Made available in DSpace on 2013-08-07T18:55:54Z (GMT). No. of bitstreams: 1 000427294-Texto+Parcial-0.pdf: 126203 bytes, checksum: e8d40867828ce8b521bd1b86fa6102fa (MD5) Previous issue date: 2010 / The results of the human work and all its effects are perceived in the consumption society not only as the tool that provides the affluence for it also enjoys of the individuals that of it participates, but as determinative element of the individual behavior while participant observer of the model. This study it aims at to inside present a possible continuity of the related ideas of Marcuse to some elements of its recital of the work of the system of production with the society of consumption of the goods generated for this work and basedby Jean Baudrillard. / Os resultados do trabalho humano e todos os seus efeitos são percebidos na sociedade de consumo não somente como a ferramenta que proporciona a afluência para o desfrute dos indivíduos que dela participam, mas também como elemento determinante do comportamento individual, enquanto participante observador do modelo. Este estudo visa apresentar uma possível continuidade das ideias de Marcuse relacionadas a alguns elementos de sua fundamentação do trabalho dentro do sistema de produção com a sociedade de consumo, dos bens gerados por este trabalho e fundamentada por Jean Baudrillard.

Multiplicity is a key challenge and opportunity of world politics, yet scholars continue to struggle to do it justice. One way of reducing the challenge multiple times and spaces present us with has been to organise them allochronically, to align spatial difference in temporal sequence. The effect is a story where others are not different, they are just behind. Scholars have criticised this thinking as it appears in “Western thought”. In recent years, suggestions have emerged that Chinese thought may offer an alternative that escapes allochronic thinking, most notably through the foreign policy-driven concept “harmonious world”. Scholars have studied this term with the aim of finding out its true meaning. This thesis asks instead what “harmony” – and more specifically “harmonious world” – does when it is deployed in contemporary China. It traces the concept across several contexts: the policy documents and speeches that launched it as an official term; the academic literatures that asked what a harmonious world might look like; the propaganda at Expo 2010 Shanghai China that aimed to illustrate it; and the online spoofing culture egao that was used to criticise, resist and avoid “harmonisation”.The key claim of this thesis is that “harmonious world”, as articulated in the contexts examined here, has not taken place, is not taking place and will not take place. Ways of thinking about time, space and multiplicity in China’s relation to the world, and particularly “harmonious world”, repeat the allochronising logic recognisable from “Western” discourses, which disallows the openness of the future and reduces the possibilities of harmony and of the political. As an effect of its excessive proliferation harmony disappears as an imagined metaphysical possibility . The harmonious system is not based on co-operation or non co-operation, but works according to what this thesis calls an onco-operative logic: the quasi-suicidal logic of cancer and the (auto)immune. Ultimately, the aim and most important contribution of this thesis is to bring the onco-operative uncertainty of the political back into the harmonious world concept in order to elucidate the negotiation of danger and necessity of multiplicity.

American artist James Rosenquist is best known for his Pop Art paintings, which existing scholarship has studied in regard to its formal features and social and cultural significance. Rosenquist's manner of working, specifically his process, remains understudied. Focusing on three paintings and three corresponding collages, President Elect (1960-61, 1964), Star Thief (1980), and The Stowaway Peers Out at the Speed of Light (2000), this thesis considers features of Rosenquist's studio practice to propose a new interpretation involving the representational status and significance of the artist's collages and paintings that is elucidated by French theorist Jean Baudrillard's concept of the simulacrum. Additionally, the thesis addresses the treatment of Rosenquist's collages and paintings in publications and exhibitions since 1992 by suggesting how Baudrillard's ideas about the simulacrum clarify the museological narrativizing and consumption of the artist's work.

