This essay aims to establish a marxist perspective upon a phenomena that could be seen as typical neoliberal–femvertising. I have noticed an expanding trend in fashion; the use of feminism as branding. Fashion brands such as Dior and H&M have lately profiled themselves with feminism, framing it as radical as well as feminist. Meanwhile, the theory of reification by Georg Lukács claims that capitalism fools us to believe that we may acccomplish human aims and characteristics through commodities. I will investigate if it is possible to look upon this phenomena as an example of reification? The attempt brings the capitalistic dimension of femvertising into daylight and questions it´s feminist pretense.

Intellectuel évoluant aux marges des institutions, Guy Debord (1931-1994) fut l’auteur d’une pensée et d’un art hétérodoxes. Cette thèse tente de refaire le chemin de son expérience intellectuelle grâce à l’étude des documents inédits conservés au « Fonds Guy Debord » de la Bibliothèque nationale de France. Sont étudiés les manuscrits de ses œuvres, les documents préparatoires de ses films et, plus particulièrement, ses nombreuses fiches de lecture, afin d’établir une généalogie des concepts et des idées de l’auteur, en resituant Debord dans le contexte de son époque. Le grand débat qui animait alors la pensée française, partagée entre les vagues opposées de l’existentialisme et du structuralisme, se concentrait en effet sur l’affirmation ou la disparition du « sujet ». Debord ne participe pas directement à cette querelle et s’intéresse fort peu aux auteurs de la mode. Néanmoins, son œuvre constitue une réponse à ce débat, réponse donnée, d’abord, par l’élaboration d’un art expérimental qui remet le sujet en situation, en recherchant les déterminations objectives qui affectent la subjectivité ; ensuite, par l’élaboration d’une théorie – la théorie du « spectacle » – qui voit la séparation entre l’expérience et la représentation comme le propre de la modernité capitaliste ; enfin, par le développement d’une écriture – littéraire et cinématographique – qui puise dans le travail du détournement et de la citation le moyen de dépasser la séparation « spectaculaire » entre le sujet et le langage. / Guy Debord (1931-1994), always on the margins of cultural and intellectual institutions, authored a heterodox style of thought and art. Through extensive archival research in the “Fonds Guy Debord”, a collection of unpublished notes and manuscripts in the Bibliothèque nationale de France, this thesis seeks to retrace Debord’s intellectual experience. These documents allow for the creation of a genealogy of the author’s key concepts and enable us to situate him in the intellectual context of his times. Contemporary French thought was dominated by existentialism and structuralism. Discussion of the empowerment and disappearance of the “subject” was therefore central. Although Debord took no direct part in these disputes, expressing disinterest in the authors then in vogue, his works did respond to this debate: First of all, in his experimental art, which places the subject in a “situation” and thereby seeks to discover the objective determinations that affect subjectivity; secondly, in his theoretical work – in particular, the theory of the spectacle –, in which capitalist modernity is characterized as a growing separation between experience and representation; and thirdly, in his literary and cinematic works, in which the practice of détournement appears as a method for a subjective re-appropriation of representation.

La critique littéraire représente une part non négligeable de l’œuvre de Constantin Chatzopoulos (Agrinion 1868 - Brindisi 1920). Comparée aux autres genres littéraires, auxquels il a sacrifié (poésie, prose, traduction, essais politiques), elle demeure jusqu’à nos jours le volet le moins connu de son œuvre. La première démarche indispensable afin de proposer une étude de son œuvre critique la plus complète possible, était de réunir l’ensemble de ses articles, parallèlement à ceux qui déjà étaient connus. Tel est l’objectif de la première partie de ce travail qui fait le point de la recherche. La seconde partie, théorique, suit la critique littéraire de Chatzopoulos dans le cadre des deux périodes de son développement : a) l’influence symboliste et nietzschéenne (1898-1902) et b) l’influence sociologique et marxiste (1907-1916). Sont présentés, pour ces deux phases, les revues littéraires qui ont accueilli les textes de l’écrivain. Chatzopoulos représente un chapitre important de l’histoire de la pensée critique grecque, car son œuvre rend compte des courants esthétiques et idéologiques de son époque auxquels elle est intimement liée. Dans la Grèce des débuts du siècle passé, il fut le premier à introduire les principes sociologiques et marxistes dans l’approche d’une œuvre littéraire. / Literary criticism represents an interesting part of the Constantinos Chatzopoulos’ (Agrinion 1968 - Prindisi 1920) writing creation. Until our days it remains the least known compared to other literature types, which he served (poetry, prose, translation, political essay). A condition for a fuller study of his work as a critic was the collection of his articles, in addition to those which were already known. Hence this is the aim of all the elements which compose the first research part of our thesis. The second, theoretical part of the thesis monitors the Chatzopoulos’ literary criticism works within the pale of the two phases it occurs: a) the symbolistic - nietzscheic (1898-1902) and sociological - marxist (1907-1916). In both stages the presentation of the literary publications in which works by the author appeared is preceded. Chatzopoulos represents an important asset in the history of the Greek critical thinking, because his work was associated with aesthetic and ideological movements of his time. In Greece of the early past century, he is the first to introduce the sociological and Marxist values into the approach of literary work.

