viii, 157 p. / The French "utopian socialist" movement known as Saint-Simonianism has long been recognized for its influence among 19th century engineers. An examination of the early Saint-Simonian journal, Le Producteur , however, reveals the articulation of an appeal to contemporary men of letters. A survey of the life and career of Hippolyte Carnot, a prominent Saint-Simonian man of letters, confirms and illustrates the nature of this appeal as it developed alongside Saint-Simonian ideology. Central to this appeal was the Saint-Simonians' attributing to the "artist" the role of moral educator. In their conceptualization of this function, the Saint-Simonians essentially presented a model of what Jürgen Habermas has termed the "public sphere" in strong contrast to that of classical liberalism. In the final analysis, however, the Saint-Simonians can be read as arguing not for the totalitarian domination of public life (as some have suggested) but rather the necessity of what Antonio Gramsci described as "hegemony." / Committee in charge: Dr. George Sheridan, Chair; Dr. David Luebke, Member; Dr. Daniel Pope, Member

A presente pesquisa trata da atualização de impulsos utópicos através da trajetória poética do artista belga-mexicano Francis Alÿs e de seu entrelaçamento com a noção de direito à cidade desenvolvida por Henri Lefebvre. Mais especificamente, questiona o potencial de reflexão e de transformação que essa produção artística apresenta em relação à nossa forma de pensar e de ocupar o espaço público, tanto de um ponto de vista temporal quanto espacial. O estudo tem como objeto empírico ações poéticas de Alÿs realizadas em grandes cidades ocidentais, majoritariamente latino-americanas, entre o final do século XX e início do XXI. Tais ações são aqui debatidas frente à produção teórica de autores cujas publicações datam desse mesmo período: Gilles Deleuze e Félix Guattari, Jacques Rancière, Michel de Certeau e Néstor García Canclini. Os conceitos que fundamentam toda a pesquisa, no entanto, tais como espaço público, direito à cidade e impulso utópico, remontam a dois pensadores do início do século XX: Henri Lefebvre e Ernst Bloch. O diálogo entre teoria e prática configura a espinha dorsal desta dissertação, que busca em obras artísticas a atualização dos conceitos trazidos pelos autores citados e a reverberação dessas práticas na teoria. / This research approaches the updating of utopian impulses through the poetic trajectory of the Belgian-Mexican artist Francis Alÿs and his intertwining with the notion of the right to the city developed by Henri Lefebvre. More specifically, it questions the potential for reflection and transformation that this artistic production presents in relation to our way of thinking and occupying public spaces, both from a time and spatial point of view. The empirical object is Francis Alÿs oeuvre carried out in large western cities, mostly Latin American, between the end of the twentieth century and the beginning of the twenty-first. These actions are discussed facing the theoretical contributions from authors who are contemporary to Francis Alÿs: Gilles Deleuze and Félix Guattari, Jacques Rancière, Michel de Certeau and Néstor García Canclini. The concepts that underlie all the research, however, such as public space, right to the city and utopian impulse, go back to two thinkers from the early twentieth century: Henri Lefebvre and Ernst Bloch. The dialogue between theory and practice, seeking in artistic works the updating of the concepts brought by the cited authors and aiming to identify the reverberation of these practices in theory, forms the backbone of this master’s dissertation.

