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La philosophie politique contemporaine est chargée d’une histoire qu’il reste encore à déblayer, tant la « guerre civile européenne » du siècle dernier a forcé son autodafé. Dans ce mémoire, nous prenons Georges Sorel, figure de proue du syndicalisme révolutionnaire des années 1900, comme figure archétypique de ce qui demeure en reste de cette histoire. Archétype non seulement de la manière dont des théoriciens de premier plan peuvent tomber, par la force de l’histoire, dans l’oubli le plus absolu, mais aussi archétype de ces forces mêmes, alors que Sorel est considéré par l’histoire intellectuelle comme le penseur ayant dressé le pont entre l’extrême-gauche et l’extrême-droite. Ce mémoire ne s’affaire pas directement à lui attribuer la « paternité du fascisme » ni à l’en disculper. Il s’agit bien plutôt de procéder à une déconstruction de ses principales idées à partir d’un angle essentiellement philosophique, procédé connaissant peu d’antécédents. Plus précisément, notre travail consiste à en dégager une définition de l’éthique, alors que le geste théorique principal de Sorel apparaît bien être une réduction du politique à l’éthique. Pour ce faire, nous mobilisons la philosophie contemporaine, notamment Gilles Deleuze et Giorgio Agamben, en raison de la forte affinité théorique qu’ils ont avec Sorel, particulièrement dans la définition de l’éthique. / Contemporary political philosophy is fraught with a history still to be discharged, as much as last century’s “European civil war” forced its concealing. In this masters thesis, we seize Georges Sorel, figurehead of the 1900s revolutionary syndicalism, as an archetypical figure of what is “in remaining” of this history. Archetype not only of the way in which popular theorists can be easily forgotten by the force of history, but also archetype of these forces themselves, as Sorel is considered by intellectual history as the thinker having set up the bridge between extreme left and extreme right. This master does not directly intend to attribute to Sorel the “paternity of fascism”, or to exonerate him. It rather develops a deconstruction of its principal ideas from an essentially philosophical standpoint, method virtually unprecedented. More precisely, our work consists to extricate Sorel’s definition of ethics, whereas his major theoretical gesture appears like a reduction of politics to ethics. To do so, we mobilize contemporary philosophy, especially Gilles Deleuze and Giorgio Agamben, because of their strong theoretical affinities with Sorel, particularly in their definition of ethics.

Cette thèse est une enquête épistémologique qui s’interroge sur la persistance de « l’éther » dans le champ de la technologie. De façon générale, le mot « éther » évoque un modèle conceptuel de la physique pré-einsteinienne, celui d’un milieu invisible permettant la propagation de la lumière et des ondes électromagnétiques. Or, ce n’est là qu’une des figures de l’éther. Dans plusieurs mythologies et cosmogonies anciennes, le nom « éther » désignait le feu originel contenu dans les plus hautes régions célestes. Aristote nommait « éther », par exemple, le « cinquième être », ou « cinquième élément ». La chimie a aussi sa propre figure de l’éther où il donne son nom à un composé chimique, le C4H10O, qui a été utilisé comme premier anesthésiant général à la fin du XIXe siècle. L’apparition soutenue dans l’histoire de ces figures disparates de l’éther, qui a priori ne semblent pas entretenir de relation entre elles, est pour nous la marque de la persistance de l’éther. Nous défendons ici l’argument selon lequel cette persistance ne se résume pas à la constance de l’attribution d’un mot ou d’un nom à différents phénomènes dans l’histoire, mais à l’actualisation d’une même signature, éthérogène. À l’invitation d’Agamben et en nous inspirant des travaux de Nietzsche et Foucault sur l’histoire-généalogie et ceux de Derrida sur la déconstruction, notre thèse amorce une enquête historique motivée par un approfondissement d’une telle théorisation de la signature. Pour y parvenir, nous proposons de placer l’éther, ou plutôt la signature-éther, au cœur de différentes enquêtes historiques préoccupées par le problème de la technologie. En abordant sous cet angle des enjeux disparates – la légitimation des savoirs narratifs, la suspension des sens, la pseudoscience et la magie, les révolutions de l’information, l’obsession pour le sans-fil, l’économie du corps, la virtualisation de la communication, etc. –, nous proposons dans cette thèse autant d’amorces pour une histoire autre, une contre-histoire. / This dissertation stands as an epistemological inquiry into the persistence of the notion of ether within technology’s discursive field. Most often, the word “ether” is understood as a conceptual model in pre-einsteinian physics which designates the medium responsible for the propagation of electromagnetic waves and light. However, this proves to be only one of the many figures of ether. In multiple mythologies and cosmogonies, ether was also the name employed to refer to a sublime and pure fire filling the highest spaces of the universe. Aristotle, for example, named “ether” what he considered to be the “fifth being,” or the “fifth element.” Chemistry also makes use of ether, where