This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

The resurgence of interest in James Joyce's politics over the past decades reveals Joyce as a politically astute, if not active, writer. But Joyce's politics were never easily codifiable or traceable to a set of ideologically fixed positions. Instead, this dissertation argues, Joyce uses the novel as a space where political debate can be dramatized, and the novel becomes a form of deliberative rhetoric regarding future possibilities. For Joyce, the practices of rhetoric and aesthetics are complexly intertwined and interdependent, though they remain, in many ways, oppositional and contrary. Joyce and other modernist writers often viewed rhetoric as a discursive form that limited rather than expanded possibilities. But at other moments, Joyce presses rhetoric into the service of aesthetic (and vice-versa) since deliberative rhetoric and poetics (as defined by Aristotle) both attend to the possibilities of future action. This dissertation traces Joyce's evolution from a young socialist writer engaged in rhetorical experiments with the essay to his later dramatization of Irish political oratory in Ulysses. Joyce began his career as a self-described "socialist artist" in 1904, but would consciously eschew socialism within the next few years. This dissertation locates Joyce's early political rhetoric in his essay "A Portrait of the Artist" and the abandoned novel Stephen Hero as unconscious remainders reemerging in A Portrait of the Artist as a Young Man. In the later text, aesthetics attempt to replace rhetoric as a means of creating radical materialist consciousness, but the later text also re-incorporates and reimagines its earlier incarnations. The earlier texts remain as "symptoms" around which the later is written. Drawing on the definitions of "symptom" in psychoanalytic and Marxist theoretical practice, this dissertation argues that A Portrait of the Artist functions as a text because it includes, even though it attempts to rewrite, the political and rhetorical work of its antecedents. In crafting the "Aeolus" chapter of Ulysses, Joyce returns to the art of rhetoric to dramatize the arguments surrounding Irish labor, politics, and language in 1904 Dublin. Unlike his work in A Portrait of the Artist, Joyce presents oratory as a staging ground for reasoned debate and discussion regarding the future course of Irish history. Whereas rhetoric was an unconscious remainder of socialist politics in A Portrait of the Artist as a Young Man, rhetoric is consciously applied in the work of the characters in the episode who are preoccupied with the consequences of the Irish language movement and middle-class industrialization. This dissertation ultimately argues against positions that view rhetoric as a weak surrogate for aesthetics or as a discursive limitation that must be overcome for aesthetics to produce valuable contemplative effects. Aesthetics in Joyce's fiction has productive rhetorical purposes: to lead readers to contemplate false oppositions, consider the means by which history is produced, to attend to the process of political decision-making, and to deliberate about the consequences of actions. / English

I have structured my master's thesis in terms of an opposition between Kojeve's existentialist, Marxist philosophical formulation of Hegel's Phenomenology and Levinas's post-Heideggerian, anti-Hegelian phenomenology in Totality and Infinity. While Levinas's project is explicitly anti-totalitarian, Kojeve's reading of the Phenomenology emphasizes the End of History in Hegel's philosophy without shrinking from its totalizing aspects. While the philosophical project of each thinker is generally antithetical to the other, it is my contention that the universal and homogeneous state, conceived by Kojeve to be the rational realization of the end of history, is a legitimate moral project for Levinasian ethics. This thesis provides both an exegesis of Kojeve's reading of Hegel's master/slave dialectic in the Phenomenology and an interpretation of the tragedy of the slave understood in terms of Holderlin's theory of the tragic. It is through the master/slave dialectic that history consummates in the end of history. Later in the thesis, I outline Levinas's project as an ethics as first philosophy in opposition to the Eleatic traditions in Western philosophy. We can trace Levinas's project in his unconventional reading of the cogito and the idea of infinity. Whereas Descartes represents a philosophical return home for Hegel, Levinas's reading of Descartes represents a philosophical sojourn away from home in the second movement of the Meditations. With these notions, we have a formal basis in accounting for the conflict in Levinas's thought between the moral necessity of universal rights and the dangers of assimilation. Finally, I argue for why the universal and homogeneous state is an ethically worthy goal from a Levinasian perspective. On this question, I engage the thought of a number of thinkers of the left: Kojeve, Derrida, Horkheimer, Adorno and Zizek. I conclude that Levinas's thought on universalism and eschatology can serve as a moral basis for the left-Hegelian project of realizing a universal and homogeneous state. Because such a state is distinguishable from a totalizing End of History, the eschatological concern for one's singularity within history is compatible with the prophetic call to strive for political universality. Ultimately, it is the responsibility to this prophetic call that guarantees one's singularity.

Territorial disputes between Japan and South Korea (Dokdo/Takeshima) and Japan, Taiwan, and China (the Senkaku/Diaoyu Islands) are characteristic of post-war East Asian diplomacy. This thesis explores these ongoing territorial disputes, problematizing Realist arguments by which these disputes are analyzed as matters of territorial or resource nationalism, or as the result of legal complications or security concerns. Instead, it is argued that we should look to ideologies of nationalism to understand seemingly extreme emotional reactions over these 'rocks' which threaten to destabilize Northeast Asia. These islands are treated as 'sublime' symbols of the nation and irredentist arguments which support the Japanese, Korean, and Chinese positions read history through a lens of essentialized notions of 'a people' or 'a nation', and in the process help define both.

