Notre thèse de maîtrise en histoire de la philosophie s’intéresse au débat esthétique, sociologique, politique et philosophique qu’a suscité l’apparition de la notion de « postmoderne ». Plus précisément, nous nous penchons sur l’intervention marxiste anglo-américaine dans ce débat au cours des années 1980 à travers l’examen de trois auteurs — Marshall Berman, Fredric Jameson et David Harvey — qui y ont contribué de manière significative. Afin de lever le voile de la confusion quant aux diverses significations attachées au champ lexical de « postmoderne », nous aurons recours au concept heuristique de la « question postmoderne » qui permet de distinguer trois niveaux de signification — culturel-esthétique, théorie du changement social, philosophico-historique —, mais aussi de les rassembler et de discuter du « postmoderne » dans sa généralité. La réponse marxiste à la question postmoderne fut hautement dépendante des interventions de Daniel Bell et Jean-François Lyotard et leur présence dans ce travail permettra de comprendre le contexte intellectuel et conceptuel avec, notamment, la nature de la transition entre le modernisme et le postmodernisme esthétiques, l’émergence d’une société postindustrielle et l’idée d’une postmodernité comme crise de légitimation des métarécits de la modernité. Nous examinons de quelle manière Berman, Jameson et Harvey ont traité de la question postmoderne dans leurs écrits s’étendant du début des années 1980 à la fin de cette décennie. L’on pourra voir que ce marxisme anglo-américain ne s’oppose pas de prime abord aux notions de « postmodernisme » ou de « postmodernité », bien qu’il craigne les illusions idéologiques qui accompagnent ces notions et tendent à obscurcir le rôle joué par le capitalisme dans les transformations sociales et culturelles.

This essay aims to analyze the main characters of Hanif Kureishi’s The Buddha of Suburbia. The main characters embark on a metaphorical journey against a backdrop of turbulent socio-political changes in 1970s Britain, ending with the emergence of neoliberalism and the rise of Margaret Thatcher. While the previous research primarily focuses on the formation of identity and race, I primarily examine Kureishi’s dramatization of neoliberal tendencies in the main characters. The theoretical framework of this analysis is based on two contrastive perspectives on neoliberalism: Michel Foucault and his somewhat positive concept of the entrepreneur of the self on one side, and Fredric Jameson and concepts of pastiche and loss of historicity as negative effects of neoliberalism on the other. The main argument is that Kureishi’s dramatization of neoliberal tendencies in the main characters is complex and contrastive by simultaneously reflecting and denying Foucault and Jameson. Thus, it challenges these two theoretical perspectives, which suggests that literary works might have a significant theoretical potency.

The representation of Chancery court in Charles Dickens’ Bleak House (1852-3) emphasises the inaccessibility of this institution to members of the laity. Dickens’ critique of Chancery chimes with Pierre Bourdieu’s sociological description of law as a formalistic social field defined by practices of exclusion. Dickens’ Chancery is however further inaccessible since it departs from Dickens’ laypeople’s horizons of expectation as a bureaucratic organisation characterised by its structural dispersion and the generation of great quantities of writing. This thesis therefore scrutinises Dickens’ treatment of Chancery in light of media-theoretical and geocritical, as well as sociological, frameworks and perspectives. This essay demonstrates that Dickens’ account of the institution of Chancery as conceptually inaccessible amounts to what I term a non-world heuristic. I contend that Dickens’ take on law anticipates what Fredric Jameson famously theorises as the dizzying “global world system” of late capitalism; the non-world heuristic of Bleak House—which combats disorientation in the social domain of law—may thus be understood as an early example of what Jameson terms an “aesthetic of cognitive mapping.” The non-world heuristic, this thesis proposes, likely has a role to play also in fictional attempts to cognitively map the global world system. I theorise the non-world heuristic in light of the discourse on accessibility in possible-worlds theory and the Kantian sublime, finding that the sublime non-world of Chancery is made accessible as inaccessible and that this dynamic is integral to Dickens’ aesthetic both as a maker of cognitive maps and as a realist novelist.