the name denominates the compound C4H10O, used as the first general anaesthetic agent at the end of the nineteenth century. From our point of view, the sustained occurrences of ether in these different figures, so disparate indeed that they appear unrelated, marks the manifestation of its persistence. We argue that this persistence should not be narrowed down to a constant attribution of a “word” or a “name” to several historical phenomenons, but rather should be viewed as the actualization of a same etherogeneous “signature.” Responding to an invitation by Italian philosopher Agamben, and building on Nietzsche’s and Foucault’s history-genealogy as well as on Derrida’s deconstruction, our dissertation proposes an historical program oriented towards a theorization of the signature. To do so, we suggest locating the ether, or rather the ether-signature, at the heart of several historical inquiries concerned with the contemporary problem with technology. Approaching some of theses issues –the legitimating of narrative knowledge, the suspension of the senses, pseudoscience and mysticism, information and industrial revolutions, wireless obsessions, body and corporeality, virtualization of communication, etc. –, our dissertation aims at locating and articulating as many baits towards an-other history, a counter-history.

Cette thèse de doctorat se rapporte aux films du cinéaste japonais Ozu Yasujirô (1903-1963) suivant l'hypothèse principale que les enjeux de la destruction qui y sont mis en scène, sous la forme de la disparition des liens familiaux et de la mort, ne peuvent être éclairés par la narration, dont le caractère non dramatique est notoire. En figurant la dislocation de la famille, les films d'Ozu rendent plutôt compte de la vulnérabilité du monde à la prise cinématographique : la destructivité du médium s'y énonce comme sa capacité à mobiliser ce qui entre dans son champ et à le transformer en faire-valoir de son aptitude à produire des effets. Cette étude fait ainsi apparaître les images animées, en tant qu'elles relèvent de la logique technique régie par la modernité, comme une forme de désastre, qui atteint la famille comme expérience de la communauté, c'est-à-dire comme rapport constitutif à un hors-de-soi. Mais à cette destructivité fait également face, au sein même de la pratique cinématographique d'Ozu, une autre possibilité du cinéma, qui peut restaurer ces liens menacés. Cette étude du cinéma d'Ozu montre sa profonde affinité avec la pensée du désœuvrement élaborée par Giorgio Agamben, les films du cinéaste et les travaux du philosophe s'éclairant mutuellement. Le concept de désœuvrement permet de reconsidérer les enjeux essentiels des films d'Ozu à un niveau à la fois thématique et formel, immatériel et matériel, articulant ces deux facettes pour en considérer le registre proprement médiatique. Le propos n'est pas essentiellement esthétique ou formaliste, mais s'intéresse avant tout au travail d'Ozu du point de vue des enjeux éthiques du cinéma, qui se formulent en termes de relation à sa puissance. Celle-ci concerne aussi bien l'attention d'Ozu à la vie collective que le soin qu'il porte aux potentialités expressives du cinéma, c'est-à-dire à la manière dont il se rapporte aux limites de son médium. / In this dissertation, the films of Japanese director Ozu Yasujirô (1903-1963) are studied according to the main hypothesis that the destruction they picture – disappearing family bonds, death – cannot be accounted for by plot development, its non-dramatic stance being well-known. As it is depicted in his films, family dissolution in fact testify for the world's vulnerability to cinematographic take: the medium's destructivity is especially expressed as an ability to mobilize what comes into its range and to transform it as a stooge for its own capacity to produce effects. This study then portrays moving images, inasmuch as they conform to the logic of modern technology, as a kind of disaster affecting family as a commununity, as an experience of being out-of-oneself. But Ozu's cinematographic practice shows as well ways to face such a destructivity, and points to another, restaurative potentiality for cinema. This study of Ozu's cinema shows its profound affinity with Giorgio Agamben's conception of inoperativeness, the filmmaker's work and the philosopher's thought throwing light on each other. Through the concept of inoperativeness, the issues at the heart of Ozu's films are considered anew at a level both thematic and formal, immaterial and material, articulating these two aspects in order to tackle their very mediatic register. My approach, then, is not foremost aesthetic or formal but focuses on Ozu's films from the point of view of practice: it deals with ethical issues raised by the cinematographic medium, which express themselves in relation to power (or potentiality). This ethical concern relates to Ozu's attention to collectivity as well as to his care for cinema's expressive potentialities that is to say to the way in which his films face their medium's limits.