Este estudo pretende investigar, a partir do confronto da tese elaborada por Fredric Jamseon em Pós-modernismo ou a lógica cultural do capitalismo tardio com uma análise voltada para a materialidade histórica, o alcance da fusão da base e da superestrutura no capitalismo tardio. Nesse sentido, busca esclarecer em que medida o ensaio de Jameson ajuda a compreender a dominância do pós-modernismo, e o quanto é insuficiente, por outro lado, para explicar a situação da produção material nas regiões em que o neoliberalismo e a globalização não estão desenvolvidos, e que, portanto, não respondem integralmente à lógica cultural que anima o capitalismo financeiro. Noutras palavras, reinvindica-se o teste da realidade da ideologia do pós-modernismo para além das fronteiras do mundo anglo-saxão. Sendo assim, é debatida a possibilidade da tese de Jameson sobre a fusão da base e da superestrutura no estágio do capitalismo tardio estar circunscrita aos países onde ambos, a acumulação flexível e a globalização financeira, de fato, vingaram. Sem prejuízo do conteúdo da crítica, esta pesquisa visa igualmente traçar considerações acerca da prosa jamesoniana, a fim de apontar para alguns de seus efeitos e sua relação com o caráter de denúncia apresentado no ensaio e estabelecer suas correspondências com o método da Escola de Frankfurt, mais especificamente, o de Theodor Adorno. / This study intends to investigate, from the confrontation of the thesis prepared by Fredric Jameson in Postmodernism or the Cultural Logic of Late Capitalism, with an analysis on the historical materiality, the extent of the fusion of the base and superestructure in late capitalism. In this sense, it seeks to clarify where Jamesons essay helps to understand the dominance of postmodernism and how it is unsufficient to explain the situation of material production in areas where neoliberalism and globalization are not developed and, therefore, do not respond fully to the cultural logic that animates financial capitalism. In other words, it is necessary a reality test of the ideology of postmodernism beyond the borders of the Anglo-Saxon world. Thus, it is discussed the possibility of Jamesons thesis of base and superestructure stage of late capitalism be restricted to countries where both flexible accumulation and financial globalization indeed ocurred. This research also aims to make considerations about Jamsons prose in order to point some of its effects and its relations with the denouncing contents of this essay and estabilish their correspondences with the method of the Frankfurt School, more specifically, the one of Theodor Adorno.

A partir da análise da peça Vale das facas voadoras, do dramaturgo e diretor alemão René Pollesch, procura-se abordar a obra desse diretor, bem como, refletir sobre as possibilidades que ele apresenta para dar conta de uma crítica da ideologia que sobreviva a um ambiente Pós-Moderno, segundo a definição do teórico americano Fredric Jameson. / Starting from the analysis of the play Valley of flying knives, written by German playwright and director René Pollesch, the dissertation seeks to analyze the work of this director, as well as reflect on the possibilities it has to account for a critique of ideology that survives to a Postmodern environment, as defined by the American theorist Fredric Jameson.

The central figure in this thesis is Robert Jameson (1774-1854), geologist, mineralogist and Professor of Natural History at the University of Edinburgh. Jameson's geological work is examined in relation to the social and intellectual interests of contemporary civil society, and in particular, in terms of the debates in Edinburgh between Huttonians and Wernerians (of which group Jameson was one) concerning the nature of geological evidence and of theory in geological explanation. This thesis is also concerned to bring into sharper focus the state of, and public interest in, the earth sciences in Scotland in the first two decades of the nineteenth century. In this regard, analysis centres upon the conceptual basis and scientific methods behind Jameson's work and upon the making of natural knowledge as a situated intellectual and social concern. The thesis has eight chapters. Following an introduction and literature review they are, respectively, concerned with showing that in societies, teaching, museology, fieldwork, laboratories and through publications, Jameson's scientific 'methodology' conformed in large part to the Baconian taxonomic and descriptive elements of Wernerianism. This thesis also suggests that scholars have hitherto misrepresented and overplayed the 'theoretical' nature of Jameson's work, and in so doing, have only characterised the debate between Huttonians and Wemerians as a conflict between rival theories. In re-examining the several activities and the conduct of Huttonians and Wernerians (in this case Jameson) in a variety of settings, a rather different understanding of the nature of debate is here advanced. Specifically, it is shown that rivalry between Huttonians and Wernerians in the sites stated above might be better understood not in terms of two opposing theories, but, rather, as a rivalry between a vigorously held theory on the one hand (proponents of Huttonianism) and, on the other, a conviction about the prematurity of theory and importance of a Baconian empirical approach. The thesis also suggests that understanding the intellectual contexts to such geological enquiry depends importantly upon knowing something of the social and civic nature of scientific 'ownership', institutional authority, personal reputation and the proprietorial control of local scientific knowledge.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1979.

