O objetivo deste trabalho é analisar o projeto de Nancy Fraser de pacificar a chamada guerra de paradigmas na teoria feminista, ou seja, o confronto entre teorias feministas pós-modernas e modernas. Essa análise é feita a partir do debate entre Judith Butler, Seyla Benhabib e Nancy Fraser acerca dos problemas teóricos que emergem das exclusões no movimento feminista, ou seja, da dificuldade de o movimento representar as várias formas de viver a condição feminina, levando em conta as intersecções entre a identidade de gênero, racial, de classe, etc. A intenção de Nancy Fraser é combinar a concepção de sujeito moderno e pósmoderno a fim de somar a desconstrução do sujeito, ou seja, a desnaturalização da identidade feminina com as concepções de igualdade e autonomia que estão presentes no argumento de Benhabib. Essa discussão remete a três tensões conceituais: autonomia e contextualização do sujeito; identidade e reconhecimento da diferença e igualdade e pluralidade. Por fim, concluo que a conciliação entre modernidade e pós-modernidade é problemática porque a concepção de sujeito pós-moderno apresenta desafios teóricos profundos a uma autonomia suficientemente forte para justificar a crítica social. No entanto, isso não significa necessariamente ter de escolher entre poder e autonomia, entre sujeito abstrato e determinado pelo meio. Na concepção de self narrativo de Benhabib, que ela concebe sob a influência do modernismo relutante de Hannah Arendt, encontra-se um modelo de conciliação de poder e autonomia mais promissor para vencer a exclusão no feminismo sem abandonar a identidade coletiva no movimento feminsita. / The subject of this thesis is Nancy Frasers attempt to overcome the tension between post-modernism and modernism in the feminist political theory, known as the paradigm war. This attempt is analysed though her debate with Judith Butler and Seyla Benhabib about the theoretical consequences of dealing with the problem of exclusion within the feminist movement. Nancy Fraser intends to combine Judith Butlers conception of the subject with Benhabibs conception of equality. For her, this is the only way to integrate power and autonomy in feminist political theory. This discussion leads to three theoretical tensions: contextualization of the subject and autonomy; identity and recognition of difference, and equality and plurality. My conclusion is that this combination is not possible because the post modern subjet challenges any conception of autonomy that is strong enough to explain and motivate social criticsm. Nevertheless, in Benhabibs conception of self narrative, inspired in the reluctant modernism of Hannah Arendt, we can find a theoretical model that is more adequate to fight the exclusion in feminist movement without abandoning its colletive identity.

This study has centered on the proposal for decreasing the entrance rate in order to create more jobs and integrate the increasing asylum seekers in the Swedish society. Based on a discourse analysis on the parliamentary debates “The road to the labor market” and “Integration”, this thesis examines the discourses around ‘justice’. By applying Nancy Frasers theoretical framework of justice, the arguments were analyzed in order to understand if the constructed problems were built on the dimension of recognition or redistribution and to investigate if the solutions were based on an affirmative or transformative strategy. The analysis shows that the primary justice discourse in the debate of labor and integration is the distribution dimension. The injustices that are presented in these debates are concerned with maldistribution. Affirmative strategies are mostly suggested for solutions which indicates that the politicians in the Swedish parliament have an urge to solve problems in the present instead of focusing on the future and solving the underlying structure.

Because of woman's peculiar relationship to language, and therefore to the means of comprehending and expressing her experience, female autobiographical writing is a problematic undertaking. An exploration of several premises about Western culture can help to illuminate the difficulties the female autobiographer encounters in creating her life/text. Among these premises are the following: (1) that the culture that provides the context for female experience is what feminist theorists call "patriarchal," that is, a culture dependent upon and reinforced by the supremacy of male interests, pursuits, and values. (2) that the habit of mind of this culture is essentially dichotomous, and that this bifurcation, although it serves very well to enable one person or group to gain power over another, fails to account for the sense of relatedness characteristic of female moral development as demonstrated by recent feminist psychologists. (3) that one lives through telling oneself the story of one's life (that is, that living itself is an essentially autobiographical act); that this narrative conforms to certain cultural conventions; and that these conventions present distinct problems to the narrator who is female. (4) that the human being constructs its self through language, and that the language of a patriarchal culture is problematic to female authenticity. In order to confront these theoretical problems in practice, twelve essays explore some experiences of a middle-aged, middle-class white American woman in the second half of the twentieth century. These include illness, both physical (multiple sclerosis) and emotional (depression, agoraphobia); suicide; relationships with men, strangers, and cats; motherhood; and above all, writing. They form a feminist project whose purpose is so to merge theory with praxis, nonfiction with fiction and poetry, scholarship with creation, that such distinctions become meaningless and the female writer can get on with the real business of making and contemplating her text. An annotated selected bibliography lists works in feminist theory and criticism, some of which inform the essays, thus providing a program for extensive feminist study, especially in literature, anthropology, and psychology.