A presente pesquisa trata da atualização de impulsos utópicos através da trajetória poética do artista belga-mexicano Francis Alÿs e de seu entrelaçamento com a noção de direito à cidade desenvolvida por Henri Lefebvre. Mais especificamente, questiona o potencial de reflexão e de transformação que essa produção artística apresenta em relação à nossa forma de pensar e de ocupar o espaço público, tanto de um ponto de vista temporal quanto espacial. O estudo tem como objeto empírico ações poéticas de Alÿs realizadas em grandes cidades ocidentais, majoritariamente latino-americanas, entre o final do século XX e início do XXI. Tais ações são aqui debatidas frente à produção teórica de autores cujas publicações datam desse mesmo período: Gilles Deleuze e Félix Guattari, Jacques Rancière, Michel de Certeau e Néstor García Canclini. Os conceitos que fundamentam toda a pesquisa, no entanto, tais como espaço público, direito à cidade e impulso utópico, remontam a dois pensadores do início do século XX: Henri Lefebvre e Ernst Bloch. O diálogo entre teoria e prática configura a espinha dorsal desta dissertação, que busca em obras artísticas a atualização dos conceitos trazidos pelos autores citados e a reverberação dessas práticas na teoria. / This research approaches the updating of utopian impulses through the poetic trajectory of the Belgian-Mexican artist Francis Alÿs and his intertwining with the notion of the right to the city developed by Henri Lefebvre. More specifically, it questions the potential for reflection and transformation that this artistic production presents in relation to our way of thinking and occupying public spaces, both from a time and spatial point of view. The empirical object is Francis Alÿs oeuvre carried out in large western cities, mostly Latin American, between the end of the twentieth century and the beginning of the twenty-first. These actions are discussed facing the theoretical contributions from authors who are contemporary to Francis Alÿs: Gilles Deleuze and Félix Guattari, Jacques Rancière, Michel de Certeau and Néstor García Canclini. The concepts that underlie all the research, however, such as public space, right to the city and utopian impulse, go back to two thinkers from the early twentieth century: Henri Lefebvre and Ernst Bloch. The dialogue between theory and practice, seeking in artistic works the updating of the concepts brought by the cited authors and aiming to identify the reverberation of these practices in theory, forms the backbone of this master’s dissertation.

Orientador: Iara Lis Franco Schiavinatto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T20:30:56Z (GMT). No. of bitstreams: 1 Souza_ShirlyFerreirade_M.pdf: 9610915 bytes, checksum: e748f959f3b89fab5657c8d20404e3f2 (MD5) Previous issue date: 2010 / Resumo: Um silêncio forçado. Sete anos de interdição (1971-1978) pelo Serviço de Censura e Diversões Públicas do regime militar. Vinte e cinco anos para finalmente ser acessível ao público (1979-2004). Eis a trajetória do documentário O País de São Saruê, de Vladimir Carvalho, lançado em 1971, cujo argumento é marcado pelo olhar sobre o sertão nordestino como uma região subdesenvolvida do país. A principal questão desta pesquisa é compreender essa trajetória à luz da memória e do esquecimento, ou seja, qual a imagem de Brasil que tanto o diretor quanto os censores buscaram deixar (ou ocultar) para as gerações futuras. Para tanto, abordaremos a construção do tema do subdesenvolvimento na narrativa fílmica e em que medida esta revela o engajamento político do diretor; quais as justificativas dos censores para interditar o filme; a repercussão dessa ação censória na imprensa da época; como o filme se apropriou da cultura sertaneja para construir uma narrativa política e ao mesmo tempo lírica e utópica, singular no campo do documentário brasileiro. / Abstract: A forced silence. Seven years of interdiction (1971-1978) by the department of Censorship and Public Entertainment of the military regime. Twenty-five years until finally it becomes accessible to the public (1979-2004). There it is the path of the documentary O País de São Saruê [The Country of Saint Saruê], by Vladimir Carvalho, launched in 1971, which is based on the view about the northern backcountry as an underdeveloped region of the country. The main goal of this research is to understand this path under the light of memory and forgetfulness; that is what image of Brazil that was tried to be left or disregarded by the author as well as by the censors to the future generations. Moreover, we will approach the construction of the theme on the underdevelopment in the filmic writing narrative and to what extension it reveals the director political engagement: what were the justifications of the censors to interdict the film; the consequences of this censor act in the press of the time; how the movie took over the backcountry culture to create a political narrative and at the same time utopian and lyrical, unique in Brazilian documentary field. / Mestrado / Politica, Memoria e Cidade / Mestre em História