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-15T11:37:47Z No. of bitstreams: 1 Osvaldo Estrela Viegaz.pdf: 1090762 bytes, checksum: b753074fdcecae0fcdd5f90e03f554fb (MD5) / Made available in DSpace on 2017-12-15T11:37:47Z (GMT). No. of bitstreams: 1 Osvaldo Estrela Viegaz.pdf: 1090762 bytes, checksum: b753074fdcecae0fcdd5f90e03f554fb (MD5) Previous issue date: 2017-12-04 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / by means of this modest work we try to address some of the most important concepts of the work of the italian philosopher Giorgio Agamben and more specifically as his thesis on the relations of the concentration camp constitute the place of the city as the true paradigm of the modern. In the discussion of points such as the state of exception, the position of homo sacer in the structuring conjuncture of politics and law, and the incidence of these forms in the contemporary world, we try to insert in the discussion what Agamben considers most important to think modernity: what (still and insistently) remains of Auschwitz. Therefore, we raise important questions that focus on our own being and the daily relationships that it establishes with others in society, inscribing in violence and force-of-law the (im)possibility of self-criticism necessary for us, inserted in a reality evidently simulated, which leads us to believe in a reality that is far from the real reality, in a world in which democracies and their humanistic principles have buried all totalitarianism and filled the gaps that man's inhumanization caused without ever going through the necessary discussions about the which "subtracts" from Auschwitz. Biopolitics, paradox of sovereignty, governability, tanatopolitics. Far from appearing to be distant concepts in our daily lives, these terms are, in fact, revealed as ideals contained in sovereign power that we deal with every day, transposed into formulations that differ from living reality, in which democracy and its human principles conceal the real in the face of what is left of Auschwitz, a gap which we ignore and which we attempt to displace in our discussions, leading to incomplete responses to incomplete lives in an incomplete society within an equally incomplete worldwide contentment that insists on showing itself as already made, complete and finished, in which to ignore is more effective than to understand and in which to shout the dignity of the human person is more important than to understand who really is human in the present reality and under what conditions he is captured in all these relations of the concentration camp, putting in question our own life as life itself – naked life – and leading us to perhaps the most important question so that we must try to open the doors of the house of our conformism and pretended security and finally to see the gaps that Auschwitz left in the human itself, reaching the minimum of estrangement from the human that comes: how much of reality our illusion is capable to withstand? / por meio deste modesto trabalho procuramos abordar alguns dos mais importantes conceitos da obra do filósofo italiano Giorgio Agamben e mais especificamente como sua tese sobre as relações do campo de concentração se constituem no lugar da cidade como o verdadeiro paradigma do moderno. Elencando pontos como o estado de exceção, a posição do homo sacer na conjuntura estruturante da política e do direito e a incidência dessas formas no mundo contemporâneo, tentamos inserir na discussão o que Agamben considera de mais importante para se pensar a modernidade: o que (ainda e insistentemente) resta de Auschwitz. Levantamos, com isso, importantes questionamentos que se centram no próprio ser e nas relações diárias que este estabelece com os demais em sociedade, inscrevendo na violência e na força-de-lei a (im)possibilidade de autocrítica necessária para nós, inseridos numa realidade evidentemente simulacrada, que nos leva a crer numa realidade distante daquela realmente real, num mundo em que as democracias e seus princípios humanísticos soterraram todo o totalitarismo e preencheram as lacunas que a inhumanização do homem causaram sem nunca, porém, passar pelas necessárias discussões sobre o que “resta” de Auschwitz. Biopolítica, paradoxo da soberania, governabilidade, tanatopolítica. Longe de parecerem conceitos distantes em nosso cotidiano, estes termos se revelam, em verdade, como ideários contidos no poder soberano e que lidamos todos os dias, transvestidos em formulações discrepantes com a realidade vivente, em que a democracia e seus princípios humanos escondem a real face do que ainda resta de Auschwitz, lacuna esta que ignoramos e que tentamos deslocar em nossas discussões, levando a respostas incompletas para vidas incompletas numa sociedade incompleta dentro dum contento mundial igualmente incompleto e que insiste em transparecer como pronto, acabado e completo, em que ignorar é mais eficaz do que compreender e em que bradar a dignidade da pessoa humana é mais importante do que entender quem realmente é humano na atual realidade e em que condições ele está capturado em todas essas relações do campo de concentração, colocando em questão a nossa própria vida como vida mesmo – vida nua – e nos levando a talvez o mais importante questionamento que devemos nos fazer para, quem sabe assim, abrir as portas da casinha de nosso conformismo e pretensa segurança e finalmente enxergar as lacunas que Auschwitz deixou no próprio humano, alcançando o mínimo de estranhamento ao humano que vem: quanto de realidade nossa ilusão é capaz de suportar?