The diploma thesis focuses on the topic of the economic education in the 50s of the 20th century. The issue is analyzed on the example of the University of Economics in Prague. The establishment of the University of Economics became an important milestone for the economic education in Czechoslovakia. The University of Economics was established in 1953 on the basis of the governmental regulation from 19th August 1952 No. 40/1952 Coll. regarding another changes in the organization of universities. It was stated that the studies would be for four years and the students would be able to choose from five faculties. This school was set up after the previous difficult development on the ground of the universities. The establishment of the University of Economics forewent cancelation, renaming and the establishment of different universities. These universities also concentrated on schooling in the area of economics. The legacy of the University of Economics can be seen in the continuity to the venerable University of Commerce, which belonged among the successful universities in our state. Furthermore, it undoubtedly helped to develop the origins of economics as a branch of science. The schooling on the universities in the 50s was influenced by Marxist-Leninist ideology, which was perceived as general truth at the time. The aim of the thesis is to clarify whether the University of Economics contributed to the development of the economic education in the 50s. The theoretical part of the thesis is focused on the analysis of the applied methodology. The applied methodology is a collection of knowledge - a social history. Moreover, there are discussed institutions and legislations foregoing the establishment of the University of Economics. In the practical part of the thesis is described the state of economics as a science in the 50s in Czechoslovakia and the importance of Marxism-Leninism and political economics for economy. In addition, there is outlined the development of economics as science during a certain period of time.

Orientador: Alvaro Gabriel Bianchi Mendez / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T16:49:24Z (GMT). No. of bitstreams: 1 MeloJunior_SydneiUlissesde_M.pdf: 1057253 bytes, checksum: 54984ae1a8b2c4ded25a88e5d6fca9ae (MD5) Previous issue date: 2014 / Resumo: Esta dissertação é dedicada ao estudo dos trabalhos do marxista peruano José Carlos Mariátegui (1894-1930) e, especialmente, à análise da importância política assumida pelos conceitos de mito e religião no conjunto de sua obra. Os capítulos referem-se a três etapas da vida do autor ¿ a juventude (1914-1919), o exílio (1919-1923) e o regresso e posterior militância socialista no Peru (1923-1930) ¿ e por meio da exposição de sua formação intelectual e política procuramos compreender as preocupações do Amauta com os conceitos acima mencionados. A pesquisa mostra que, contrastado a outros autores clássicos do marxismo, Mariátegui assume um olhar mais sensível ao papel histórico e social cumprido por diferentes manifestações religiosas ¿ contribuindo para isto a referência a sua formação pessoal e familiar, marcada por mística e religiosidade. Em seu desenvolvimento como socialista, o Amauta incorpora ao seu discurso termos como mito, fé e religiosidade, que passam a constituir o horizonte de sua reflexão revolucionária. Por outro lado, ao demonstrar uma preocupação criteriosa com a análise das manifestações políticas e históricas de atores e instituições religiosas ¿ tanto na Itália, quanto no Peru e no continente latino-americano ¿ Mariátegui não deixa, porém, de distanciar-se de críticas racionalistas e anticlericais, afirmando uma "nova concepção" de religião, mais ampla e profunda, que se descola de adjetivações obscurantistas / Abstract: This dissertation is dedicated to the study of Peruvian Marxist José Carlos Mariátegui (1894-1930) works and especially to the analysis of the political relevance of concepts such as myth and religion in his work. The chapters refer to the three phases of Mariátegui's life ¿ his youth (1914-1919); exile (1919-1923); return and posterior socialist activism in Peru (1923-1930) ¿ we aim at a better understanding of Amauta¿s concerns regarding the aforementioned concepts by evaluating his intellectual and political formation. The research shows that, in contrast with others classical Marxist authors, Mariátegui assumes a more sensitive vision of the social and historical roles performed by different religious expressions ¿ for which his personal and family education, marked by religiosity and mystique, are a great contribution. In his socialist development, Amauta incorporates to his speech expressions such as myth, faith and religiosity, which constitute the horizon of his revolutionary thought. On the other hand, by demonstrating a careful concern in his analysis about political and historical manifestations of religious actors and institutions ¿ in Italy as well as in Peru and Latin America ¿ Mariátegui distances himself from rationalists and anticlerical critics, affirming a "new conception" of religion, wider and deeper, and detached of obscurantist adjectives / Mestrado / Ciencia Politica / Mestre em Ciência Política