A presente pesquisa tem por objetivo propor aproximações entre os autores Agostinho Neto (angolano) e Solano Trindade (brasileiro). Realizamos as comparações entre ambos considerando semelhanças literárias e políticas em seus percursos. Ao longo de suas vidas os dois poetas dedicaram-se à literatura e também a causas sociais e raciais. A pesquisa centra-se na análise comparativa entre os textos de Sagrada esperança (1985) de Neto e Cantares ao meu povo (1969) de Trindade. Para embasar nossa pesquisa teremos como foco de comparação pressupostos da Négritude enquanto temática e sua ligação com o romantismo revolucionário e/ou utópico, nas sendas dos estudos levados a efeito por Michael Löwy e Robert Sayre. Ao articularmos suas convergências, acreditamos ser possível constatar que há sobrevivências românticas que se fazem vivas na Negritude, às quais podem ser verificadas nas obras eleitas para a presente pesquisa. O romantismo é aqui pensado como visão de mundo, logo, livre de suas amarras temporais. Ao, visualizarmos ecos deste romantismo presentes na Négritude acreditamos ser possível verificar em que medida as obras de Agostinho Neto e Solano Trindade, pertencem a uma forma de poesia, em que há uma preocupação dos poetas em instigar, pelo verso, a prática revolucionária capaz de gerar transformações. / This research has the aim of proposing approaches between the authors Agostinho Neto (Angolan) and Solano Trindade (Brazilian). Literary and political similarities during their life spans were considered while comparisons were being made. Both poets dedicated themselves to literature and, also, to social and political causes during their lives. The research focuses on the comparative analysis between the texts Sagrada Esperança (1985), from Neto, and Trindade\'s Cantares ao meu povo (1961). We are going to adopt the Négritude as a theme and its relation with revolutionary and/or utopian romantism as a focus of comparison in order to found our research, having the studies performed by Michael Löwy and Robert Sayre as a guide. By working the texts\' convergence out, we believe it is possible to notice that there are romantic survivals that are highlighted by the Black Movement, what can be verified in the works selected to this research. Romantism is faced as a \"vision about the world\", so it is free from tieds of time. While vizualizing that echoes from this romantism take part in Négritude, we believe it is possible to verify that the works from Agostinho Neto and Solano Trindade belong to a type of poetry in which the authors, from their verses, are concerned about provoking the revolutionary action that is able to generate tranformations.

Le présent travail a pour but d’étudier le village ouvrier textile de New Lanark (Écosse), fondé en 1785, aujourd’hui classé au patrimoine mondial de l’humanité et célèbre pour sa réputation d’usine « modèle » en vertu de son association avec Robert Owen (1771- 1858), lui-même considéré comme le « père du socialisme britannique ». Il soulève l’hypothèse que cette mythification doit être réhistoricisée afin d’en éclairer le sens et la portée, tant pour être déconstruite que reconstruite. Tout d’abord, l’histoire du village ouvrier doit être replacée dans celle de la Révolution industrielle, afin d’éclairer les spécificités de cette forme de peuplement, dont l’identification à des modes de gestion dits « paternalistes » n’est pas des moindres. L’examen de ce creuset paternaliste éclaire également les fondements et la formation de la pensée d’Owen, qui prend appui sur le terrain de New Lanark afin de se livrer à une expérience en matière de réforme sociale. Deuxièmement, le village ouvrier doit être étudié en lui-même, afin de confronter ses dynamiques internes à la mise en pratique des politiques patronales. Troisièmement, nous envisagerons New Lanark à l’aune des réceptions dont il a fait l’objet, alors qu’Owen lance une campagne de promotion de sa doctrine aboutissant à la fin des années 1820 à la formation du premier socialisme britannique. Le statut de précurseur conféré à New Lanark et à son dirigeant sera également analysé au regard de l’affiliation de ce dernier au champ du « socialisme utopique ». Il est dès lors possible d’envisager une mise en tradition faite de processus stratégiques où, en dépit de ses excentricités supposées, et en vertu de sa politique patronale éclairée à New Lanark, Owen a été intégré au canon socialiste comme fondateur d’un courant national distinct du marxisme. / This thesis examines the textile industrial village of New Lanark (Scotland). Founded in 1785 and now a World Heritage site, it is mostly renowned for its reputation as a « model » factory, thanks to its association with Robert Owen (1771-1858), himself considered the « Father of British socialism ». It argues that such myth-making must be studied in context in order to grasp both its scope and significance, submitting it to a deconstruction and reconstruction process. Firstly, the history of the industrial village will be studied in the context of the Industrial Revolution in order to understand the specificities of this type of settlement, namely its close links with so-called « paternalistic » management methods. Examining paternalist discourses also sheds light on the foundations and formation of Owen’s thought, as he used New Lanark as a testbed for an experiment in social reform. Secondly, the industrial village will be studied per se in order to confront its internal dynamics with the application of Owen’s policies. Thirdly, we will analyse how New Lanark was received in its day, as Owen launched a campaign for the promotion of his doctrine, which amounted to the birth of the first British socialist movement in the late 1820s. The pioneering status which both New Lanark and Owen have been awarded also need to be analysed in relation to the latter’s labelling as a « utopian socialist ». The making of this tradition can therefore be understood as a series of strategic processes whereby Owen has been integrated into the socialist canon despite his supposed eccentricities and thanks primarily to his enlightened management policies at New Lanark, thus establishing him as the founder of a distinctively British socialism owing nothing to Marxism.

