allows us to dialogue with the other approaches of the social (Weber, Habermas, Descombes, Searle and the structuralism) and to show how the object of Adorno differs from that of Weber, Habermas and Searle, how it is commensurable with that of structuralism. The Method to seize the object, i.e. the rules that structure the unintentional social game, is the method of Freud (interpretation, symptomatic reading). Adorno, however, differs from structuralism and also from Freud’s conception of the social because he thinks that he can establish a link between capitalist society and the social regulated as a game inaccessible to players: for Adorno this game is not only the object of research but also the object of his criticism. Our work goes on to justify the possibility of such criticism that targets nothing less than the conditions of possibility of common living. What was established by structur-alist social philosophy as well as by Freud is the subject of criticism of Adorno: rules whose effects are unconscious, which ensure that all players do not realize or do not say the same meanings. To criticize these rules implies showing that the critique of vertical instituted subjects is possible without destroying subjec-tivity nor positing it as absolute. This criticism becomes possible from the moment you look at the prac-tice included in the blind following of the rule which is the "wrong" practice - Adorno calls this practice of identification ; the right practice included in practice of identification challenges the blind submission to

在消費意識與消費型態的歷史更迭中,馬克思所架構的批判情境,已經有所轉變,尤其在後現代社會中,資本主義的宰制性更出現了不同於以往的情形,因此本篇論文期望藉著對消費領域的探討,了解消費主義在早期及現代資本主義中所扮演的角色,並剖析消費社會的壟斷機制之運作邏輯,是否產生質變與量變.在論文的安排上,首先介紹消費主義的各種理論觀點,再討論資本主義的壟斷本質,分別以馬克思主義,法蘭克福學派和後現代主義,來釐清資本主義的壟斷機制;另外進入符號消費的後現代社會,探討人們在虛構的享樂世界中,追求想像式的歡愉, 發覺當現代社會進入後工業階段,馬克思所痛訴的資產階級對生產領域的壟斷, 未曾消失,資產階級對人們的控制,反而橫跨在生產和消費兩大領域.

本篇論文主要是以藏傳佛教的格魯派所詮釋的中觀應成派思想，來反思Axel Honneth批判理論。雖然兩者都共同關懷如何解決現實的痛苦，都努力提出一個能夠具體解決當前人類不滿的實踐方案，但由於兩者所辨認的痛苦成因有所差異，因此提出了不同的解決之道。本篇論文站在中觀應成派「二諦」的角度，認為Honneth所提出的批判理論並沒有正確地辨認出痛苦的根源「自性執」，而僅僅提出了「世俗諦」層次的解決方案，因而無法真正地對症下藥，從根源之處解決痛苦。 本篇論文企圖論證以下兩個命題：第一，我們必須正確地掌握「作為痛苦的根源的自性執」，如果不透過這個步驟，就沒有辦法根本地解決痛苦。進一步我們應該要了解到，Honneth批判理論本身也是自性空的，否則一個企圖解決痛苦的理論資源，本身反而就是增加痛苦根源的一部份。第二，由於「黑格爾左翼的批判理論」所提倡的「具體地提出具有交互主體性的解決痛苦的實踐方案」這個訴求是作為中觀應成派與批判理論的共同關懷，因此，我也企圖說明從「二諦」的觀點出發，並不會與這個基本關懷相衝突，如此一來，就能夠說明以中觀應成派的二諦作為分析基礎，是具有社會實踐的潛力的。 為了論證這兩個命題，本文的章節安排如下。首先，第一章作為導論，說明全篇文章的論證架構。第二章則說明Honneth所定位的批判理論，即「黑格爾左翼」及其重要的概念「內在超越」的意涵。這樣的方法論特別強調了「對當前的痛苦提出具體的實踐性解決方案」的訴求。在第三章中，我把焦點放在Honneth所提出的「為承認而鬥爭」的批判理論模型，主要的目的是概要出承認理論的根本命題。在第四章中，我會討論中觀應成派的幾個主要概念，即「所破」和「二諦」，希望透過這三個概念能夠概要出格魯派思想的核心，並以此為基礎來形成反省Honneth批判理論的基礎架構。第五章則具體地說明「Honneth承認理論各個概念的空性」。我將從中觀應成派的思想中，提取較為相關的討論來進行說明，包括了「『人』無自性」、「『行動與行動者』無自性」、「『貪欲與貪者』無自性」以及「『苦』無自性」等等討論，這些都是對應於Honneth承認理論的核心概念而來。第六章為結論，以前五章的討論為基礎，重新說明上述的兩個命題。 / In this thesis, I want to reflect Axel Honneth's critical theory through Tibetan Buddhism dGe Lugs pa, founded by Tsongkhapa in the fourteen century, who followed and expounded the thought of prAsaGgika-mAdhyamika. Both Honneth and dGe Lugs pa are focusing how to comfort people's suffering realistically and practically. However, by means of the thought of dGe Lugs pa, especially the view of two-truths, we could point out that Honneth's approach would fail to solve the problem causing people's suffering completely, because he did not recognize the real cause of the suffering. In the view of dGe Lugs pa, our suffering is resulted from the innate ignorance in our consciousness which grasps everything as existing truly and inherently. I want to prove two propositions in this thesis: in the first place, I argue that we can't really comfort our suffering completely unless we recognize the true cause of the suffering, the ignorance of seeing things inherently existing, and transform it rightly by means of understand that everything is empty of inherent existence without exception. I will reflect Honneth's critical theory and find that all essential concepts of his theory of recognition are empty of inherent existence. Secondly, I argue that if we rightly understand dGe Lugs pa's thought, we would not abandon the goal of practically resolving the problems causing people's suffering, which is the common interest of Axel Honneth and dGe Lugs pa. In order to prove these two propositions, I arrange the thesis into six chapters. The first chapter is the introduction to the thesis's main arguments. The following two chapters focus on Honneth's critical theory: in chapter two I will illustrate the so called " left-Hegelianism", by this concept Honneth emphasis the critical theory which is directed to diagnosis the social pathology, and accordingly transform it practically through social praxis; the third chapter will elaborate the model of "struggle for recognition", which is founded by Honneth to revive the left-Hegelianism critical theory at the present time. In chapter four I will illustrate some essential concepts of dGe Lugs pa, including the concept of svabhAva, two-truths and bodhicitta. Through these illustrations I want to found the tool for pointing out the misrecognition of the cause of suffering in Honneth's critical theory, and explain the dGe Lugs pa's alternative solution to the problem causing people's suffering. In fifth chapter, some reasoning using for proving the emptiness of inherent existence will be expounded, the concepts which we want to show empty of inherent existence are: "I", persons, actor, act, suffering, the person who suffers, desirous one and the desire. These concepts are those essential for Honneth's critical theory. By means of understanding the emptiness of these concepts, we will understand those concepts Honneth used for constructing his theory are empty of inherent existence. In chapter six, the conclusion of this thesis, I will use the resources illustrated in above five chapters to restate the two propositions arguing in the introduction.

