<p>This thesis examines the social theory of Lacanian philosopher Slavoj Žižek. It focuses on Žižek’s work between 1989 and 2006, and offers an interpretation based on a reading of three central concepts: the Other, fantasy, and the act. All these concepts occupy the intersection between Lacan’s three orders (Imaginary, Real, Symbolic), which in Žižek’s theory means that they express a tension shared by all social order. The first chapter approaches Žižek’s conception of “the social” through an introduction of the Lacanian concept of "the Other." Attention is paid to how (a) the Other is constitutively split between its role as a Symbolic network of signifiers, and its enigmatic (Real and Imaginary) capacity to support this Symbolic network; (b) a similar split marks several of Žižek’s Lacanian and Hegelian concepts. Moreover, the chapter contrasts Žižekian sociality with those of Giddens, Luhmann and Althusser. The second chapter gives an account of the topological place of fantasy in Žižek’s theory. Relating Žižek’s theory to Critical Theory, deconstruction and Deleuzian philosophy, fantasy is presented as a concept countering new forms of “bad infinity” (Hegel) in modern social theory. The third chapter links Žižek’s theory of the act to the theories of Judith Butler, Ernesto Laclau, and Alain Badiou. Commenting on Rex Butler’s brilliant reading of Žižek, the thesis argues that Butler’s definition of the act is too negative. Instead, the thesis proposes a definition which emphasises the act's productive dimension, insisting on how the act ultimately involves the transformation from masculine to feminine enjoyment. The last chapter critically observes the different treatments Lacan and Derrida receive in Žižek’s text. The argument concludes that the Žižekian text relapses into a "masculine logic of exception", insofar as it leaves Derrida’s phallus untouched, while treating Lacan as the only one lacking phallus.</p>

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

This thesis examines the social theory of Lacanian philosopher Slavoj Žižek. It focuses on Žižek’s work between 1989 and 2006, and offers an interpretation based on a reading of three central concepts: the Other, fantasy, and the act. All these concepts occupy the intersection between Lacan’s three orders (Imaginary, Real, Symbolic), which in Žižek’s theory means that they express a tension shared by all social order. The first chapter approaches Žižek’s conception of “the social” through an introduction of the Lacanian concept of "the Other." Attention is paid to how (a) the Other is constitutively split between its role as a Symbolic network of signifiers, and its enigmatic (Real and Imaginary) capacity to support this Symbolic network; (b) a similar split marks several of Žižek’s Lacanian and Hegelian concepts. Moreover, the chapter contrasts Žižekian sociality with those of Giddens, Luhmann and Althusser. The second chapter gives an account of the topological place of fantasy in Žižek’s theory. Relating Žižek’s theory to Critical Theory, deconstruction and Deleuzian philosophy, fantasy is presented as a concept countering new forms of “bad infinity” (Hegel) in modern social theory. The third chapter links Žižek’s theory of the act to the theories of Judith Butler, Ernesto Laclau, and Alain Badiou. Commenting on Rex Butler’s brilliant reading of Žižek, the thesis argues that Butler’s definition of the act is too negative. Instead, the thesis proposes a definition which emphasises the act's productive dimension, insisting on how the act ultimately involves the transformation from masculine to feminine enjoyment. The last chapter critically observes the different treatments Lacan and Derrida receive in Žižek’s text. The argument concludes that the Žižekian text relapses into a "masculine logic of exception", insofar as it leaves Derrida’s phallus untouched, while treating Lacan as the only one lacking phallus.