In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator.Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy--who served as acting curator when her husband enlisted in the army during World War II--and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created--the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever.

Preservation History of Art Nouveau Heritage in Hungary, Czech Lands and France Master Thesis Lilla Zámbó Abstract This master thesis discusses the preservation history of the most relevant architectural monuments of Art Nouveau from the perspective of different ideological and political systems of Hungary, the Czech Lands and France in the 20th century. The main objective of the thesis is to examine the influences of Art Nouveau in the society and vice versa through different heritage protection procedures and successful monument restorations, which took place in significant "Art Nouveau cities" of Europe: Budapest, Prague, Nancy and Strasbourg. The Art Nouveau style (1890-1914) was born as a reaction to the academic schools at the end of the nineteenth century and spread quickly by advertising a new architectural program, thanks to its special aesthetical, social and political contents. In order to satisfy the needs of the "modern" age and to create a better environment for the people, Art Nouveau broke with the previous dominant historical tendencies, not only in a mental way, but also in employing a new design and decorative elements. Thus the international practice-based, but locally unique and unprecedented works of the Art Nouveau were totally differing from the dominant eclectic townscapes, which is...

The stated aim of building the Swedish welfare state ("Folkhemmet") was to develop a modern society that contained equality between social classes. Interestingly, though, class inequalities still exist but have become obscured by an endeavour to reach cultural recognition with a particular focus on multiculturalism. This paper seeks to demonstrate the production and reproduction of class inequalities in Lena Andersson's novel Var det bra så?. Nancy Fraser's theory of redistribution and recognition is used to highlight the complexity and intersection of culture, ethnicity, gender and class. In that context, it is claimed that class inequalities have to be separated from cultural discrimination when the aim is to examine the establishment of social inequalities. Fraser argues that socio-economic segregation has to be seen in the light of economic and cultural inequalities as being two separate phenomena, even though they clearly are interrelated. Var det bra så? is here viewed as a critique of the Swedish welfare state ("Folkhemmet") as a political concept. The novel depicts how the focus on and belief in multiculturalism as central for the development of society has entailed a marginalization and culturalization of class.

Thesis advisor: Susan Michalczyk / Children's series books have historically been frowned upon by educators and librarians alike. Due to this, thousands of the books have been disregarded as the equivalent of ‘trashy' literature for children, and have thus been excluded from the classroom. How has this scorn gained credence? Are series legitimate reading material for children? This paper explores the history and the beneficial uses of children's series books in the classroom. Series books aid in the teaching of reading and provide a forum for children to gain literary confidence. They also assist in the learning of other languages and are instrumental in reading intervention situations. Specifically, this paper considers the literary aspects, practical applications, and criticism directed at the Nancy Drew and Harry Potter series. Examined closely, series prove to be highly educational and indispensable to the formation of lifelong readers. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