Studien har undersökt huruvida den specialpedagogiska diskursen så som den presenteras i examensordningen kan sägas generera en hyperreell specialpedagogisk yrkesroll. Det empiriska materialet bestående av examensordningarna för specialpedagogutbildningen (1993-2017) har analyserats med diskursteoretisk metod för att sedan placeras i relation till Jean Baudrillards teorier om det postmoderna samhällets simulerade verklighet. Studiens resultat visar att om examensordningens specialpedagogiska diskurs placeras inom ramen för en Baudrillariansk analys så finns det gemensamma nämnare som kan tolkas som genererande en hyperreell yrkesroll. Dessa gemensamma nämnare diskuteras med hjälp av tidigare forskning, diskursteori och Baudrillards teoretiserande av fenomen inom ramen för det postmoderna samhället. De specialpedagogiska implikationer som skulle kunna bli konsekvensen av ett hyperreellt yrkesutövande utreds också och placeras i en mer konkret, elevnära kontext.

Amongst its innumerable effects on society, the proliferation of digital media has transformed the institution of art, with new forms and channels of digital content delivery allowing unprecedented levels of reproducibility. This reproducibility has allowed artworks and artifacts to be copied, shared, and experienced in a multitude of new ways, often far beyond the original artist’s intentions or expectations.  Contemporary technologies such as advanced 3D object rendering, photogrammetry and Virtual Reality have established a new era of reproduction beyond simplistic image replication. This new era has not only revolutionised the artwork itself, but also the relationship between the viewers of art and the original piece, or the aura. The power of reproduction through digital media has even allowed the complete simulation of traditional spaces for art themselves, as seen in the growth of entirely digital museums and digital art galleries.  As an ever-increasing number of museums are joining the trend of digitising and releasing objects in their collections online, and with existing literature mainly focused on 2D image-based reproduction, but not the affordances brought by photogrammetry and 3D replication technology, this study will explore how the new possibilities inherent to these technologies challenge prior research on digital aura within art galleries.  By contributing to the body of Walter Benjamin scholarship, and building from previous research by Ding (2017), this thesis is centred around exploring a case study of a group of Swedish museums who have begun digitising artifacts in their collection through photogrammetry and freely releasing them to the public online.

No description available.

This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.

Die Philosophie der Postmoderne sieht sich als eine Bewegung der Befreiung und der kulturellen Emanzipation. Von ihrer anti-totalitären Inspiration her ist die postmoderne Philosophie mit der Hoffnung auf ein Nachkriegs-Zeitalter verbunden, weil sie mit der Zeit der Totalitäten auch die Zeit des Krieges hinter sich bringen zu können glaubt. Hingegen zeigt eine Diskursanalyse der Schriften von drei Philosophen, die für das Gedankengebäude der philosophischen Postmoderne von zentraler Bedeutung sind - Jean-Francois Lyotard, Jean Baudrillard und Paul Virilio - zwei besondere Widersprüche auf, welche die pluralistische Option der postmodernen Philosophie in Frage stellen und damit auch ihren Anspruch, mit dem Zeitalter der Totalisierungen die Versuche zur gewaltsamen Assimilation des Anderen zu beenden und eine Rehabilitation der Anerkennung kultureller Unterschiede herbeizuführen. Zum einen beinhaltet der postmoderne philosophische Diskurs keine Ausbildung einer "positiven Barbarei" (Lyotard), sondern eine negativ konnotierte, anarchische Regellosigkeit. Zum anderen ist auch die Idee von der Differenz als der "ontologischen Dignität" der Postmoderne in sich inkohärent; vielmehr ist in postmodernem Gedankengut ein fundamentaler Entdifferenzierungsprozess angelegt. Aufgrund dieser inhärenten Widersprüche können postmoderne Theoretiker zu einer Ausbreitung eben jenes Gedankenguts und jenes Gewaltpotentials beitragen, dessen Verschwinden sie ursprünglich beabsichtigten. Wo immer heute, im Zeitalter eines entstehenden Welt-Innenraums und der vielfältigen interkulturellen Kontakte, das Konzept von Postmodernität als ein Programm zur besseren Akzeptanz des kulturell Anderen und zur Erziehung der verschiedenen Akteure im Geist der Toleranz ins Gespräch gebracht werden sollte, ist daher Skepsis angebracht. / The philosophy of the postmodern regards itself as a movement of liberation and cultural emancipation. In view of its anti-totalitarian inspiration postmodern philosophy is linked with the hope of a post-war age, because it believes it can put the times of war behind it together with the times of totalities. A discourse analysis of the writings of three philosophers who are of central importance for the body of ideas of the philosophical postmodern - Jean-Francois Lyotard, Jean Baudrillard und Paul Virilio - however reveals two particular contradictions which place a question mark against the pluralistic option of postmodern philosophy and hence against its claim to end the attempts at violent assimilation of the other together with the end of the age of totalization and to bring about a rehabilitation of the recognition of cultural differences. On the one hand the postmodern philosophical discourse does not comprise the evolution of a "positive barbarity" (Lyotard) but an anarchical lack of rules with negative connotations. On the other hand the idea of difference as the "ontological dignity" of the postmodern is in itself incoherent; it is rather the case that postmodern thought involves a fundamental process of de-differentiation. Because of these inherent contradictions in postmodern discourse postmodern theoreticians can contribute to the spread of precisely those ideas and that potential for violence whose disappearance they originally intended. Wherever today, in the age of a developing world inner space and of a multiplicity of intercultural contacts, attempts are made to propose the concept of postmodernity as a programme for the better acceptance of the cultural other and for the education of the various actors in a spirit of tolerance, these must be encountered with scepticism.