[ES] La presente tesis aborda el estudio de las características que ha tenido el arte del grabado protegido por las Instituciones valencianas, Diputación, Ayuntamiento y Bellas Artes. El hecho de realizar en un mismo corpus de trabajo el estudio de estas tres instituciones se debe a la interrelación que hubo entre todas ellas durante el periodo que abarca este trabajo, que se inicia en 1934 y finaliza en 1982. El planteamiento y el método de trabajo seguido para la realización de esta tesis, fue en primera instancia llevar a cabo la consulta de los Archivos en los que se guardan los documentos, actas, expedientes, ejercicios de oposición, obras premiadas, etc. correspondientes a cada uno de los temas relativos a este estudio. En un segundo paso, localizar la bibliografía correspondiente al periodo que abarca esta investigación. Una vez encuadrado el tema en su Marco Histórico, pasamos a ponernos en contacto con los artistas galardonados, los Catedráticos de Grabado que trabajaron durante este periodo y algunos políticos que participaron activamente en las convocatorias de dichos premios. El objetivo fue recoger el testimonio personal de los protagonistas y, en el caso de los artistas, recabar también los datos correspondientes a su trayectoria artística y profesional para conocer las obras realizadas por ellos durante los años posteriores a la recepción de dichos galardones. Con todo el material gráfico recopilado, hemos aportado una documentación fotográfica realizada expresamente para su inclusión y estudio en el presente trabajo. Una vez localizado y estudiado todo este material, decidimos la construcción final de esta investigación, ordenándola de la siguiente manera: En un primer capítulo situamos brevemente la materia estudiada en su contexto histórico específico, en relación al grabado defendido por las Academias, en especial por la Real Academia de San Carlos de Valencia. El segundo capítulo corresponde al análisis de las dos Cátedras de Grabado de Valencia comprendidas en el periodo estudiado, en él incluimos una extensa documentación de la trayectoria que llevó la primera cátedra hasta la jubilación del responsable de ella y los primeros momentos del nuevo catedrático. El tercer y cuarto capítulo están dedicados al estudio de los galardones y premios concedidos por las Instituciones valencianas. En el primero de estos se tratan las becas de la Diputación, donde llevamos a cabo el análisis tanto de las obras correspondientes a las oposiciones como a las realizadas durante la Pensión, así como también un acercamiento a la trayectoria posterior del pensionado, para dejar constancia de su situación actual. En el capítulo, correspondiente a los Premios Senyera de Grabado (cuarto) realizamos el análisis de las obras premiadas y la posterior evolución de estos artistas hasta la actualidad. Una vez realizada y redactada esta investigación, se han extraido unas conclusiones de cada apartado considerando las particularidades que cada una de las instituciones tienen y las diferencias entre sí. Por último, se incluye un apartado de conclusiones generales que permite dar una visión de conjunto de lo que ha sido el grabado institucional valenciano, objetivo fundamental de este estudio. Está también incluido en este trabajo un apéndice documental donde figuran las fotocopias de las actas, expedientes, etc. que por su importancia consideramos imprescindible y de interés incluirlos para su consulta por los interesados en el tema. / [EN] This thesis deals with the study of the characteristics of the art of engraving protected by the Valencian Institutions, Provincial Council, City Council and San Fernando Royal Academy of Fine Arts. The fact of carrying out the study of these three institutions in the same body of work is due to the interrelation that existed between all of them during the period covered by this work, 1934-1982. The approach and the method of work followed for this thesis was, in the first instance to carry out the consultation of the Archives in which the documents, minutes, files, competition exercises, awarded works, prizewinning works, etc., corresponding to each one of the subjects related to this study are kept. In a second step, locate bibliography corresponding to the period covered by this research. Once the subject was framed in its historical framework, we contacted the award-winning artists, the professors of engraving who worked during this period and some politicians who actively participated in the calls for such