Le corps utopique au cinéma dont il est ici question ne désigne pas un objet de pensée emprunté à Michel Foucault et appliqué à quelques corps dématérialisés ou extraordinaires à l'écran, mais un outil heuristique pour envisager les modalités historiques et esthétiques à travers lesquelles le corps des images informe les images du corps et leur confère une dimension critique – se retournant alors tout autant vers la technologie qui les incarne, pour en révéler les puissances et les fictions, que vers le corps objectivé des sciences dont elles éprouvent les limites. C'est l'empreinte lumineuse des coureurs de la station physiologique de Marey qui déjoue l'invisible du mouvement à travers ses strates superposées, et les projections fantasmagoriques qui convoquent la présence des morts au sein des vivants. Ce sont aussi les horizons cinématiques ouverts par la théorie de la relativité et mis en œuvre par le cinéma – jusque dans sa manière de filmer le corps sportif pour saisir les temporalités intimes de l'effort et de l'extase. Ce sont enfin les zoomorphismes d'un cinéma contemporain, occupé à déjouer l'anthropocentrisme des images. Chacune de ces utopies – transparence, réversibilité, hybridité – déploie simultanément une virtualité du corps et de l'image en redistribuant les modalités de leur analogie : dans les images spectrales des sciences et de la fantasmagorie, le corps est à la fois visible et invisible ; dans la variation expérimentale des vitesses de l'image et du montage, il échappe au flux temporel ; dans la tentative de déjouer le regard anthropocentré du cinéma, il absout ses frontières pour se métamorphoser en entité hybride. Notre réflexion se situe ainsi à l'interface d'une anthropologie des images du corps, d'une esthétique du film et d'une archéologie de ses techniques. / The utopian body in film, under discussion in this thesis, does not refer to an object of thought borrowed from Michel Foucault and applied to some dematerialised or extraordinary bodies on the screen, but to a heuristic tool for considering the historical and aesthetic modalities through which the cinematic body put a critical focus on both the fictional powers of cinema techniques and the presumed objectivity of scientific imagery. Such bodily utopia is manifest in Étienne-Jules Marey’s chronophotographic prints, which foil the invisibility of movement through their superimposed strata, and in magic lanterns and fantascopes, which invest the living with spectral presence. It is also apparent in the cinematic horizons opened by the theory of relativity and implemented by the cinema – the manner, for example, of filming the athlete’s body in order to capture the intimate temporalities of effort and ecstasy. Finally it is present in the zoomorphism of contemporary cinema, occupying and frustrating the anthropocentrism of images. Each of these utopias – transparency, reversibility, hybridity – simultaneously deploy the virtuality of bodies and of images, redistributing the logics of their analogy: in the spectral images of the sciences and the phantasmagoria, the body is at once visible and invisible; in the experimental variation of the speed of image and montage, the body escapes temporal flux; in the attempt to circumvent the anthropocentric gaze of the cinema, the body absolves its own frontiers in order to metamorphose into a hybrid entity. This reflection is therefore situated at the interface of an anthropology of images of the body, an aesthetics of the cinema and an archaeology of its techniques.