This thesis is meant to give an explication on Fredric Jameson¡¦s Utopian thinking through transcoding, establishing homologies between Lacan¡¦s Imaginary/Symbolic/Real registers, Althusser¡¦s ideology/History binary and Jameson¡¦s ideology/cognitive mapping/History orders. I think Jameson¡¦s Utopian thinking is a mechanism of praxis to induce change for a classless and human-friendly society through theoretical education on desire and formation of consciousness of the capitalistic alienation and exploitation. It is a process of signifying, with no signified. It aims at the construction of a map of the social totality, not at that of an imaginary blueprint. It stresses consciousness-raising, not goal achievement. Traditionally, Utopia features an imaginary blueprint. Nevertheless, for Jameson, the Utopian blueprint is problematic in that it is ideologically enclosed so that it is far from qualified to serve as the goal of praxis. At best, a Utopian blueprint can only be viewed as a ¡§figure¡¨ waiting for the interpretation of theory, or to put it psychoanalytically, it is a symptom of the (political) unconscious awaiting the diagnosis of a psychoanalyst. But Jameson does endorse Utopists¡¦ ¡§Utopian praxis¡¨ to map and criticize their respective social context. The critic applies the practice to the postmodern, in which time is spatialized and the individual is fragmented and deprived of the ability to think historically and to imagine an alternative future. Jameson proposes the approach of ¡§cognitive mapping¡¨ to help people to obtain a map of the postmodern hyperspace, to locate their positions in it, and to finally reconstruct in them class consciousness, which Jameson believes is the basis of praxis for a Utopia. This task has to be done through the construction of the collective subject, because of the death of the subject and the growing abstraction of postmodern hyperspace. And certainly in this undertaking, Marxist critics like Jameson play an important role. They, like a psychoanalyst, are entitled to diagnose and interpret what the current world is suffering from and to offer prescriptions. In conclusion, Fredric Jameson¡¦s Utopian thinking is a persistent process of praxis at present to form collective consciousness and subjectivity in the hope of an unspecified Utopia in the future, which is supposed to be a communist one.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-05-08T12:32:21Z No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:38Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:46Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Made available in DSpace on 2017-05-10T17:47:53Z (GMT). No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) Previous issue date: 2016-08-16 / Não recebi financiamento / The objective of this dissertation is demonstrate by means of a dialectical reading of Preface to Shakespeare (1765) by Samuel Johnson (1709-1784), that the reassessment of the doctrine of the units (action, time and place) no solely unveil the breaking of the English literary criticism with the classical aesthetic but the sign of a deep breaking of the English capitalist society from the eighteenth century with Ancien Régime. The issue (the reassessment of the doctrine of the units) consists in the defense that Johnson does in favor of Shakespeare's plays against the censures of other neoclassical critics, these influenced by French classicism. The defense that English critic undertook in favor of the English poet‘s dramas against the reproaches of neoclassical critics anticipated the rupture of the English criticism with the classical aesthetic. The proposal is treating of the literary and philosophical aspects involved in the chief theme, at last to amplify the horizon of reading through of the notions of structure of feeling by Raymond Williams (1977) and political unconscious by Jameson (1992). / O objetivo desta dissertação é demonstrar, por meio de uma leitura dialética do Preface to Shakespeare (1765) de Samuel Johnson (1709-1784), que a reavaliação das doutrinas das unidades (ação, tempo e lugar) não revela somente a ruptura da crítica literária inglesa com a estética clássica, mas o prenúncio de uma ruptura profunda da sociedade capitalista inglesa do século XVIII com o Ancien Régime. A seguinte questão (a reavaliação da doutrina das unidades) consiste na defesa que Johnson faz a favor das peças de Shakespeare, contra as censuras de outros críticos neoclássicos, estes influenciados pelo Classicismo francês. A defesa que Johnson empreende a favor dos dramas do poeta inglês, contra a acusação dos críticos neoclássicos, antecipa a ruptura da crítica inglesa com a estética clássica. A proposta é tratar dos aspectos literários e filosóficos envolvidos no tema principal, e por fim, ampliar o horizonte de leitura, através dos conceitos de structure of feeling de Raymond Williams (1977) e inconsciente político de Jameson (1992).