awards. The purpose of contacting them was to gather their personal testimony and, in the case of the artists, we also collected the data corresponding to their artistic and professional trajectory in order to learn about the works they produced during the years following the receipt of these awards. With all the graphic material collected, we have provided a photographic documentation made specifically for inclusion and study in this work. Once all this material had been located and studied, we went on to carry out the final drafting, ordering it in the following chapters: In a first chapter we briefly situate the matter studied in its specific historical context, in relation to the engraving defended by the Academies, especially by the Royal Academy of San Carlos of Valencia. The second chapter corresponds to the analysis of the two Valencia Engraving Chairs in the period studied, in which we include extensive documentation of the trajectory that led the first chair until the retirement of the head of it and the first moments of the new professor. The third and fourth chapters are dedicated to the study of the awards and prizes granted by the Valencian Institutions. The first of these deals with the scholarships of the Diputación, where we carry out the analysis of both the works corresponding to the competitive examinations and those carried out during the Pension, as well as an approach to the subsequent trajectory of the pensioner, in order to record his current situation. In the chapter corresponding to the Senyera Engraving Awards (fourth), we analyze the award-winning works and the subsequent evolution of these artists up to the present day. Once this research has been carried out, we believe it appropriate to draw some conclusions from each section, considering the particularities of each of the institutions and the differences between them. Finally, we included a section of general conclusions that allows us to give an overall view of what has been the Valencian institutional engraving, fundamental objective of our study. It is also included in this work a documentary appendix where the photocopies of the minutes, files, etc. are included, which due to their importance we consider essential and of interest to include them for consultation by those interested in the subject. / Lita Sáez, F. (1989). Método y concepto del grabado valenciano desde 1934 a 1982 en las instituciones Valencianas: Diputación, Ayuntamiento y Bellas Artes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191015

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-08-02T20:06:11Z No. of bitstreams: 1 JOSÉ MARCIANO MONTEIRO - DISSERTAÇÃO PPGCS 2009..pdf: 25360236 bytes, checksum: 4c6b3e5f7855e597f161ebfedad4e947 (MD5) / Made available in DSpace on 2018-08-02T20:06:11Z (GMT). No. of bitstreams: 1 JOSÉ MARCIANO MONTEIRO - DISSERTAÇÃO PPGCS 2009..pdf: 25360236 bytes, checksum: 4c6b3e5f7855e597f161ebfedad4e947 (MD5) Previous issue date: 2009-03 / A presente dissertação tem por objetivo analisar os discursos e as práticas que permitiram a perpetuação do poder local da família Ernesto-Rêgo no município de Queimadas – PB. Analisa o exercício do domínio político por mais de quatro gerações no município e as razões pelas quais a política queimadense, desde o seu processo de emancipação, tem apresentado em suas disputas eleitorais ao cargo executivo, uma forte presença e definindo, a seu favor, a continuidade do poder no interior do grupo familiar ou de seus prepostos. Objetiva-se responder às seguintes questões: Através de que práticas se instituíram tal dominação? Qual a origem genealógica dessa família e seus ramos parentais? Quais as formas ou maneiras dessas famílias realizarem as ações políticas locais? Para responder a estas questões, em termos metodológicos, fez-se uso do trabalho de campo e da história oral, recorrendo principalmente, à memória, através de entrevistas abertas; outra fonte de pesquisa foram os jornais, vídeos e pesquisa bibliográfica. E como fio teórico condutor da análise, a abordagem de Pierre Bourdieu, a partir de sua proposta de Sociologia da Prática, pautada na noção de campo, habitus e capitais, atravessa todo o texto analítico. O texto assim, discorre sobre a genealogia desta família, tentando compreender os capitais que, historicamente, foram sendo construídos. E associado a isto, a dominação política que esta família foi exercendo através dos capitais construídos historicamente e das práticas e ações desenvolvidas localmente. Capitais