This thesis theorises an approach to cinematic suspense derived from a set of films that challenge the teleological and redemptive principles of traditional narrative. It is argued that such a challenge is drawn from the need to account for conditions of violence and suffering without recourse to the traditional grounds of redemption. They set out to question the symbols that underpin a faith in its possibilities. Such films counter these grounds with a form of perpetuated suspense that continually withholds resolution, stressing and destabilising both the terms of redemption and the affect of its aesthetic representations. Significantly, this thesis examines films from the years following 1989 that confront this central theme within conditions of historical hiatus and the disintegration of ideological certainties occurring in the wake of European communism. These films, by Kira Muratova, Béla Tarr, Artur Aristakisyan, Alexander Sokurov, Bruno Dumont, Roy Andersson, Ulrich Seidl and Gus Van Sant, present a world in which human beings are always already turned against themselves, placing them in the context of contemporary philosophical aporias that identify the human condition as enigmatic and resisting of itself. They suspend the symbolic structures associated with redemption in order to reconfigure contemporary film as a „realist‟ cinema at the threshold of the interpretative and reconciliatory economies implicit in the soteriological mythology of Western thought. Tracing Paul Ricoeur‟s schematic account of the symbols and myths of a „fallen‟ world, the thesis turns on Jean-Luc Nancy‟s subsequent critique of the insufficiency of myths to properly account for existence. In place of an hermeneutic recovery of the real and its meaning, Nancy‟s „realist‟ philosophy of „sense‟ and its application to the cinema offer an account that speaks less of conflicting narratives of redemption than a radical stripping away of its terms, suggesting that it is redemption from the normative terms of redemption that ultimately constitutes the proper question at the heart of these films.

Head Chop is a practice-led research project exploring the thinking of community found within the works of Georges Bataille, Jean-Luc Nancy, and Maurice Blanchot. Using the central exchange between Nancy and Blanchot, as found in the triple intersection of texts composed of Nancy's Inoperative Community, Blanchot's The Unavowable Community, and finally Nancy's recent The Disavowed Community, Head Chop draws upon the interfaces of these three works to develop a reading of community. Utilising the concept of fictioning, an imaging of possible worlds, as its primary methodology, Head Chop develops a narrativised analysis of community. The story of Acéphale, Bataille's secret society, provides the structuring fiction of the work. This story is developed from a synthesis of fragmentary accounts of the Acéphale group's sacrificial ambition, and the illustrations of the Acéphale journal. The result is a tale of a human sacrifice from which the being Acéphale subsequently arises. In tracing the relation of the work of Nancy and Blanchot to the work of Bataille, Head Chop draws attention to the role of the figure of Acéphale for Bataille, and its subsequent insinuation in the work of Nancy and Blanchot. The figure of Acéphale operates as an editorial device that structures and informs the readings of these works as a common grounding and central problematic. This situates the readings of Bataille, Nancy and Blanchot in a contested frame of reference by attempting to accommodate an alternate version of the sacrificial event. Head Chop finds a basis for its methodological investigation in Deleuze and Guattari's work What is Philosophy? Excising and developing a series of figures and conceptual tools from the works of Nancy, Blanchot and Bataille, Head Chop develops a crossing of these figures and concepts as characters within the broader narrative of Acéphale. Following this methodological approach, Head Chop traces series of connected concepts in the works of Nancy and Blanchot. In developing these connections in relation to the Acéphale narrative, conceptual structures engaged in the thinking of community are drawn out into the broader contexts of Nancy and Blanchot's work. These connections are traced in Nancy through addressing such notions as the deconstruction of the subject, the question of authenticity in Heidegger, a re-reading of Heideggeran ontology that privileges Mitsein, and the singular plural. In Blanchot conceptual connections are similarly traced, beginning from the foundational role of the other, the challenging passion of lovers, through to death, unworking, and the question of testimony. In developing a narrativised analysis of the figure of Acéphale, Head Chop aims to open new channels of inquiry into the concept of community as it arises between the works of Bataille, Blanchot and Nancy. Research questions: How does a re-imaging of the Acéphale story, in which Acéphale is begotten, engage with Bataille, Nancy and Blanchot's readings of community? What is to be gained from the use of a re-imagined Acéphale story in a thinking of community?

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening by distinguishing between <em>l’e´coute</em> and <em>l’entente</em>. <em>L’e´coute </em>is an attending to and answering the demand of the other and <em>l’entente</em> is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of <em>l’e´coute</em>, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (<em>il s’e´coute</em>) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (<em>se fait entendre</em>) as he makes himself listened to (<em>se fait e´couter</em>). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both <em>l’entente</em> and <em>l’e´coute</em> when it listens as Chaplin listens.