Orientador: Josué Pereira da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T02:01:08Z (GMT). No. of bitstreams: 1 Rangel_EduardoAzanha_M.pdf: 905988 bytes, checksum: 3a71f807d22998edca3e268838dacc52 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa busca apresentar a construção do conceito de ideologia em Fredric Jameson, discutindo as principais referências teóricas utilizadas pelo autor e as especificidades de sua análise, como a dialética da ideologia e da utopia. A partir destes objetivos, retomamos, primeiramente, a distinção entre ideologia e utopia feita por Karl Mannheim, na tentativa de pensar os conceitos em relação à sociologia enquanto prática analítica e ao historicismo enquanto método e as influências da ideologia na cognição e na epistemologia. Posteriormente, há o resgate do conceito de pós-modernismo em Jameson, com o intuito de fixarmos seu diagnóstico da contemporaneidade e refletir sobre suas relações e críticas às concepções de ideologia de Louis Althusser e Theodor Adorno. Por fim, abordaremos as principais temáticas jamesonianas relativas à ideologia, como os limites estruturais da produção simbólica, as formas de mediação entre indivíduo e sociedade e a ideologia enquanto consciência de classe, para apoiar a necessidade teórica de Jameson de fundar uma hermenêutica positiva em sua análise ideológica, a perspectiva da utopia / Abstract: The purpose of this research is to present the construction of the concept of ideology in Fredric Jameson, discussing the main theoretical references used by this author and the specificities of his analysis, such as the dialetics of ideology and utopia. From these objectives, we will resume, at first, the distinction between ideology and utopia as made by Karl Mannheim, in an attempt to ponder on the concepts related to sociology as an analytical practice, and historicism as a method, as well as the influences of ideology on the cognition and epistemology. Subsequently, there will be a resumption of the concept of postmodernism in Jameson, with the purpose of engraving his diagnosis into contemporaneity, and pondering on his relations and criticism to Louis Althusser's and Theodor Adorno's conceptions of ideology. Finally, we will approach the main jamesonian themes related to ideology, such as the structural limits of symbolic production, the forms of mediation between individual and society, and ideology as class consciousness, to support Jameson's theoretical need for establishing a positive hermeneutics in his ideological analysis, the perspective of utopia / Mestrado / Sociologia / Mestre em Sociologia

Denna uppsats beskriver den forskning och det konstnärliga arbete Hannes Ferm gjorde inför Bloom, hans soloutställning på Konstfack. Bloom var ett musikaliskt performance som - med Mark Fishers iakttagelse om kapitalistisk och teknologisk acceleration i förhållande till kulturell stagnation i åtanke - skapades med ambitionen att visualisera ett estetiskt uttryck för en verklighet där denna förskjutning accelererat ytterligare. Hur skulle popmusik ta form i en sådan framtid? Verket byggde på tre karaktärer, tre olika svar på frågan, där varje karaktär representerade ett tema och ett musikaliskt uttryck.  Uppsatsen använder en av dessa karaktärer för att navigera ett antal forskningsfält - musik- och kulturhistoria, sociologi, klimatforskning och samtida popkultur, samt iakttagelser och erfarenheter från både det konstnärliga arbetet och från livet som verksam musiker. Genom att jämföra aspekter av vår samtids teknologiska, kapitalistiska och kulturella tillstånd med samma aspekter av 1970-talet, ämnar uppsatsen att ta reda på åt vilket håll dessa saker verkar flödar, och i vilken hastighet.

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.

This dissertation examines social mobility as treated in stage comedies and litigation records circa 1603-1625. It argues that, in a historical context where rising in the world often awakened disapproval, stage representations of advantageous marriages negotiated cultural debates concerning socioeconomic change, political hierarchy, and individual aspirations. To understand the diverse meanings of social advancement, this study traces the discursive and narrative resemblances between two sets of texts: nearly two hundred Star Chamber cases that contested marital status incompatibility, and plays by Middleton, Jonson, Chapman, and their peers that dramatize intense competitions for marriages that could elevate characters in wealth and prestige. Pierre Bourdieu provides methods for approaching the multi-dimensional early modern social field with its many forms of status, and Frederic Jameson offers ways to consider the relation of fictional narratives to social and ideological problems. Using these theorists to align the two sets of texts, this dissertation reveals how London's theaters offered complex fantasies of achievement that balanced individual ambition against prevailing assumptions about gender, status, and social order. The Introduction traces relevant historical contexts, while Chapter One outlines the polyphonic features of the texts under investigation and culminates in an analysis of George Chapman's use of multiple temporal schemes in The Widow's Tears to represent a fantasy marriage as both an upstart's rise and a dynastic renewal. Chapter Two examines legal records to reveal how victims of alleged courtship frauds evoked a broad cultural script that represented social exogamy as a threat to the ruling elite. Chapters Three and Four focus on masculinity, arguing that both male defendants and playwrights like Thomas Middleton and Lording Barry responded to the cultural contradictions of social mobility by privileging alternative metrics of masculine worth and alternative trajectories of advancement. Chapter Five shows how female defendants positively rearticulated available negative stereotypes about women, especially servants, marrying up; in similar fashion Ben Jonson's The New Inn portrays a maidservant's engagement to an aristocrat as a triumph of merit. Finally, the Appendix examines one extensive case in which dozens of witnesses variously interpreted the scandalous elopement--or kidnapping--of a rich London woman. / 2019-08-01T00:00:00Z

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.

This dissertation is an analysis of writings and illustrative material by Canadian travel writers Anna Jameson, Mina Hubbard, and Margaret Laurence, that attempts to reconcile the masculinist focus of postcolonial criticism and the charges of cultural imperialism levied against feminist criticism with the role postcolonial and feminist theories play in understanding women's travel narratives. I argue that Jameson's 1838 Winter Studies and Summer Rambles in Canada, Hubbard's 1908 A Woman's Way through Unknown Labrador, and Laurence's 1963 The Prophet's Camel Bell provide maps of the political, cultural, and physical features of the areas through which the women travelled, and of their own social and cultural positions. Their mapping is also done through more graphic media---including Hubbard's cartographic work, Hubbard's and Laurence's photographs, and Jameson's unpublished sketches---which reflect and complicate the written negotiations of gender and imperialism in which the three women engage. / Because my aim is to reconcile theoretical contradictions, I examine in detail books that clearly dramatize colonialist or anti-imperialist approaches and considerations or exemplifications of issues of gender. Not surprisingly, the three writers draw very different maps of those subjects, as a function of their disparate geographical and historical contexts. This study reveals, however, that the maps themselves are drawn with similar tools, which include an anti-racist philosophy and an acute awareness of women's position in their own and the visited societies. Thus Jameson makes philosophical connections between mid-nineteenth-century feminist and anti-racist theoretical approaches; Hubbard provides insights into an early twentieth-century woman traveller's relationship to First Nations men who have both more and less power than she; and Laurence serves as a witness to and astute reporter on oppression of mid-twentieth century women by specific colonial and patriarchal forces.

Thesis (Ph.D.)--Princeton University, 2005. / Includes bibliographical references (leaves 234-255).

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).