Thesis (M.A.)--Villanova University, 2009. / Theology and Religious Studies Dept. Includes bibliographical references.

The linking short narratives explored in this study-- Anna Jameson's Winter Studies and Summer Rambles in Canada, Sara Jeannette Duncan's The Pool In the Desert and Mavis Gallant's Home Truths— employ first-person narrators to both comply with and subvert dominant ideas of the gendered female subject. In addition, these representative linking narrative texts demonstrate that choices to do with form, as well as subject and theme, may both support and subvert the discourses of the time and place in which they are written. My exploration of these three representative texts draws from W.H. New's fragmentation theory of short narratives, Gérard Genette's narrative theory of voice and mood, Paul de Man's problematization of generic distinctions between autobiography and fiction, and Julia Kristeva's theory of the speaking subject as text in process and vice versa. Jameson's Romantic "I" uses the miscellany's flexible form of linking short narratives autobiographically to both reify and recuse nineteenth-century genre conventions of travel narrative and the gendered position of women in Europe and Canada. As the Recusant "I," first person narration in Duncan's quartet of stories figures splits not only between female desire and gender codes, but also between creative imagination and conditions of exile. With a psychopoetics of the unsaid, the Remembering "I" of Gallant's linking narratives figures female subjectivity as a process of both psychology and history. These women-authored linking narratives challenge assumptions that first-person narration is univocal, and therefore problematize distinctions between autobiography and fiction. In their uses of the linking narrative form, they also challenge aesthetic criteria that privilege wholeness and unity— of the novel, for example— in concepts of mimesis dominating representations of reality in their respective periods. These first-person linking narratives use the voice of the "I" subversively, telling the doubled position of the female subject in the discourses of genre and gender. / Graduate

Pierre Bourdieu and Fredric Jameson are in many respects two of the most influential contemporary theorists. Bourdieu's comprehensive theoretical model, termed "genetic structuralism", is a fruitful alternative to traditionally dichotomous modes of thinking: subjectivism vs. objectivism, agency vs. structure, micro vs. macro analysis. His model aims to subsume these divisions, by accounting for the generative ability of both mental and structural forces. Jameson on the other hand, as "America's leading Marxist critic", offers an engaging account of contemporary culture, as he attempts to find the connecting thread of our increasingly disjointed social reality to history. The following work is but a brief account of these wide-ranging theories. Its order of progression starts with contextualizing Bourdieu and Jameson in the framework of cultural debates, followed by an analysis of the structure and logic of both Bourdieu's and Jameson's theories, after which comes a look at how these theories are applied to analyzing literary works. Finally the last part tries to grasp these theories in relation to each other, by highlighting some of their differences and similarities. / Master of Science