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-06-28T16:47:52Z No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:26Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:35Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Made available in DSpace on 2017-07-03T18:39:47Z (GMT). No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation aims to analyze William Shakespeare’s play Hamlet – prince of Denmark (1603) in dialogue with its filmic transcreation, Franco Zeffirelli’s Hamlet (1990) in order to verify the treatment given to the play’s theme: corruption, madness (real or fake) versus wisdom, incest, and Oedpus complex. On the assumption that for Haroldo de Campos (1994) tanscreating means not only to be loyal to the original text, but it also means to be free to create, which desmystifies the ideology of fidelity and abolishes the superiority of the source text to value the translation and the receiving culture, this research has a political reading of both play and film to go beyond the text surface through a better comprehension based on the historical, social and ideological factors of their productions. After all, the transformations made in the original text to suit the film to the 90’ s audience in another social and historical moment represent “forces that expand or reduce the work” (DINIZ, 2003, p.97). The interpretation method is the political reading in the three reading levels/horizons presented by Fredric Jameson in The Political Unconscious (1992). / Esta dissertação almeja a análise da peça Hamlet - príncipe da Dinamarca (1603) de William Shakespeare em diálogo com sua transcriação Hamlet (1990) de Franco Zeffirelli no intuito de verificar como o diretor italiano conversa em seu filme com o texto do bardo inglês, sobretudo, no que diz respeito ao tratamento dado as linhas fundantes (imagens) da peça: a corrupção, a loucura (fingida ou verdadeira) versus a sapiência, o incesto, e o complexo de Édipo. Partindo do pressuposto de que para Haroldo de Campos (1994) transcriar é nutrir-se do texto original desmistificando a ideologia da fidelidade e abolindo a superioridade da fonte a fim de valorizar a tradução e a cultura receptora, esta pesquisa faz uma leitura política da peça de Shakespeare e do filme de Zeffirelli no intuito de ir além do conteúdo manifesto (composto pelo enredo e tentativas de harmonização das contradições nelas contidas), avançando para a compreensão das obras permeadas por fatores históricos, sociais e ideológicos de suas produções. Afinal de contas, as transformações feitas no texto original em função da necessidade de se adequar o filme ao gosto de uma audiência em um outro momento sócio-histórico, no caso, a década de 1990, representam “forças modeladoras no sentido de expandir ou reduzir a obra” (DINIZ, 2003, p.97). O método de interpretação é o da leitura política da peça e do filme nos três níveis/horizontes de leitura apresentados por Fredric Jameson em O Inconsciente Político (1992).

Critical theory has historically situated the beginning of the “modern” era of subjectivity near the end of the seventeenth century. Michel Foucault himself once said in an interview that modernity began with the writings of the late seventeenth-century philosopher Benedict Spinoza. But an examination of early modern English utopian literature demonstrates that a modern notion of subjectivity can be found in texts that pre-date Spinoza. In this dissertation, I examine four utopian texts—Thomas More’s Utopia, Francis Bacon’s New Atlantis, Margaret Cavendish’s Description of a New World, Called the Blazing World, and Henry Neville’s Isle of Pines—through the paradigm of Jacques Lacan’s tripartite model of subjectivity—the Imaginary, the Symbolic, and the Real. To mediate between Lacan’s psychoanalytic model and the historical aspects of these texts, such as their relationship with print culture and their engagement with political developments in seventeenth-century England, I employ the theories of the Marxist-Lacanian philosopher, Slavoj Žižek, to show that “early modern” subjectivity is in in fact no different from critical theory’s “modern” subject, despite pre-dating the supposed inception of such subjectivity. In addition, I engage with other prominent theorists, including Fredric Jameson, Jacques Derrida, and Donna Haraway, to come to an understanding about the ways in which critical theory can be useful to understand not only early modern literature, but also the contemporary, “real” world and the subjectivity we all seek to attain.

This research uses the recent development of bus rapid transit (BRT) on Cleveland, Ohio’s Euclid Avenue corridor as a case-study to explore the links between public transit, public space, and urban planning. Using Fredric Jameson’s (1981) method of textual analysis from The Political Unconscious, I explore the ways the BRT provides access to a buried class consciousness in the city as well as a “symbolic resolution” between conflicting agendas of development and equity. Contextualizing the new spaces of the BRT using a synthesis of Jameson’s (1984) theorization of postmodernism, Mike Davis’ (1990) militarization of public space, and Michel de Certeau’s (1984) spatial practices, I discuss the ways these spaces are remade by individual users as a vital public space despite the BRT’s embedded market ideology and repressive security apparatus. Additionally, I explore what BRT’s ‘ideology of form’ can tell us about the ideology of the dominant paradigm of planning today, New Urbanism, and use it as departure for a closing discussion of Utopian desires in planning. / text

No description available.

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.