Cette thèse est une enquête épistémologique qui s’interroge sur la persistance de « l’éther » dans le champ de la technologie. De façon générale, le mot « éther » évoque un modèle conceptuel de la physique pré-einsteinienne, celui d’un milieu invisible permettant la propagation de la lumière et des ondes électromagnétiques. Or, ce n’est là qu’une des figures de l’éther. Dans plusieurs mythologies et cosmogonies anciennes, le nom « éther » désignait le feu originel contenu dans les plus hautes régions célestes. Aristote nommait « éther », par exemple, le « cinquième être », ou « cinquième élément ». La chimie a aussi sa propre figure de l’éther où il donne son nom à un composé chimique, le C4H10O, qui a été utilisé comme premier anesthésiant général à la fin du XIXe siècle. L’apparition soutenue dans l’histoire de ces figures disparates de l’éther, qui a priori ne semblent pas entretenir de relation entre elles, est pour nous la marque de la persistance de l’éther. Nous défendons ici l’argument selon lequel cette persistance ne se résume pas à la constance de l’attribution d’un mot ou d’un nom à différents phénomènes dans l’histoire, mais à l’actualisation d’une même signature, éthérogène. À l’invitation d’Agamben et en nous inspirant des travaux de Nietzsche et Foucault sur l’histoire-généalogie et ceux de Derrida sur la déconstruction, notre thèse amorce une enquête historique motivée par un approfondissement d’une telle théorisation de la signature. Pour y parvenir, nous proposons de placer l’éther, ou plutôt la signature-éther, au cœur de différentes enquêtes historiques préoccupées par le problème de la technologie. En abordant sous cet angle des enjeux disparates – la légitimation des savoirs narratifs, la suspension des sens, la pseudoscience et la magie, les révolutions de l’information, l’obsession pour le sans-fil, l’économie du corps, la virtualisation de la communication, etc. –, nous proposons dans cette thèse autant d’amorces pour une histoire autre, une contre-histoire. / This dissertation stands as an epistemological inquiry into the persistence of the notion of ether within technology’s discursive field. Most often, the word “ether” is understood as a conceptual model in pre-einsteinian physics which designates the medium responsible for the propagation of electromagnetic waves and light. However, this proves to be only one of the many figures of ether. In multiple mythologies and cosmogonies, ether was also the name employed to refer to a sublime and pure fire filling the highest spaces of the universe. Aristotle, for example, named “ether” what he considered to be the “fifth being,” or the “fifth element.” Chemistry also makes use of ether, where the name denominates the compound C4H10O, used as the first general anaesthetic agent at the end of the nineteenth century. From our point of view, the sustained occurrences of ether in these different figures, so disparate indeed that they appear unrelated, marks the manifestation of its persistence. We argue that this persistence should not be narrowed down to a constant attribution of a “word” or a “name” to several historical phenomenons, but rather should be viewed as the actualization of a same etherogeneous “signature.” Responding to an invitation by Italian philosopher Agamben, and building on Nietzsche’s and Foucault’s history-genealogy as well as on Derrida’s deconstruction, our dissertation proposes an historical program oriented towards a theorization of the signature. To do so, we suggest locating the ether, or rather the ether-signature, at the heart of several historical inquiries concerned with the contemporary problem with technology. Approaching some of theses issues –the legitimating of narrative knowledge, the suspension of the senses, pseudoscience and mysticism, information and industrial revolutions, wireless obsessions, body and corporeality, virtualization of communication, etc. –, our dissertation aims at locating and articulating as many baits towards an-other history, a counter-history.