Esta dissertação visa apresentar um estudo sobre a obra do crítico marxista norteamericano Fredric Jameson, a fim de identificar como ela pode ser lida na chave da teoria social. Para tanto, elegeu-se dois parâmetros principais: o tema da modernidade e a tentativa marxista de conceituar o capitalismo contemporâneo. O objetivo central foi promover uma análise da periodização histórica que é proposta pelo autor sob os termos pós-modernismo, capitalismo tardio e globalização, e como ela apresenta uma visão sistêmica e totalizante das transformações sociais das últimas décadas, baseandose, sobretudo, na interpretação de textos que compõem sua produção intelectual a partir dos anos 1980. Trata-se, portanto, de um estudo que teve o sentido de relacionar problemas conceituais da sociologia à compreensão da sociedade capitalista em seu estágio mais recente. Nosso objetivo último foi fornecer uma contribuição à interpretação da obra de Jameson, bem como ao campo da teoria marxista e à sua compreensão crítica da atualidade. / This dissertation aims to present a study on the work of the American Marxist critic Fredric Jameson in order to identify how it can be read in the key of social theory. For this, two main parameters were chosen: the theme of modernity and the Marxist attempt to conceptualize contemporary capitalism. Thus, our central goal was to promote an analysis of the historical periodization proposed by the author under the terms \"postmodernism\", \"late capitalism\" and \"globalization\", and how it presents a systemic and totalizing vision of the social transformations of the last decades, based mainly on the interpretation of texts that compose his intellectual production from the 1980s. It is therefore a study that aimed to relate conceptual problems of sociology to the understanding of capitalist society at its most recent stage. Our ultimate goal was to provide a contribution to the interpretation of Jameson\'s work, as well as to the field of Marxist theory and its critical understanding of actuality.

Esta dissertação visa apresentar um estudo sobre a obra do crítico marxista norteamericano Fredric Jameson, a fim de identificar como ela pode ser lida na chave da teoria social. Para tanto, elegeu-se dois parâmetros principais: o tema da modernidade e a tentativa marxista de conceituar o capitalismo contemporâneo. O objetivo central foi promover uma análise da periodização histórica que é proposta pelo autor sob os termos pós-modernismo, capitalismo tardio e globalização, e como ela apresenta uma visão sistêmica e totalizante das transformações sociais das últimas décadas, baseandose, sobretudo, na interpretação de textos que compõem sua produção intelectual a partir dos anos 1980. Trata-se, portanto, de um estudo que teve o sentido de relacionar problemas conceituais da sociologia à compreensão da sociedade capitalista em seu estágio mais recente. Nosso objetivo último foi fornecer uma contribuição à interpretação da obra de Jameson, bem como ao campo da teoria marxista e à sua compreensão crítica da atualidade. / This dissertation aims to present a study on the work of the American Marxist critic Fredric Jameson in order to identify how it can be read in the key of social theory. For this, two main parameters were chosen: the theme of modernity and the Marxist attempt to conceptualize contemporary capitalism. Thus, our central goal was to promote an analysis of the historical periodization proposed by the author under the terms \"postmodernism\", \"late capitalism\" and \"globalization\", and how it presents a systemic and totalizing vision of the social transformations of the last decades, based mainly on the interpretation of texts that compose his intellectual production from the 1980s. It is therefore a study that aimed to relate conceptual problems of sociology to the understanding of capitalist society at its most recent stage. Our ultimate goal was to provide a contribution to the interpretation of Jameson\'s work, as well as to the field of Marxist theory and its critical understanding of actuality.

O objeto de estudo deste trabalho é a trilogia marciana de Kim Stanley Robinson, com a publicação de Red Mars, em 1993; Green Mars, em 1994; e Blue Mars, em 1996. A partir do questionamento de sua visão de utopia, que é corroborada pelo crítico materialista Fredric Jameson em seu livro Archaeologies of the Future, de 2005, procuro analisar a solução pós-moderna e multicultural para uma sociedade ideal, apresentada por ambos. Assim, essa dissertação discute o alcance dessa utopia fragmentada e aponta como ela é resultado da perspectiva histórica e de um ponto de vista. Outro objetivo é demonstrar como os Estados Unidos moldam o imaginário da trilogia, repetindo uma tradição da ficção científica do país. / The aim of this paper is to present a reading of Mars Trilogy, by Kim Stanley Robinson, published in 1993 (Reds Mars), 1994 (Green Mars), and 1996 (Blue Mars). By questioning his idea of utopia, reinforced by the materialist critic Fredric Jameson in Archaeologies of the Future (2005), I investigate the postmodern and multicultural solution for an ideal society they both propose. Therefore, one of the main purposes of this dissertation is to discuss this fragmented utopia and how its result reveals the historical perspective and the point of view. Another drive is to demonstrate that the United States construct the imagery behind the trilogy, repeating a tradition in the local science fiction.