estes que estão relacionados ao “nome da família”, a posse de terras, as práticas e ações que dizem respeito às relações de compadrio e as trocas de favores na sociedade queimadense. Desta feita, constatou-se que a dominação política local se estabelece a partir das ações de dependência construídas por aqueles que são detentores de um maior quantum de capital possível em relação àqueles que são desprovidos de capital. Fato que permite concluir que a dominação política exercida por esta família a partir das relações de compadrio e das relações de favores, é quem constroem os laços sentimentais e pragmáticos que ligam as pessoas à liderança, e a dependência política se traduz na triste frase “eu devo favor”, o que significa uma forma de gratidão, uma dívida cujo preço é a fidelidade sem limites, que pode resultar na possibilidade constante de subordinação pessoal e familiar, ou seja, na mais profunda violência simbólica. / The present dissertation objectives to analyze the discourses and the practices that allowed the perpetuation of local power of the family Ernesto-Rêgo in the city of Queimadas - PB. Analyzes the exercise of politic domain extended for more than four generations in the city and the reasons why politic of Queimadas, since its process of emancipation, has presented on its electoral disputes for executive loads, an strong presence and defined on its favor, the continuity of power in the interior of familiar groups or its functionaries. We objective to answer the following questions: Which practices instituted this domination? What are the genealogic origin of this family and its parental branches? How does this family realizes local politic actions? To answer these questions, in methodological terms, we did a camp work and oral history, appealing mainly to memory, through open interviews; another font of researches were the newspapers, videos and bibliographic research. And conducing this analyze, the boarding of Pierre Bourdieu, from his propose of Sociology of Practice, following the notions of campo, habitus e capitais, pass through the analytic text. The text discuss about the genealogy of this family, trying to understand the capitais that historically, were being build. And, associated to this, the politic domination that this family was doing through capitals historically constructed and the practices and actions developed locally. These capitals are related to “family name”, land ownership, the practices and actions that are related to proximal relationships and exchanged favors on the society. We contacted that local politic domination is established from actions of dependency built for those who detain the biggest quantity of possible capital in relation to that who are disproved of that. Fact that allows to conclude that politic domination exerted for this family of proximal relationships and favors relationships, build sentimental bows and pragmatics that link people to leadership, and political dependency is traduced in the sad statement: “I must reattribute a favor”, what means a way of gratitude, one bill that price is the fidelity without limits, that can result on the possibility of personal subordination and familiar, that is, the deepest symbolic violence.

本篇論文企圖探討史蒂芬‧佛瑞爾斯 ( Stephen Frears ) 的電影《美麗壞東西》( Dirty Pretty Things ) 中的公民權與人權之議題。片中描述從奈及利亞非法入境的奧奎 (Okwe) 與來自土耳其申請政治庇護的桑娜 (Senay) 因其游移的身分，遭逢英國政府監控與資本主義社會剝削，並揭露倫敦城市中非法難民販賣器官以求生存的黑暗面。本篇論文著重分析政治庇護者的矛盾身分如何擾亂民族國家的監視、暴露僅以公民權利保障境內人民的缺失，並主張唯有透過跨種族、階級，與性別的聯合 ( solidarity ) 才能對抗國家機制裡的矛盾與全球資本主義的剝削。論文第二章以德希達 ( Jacques Derrida ) 的制約款待 ( conditional hospitality )，與傅柯 ( Michel Foucault ) 的監視 ( Panopticon ) 概念，探討片中監控 ( surveillance ) 機制的形成。第三章引進布斯克與夏弗 (Alison Brysk and Gershon Shafir ) 提出公民權 (citizenship) 與人權 ( human rights ) 的差距，來揭發片中政治庇護者與外籍勞工在地主國 ( host countries ) 因為缺乏公民權而導致人權被忽視的困境。第四章從傅柯 ( Michel Foucault ) 的反抗 ( resistance ) 與拉克勞 ( Ernesto Laclau ) 與穆芙 ( Chantal Mouffe ) 的激進多元民主 ( radical plural democracy ) 的概念，探討以跨種族、階級，與性別的聯合 ( solidarity ) 來對抗國家制度本身的裂縫與經濟全球化的無情剝削。最後總結在全球化時代，唯有檢視國家制度的缺失，並揚棄封閉排他的意識形態，才能體現種族與文化的差異與多元性，並促進跨界聯合之實現。 / This thesis aims to explore the issue of citizenship and human rights in Stephen Frears’s Dirty Pretty Things. Dirty Pretty Things describes the British government’s surveillance on asylum seekers, such as Okwe, an illegal refugee from Nigeria, and Senay, the Turkish asylum applicant, and unveils illegal refugees’ organ trade in exchange for passports in London. The thesis attempts to decipher how the ambivalent status of asylum seekers disturbs the surveillance of nation-states, exposes the defect of the citizenship gap and argues only through solidarity among different ethnicity, class and gender, could the subordinated fight against deficiencies in the mechanism of nation-states and exploitation of global capitalism. Through the perspectives of Derrida’s conditional hospitality and Foucault’s Panopticon, Chapter Two examines the surveillance of nation-states on asylum seekers in Dirty Pretty Things. In Chapter Three, I adopt Brysk and Shafir’s analysis to explore the citizenship gap between citizenship and human rights in the film, which reflects the difficulty in handling the cases of legal and illegal asylum seekers in nation-states on the basis of citizenship in the era of globalization. In Chapter Four, I will utilize the perceptive of Foucault’s resistance and Laclau and Mouffe’s radical plural democracy to suggest how counter strategies and solidarity could rebel against fissures in nation-states’ apparatuses and reveal a new possibility of alliance beyond borders in the era of globalization. The last chapter concludes by summing up the gaps in the system of nation-states and rejecting any enclosed ideology so as to articulate multiplicities and differences beyond limitations of ethnicity, class and gender across borders in the era of globalization.

Working at the intersection of narrative studies and political theory, this thesis performs an original critical intervention in Gulliver’s Travels studies to establish the work as an intertextual response to the hegemonic articulations of European travel writing produced between the 15th and 18th centuries under the discourse of Discovery. My argument proceeds through two movements. First, an archeology of studies on Gulliver’s Travels that identifies key developments and points of significance in analyses of the satire’s intertextual relationship with travel writing. Second, a discursive analysis of the role of Discovery generally, and travel writing specifically, in constructing European hegemony within a newly global context. Together these movements allow me to locate Gulliver’s Travels firmly within the discourse of Discovery and to specify the politics of the text and the poetics of its operations. For this analysis I adopt a conceptualization of hegemony elaborated by Ernesto Laclau and Chantal Mouffe in Hegemony and Socialist Strategy (1985), which defines discourse as a structured totality of elements of signification, wherein the meaning and identify of each element is constituted by articulatory practices competing to fix the differences and equivalences between it and others within the discourse. An hegemonic discourse is one that successfully limits the possibility of novel articulations according to a particular governing logic. In the Age of Discovery, this governing logic, I argue, is a socio-spatial logic that constructed the “European” subject through its difference from the “Non-European,” the “civilized” subject through its difference from the “savage,” and the “free land” of the “savage” peoples through its difference from the occupied lands of the “civilized.” To conduct the concomitant critical analysis of Gulliver’s Travels, I draw upon Jacques Rancière’s conception of the “distribution of the sensible,” which refers both to the partitions determined in sensory experience that anticipate the distributions of parts and wholes, the orders of visibility and invisibility, and the relationships of address or comportment beneath every community; and to the specific practices that partake of these distributions to establish the “common sense” about the objects that make up the common world, the ways in which it is organized, and the capacities of the people within it. This enables me to establish travel writing as an articulatory practice that utilized a narrative modality to “reveal” the globe in a Eurocentric image dependent upon the logic of Discovery: a discursively constructed paradigm that I identify as what others have labeled “travel realism,” which organized the globe into a single field of discursivity predicated upon the “civilizational” and “rational” superiority of Europeans over their non-European Others. Gulliver’s Travels, I conclude, intervenes in this distribution of the sensible by utilizing the satirical form as a recomposing logic to upend the paradigm of travel realism and break away from the “sense” that it makes of the bodies, beings, and lands it re-presents. / Graduate