La philosophie politique contemporaine est chargée d’une histoire qu’il reste encore à déblayer, tant la « guerre civile européenne » du siècle dernier a forcé son autodafé. Dans ce mémoire, nous prenons Georges Sorel, figure de proue du syndicalisme révolutionnaire des années 1900, comme figure archétypique de ce qui demeure en reste de cette histoire. Archétype non seulement de la manière dont des théoriciens de premier plan peuvent tomber, par la force de l’histoire, dans l’oubli le plus absolu, mais aussi archétype de ces forces mêmes, alors que Sorel est considéré par l’histoire intellectuelle comme le penseur ayant dressé le pont entre l’extrême-gauche et l’extrême-droite. Ce mémoire ne s’affaire pas directement à lui attribuer la « paternité du fascisme » ni à l’en disculper. Il s’agit bien plutôt de procéder à une déconstruction de ses principales idées à partir d’un angle essentiellement philosophique, procédé connaissant peu d’antécédents. Plus précisément, notre travail consiste à en dégager une définition de l’éthique, alors que le geste théorique principal de Sorel apparaît bien être une réduction du politique à l’éthique. Pour ce faire, nous mobilisons la philosophie contemporaine, notamment Gilles Deleuze et Giorgio Agamben, en raison de la forte affinité théorique qu’ils ont avec Sorel, particulièrement dans la définition de l’éthique. / Contemporary political philosophy is fraught with a history still to be discharged, as much as last century’s “European civil war” forced its concealing. In this masters thesis, we seize Georges Sorel, figurehead of the 1900s revolutionary syndicalism, as an archetypical figure of what is “in remaining” of this history. Archetype not only of the way in which popular theorists can be easily forgotten by the force of history, but also archetype of these forces themselves, as Sorel is considered by intellectual history as the thinker having set up the bridge between extreme left and extreme right. This master does not directly intend to attribute to Sorel the “paternity of fascism”, or to exonerate him. It rather develops a deconstruction of its principal ideas from an essentially philosophical standpoint, method virtually unprecedented. More precisely, our work consists to extricate Sorel’s definition of ethics, whereas his major theoretical gesture appears like a reduction of politics to ethics. To do so, we mobilize contemporary philosophy, especially Gilles Deleuze and Giorgio Agamben, because of their strong theoretical affinities with Sorel, particularly in their definition of ethics.

In the subject of prostitution there has been a growing trend towards a sex work discourse, where the selling of sex and sexual services is regarded as a form of emotional and erotic labor. The discourse emerged in response to the self-organization of sex workers into labor unions and citizenship rights groups. In Argentina the first steps towards self-representation of sex workers’ interests were taken in the early 1990s. Gradually the sex workers’ social movement has grown into the labor union Ammar (La Asociación de Mujeres Meretrices de Argentina), which actively seeks recognition for sex workers’ economic rights, labor rights and social rights. Although the selling and buying of sexual services has been legal since the early 20th century prostitutes’ rights have been suppressed hitherto. In 2008 Argentina enacted the United Nation’s Convention to combat human trafficking, Palermo Protocol, as federal law 26.364. The law re-enforced the state’s abolitionist policies towards prostitution, which consequently further marginalized the sex workers’ plight. Connecting their services with human trafficking schemes heightened the social stigmatization of sex workers. To contest the institutional violence and social discrimination Ammar presented a law proposal in 2013. The reform asks the state of Argentina to recognize sex work as a legitimate form of labor, thus insuring the sex workers’ labor and social rights. This paper contributes to the aforementioned sex work discourse by analyzing the self-agency of Argentine sex workers. Based on qualitative fieldwork studies I conducted in 2014 in Argentina and employing a feminist methodology my object is to study how sex workers’ counter hegemonic movement redefines their citizenship. To construct a theoretical framework for the case study I will utilize Giorgio Agamben’s paradigm of ‘state of exception’ and compliment Agamben’s shortcomings by advancing feminist- and queer theories, which have radically revaluated the concept of citizenship. The conclusion is that, even though Argentinian sex workers’ requirement for equal rights may be embryonic, it addresses an urgent inclusion of different kinds of sexualities and gender balances to the citizenship discourse. / En el tema de la