Territorial disputes between Japan and South Korea (Dokdo/Takeshima) and Japan, Taiwan, and China (the Senkaku/Diaoyu Islands) are characteristic of post-war East Asian diplomacy. This thesis explores these ongoing territorial disputes, problematizing Realist arguments by which these disputes are analyzed as matters of territorial or resource nationalism, or as the result of legal complications or security concerns. Instead, it is argued that we should look to ideologies of nationalism to understand seemingly extreme emotional reactions over these 'rocks' which threaten to destabilize Northeast Asia. These islands are treated as 'sublime' symbols of the nation and irredentist arguments which support the Japanese, Korean, and Chinese positions read history through a lens of essentialized notions of 'a people' or 'a nation', and in the process help define both.

Orientador: Nina Virgínia de Araújo Leite / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T20:11:34Z (GMT). No. of bitstreams: 1 Barichello_Luigi_D.pdf: 2042894 bytes, checksum: 2f39a5cfd742abcf1c4d9173473c8c44 (MD5) Previous issue date: 2012 / Resumo: Este trabalho tem por objetivo observar a relação entre discurso e ideologia a partir da possibilidade de leitura e desnaturalização do axioma que assevera que "todo discurso é ideológico". A existência de tal axioma reafirma a coextensão da ideologia a todas as esferas do cotidiano, até mesmo à possibilidade de negação do referido axioma (a qual, em si, já seria portanto igualmente ideológica). Tal consideração e escopo podem vir a suscitar a crença de que já que lidamos apenas com ficções simbólicas e nunca com a "realidade ela mesma", poderíamos abrir mão, assim, da própria crítica da ideologia. Essa afirmação totalizante é então interpelada nesse trabalho como forma de se atualizar a pertinência e alcance da leitura e crítica da ideologia, propondo-se uma análise atravessada pela psicanálise de orientação lacaniana, tendo por objetivo sublinhar a importância e validade daquilo que "falha" na articulação significante. E, ousamos dizer, na própria interpelação ideológica. Ao registro da ideologia, então, é aproximada a noção de fantasia oriunda da teoria psicanalítica, cuja possibilidade de vínculo fora proposta pelo filósofo esloveno Slavoj ¿i¿ek. Por vislumbrar o [des]encontro do efeito e produto da cadeia significante - respectivamente o sujeito e o objeto - o matema da fantasia se mostra frutífero em uma leitura da ideologia que tencione fazer comparecer à teorização não apenas o jogo significante, mas aquilo que nele é convocado e produzido. A inclusão do sujeito e do objeto abre então uma via profícua para a entrada da teoria dos discursos forjada por Jacques Lacan, uma vez que, em sua estruturação, estão postos, justamente, a articulação da cadeia significante, o sujeito e o objeto. A tomada do discurso convoca, por sua vez, a pertinência do gozo, o qual origina e também é visado pela movimentação discursiva, e cuja impossibilidade de acesso ao falante não é sem conseqüências, trazendo à cena a relação entre saber e verdade. E é na consideração de tais registros, pois, que residiria a pertinência de uma leitura da ideologia calcada não apenas na articulação da cadeia significante, mas naquilo que nela falha. Desse modo, entrevemos um passo a mais na crítica da ideologia, resgatando a possibilidade de "furo" no ideológico. E articulando, assim, uma possível contribuição para uma teoria lacaniana da ideologia / Abstract: This thesis aims to observe the relationship between discourse and ideology from the possibility of reading and questioning the axiom which holds that "all discourse is ideological". The existence of such axiom reaffirms the extension of ideology to all spheres of everyday life, even to the possibility of denying that axiom (which, in itself, would be equally ideological therefore). Such consideration and scope are likely to raise the belief that since we deal only with symbolic fictions and never with "reality itself," we could then give up of the critique of ideology itself. This totalizing claim is then challenged in this thesis as a way to update the relevance and scope of reading and critique of ideology, proposing an analysis considering the orientation of lacanian psychoanalysis in order to defend the importance and validity of what "fails" in the signifier articulation. And, dare we say, in the ideological interpellation itself. To ideology, then, is approximated the notion of fantasy originated in psychoanalytic theory, whose bond was proposed by Slovenian philosopher Slavoj ¿i¿ek. Glimpsing the [mis]match between the effect and product of the signifying chain - respectively the subject and object - the mathema of fantasy presents itself as a useful way on a reading of the ideology that intends to consider not only the significant chain, but also what is mustered and produced in it. The inclusion of the subject and the object then opens a fruitful path to the entrance of the discourse theory forged by Jacques Lacan, considering that in its structure are set precisely the articulation of the signifying chain, the subject and the object. The consideration of discourse, in turn, calls the relevance of enjoyment, which originates and is also addressed by the discursive movement, and whose inability to access for the speaker is not without consequences, bringing to scene, according to lacanian theory, the relationship between knowledge and truth. Therefore, it is in the consideration of such concepts that would lie the relevance of a reading of ideology grounded not only in the articulation of the signifying chain, but also in what fails in it. This way, we aim to provide a step further on the critique of ideology, recalling the importance of the "gaps" and the possibility of "punctures" in the ideological. Articulating thus a possible contribution to a lacanian theory of ideology / Doutorado / Linguistica / Doutor em Linguística

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