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This thesis aims to explore how a critical reading of the novel Things Fall Apart (1958) can provide valuable perspective for educators and students when examining socio-economic issues in  a colonial context in the ESL classroom. The main issues being analysed are how the novel reveals and explores socio-economic forms of exploitation under colonialism, and how a critical reading of the novel can be used in teaching to inform and persuade learners about social injustices. To show this, the essay examines the novel from a marxist perspective, and more specifically by drawing on the concept of primitive accumulation to understand and explain the changes brought about by the introduction of colonial rule. The changes in this context include the Igbo community's relation to land, its socio-economic and cultural aspects as well as the introduction of trade. The discussion and analysis of the novel centre on social injustices due to land expropriation, breakdown of traditional values and customs, and economic changes brought about by the arrival of Europeans in the context of colonialism. Expanding on this, the essay also reflects on the pedagogical implications of its arguments by showing how a critical reading of Things Fall Apart might provide an opportunity for teachers to underline issues of social injustice, material, and economic forms of exploitation under colonialism and beyond. This literary analysis also discusses and reflects on the practical challenges and possibilities of teaching such issues in the ESL classroom by using the concept of critical literacy.

<p>Splatterpunk was a short-lived, but explosive horror literary movement birthed in the 1980’s that utilized graphic depictions of violence in its prose. Drawing parallels to other subversive and radical art movements like Dada and Hardcore Punk, this paper examines through a Marxist lens how Splatterpunk, influenced by the destructive nature of 1980’s neoliberalism, reflected the violence, categorized as direct and structural, of its period of creation and used extreme vulgarity as an act of rebellion against traditional horror canon.</p>

Den här studien undersöker konsumtionskritiken i Karin Boyes debutroman Astarte från 1931. Romanen gestaltar det framväxande konsumtionssamhället i Stockholm i början av 1900-talet. Genom olika tidsmarkörer som film från Hollywood och jazz kontextualiseras berättelsen i sin tid.  Under 30-talet debatterade Berthold Brecht och Georg Lukács modernismens roll i den marxistiska litteraturen. Studien om Astarte tar avstamp i den debatten och visar hur Astarte blir konsumtionskritisk utifrån Brechts begrepp alienations-effekten. Romanen är modernistisk till sin form; genom olika berättartekniska grepp bryter Boye upp identifikationen med romankaraktärerna vilket skapar ett avstånd till texten. Titeln är namnet på en antik gudinna som förekommer som skyltdocka i romanen. Skyltdockan påverkar karaktärerna genom ett spel av blickar. Gudinnans roll som skyltdocka analyseras utifrån konsumtionskritiska perspektiv, vilket synliggör hur varuhusen exploaterar religiösa myter. Karaktärerna påverkas av olika komersiella intressen vilket reifierar dem till ting. Den moderna staden porträtteras emellertid som en plats för ytlig narcisism där människor strömlinjeformas till tomma skyltdockor. Genom att visa på konsumtionskritiska drag i Astarte synliggörs Boyes roll i den svenska modernismen. Studien visar även hur äldre marxistisk teori kan tillämpas för ny förståelse idag.

Giovanni Boldini's La Zingara is an image fraught with mystery. As a lesser-known artist, scholarship on him and this painting is sparse. This thesis details the innovations that Boldini exhibited as an artist working in nineteenth-century France, using the lenses of feminist and Marxist art historical readings for a new interpretation of this piece. Participating in the oppressive systems of capitalism, sexism, and prejudice, Giovanni Boldini created the image of La Zingara for personal gain. Painting a subject from a marginalized community, the Romani, Boldini benefitted from those systems. He "others"his Italian heritage and modern art developments to construct a portraiture totally unique to him and his oeuvre. While other artists worked on similar subjects at the time, Giovanni Boldini set himself apart through his updating of classic styles, drawing upon on the Christian iconography of the Byzantine tradition, the portraiture of Trecento and the Renaissance, and some ancient Roman conventions. Additionally, the artist capitalizes on the growing interest and commodification of japonisme to create a highly marketable work. Furthermore, this thesis explores issues of gender and class to acknowledge the difficult place that women have filled in the history of art. Finally, this thesis argues that Boldini deserves a greater place in the history of art.