prostitución, es cada vez más importante la tendencia hacia un discurso sobre el trabajo sexual, donde la venta de sexo y servicios sexuales  se consiederan como una forma de trabajo erótico y emocional. El discurso emergió como consecuencia de la organización de las trabajadoras sexuales dentro de sindicatos y grupos de derechos ciudadanos. En Argentina, los primeros pasos hacia la representación de los intereses de las trabajadoras sexuales, fueron a principios de la década de los 90. Gradualmente, el movimiento social de las trabajadoras sexuales ha crecido dentro del sindicato Ammar (Asociación de Mujereres Meretrices de Argentina) que activamente busca reconocimiento por los derechos económicos, laborales y sociales de las trabajadoras. Aunque la compra-venta de servicios sexuales es legal desde principios del siglo XX, los derechos de las prostitutas han sido reprimidos hasta ahora. En 2010, Argentina promulgó el Protocolo Palermo, como ley federal 26.364, en la Convención de las Naciones Unidas, para combatir el tráfico de humanos. La ley reafirmó las políticas encaminadas a la abolición de la prostitución, que sistemáticamente marginalizó la mala situación del colectivo. Relacionar sus servicios con el contexto del tráfico humano ha agudizado la estigmatización social de las trabajadoras sexuales. Para luchar contra la violencia institucional y la discriminación social, Ammar presentó un proyecto de ley el 2013. La reforma pide al Estado de Argentina que reconozca el trabajo sexual como una forma legítima de trabajo, asegurando así, los derechos laborales y sociales de las trabajadoras sexuales. Esta tesis contribuye al discurso mencionado anteriormente sobre el trabajo sexual, analizando la agnecia de las trabajadoras sexuales argentinas. Basado en estudios de campo cualitativos, llevado a cabo en 2014 en Argentina y utilizando metodología cualitativa y feminista, mi objetivo es estudiar como el movimiento contra-cultural de las trabajadoras sexuales redefine su ciudadanía. Para construir un marco teórico para el caso de estudio, voy a utilizar el paradigma de Giorgio Agamben sobre el “estado de excepción” y complementar sus aportaciones con teoría feminista, que ha reevaluado radicalmente el concepto de ciudadanía. La conclusión es que, aunque los requerimientos de las trabajadoras sexuales argentinas para la igualdad de derechos pueden ser incipientes, reclaman la urgente inclusión de diferentes tipos de sexualidad y articulación de género al discurso de ciudadanía.

Den här uppsatsen analyserar och jämför skildringar av konsumtion i Karin Boyes Astarte (1931) och Denise Rudbergs storlek 37 (2002). Detta görs utifrån teoretiska utgångspunkter i Zygmunt Baumans tankar om konsumtionssamhället, samt texter av Max Weber, Walter Benjamin och Giorgio Agamben som diskuterar kapitalismens förhållande till religionen. I Astarte är religionen framträdande som tematik och metaforik i relation till konsumtionen, och det som skildras är ofta hur konsumtionen ersätter religionen, men också hur dessa liknar varandra. I storlek 37 är konsumtionen starkt kopplad till identiteten, och fungerar både som en trygghet och ett måste. Skillnaderna i romanernas skildringar återspeglar konsumtionens roller under två olika tidsperioder: i Astarte är konsumtionen ett relativt nytt fenomen i sin moderna bemärkelse, och i storlek 37 är den i högre grad central för tillvaron, och som sådan mer oreflekterad och självklar. I Astarte finns en tydlig kritik mot konsumtionen, som förs fram genom skildringar av den som ett ändlöst begär eller en illusion. I storlek 37 kan konsumtionen stundtals problematiseras, men framstår som oundviklig. / This essay analyzes and compares depictions of consumption in Karin Boye’s Astarte (1931) and Denise Rudberg’s storlek 37 (2002). The theoretical framework consists primarily of Zygmunt Bauman’s thoughts on the consumer society, as well as texts by Max Weber, Walter Benjamin and Giorgio Agamben discussing capitalism’s relationship to religion. In Astarte, religion is a prominent theme, and often used metaphorically in relation to consumption. Consumption is often depicted as replacing religion, in a way that emphasizes a resemblance between them. In storlek 37, consumption is strongly connected to identity, and functions both as a certainty and a must. The differences between the depictions in the two novels reflect the roles of consumption in two different eras: in Astarte, it is a relatively new phenomenon in its modern sense, and in storlek 37 it has become more central to human life, often occuring without reflection and perceived as a matter of course. Astarte sets out a visible critique of consumption, depicting it as an endless desire or an illusion. In storlek 37, consumption is sometimes questioned, but portrayed nevertheless as inevitable.