This dissertation seeks to contribute to recent scholarship by demonstrating that an African-American utopian tradition persists in the twentieth and twenty-first centuries, particularly in the works of African-American women writers. If liberation remains a fundamental theme in African-American literature – a definitive stance espoused by W. E. B. Du Bois and a host of other prominent African-American scholars, but also upheld by this dissertation – then such a consistently recurring goal has only been marginally completed, at best, in the United States. Despite proclamations of a universally attainable American Dream, African Americans remain disenfranchised by prison, education, and court systems as well as other integral institutions found within the United States.With this dilemma in mind and given the potentially subversive power of literature, this dissertation argues that the African-American utopian tradition in particular functions as a useful critical lens through which one can examine the often-elusive goal of revolutionary change. This lens raises the pertinent questions that one must answer in order to strive towards one’s utopia, and also exposes the systemic and thus conventional parameters latent in the too-familiar antithetical dystopias about which so many African-American narratives admonish their audiences to confront or, if they are lucky enough, avoid altogether. By focusing on a thematic continuum represented by the utopian small towns found in Zora Neale Hurston’s Their Eyes Were Watching God (1937), Gloria Naylor’s Mama Day (1988), Octavia Butler’s Parable of the Sower (1993) and Parable of the Talents (1998), and Toni Morrison’s Paradise (1997), this dissertation encapsulates a utopian tradition that inscribes race, gender, and sexuality, onto the African-American literary tradition. / English

Ideals, aesthetics, forms, and concepts have resurfaced in various cultures throughout time. I am interested in the idea of the recurring themes that exist in the collective unconscious. I create monolithic figures that exhibit these archetypal qualities. Heavily influenced by film, animation, video games, and contemporary art, I create figures and paintings that are manifestations of my subconscious. These manifestations personify utopian ideals, the immortalization of youth, and the innocence of childhood.

My dissertation examines four Black speculative novels from the turn of the twentieth century, published between 1892-1904. Texts from this tradition tend to be grouped under an umbrella of “proto-Afrofuturism” or “proto-science fiction” and considered as early, surprising instances of a speculative mode that would only fully emerge several decades later. This categorization, while accurate in some respects, flattens out the diversity of the Black speculative imagination at the turn of the century. Therefore, I prioritize demonstrating the uniqueness of each author’s vision. At the same time, I argue that these texts share a fundamental similarity in their approach: they anticipate Arthur Schomburg’s famous injunction that the “Negro must remake his past in order to make his future.” They use the affordances of the speculative mode to experiment with a shared Black history and explore the possibilities and limitations of that history for a viable and desirable Black future. The authors that I examine challenge the conclusions of racial science that were used to justify a racially stratified society. In doing so, these authors speculate about the imminent future of Black Americans. But even though the perspective of these texts is the imminent future, their central preoccupation is actually Black history. Each of these texts experiment with a different possible shared history with which Black Americans can anchor a collective political identity. This approach is in distinct contrast to the typical approach of turn of the century utopian texts. If we can say axiomatically that white utopian texts, though they often extrapolate and project a distant future, actually function to estrange the present moment; then we can say, in contrast, that Black utopian texts from this era, although they are concerned about an imminent future, more fundamentally estrange the past. / English