<p>Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence.</p><p>This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.</p>

Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence. This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.

L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

In my thesis I will pursue the ideological foundations of the Frankfurt School, a significant social philosophical group of the 20th century. Marxist and psychoanalytic basis will be reflected in conjunction with a critical theory of society and a phenomenon of culture industry. The purpose of this work is to present influences which formed a theoretical work of the Frankfurt School, its research in a modern society and a contribution to the so-called commodification of culture and art related to the expansion of mass culture.

No description available.

Uppsatsen undersöker spelgrafik i Cyberpunk 2077, mot bakgrund av händelserna kring spelets offentliggörande – som väckte stort raseri och missnöje från inte bara spelarna själva, utan även aktieägare och spelrecensenter. Utgångspunkten i analysen är etablerandet av en diskursiv läsning inom en kvalitativ visuell analys av ett urval bilder som visar hur människor i spelet manipuleras till att köpa produkter som är skadliga för dem. Hur bilderna visar just detta – etableras i en andra, djupare läsning utifrån ett antal marxistiska positioner som alla har gemensamt att de beskriver processer relevanta för Karl Marx’ tankar om alienation och förfrämligande.Resultatet diskuteras sedan i relation till hur verkliga film-, spel-, data- och storföretag säljer produkter genom att paketera dem inuti berättelser om klasskamp, civilt uppror eller arbetarkultur. Sambandet mellan CD Projekt Red’s inbladning i fiktiv och verklig kapitalism, utgör det viktigaste resultatet och den röda tråden för arbetet. Huvudsakligen gestaltar sambandet sig genom upprättandet av en varufetischism och kommodifiering i fråga om hur de gestaltar- och kommunicerar till sina egna konsumenter. Jag diskuterar sedan riskerna med dataspel som tillämpning för en marxistisk kritik, då den interaktiva komponenten i spelandet förutsätter människan som en del av produkten. / The essay surveys relevant game art inside Cyberpunk 2077, in the light of the recent and heavily criticized product launch. The study starts out with establishing a discourse reading through qualitative visual samples of how costumers are manipulated to buy hazardous products inside the fictive context of the game. The examples of how this manipulation takes place, are shown by applying pre-described Marxist positions that are generally connected to Marx phases of alienation (see keywords below). The results are then discussed in relation to how real movie-, game-, computer- and other big business markets products through appropriation of stories and themes such as class struggle, civil obedience or working-class culture. Establishing the comparison between the fictive and existing capitalism of CD Projekt Red is the main thesis that is followed through the work and verified in the result through evidence of 3 commodification and commodity fetishism. The main aspect of the arguments focuzes on how CD Projekt Red has shown the relationship between themselves and their followers through consumers and manufacturers. The thesis and subject matter is discussed in the end of the essay, also mentioning the risks of analysing a digital game through Marxist perspectives, since the interactive part of gaming requires the player to be viewed as connected to the product.

No description available.