As Sweden approached its 2006 national election, issues on order and discipline in educational environments came to the forefront of educational interest, debate, and reform. This thesis aims at a critical discussion of the discourses in question, making use of educational, post-structural as well as political philosophy. In a series of articles, disciplinary policies are contextualized within current understandings of major trends in global educational politics; empirically investigated with a focus on resistance and political subjectivation; but also theoretically/ philosophically examined with the intention of bringing alternative conceptualizations of discipline to light. As a result, it is concluded that the political platform supporting contemporary school discipline is highly ambiguous, especially in terms of the different subjectification ideals that it embodies. In consequence, substantial possibilities for resistance, political influence and creative subjectification emerge in the breaks and ruptures between neoliberal and neoconservative territory. As for the disciplinary policies themselves, this thesis highlights the possibility that they amount to little more than a powerful simulation; a mode of perceptual management rather than a hands-on engagement with the real demands of contemporary education. An alternative route, the thesis suggests, would be to radically re-conceptualize the meaning and relevance of discipline – using, for instance, philosophers like Gilles Deleuze, Félix Guattari and Jacques Rancière – but also while taking notice of relevant discussions in the fields of complexity and chaos theory. Such a re-conceptualization would allow for an immanent form of discipline, one that affords a circular segmentation to emerge; contextualized and sensitized to the particular demands of each learning situation rather than pre-stratified, pre-territorialized according to the ideals of classical discipline. / Syftet med den här avhandlingen är, att inom ett pedagogiskt-filosofiskt ramverk föra en kritisk diskussion av 2000-talets skolpolitiska diskurser om disciplin och ”ordning & reda”. Med hjälp av filosofer som Deleuze & Guattari, Foucault, Baudrillard och Rancière diskuteras den moderna disciplinens utmaning: att svara an på sin egen samtids behov av ordning och reda.   I sömmarna mellan de politiska krafter som den nya disciplinen hämtar sin kraft ur – neoliberalism och neokonservatism – identifierar avhandlingen också möjligheter till motstånd. Genom att påvisa de skillnader och komplexiteter som finns under ytan av politisk konsensus, utgör dessa former av motstånd nya potentialer till politiskt inflytande – samt nya möjligheter till kreativa subjektblivanden.   Slutligen hävdar studien, att vägen till en gräsrotsförankrad skoldisciplin för 2000-talet knappast kan ligga i återuppväckandet av forna tiders maktutövning, utan i en radikal omtolkning av disciplinbegreppet – en som tillvaratar den moderna människans förutsättningar till självdisciplin och självorganisering. En förutsättning är att vi, som en kontrast till neoliberalismens självtillräckliga subjektivitetsideal, börjar utforska subjektivitetens kollektiva och territoriella karaktärer.

Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.